Sergei PROKOFIEV (1891-1953)
Piano Concerto No. 2 in G minor, Op. 16 (1913) [31:44]
Pyotr Ilyich TCHAIKOVSKY (1840-1893)
Piano Concerto No. 1 in B flat minor, Op. 23 (1874) [33:55]
Haochen Zhang (piano)
Lahti Symphony Orchestra/Dima Slobodeniouk
rec. January 2018 (Tchaikovsky) & March 2018 (Prokofiev), Sibelius
Hall, Lahti, Finland
Reviewed as a 24/96 stereo download from
eClassical
Pdf booklet included
BIS BIS-2381 SACD
[66:29]
BIS already have two pretty decent recordings of these concertos on their
books. The Tchaikovsky features Yevgeny Sudbin with the São Paulo Symphony
under John Neschling (BIS-1586), the Prokofiev Freddy Kempf, Andrew Litton and the Bergen Phil (BIS-1820). I’ve certainly admired Kempf in other repertoire, but it’s Sudbin who
lingers longest in the mind, his Rachmaninov with Lan Shui and the
Singapore Symphony very fine indeed.
Why the duplication? Well, past experience suggests BIS only do this when
something - or someone - rather special demands to be heard. In this case,
it’s the Chinese pianist, Haochen Zhang (b. 1990). Even in a musical galaxy
studded with stellar talent, this man’s star has been in the ascendancy
since 2009, when he became one of the youngest winners of the prestigious
Van Cliburn competition (gold medal and first prize). He shared the honours
with another remarkable artist, Japan’s Nobuyuki Tsujii, who I’ve described
as a ‘profound and bewitching talent’ (review). As for Zhang, I see he’s already given us two solo recitals - BIS and
Harmonia Mundi - which have yet to be assessed on these pages. The Lahti
orchestra are no strangers to MusicWeb, though, their BIS recordings of
Sibelius and Aho frankly indispensable. The band’s principal conductor, the
Russian Dima Slobodeniouk, is also familiar from the Aho and Fagerlund
albums he’s made with them in recent years.
So, what about the competition? I’m inordinately fond of Michel
Béroff’s Prokofiev concertos, made in joyful partnership with Kurt Masur and
the Leipzig Gewandhausorchester in 1974 (EMI-Warner). These are big, often
boisterous performances, with a sound to match, that still give great
pleasure after all this time. Alas, the recent crop of Op. 16 recordings has
been very disappointing: among them is Yuja Wang’s misjudged account with
Gustavo Dudamel and his Bolívars (Deutsche Grammophon); and Vadym Kholodenko’s rather pedestrian one with
the Fort Worth SO under Miguel Harth-Bedoya (Harmonia Mundi). I’ve been more successful with the Tchaikovsky,
notably the thoughtful and refreshing performances from Xiayin Wang, the
RSNO and Peter Oundjian (Chandos), and that of Alexandra Dariescu, Darrell Ang and the RPO (Signum). For me, these two versions are far preferable to Beatrice Rana’s
splashy, attention-seeking one, although I suspect
Michael Cookson
would beg to differ. (Her coupling is identical to Zhang’s.)
The original version of Prokofiev’s Op. 16, composed in 1913, was destroyed
by fire and reconstructed by the composer ten years later. Zhang’s reading,
richly Russianate, looks back to the 19th century - to Tchaikovsky in
particular - while Béroff finds a restless modernity here that places the
piece firmly in the 20th. That’s especially true of the first movement.
What impresses me most about Zhang’s warm, lyrical playing is its sense of
curiosity, revealing as it does tantalising melodic fragments and rhythmic
twists that rivals tend to miss. It helps that Christian Starke’s ‘hear
through’ recording, sensibly balanced, allows one to appreciate these
hidden pleasures. Not only is Béroff’s approach more broad brush, the
analogue sound ‘shreds’ in the tuttis.) I’m sure Zhang’s unassuming planism
will appeal to those weary of the usual excesses. Slobodeniouk is clearly
of the same mind, proving a sympathetic accompanist at all times..
After that, revisiting the Kempf recording was quite a sobering experience.
How slow it now seems - sluggish, even. Indeed, this performance burns with
a much lower flame than I remembered. Ditto Kirill Gerstein’s (Myrios), but
then I found conductor James Gaffigan’s Prokofiev symphonies rather dull
(Challenge). Quite simply, neither pianist comes close to Béroff’s
brilliance, nor the freshness and forensic skills of this talented
newcomer. They aren’t as well recorded, either.
Alas, custom has staled the Tchaikovsky B flat minor concerto, so I’m
inclined to avoid it. That said, I’ll make an exception for Xiayin Wang
and Alexandra Dariescu, both of whom reminded me of the work’s infinite
variety. Even more important, both pianists - and their respective
conductors - have the good sense not to try and imitate the legendary
keyboard titans who made the piece their own. From its majestic, nicely
proportioned opening bars, it’s clear Zhang and Slobodeniouk’s Tchaikovsky
1 is cast from the same mould. The sound of this magnificent Steinway D -
so full bodied - is even better caught here than it is in the Prokofiev,
recorded two months later. In fact, it’s a perfect metaphor for this
performance as a whole, which displays a level of musical inspiration and
technical excellence that fair took my breath away. As before, Zhang is a
master of phrase and detail, the orchestral playing crisp, attractively
scaled and beautifully blended. Happily, Slobodeniouk paces it all to
perfection. But it’s Zhang who deserves the highest praise, his luminous,
deeply felt Andantino exquisitely done. Make no mistake, this pianist is
well up to the big moments in the famously flamboyant finale; and what a
thrilling ride it is. A very different account to Sudbin’s volatile one,
and, I think, far more rewarding, too.
In an unrelated review earlier this year I remarked that age makes one yearn
for new and revitalising takes on old favourites. I’ve heard a few of those
recently, to which must be added Zhang’s Prokofiev and Tchaikovsky. As it
happens, Alexandre Kantorow, another much younger pianist of extraordinary
skill - which includes good sense and good judgment - is also a BIS artist
to watch. In fact, his intelligent and insightful
Saint-Saëns
is already on my shortlist of the year’s best recordings. The liner-notes,
a model of simplicity and readability - other labels, please note - are by
Andrew Huth
Zhang’s Prokofiev is very good, his Tchaikovsky excellent; a bright new
star in the musical firmament.
Dan Morgan
