Search - Sergey Rachmaninov, Konstantin Scherbakov :: Rachmaninov: Piano Sonata 2 / Variation on Theme by Chopin

Scherbakov Holds His Own with the Big Boys

J Scott Morrison | Middlebury VT, USA | 09/23/2003

(5 out of 5 stars)

"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=70:02Scott Morrison"

Intoxicating Rachmaninov alloyed with Scherbakov's fire

Hexameron | 03/02/2007

(5 out of 5 stars)

"Konstantin Scherbakov is climbing the ranks with his consistently superlative recordings. He first blew me away with his jaw-dropping Beethoven/Liszt on the Naxos label. He stunned me even further with his J. Strauss transcriptions. And since then I've found all of his recordings invaluable. His Diabelli Variations were startlingly profound and his Godowsky on the Marco Polo label is the best of its kind. So how does he fare with the master, Rachmaninov? Unless I lack musical insight and experience, I think he illuminates some of the greatest shades and hidden flames of Rachmaninov's music.



Rachmaninov's Variations on a Theme of Chopin is truly an awesome work. Like Brahms, Rachmaninov strives for complex musical expressions instead of sparkling embellishments. And although I've only been familiar with the piece through Earl Wild's and Idil Biret's recording, I believe Scherbakov topples them. While every pianist's interpretation will vary, Scherbakov manages to satisfy both my yearning for thunderous passion and soft melancholy. Indeed, these two features are taken to an extreme. Variation 14 is the perfect example of this. Scherbakov plays the opening with a sullen Chopinesque mood; twenty seconds later he erupts with a genuinely heart-felt climax of dense chords. Variation 16 and 17 are also delivered with a similar mixture of brooding quiet and convulsing passion. Wild and Biret lack this fusion of Russian melancholy and unbridled passion, so I think I've found a new preferred version.



In the Morceaux Op. 3, Scherbakov continues with supreme excellence in his interpretations. The Elegie is just about perfect. In Scherbakov's hands, this morbidly beautiful and despairing piece aches with pain. Unfortunately, the famous Prelude is not as remarkable, but seeing as though every pianist has recorded it, we have at least a dozen others to satisfy ourselves with. It's not a bad performance by any means; I just prefer a slower tempo with a heavy bombastic delivery of the apocalyptic main theme towards the end. While the Melodie and Serenade are immaculate, I think the Polichinelle is one of the best recordings I've heard. Scherbakov creates some aurally mesmerizing flashes of lightning in the virtuosic sections while keeping his sensibilities focused on the melody.



For an undoubtedly superior review of the second piano sonata, I would direct the reader to Scott Morrison's review. I'm somewhat handicapped in providing a decent analysis because I haven't heard the sonata before. I'm unaware of the differentials in the 1913 version and 1931 revised version. Despite that, this sonata has kept me enraptured for days; I can't stop listening to it. In a mere 20 minutes, Rachmaninov presents an unerring stream of heart-stirring ideas. From the thrilling opening, which Scherbakov ignites with his titanic explosions, to the eerie impressionistic central section and the resonating furor that capitalizes on the end of the development, this first movement is truly astonishing. To my mind, Scherbakov is also in top-form with the second movement. His conception is dramatic and he evokes heart-wrenching emotions through those inimitably gorgeous romantic themes that Rachmaninov is so proficient with. There is no less musical substance in the ecstatic third movement: Scherbakov imbues these bars with both poignancy and spectacular storms of pianistic display.



Bottom line: Scherbakov is one of those deluxe pianists of incredible virtuosity and musicianship. He has given a towering and fiery execution, at times a sublime meditation, on the marvelous Variations on a Theme of Chopin. The Op. 3 Morceaux receives similar profound treatment, while the Piano Sonata No. 2 has kept me enthralled for days of repeated listenings. As much as this is due to Rachmaninov's own music, I think Scherbakov's transcendent performance has some stake in the matter too."