THE GERSHWIN &
BERNSTEIN CONNECTION
Eliane Rodrigues & Nina Smeets, Pianos
Carlo Willems & Koen Wilmaers, Percussion
Navona Records 6230
Two pianos and percussion, what could be more exciting? The cult classic is the recording on Deutsche Grammophon by Martha Argerich and Nelson Freire, partnered by Peter Sadlo and Edgar Guggeis, with works by Bartok and Ravel. This album of George Gershwin and Leonard Bernstein by the mother-daughter duo of Eliane Rodrigues and Nina Smeets with percussionists Carlo Willems and Coen Wilmaers comes very close. A programme of sheer exuberance and infectiousness of rhythms, coupled with excellence of execution. What more could one desire?
To be honest, Gershwin’s Rhapsody in Blue does not really benefit from added percussion, so these come like extra bells and whistles. At close to 20 minutes, it is also on the slow side with the opening introduction needing an extra push. But when push comes to shove, there are truly exciting moments which all build up to a frenetic close. This reading is adapted from the full-length orchestral version (not the truncated piano solo version), which proves to be the right choice.
There should, however, be no reservations whatsoever for Gershwin’s Concerto in F, with the percussion parts added by Thomas Schindl. The original highlights the timpani from the outset, so percussion is an essential element of what makes this work rock. The foursome have the idiom down pat. Jazzy rhythms are incisively delivered, and with percussion not being optional extras, sonorities generated have an truly orchestral feel. Also, something is right when the solo trumpet of the central slow movement’s blues is not missed. The driving rhythms of the “Spanish” finale are exhilarating, and the recalling of themes from earlier movements tautly unites the work as a whole. The spectacular tam tam crash near the end is also pure Hollywood. Totally memorable.
Wedged in between both Gershwin works are the Symphonic Dances from Leonard Bernstein’s West Side Story, adapted from the two piano version by John Musto. The vital link between this and that legendary Argerich and Co. album is the late Peter Sadlo (1962-2016), who arranged the percussion parts. Like the concerto, this is another sonic spectacular. The finger snaps and police whistle have been retained, but there is no room for the “Mambo!” shouts, instead replaced by two brusque chords and glissandi. At any rate, the voices of just four people would have sounded a tad underwhelming. Here is a totally enjoyable disc of memorable music, memorably transcribed, and brilliantly performed. Cult status due soon.
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