A great introduction to Shchedrin's piano music.

Two of Rodion Shchedrin's works are entitled Concerto cantabile and Concerto sotto voce. These two epithets - sotto voce and cantabile - can be applied to much of his output. He produced bright, brilliant pieces (like the justly famous Carmen-Suite ballet), or works full of daring, rough folk humor (like the popular Concerto for Orchestra Naughty Limericks). Still, the core of Shchedrin's music is dark-hued, philosophic, often religious, always thoughtful. The spiritual closeness to Bach is evident, and not only in the abundance of old-fashioned polyphony. Probably the most successful of the Soviet composers that emerged in the Fifties under the shadow of Shostakovich, Shchedrin is the one with his face turned to the past. Not technically: he knows and uses all the atonal - polytonal - dodecaphonic - aleatoric - you name it - brushes. His music rarely grips you from the first measure: it requires submergence and listening. But when you are in - you are in. And you can be sure that the experience won't leave you with disappointing emptiness: those simple, sparse, seemingly tuneless constructs are genuine, deep music. It is strange. It is Art.
 
More and more of Shchedrin's music is recorded in the West, but these are mostly concertos and choral works of the latest years. The more welcome is then the all-Shchedrin piano recital of pieces from his first creative period, presented so sympathetically by Marina Lomazov.
 
I can't say that I completely understand the logic of the Piano Sonata of 1962. The second and third movements hold very naturally together - the second is a dim, deep abyss, the third a devilish toccata, burning like black fire. Preceding these two goes a much lighter Allegro da Sonata, like an echo of Petrushka's Shrovetide Fair. It is attached, but does not seem to belong.
 
The ten preludes from The Polyphonic Notebook (1972, the latest composition on this disc) are very interesting and rewarding. I wish all 25 were recorded, but even the present torso is a wonderful sequence, full of delicacy and balance. This is one of Shchedrin's Bachianas. The texture is sparse - listen to the lower voices!
 
The earliest composition - Poem of 1954 - could be a page from Prokofiev's Romeo and Juliet. The Humoresque, similarly, may evoke Prokofiev in his more angular self. Yet its voice is not derivative, and the piece is funny and memorable. A la Albéniz is a cold-smoke tango, with enough big pauses for glances, yes and nos, and other decisions. Together, these three miniatures show how multi-faced Shchedrin's muse can be.
 
The four pieces arranged from The Hump-backed Horse ballet bring to the front another big love of the composer: the Russian folk culture. The music is very sincere and innocent, which suits well the fairytale subject of the ballet.
 
Finally comes my favorite: Two Polyphonic Pieces. The Invention is hypnotic. As it is often with Shchedrin, you cannot pinpoint exactly where the “musical experience” is coming from. It's like plain pieces of mosaic summing up into a picture. Basso Ostinato is another virtuosic toccata, a veritable tour de force, completely enthralling. There are torrents of energy, like armies clashing in the night, order and chaos in search of a resolution.
 
Marina Lomazov is a perfect performer for this music. She never "overcooks" it; everything that needs to be dry stays dry. Yet there is all the required energy, and maybe even more. Lomazov plays with ultimate precision, but the result is not mechanical: it is human, personal and soulful, even in the most abstract constructs. There is this "transparent virtuosity" that does not expose itself glamorously, but works for the good of the music. And she does wonders with the rhythm. I wish she considered recording Prokofiev's Sonatas.
 
The recording quality is very satisfactory. The liner-notes are not especially generous. Still there is enough information about the works, the composer and the performer. This disc gives a good overview of Shchedrin's directions in his earlier years, and the selections from the Polyphonic Notebook are a real teaser. It is a multi-character program, recital-like, with changing moods and styles, not a unified album. It is a great introduction to Shchedrin's piano music. It is also a great introduction to a very fine pianist, Marina Lomazov.
 
-- Oleg Ledeniov, MusicWeb International

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CHOPIN Piano Concerto No. 1 in F?; Barcarolle; Impromptus: in A?, Op. 29; in F? , Op. 36; Tarantella in A? • Danil Trifonov (pn); Wojciech Rajski, cond; Polish CO Sopot • DUX 0832 (63:30)


It’s too bad that this disc, filled with brilliant, energized, and subtle piano playing should start almost anemically with an impassive statement from the chamber orchestra on the Chopin Piano Concerto. Of course this is a string orchestra, a defensible choice, but I still think the opening should be more emphatic. We see what we were missing the second Danil Trifonov enters, for he is a dynamic pianist, and yet one who plays the delicate pages of this concerto exquisitely without ever losing its forward thrust. There are few recordings of the Romance as beautiful as Trifonov’s, and few of the final Rondo as delightfully playful. The solo works are just as distinguished, including the quicksilver rendition of the Impromptu in A?. Trifonov has all the technique, and all the temperament that he needs, and yet everywhere he seems to be delighting in the music and not in what he can do with it. Some listeners might come to this disc for the novelty of hearing the concerto played by a string orchestra. They should be delighted with the pianist.


FANFARE: Michael Ullman

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Import Hybrid-SACD pressing.

RAGTIME CLASSICS 1901–1919 • Brian Dykstra (pn) • CENTAUR 3340 (68:00)


JOPLIN Gladiolus Rag. The Chrysanthemum—An Afro-American Intermezzo. Bethena—A Concert Waltz. Peacherine Rag. Solace—A Mexican Seranade. The Entertainer. LAMB Top Liner Rag. SCOTT Grace and Beauty. TURPIN The St. Louis Rag. JOPLIN/HAYDEN Sun Flower Slow Drag. WOODS Slippery Elm Rag. COOKE Blame It on the Blues. JOHNSON Dill Pickles. AUFDERHEIDE The Thriller!


I interviewed pianist/composer Brian Dykstra in Fanfare 35:6, at which time two CDs featuring his concert rags were very favorably received by Lynn René Bayley, Barry Brenesal, and yours truly. This time around, he’s chosen to bring us some of his favorite classic rags rather than his own novel creations. These include such Joplin staples as The Entertainer, Solace, Peacherine Rag, Gladiolus Rag, and Bethena—A Concert Waltz . The program also features works by composers whom fame has passed by, such as Charles L. Cooke, Charles L. Johnson, and May Aufderheide (according to Dykstra one of many women ragtime composers). Cooke’s catchy Blame it on the Blues sounds quite happy for a song with “blues” in the title and Johnson’s Dill Pickles is more likely to make you caper with frolicsome abandon than pucker you lips with vinegar. Apparently it owes its comical name to chance: Johnson, who worked for the Carl Hoffman Music Company, was stuck for a title when he noticed a fellow employee carrying a box of dill pickles, eh voilà! Aufderheide’s The Thriller! is full of sass and bounce: Dykstra doesn’t hold back on the dynamics in the “thrilling” last measures. There are also pieces by the “other” famous ragtime composers, James Scott and Joseph Lamb. Lamb’s Ragtime Nightingale ’s opening left-hand pattern reminds Dykstra of Chopin’s Revolutionary Etude but, title to the contrary, he doesn’t feel that the music contains any particularly bird-like figurations, so he’s added a lengthy trill to make amends. Looked at from Lamb’s perspective, it’s possible that the composer thought that some of the lighter, “tinkly” bits preceding the trill might suggest the nightingale’s song.


Dykstra’s tempos are sometimes faster than those to which I’ve grown accustomed. I’ve loved Solace since I heard it in The Sting , played, I believe, by Marvin Hamlisch. His languid, dreamy performance made the most of the tango rhythm and brought out more of the music’s wistful melancholy. I prefer his version to Dykstra’s more straight-ahead approach, but it’s interesting to hear a contrasting point of view. Joshua Rifkin (you can hear him on YouTube if you don’t have the original recording to hand) is likewise on the slow side (sometimes too slow for my taste). Of course, Rifkin’s landmark recordings were notable for their slow tempos, which honored Joplin’s oft-quoted advice to “Never play ragtime fast at any time.” A comparison of the two pianists in The Entertainer is also revealing, with Rifkin substantially slower than Dykstra. Rifkin, of course, enjoys iconic status as one of the prime movers of the ragtime revival of the 1960s, but there’s a lot to be said for Dykstra’s spritely playing. Also, he’s either added substantial variants of his own or is playing from an edition I haven’t encountered: This alone makes him worth hearing. Add in that this enjoyable program is garnished with rarities to whet a connoisseur’s palate and it’s plain that it deserves a place in any ragtime collection.


FANFARE: Robert Schulslaper

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Import Hybrid-SACD pressing.

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Centaur presents StAr Splendours, a wonderful new release with a memorable proram for Marimba.

In Bach’s time, the lautenwreck, or lute-harpsichord, was a very popular instrument. It has a much more mellow sound than a modern harpsichord and Bach himself was quite fond of the instrument. John Paul has made numerous recordings with the lautenwerk and hearing Bach’s music played by Paul is exuberating.

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Nearly every large cinema used to house a theatre pipe organ. These were introduced to provide the accompaniment to silent films, but many British installations took place during the sound film era. When silent films gave way to sound films, those cinema organs began to use them to provide a musical interlude between the second feature and main feature films. This caught on and every worthwhile cinema had a pipe organ installed, and this continued until the later 1930s.

Aurelia Shimkus wanted to create a selection of works that would best illustrate Bach's relationship to the divine sphere. Because prayers are the best way to communicate and get in touch with the divine, she decided to put together a program that would seem like one big prayer and named it after the Chorale Prelude No. 5 "Ich ruf' zu dir" (I call yo tou). The pieces of the program are grouped together by their tonal relationships - this allowed Shimkus to combine music from different times and epochs, consolidating them into one large work of prayer.

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The music of Stravinsky’s "The Rite of Spring" has come down to us in the form of the orchestral score (which was laid aside amid the turmoil of World War I and only published in 1922) and a piano duet version published shortly before its 1913 premiere. Both versions are presented here side by side. These are not two aesthetically equal realizations of one and the same compositional concepts. Not only was ‘The Rite’ conceived from the outset as an orchestral work; it also owes its overwhelming impact in great measure to the colorful and often deliberately percussive sound of its instrumental forces.

This is Volume 1 in a 5-volume edition of the keyboard works of CPE Bach. Preethi de Silva, a specialist in this repertoire, performs on harpsichord, clavichord and fortepiano.

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