Cheap Rachmaninov: Piano Sonata 2 / Variation on Theme by Chopin (Music) (Sergey Rachmaninov, Konstantin Scherbakov) Price

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Customer Reviews of Rachmaninov: Piano Sonata 2 / Variation on Theme by Chopin

Scherbakov Holds His Own with the Big Boys
I had previously known only a small proportion of the recorded output of Russian pianist Konstantin Scherbakov--the Beethoven 'Diabelli Variations and Liszt's transcriptions of the Beethoven 4th and 6th symphonies--so I was not sure what to expect when I got this CD of Rachmaninov piano music containing the rarely-heard 'Variations on a Theme by Chopin', some of the early piano pieces ('Morceaux de fantaisie,' Op. 3) and the sprawling Second Sonata. I was pleasantly surprised by what I heard. There is no question that Scherbakov has plenty of technique; I had been a bit concerned, though, that he might be one of those virtuosos who play everything fast--there had been some hint of that in the Beethoven 'Pastoral' transcription. I needn't have worried.

The 'Chopin Variations,' based on the familiar C minor Prelude, Op. 28, No. 20, is given an unrushed, poetic performance. These variations are not terribly virtuosic--perhaps that's one reason they are not played as often as, say, the 'Corelli Variations'--but they are beautifully wrought. Rachmaninov in a meditative mood. Scherbakov is particularly effective in the lovely 16th and 17th variations--the two slowest sections--and in the final variation and coda.

The five 'Morceaux' [Elegy, Prelude, Melody, Polichinelle, Serenade] were composed when Rachmaninov was only 19 and the second is the familiar Prelude in c sharp minor, easily Rachmaninov's most famous composition. These character pieces, although written when Rachmaninov was but a boy, contain the familiar melancholy and gorgeous tunefulness of the mature composer. There is a Spanish tinge to the Serenade that Scherbakov brings out skillfully.

I spent most of my time with this CD comparing Scherbakov's performance of the Second Sonata with those of some of his illustrious predecessors: Cliburn (live in Moscow, 1960), Ashkenazy (1975), Horowitz (1968, 1980). These could not be precise comparisons because none of the four pianists plays exactly the same version of the sonata. Rachmaninov wrote it in 1913, but he revised it significantly in 1931, tightening it and simplifying some of the more virtuosic sections; in the revision he removed more than 120 bars, some from each of the movements, primarily in the development sections. It is thought that in the early 1930s Rachmaninov was experiencing some physical problems with his hands and that he revised the sonata in order to make allowances for that. Ashkenazy plays the original 1913 version. Cliburn and Horowitz play their own adaptations of the 1931 version. Scherbakov plays the 1931 version as published. I personally prefer the original 1913 version but each of these performances has its own value.

Scherbakov plays with a modicum of 'personality.' For real personality one must hear either of the Horowitz versions. It amazes me that Horowitz's 1980 version, made when he was almost 80, showed that he not only still had technique to burn but, if anything, more spontaneity and daring than any of his younger colleagues (and even more than he showed in his slightly less quirky 1968 performance). He takes more chances with dynamic and tempo variations than anyone. Some might find this off-puttingly idiosyncratic; for me it is exhilarating. However, it is not how Rachmaninov played his own music and some weight must be given that consideration. (The 1980 version is still available in Vol. II of the Horowitz discs in the Philips 'Great Pianists of the 20th Century.' The 1968 version is no longer easily available.)

Cliburn's 1960 performance is breathtaking in its virtuosity--there are some really fast tempi taken--but it also has real poetry, especially in the lovely second movement. The sound in this live performance, unfortunately, is a bit clattery. Still, this is Cliburn on top of his game, just a short time after his electrifying win in the first Tchaikovsky Competition and when he was idolized in Russia even during the worst of the Cold War when Americans were the enemy.

Ashkenazy's performance is magisterial. Recorded when he was still a young man, himself a recent Tchaikovsky winner, it gives a picture of Ashkenazy when he was still only a pianist--he had not yet begun his conducting career--and his playing still had excitement and authority in it; sadly, in recent years the excitement has seemed to be replaced by routine. This is a young man playing a young man's composition; Rachmaninov had composed the sonata in Italy during the first flush of his combined international career as pianist and composer. Written at the same time as 'The Bells,' there are bell sounds throughout the sonata; in his revision he removed some of these. Ashkenazy catches the spontaneity as well as the compositional control Rachmaninov exerted. There is a wonderful balance of exuberance and intellectuality in his playing.

Back to Scherbakov. His performance steers a middle path between the idiosyncrasy and showmanship of Horowitz and the solidity of Ashkenazy. He is serenely songful in the more reflective moments--most of the second movement--and yet brings fire to the dramatic sections--the beginning and the development of the first movement--as well as catching the underlying melancholy inherent in the whole piece. If there is any weakness it is in the peroration of the third movement which seems slightly underplayed. The sound on this CD is the best of any I compared it with. It is, in a word, spectacularly lifelike. I suppose that is not surprising, given its recent provenance, but indeed it is outstanding even when compared to other piano recordings made in the last couple of years. One keeps thinking recording technique can't improve any further, and then it does.

The bottom line: This is a performance than can hold its own with the outstanding older versions and it is not only in warm and lifelike sound but at a budget price.

Recommended.

TT=70:02

Scott Morrison