BRAHMS
Symphonies Nos.3 & 4
Transcribed
by Idil Biret
IDIL
BIRET, Piano
Idil
Biret Archive 8.571303-04 (2 CDs)
*****
It may seem a thankless task to
transcribe symphonies for the piano, essentially reducing orchestral textures
and sonorities to the constraints of the two hands and ten fingers of a single
performer. This is essentially what the venerated Turkish pianist Idil Biret
did with two of Johannes Brahms symphonies, working on a pre-existing score for
piano four hands and performing them in concert. The recordings from two such
events in Paris in 1995 and 1997 are revealing. The architecture of the music is
retained, and while some colours are lost, how Biret voices the parts and
brings out the music's grandeur with stunning panache are what make these
documents relevant.
Tempos are broader, and there are some
missed notes in the heat of action, but these seem almost inconsequential.
Imagine what Franz Liszt did for Beethoven's symphonies or Berlioz's Symphonie Fantastique in private
performances during his heyday. Biret has even recorded these, and Brahms' Third and Fourth Symphonies receive the same grandstanding treatment, which
sound better with repeated listening. Biret also includes performances of
Brahms’ Paganini Variations, and
selections of Hungarian Dances and Capriccios, all virtuoso fare.
Pianophiles need not hesitate.
SHOSTAKOVICH
Symphony No.14
Soloists
with Royal Liverpool Philharmonic
Vasily
Petrenko, Conductor
Naxos
8.573132 / *****
The Fourteenth Symphony (1969) of
Dmitri Shostakovich (1906-1975) is more of a song cycle in 11 movements, scored
for two solo voices, strings and percussion, rather than a conventional
symphony. The work is a setting of poems (in Russian translations) by Federico
Garcia Lorca, Guillaume Apollinaire, Rainer Maria Rilke, all of whom died
prematurely. Composed in relatively ill health, the overriding theme is
mortality and the anticipation of death. Every movement with the exception of
the 8th (The Zaparozhe Cossacks Reply To The Sultan Of
Constantinople, a rebuke against authoritarianism), is death-obsessed in
some way or another.
Its highly dramatic content is arguably
far better experienced in a concert hall, especially movements like Malaguena
(literally a dance of death), the mock-comical On Watch (foreshadowing
death on the battlefield) and even the very brief Conclusion with a duet
proclaiming “Death is great / We are his...,” which ends abruptly and without
any fanfare. The soloists, Alexander Vinogradov (a true bass in the great
Russian tradition) and Israeli soprano Gal James, give vividly chilling
performances. There is no coupling to the final instalment of Vasily Petrenko's
all-round excellent Shostakovich symphony cycle with his Royal Liverpool
Philharmonic Orchestra, but what could possibly follow this excellent and
gripping recording of Shostakovich's darkest and most bitter symphony?
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