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Paganini Etudes, No. 5: La Chase

By way of intermission, I should say that no admirer of the Rachmaninov Etudes-tableaux could do without passing mention of several incomplete versions. Then there is Vladimir Horowitz , who once told me he could play like an angel. His teasing indulgence and theatricality in Nos 7 and 9 may be enthralling but it is hardly angelic. Early in his career the young Evgeny Kissin put pianists twice his age in the shade in Nos 1, 2, 4, 5, 6 and 9, and the Russians themselves would cry out were I not to mention Van Cliburn in No 5.

And so finally to the truest kings and princes of Russian pianistic glory in a complete Op 39 no queens or princesses on this occasion. Muscles bulge and ripple in a manner remote from his early, relatively lightweight playing, which he later came to consider superficial.


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He rises to great heights of declamation in No 2, making you realise that despite the denigration of his early years, when all forms of intellectual enquiry were crushed, he remains true to his Russian roots. Scriabin and Rachmaninov in particular have remained central to his vast repertoire. Vilified in his native land, his name was later removed from all official records.

Musical Style and Influence

He literally became a non-person. I make this point because, as his playing declares, music survives above and beyond such dire conditions.

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Even when you find him more gusty than measured or relentless in the climax of No 7 with its earlier lamentoso outcries and hints of the Russian liturgy, you can only wonder at his visceral attack in No 5 and his dazzling scherzando finish to No 8. Ashkenazy, despite his worldwide, cosmopolitan career, remains gloriously true to the Russian idiom. And then there is Alexander Gavrylyuk , who was 22 when he was recorded in Miami, and already possessed with the trenchancy and emotional commitment of the great Russian pianists.

He is an international prizewinner who unlike many who fail to survive their early success has continued to cause a furore, performing with the most celebrated orchestras and conductors, including Ashkenazy, with whom he recorded the complete Rachmaninov concertos and Paganini Rhapsody. After a brief sojourn in Australia he returned to his native Ukraine, and although his repertoire is wide-ranging, his focus on the Romantics plus Bach and Mozart , and Russian Romantics in particular, tells its own tale.

Evgeny Kissin Plays Liszt Etude No. 5 in E Major, "La Chasse"

His greatest success, as on this recording, has been in Rachmaninov, and here he makes Op 39 the centerpiece of his programme. In No 1 his relatively slow tempo uncovers a sinister undertow beneath the hyperactive surface, finding time to inflect even the busiest pages with freedom, colour and imagination.

What intensity, too, in every agonised page of No 2, where he plays as if his life depends on every note. In extreme contrast Gavrylyuk is explosively intense in No 5, and tells you also that No 8 is a place of bittersweet dreaming. Time and again he returns you to a period when Russian-trained pianists and not only pianists were dedicated exclusively to their art — to an endlessly evolving and developing journey for Ashkenazy, a spiritual quest.

Difficult, too, not to add that such manifest devotion must have prompted members of his wildly applauding American audience to wonder why a country with relatively limitless funds and facilities has created so few pianists of true international calibre in the past few decades. Virtually every pianist of note, whether male or female, comes from elsewhere.

Alexander Melnikov shows himself to be a pianistic wizard, though one who never plays for effect or according to an external criterion unlike Horowitz.

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Vladimir Horowitz - The First Recordings [DS]: Classical CD Reviews- Jun MusicWeb(UK)

Streams Videos All Posts. Share on facebook twitter tumblr. The Complete Recordings on Deutsche Grammophon. The Golden Era of Living Stereo: The Remastered Collector's Edition. The Complete Columbia and Electrola solo and concerto recordings, Hungarian Rhapsodies; Paganini Studies; Paraphrases.

Grandes études de Paganini, S.141 (Liszt, Franz)

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