This is a wondrous disc. Yevgeny Sudbin has not been alone in championing the piano music of Nikolay Medtner: in recent times Marc-André Hamelin, Steven Osborne and Hamish Milne have all brought their special insights into a composer who can perhaps on occasion seem problematic and somehow remote. Sudbin, however, seems to have an exceptional affinity with Medtner’s language. He brings both his heart and his head into play when performing these pieces. His head tackles and illuminates textures and harmonies that might seem opaque and knotty on a first study of the scores; his heart is then harnessed to convey the extraordinary sensibility, passion and thoroughly individual cast of melody that courses through the music. As usual with Sudbin’s series of BIS discs, he also writes his own booklet-notes in a lucid way that testifies both to his enthusiasm and to his understanding.
Expectations ran high in anticipation of this release, and they have not been disappointed. BIS just completed a partially successful Beethoven piano concerto series in which an often inspired Ronald Brautigam was shackled to an expressively challenged and period-pedantic Andrew Parrott. Here, both conductor and soloist are consistently operating on the same exciting wavelength.
In 2010 Yevgeny Sudbin released the first instalment in a cycle of Beethoven's piano concertos. Featuring the Fourth and the Fifth concerto the disc received top marks on web sites such as ClassicsToday.com and klassik-heute.de and was selected CD of the Week in Daily Telegraph and Editor's Choice in Gramophone, whose reviewer wrote 'The mother-of-pearl sheen of [Sudbin's] pianism is backed by a special underlying sensitivity…Delectably light-fingered brilliance and virtuosity shines a new light on some of the most familiar scores in the repertoire…'
BIS present two works composed by Sergei Rachmaninov, featuring virtuoso pianist Yevgeny Sudbin alongside the Singapore Symphony Orchestra under Lan Shui. Rachmaninov composed Rhapsody on a Theme of Paganini after a seven-year silence, and consists of 24 variations taken from Paganini’s 24th Caprice for solo violin. The Rhapsody was soon followed by his Third Symphony. Its themes have a marked Russian character used with great subtlety.
The biggest surprise on this wonderfully exuberant and exhilarating disc comes with the very first notes: the piano tone is rich and full, worlds away from the slightly distant, musical-box tone that is often thought appropriate for recordings of Domenico Scarlatti's sonatas on a modern concert grand. But as the soundworld suggests, Tharaud is totally unapologetic about playing these pieces – all originally composed for harpsichord even though the earliest fortepianos were in circulation in Scarlatti's time – on a piano. In the sleevenotes, Tharaud says that of the four baroque keyboard composers that he has recorded so far – Bach, Couperin, Rameau and now Scarlatti – it's the last whose music is most suited to this treatment. His selection of sonatas is chosen for maximum variety, with a group in which the Spanish inflections of flamenco and folk music can be heard, others in which he gets a chance to show some dazzling technique, alongside those in which the playfulness is replaced by profound introspection.
This is the second of Brilliant's box sets devoted to Russian recordings from Evgeny Kissin. Labeled as early, these live concert performances from 1984 to 1990 carry us from the day after Kissin turned 13 (Mozart Cto. #12 K. 414) to age 18 (Mozart Cto. #20, K. 466), with most readings clustering in the range of 1985-89. Russians were well aware of the marvel in their midst; the pianist's American breakthrough occurred in 1990 when he debuted at Carnegie Hall's centennial season. No one since Richter, debuting almost thirty years before, had made such a heady entry, and Richter was past fifty when he came here (briefly, since he loathed American capitalism and the pace of life in our big cities).