Response to MusicWeb International Review

Sergei PROKOFIEV (1891-1953)

Piano Concerto No. 2 in G minor, Op, 16 (1912/23) [36:02]

Svetlana Ponomarëva (piano)

Omsk Academy [sic] Symphony Orchestra/Vladimir Rylov

rec. live, 1 May 2014, Omsk Filharmonia Concert Hall, Russia

MV PRODUCTIONS [No number] [36:02]

by John Quinn, MusicWeb International March 19, 2015

First, I wish to correct the header of the review: nowhere in our CD is it mentioned that this is a live recording similar to our Rachmaninov CD. In our website I precisely wrote: Recorded on May 1^st, 2014 (general rehearsal and concert), meaning that final editing drew from both performances.

Independent artists rarely get reviews anywhere. So the few places who do pay attention to their recordings are a chance to give them a published voice. After having sent a first copy in September 2014 and a follow up email in December, we had not heard from MusicWeb International, a U.K. based organization that in the past had provided our production with three thoughtful reviews. On February 18^th 2015, I decided to contact again its founder who quickly replied that the copy must have been misplaced or perhaps even had never arrived. I offered to send another one and I was assured that it would receive a prompt review, which it did under the pen of John Quinn three days later. His review now published was summarized with these words: 

“A disc handicapped by an indifferent orchestral contribution and ungenerous playing time.”

His argument enrolls a 1960s RCA studio recording by famous US pianist John Browning with no less than the Boston Symphony under the legendary baton of Erich Leinsdorf, part of a 6 CDs set reissued by UK Testament records, probably a subtle hint that dead pianists are always the greatest, and the cheapest fee around.

Despite all the promotion effort by John Quinn, I did not buy the Leinsdorf/Browning disc for the purpose of this rebuttal. Instead, I managed to finally locate sound extracts on iTune. Had John Quinn chosen modern recent releases, such endeavor would have been greatly facilitated. Wishing to avoid the convenient hearsay argument of authority that plagued his review, I decided to offer our visitors a FACT based comparison that will demonstrate that "ungenerosity" is not on our side.

So before you read further to specific comments, I invite you to open iTune, look them up in original sound under the Leinsdorf name and compare side by side for each movement the Leinsdorf/Browning iTune soundtracks and their equivalent extracts from Svetlana’s CD so you, dear reader, can be the judge too (Copyright issues prevented me from posting a side by side convenient montage of both).

And now to some of John Quinn's quotes:

“This is not an orchestra of the first rank.”

This is of course the very same orchestra that under its music director Dmitry Vassiliev and the westernized name of “Siberian Symphony Orchestra” garnered accolades in recent reviews of their 2014 Weinberg recording and even a “Lebrecht Disc of the Week” on Sinfini. The same orchestra with whom Svetlana also collaborated in 2010 for Rachmaninov’s Piano Concerto No. 2. As for Maestro Rylov, he specifically received awards for his Prokofiev opera conducting!

“Ponomarëva is impressively strong, especially in the big cadenza towards the end of the movement. However, given that the tempo indication is Andantino-Allegretto, I came to wonder after a while if the approach was not a little too deliberate. (…) There’s a rather better flow in the Browning version; I feel his pacing is more in tune with both the tempo indication and the character of the music. It’s noticeable that Browning takes 10:50 for this movement whereas Ponomarëva’s reading plays for 12:44.”

Ponomarëva’s reading, also clearly described in her notes, emphasizes the epic nature of this concerto, in which the 1^st movement is very narrative, bylina-like and doesn't imply a rushed motion (for those who know Russian epic). Just like his Allegro moderato in the 3^rd movement, Prokofiev’s Andantino in the First is relative and rather means “moving forward without bowing in each bar”.

Hence, unlike Browning, she does maintain a steady meter-rhythmic pulsation that serves the dramaturgy, building up the tension toward the cadenza, a passage the reviewer conceded Svetlana was “impressively strong”. This movement sets the tone. And what’s ahead of the story is terrifying…

Browning’s take sounds more on the romantic side. As explained above, excessive freedom of musical time prevents maintaining the tension in this movement.

“The orchestra is more in evidence in the short, brittle scherzo. Here Ponomarëva’s playing is dexterous. She has the measure of the third movement, an Intermezzo and builds it to a powerful climax in which the orchestra plays its part.”

No kidding! A known criticism trick is to acknowledge yet minimize stronger points through writing a dismissive short paragraph that makes them sound mundanely normal, ordinary. The third movement Intermezzo Allegro moderato under Maestro Rylov’s reaches its full frightening dimension that the usual faster rendition tends to brush off. This truly sets our recording apart from the lighter versions.

“At the start of the finale this pianist is suitably athletic, though neither she nor, still less, her orchestra displays the flashing brilliance of Browning and the Boston Symphony. In the passages of quick music one is conscious once more of the shallow treble tone of the piano. In the passages where Prokofiev slows the speed and becomes more romantic in mood Ponomarëva is expansive, as she was in the first movement. In these stretches there’s rather more purpose in the Browning/Leinsdorf version but Ponomarëva’s interpretative take is valid.”

Although technically virtuoso, the finale is not just about “flashing brilliance” and "athleticism". It’s a battle where all main forces are met. For instance, in our 4^th movement extract we can hear a turning point like a break in the battle line and a subsequent uneasy pause of hostility leading to the folk inspired lullaby-like theme.

The musical material of slower episodes clearly echoes the epic mood of the 1^st movement hence Ponomarëva’s convincing expansive take that shows the coherency of her narration. Vladimir Rylov’s conducting is right on, supporting Svetlana’s reading of the concerto that steers away from romantic interpretations and is consistent with the historical context (this piece was composed in 1913 and rewritten in 1923 during troubled times). Quinn’s definitive pronouncement and halfhearted compliment seem to be based on the usual way these “passages” are played rather than derived from any in-depth musical ideas analysis(*).

As for the piano, we should probably apologize for not having a dedicated Steinway flown half a continent over for the occasion…

“Miss Ponomarëva is a good pianist but in the end this release is handicapped by two factors. One is the indifferent orchestral contribution – below what one would expect on a commercial CD – and the way in which the orchestra has been recorded. The second is the extremely ungenerous playing time.” (…) 

Thank you for such kind words... But seriously, regarding the sound: what a crock! John Quinn selectively finds his ears adjusting to fishbowl acoustics when reviewing the reissue of some BBC material transfer but won't for our better sounding recording. Evidently, on our large JBL Professional 4 way Bryston powered studio system and even on my desktop control speakers, Rylov’s orchestra sounds phenomenal, purposeful, colorful and dynamic. 

As for the “extremely” ungenerous time, I suppose a living pianist who dedicated months of work for the opportunity to perform this concerto and is now asking the outrageous sum of $14 CAD for her recording can only be “uncompetitive” when facing a reissue compilation from passed away musicians whose original discs brought good money to RCA!

“As it is I’m afraid the disc, which is available through the pianist’s website, is uncompetitive.”

So be afraid, be VERY afraid… Because I am going to make everyone a favor and release the entire disc on YouTube for FREE!

How about that for ungenerous?

Anish Kapoor "Leviathan", Monumenta 2011, Paris, photo MV.

Dr. Marc VILLEGER

P.S.: Another quote about the "Siberian Symphony Orchestra" on April 16, 2015 in a David J. Brown's review: "It’s worth noting that the Siberian Symphony Orchestra is absolutely up to all the challenges this brilliant score presents..."

P.S. 2: Talking about "indifferent orchestral contribution" [sarc], the second part of the May 1, 2014 concert included Alexander Scriabin's orchestral masterpiece "Le Poeme de l'Extase" conducted by Rylov and here is the live recording of this magical evening.

P.S. 3: Presto Classical has now -or perhaps had already- sound extracts of Quinn's favorite interpretation but it's on the original RCA re-edition... hence no plug for friends!


(*) About musical ideas, I like how the “lullaby” theme of the Fourth movement of Prokofiev Piano Concerto No. 2 echoes the short bivouac theme of Tchaikovsky 1812 Overture. In 1812, the conductor Sir Adrian Boult brings a multi colored, almost festive atmosphere to that evening around the campfires the night before troops will be marching against Napoleon’s Grande Armée [3:48 in this linked extract].

Svetlana and Rylov vision of Prokofiev’s “lullaby” theme evokes conversations in each casemate at first and then in counterpoint extending to all casemates, and the hope and victory aspiration of all those fighters in a culmination of lyricism, until they find themselves on the move again, stealthily meeting their destiny [26:15 to 28:52 in our recording].

P.S. 4: A little tasty exchange with another MusicWeb reviewer: the fun never stops.

Omsk Filarmonia 75th

75

Happy anniversary season to the home of my favorite orchestra

The Omsk Academic Symphony Orchestra!

Nice to be in such great company!

Here during the May 1st 2014 concert with Maestro Vladimir Rylov

playing Prokofiev's Piano Concerto No. 2

Available here!

Piano Duets!

Svetlana and Antoine entertained their audience during their recital at the Silk Purse Arts Center in West Vancouver on January 29, 2015.

Here is a taste of their piano duets... fasten your seat belt!

Music for Children...

Sensitive and entertaining, Svetlana and guest Antoine will play a recital at the West Vancouver Silk Purse Arts Center on January 29, 2015.
It will feature rarely played gems from Prokofiev, Gavrilin, Sviridov, Gubaidulina, Schnittke among others, chosen from their children's music repertoire and played in solo & duet combination!

Here is a duet teaser...

COMMENTS ARE NOW CLOSED FOR THIS POST!

"Without Art and Culture, a state loses the ability of self-criticism, starts to encourage fallacious tendencies, breeds hypocrites, develops consumerism and complacency in its citizens, and eventually, becomes victim of a smarter neighbor."

The Strugatsky brothers, 1963 "Hard to be God" 

News from the trenches...

Svetlana's new CD had naturally been sent, just as all our CDs, to the CBC Music Library in Toronto. We also mailed a copy to the local CBC Radio Vancouver, addressed to Paolo Pietropaolo, host of program "In Concert" produced by Denise Ball. We have yet to hear back from them.

Recently during a broadcast, Paolo Pietropaolo posited that it would be fun to have a seeding system for classical musicians in Canada just like in tennis...

Being very familiar with both, we figured why not after all? Because at least it would open the field to unseeded players and the real possibility of serious upsets, like in tennis tournaments... unlike what's happening year after year in the CBC Radio 2 programming!

So Paolo, the ball is in your court!

Talking about programming, I recently got puzzled by some choices and wrote the following on the CBC Music "Classical" blog:

Due to budget cuts, "In Tune" has been morphed into a minimalist, paired down version called "Centre Stage" during which a CD or two are played after being introduced by the former host, Katherine Duncan. Let's notice that today's edition of Centre Stage is broadcasting a 2009 re-issued, old Decca CD of Dvorak 9th symphony: Istvan Kertesz and the London Symphony recorded all the Dvorak Symphonies for Decca Records between 1963 and 1966! So my question to the CBC producer is: how is this choice serving present day independent classical musicians in Canada? How do they get a chance to have their production played on their tax paid Radio 2 waves? If the hour program consists in playing a CD, why not chose from the recent additions to the CBC Music Library? Why not chose NEW names so audiences discover them at no risk?We feel particularly targeted: in the past 6 years, out of our 7 CDs, only after an official complaint, 2 minute 54 seconds of music have been played three years ago and none of our recent output has been acknowledged. How many other classical artists are in our situation?

Still waiting for a reply... On the same CBC Music blog, after Robert Rowat posted about Wagnerian boxing kangaroos, I remarked:

And imagine how empty our cultural life would have been if the CBC Music Classical blog had missed this one... What's next? Delousing chimpanzees on Eine Kleine Nacht Musik? Really Robert Rowat, how do you think independent classical artists in Canada feel when the "community producer for classical music at CBC Music" finds a pair of fighting kangaroos more relevant than their work?

To which he kindly replied:

Sorry you didn't find it amusing, M. Villeger. It was brought to my attention by a Canadian independent classical artist, it made me smile, so I thought I'd share it. Do check out our recording of the National Youth Orchestra, just released earlier today.

Clearly Mr. Rowat was hoping this brushing off would do and I had to get pointed: 

A Google search brought about 17,700,000 results in 0.45 seconds, so we all had a chance to be amused, one way or another. It was, of course, not my point. That someone in your position would take such a tenuous link to classical music to find it fitting your job description to create a special post, while musicians’ work would elicit years of indifference from this blog, was at the heart of the matter.

I’d imagined that “community producer for classical music at CBC Music” would have enticed a very different approach to engaging the resources of our public broadcaster. I’d imagined a curiosity driven individual, avid to discover Canadian classical artists of all walks of life, keeping abreast of their projects and achievements, and dedicated to bringing their production to Canadian audience.
If indeed, you feel the above description accurately reflected your own vision –something that your previous reply could not confirm in my opinion- I invite you to check our production at the CBC Music Library and come back here to tell us how these recordings can finally reach an audience, here in Canada, through the waves of our CBC radio 2 classical programs.

Then, after the Thanksgiving long week-end, came the conclusion to the exchange that inspired the title for this post: 

COMMENTS ARE NOW CLOSED FOR THIS POST!

As indicated at the start, we have not YET heard from anyone at the CBC. No doubt these producers are very busy and about to contact us... and the many other classical musicians that are never heard on the public airwaves and then explore how they can help bring a more vibrant cultural life to Canadians. So let's give ourselves belated Thanks since after all, we all support them to do just that! 

M. Villéger


P.S.: Talking about reflecting the diversity of talents, take a look at that one...

P.S. 2: Since this exchange CBC has designed a competition reserved to amateur pianists: Piano Hero: Canada's favorite classical pianist! Mr. Rowat explains 

"The contest is open to all Canadian residents who are amateur pianists (i.e. do not play piano professionally and not for remuneration). If you qualify, you must enter."

Considering how CBC Radio 2 treats Svetlana, an independent classical musician and her production, virtually black listing her recordings from their broadcast, ignoring her career and refusing to engage in any dialogue, one can only smile at their social engineering theatrics. [Notwithstanding that the "competition" winner's concert schedule and endorsement look nothing amateurish...]

P.S. 3: Talking about dialogue on CBC Music, check this link and appreciate how coincidental is the appearance of one poster on Dec. 16 who seems only interested in shoving one single ad hominem issue... Only to disappear on Dec. 17 when I describe his intervention as a "job" and never sign in again as of today May 1, 2015: Khrennikov's ghost perhaps?

P.S. 4: On Sunday February 15th, 2015 the CBC program In Concert produced by Denise Ball and hosted by Paolo Pietropaolo broadcast a summer 2014 concert featuring three of Prokofiev's piano concerti. While a copy of our Prokofiev Concerto for Piano and Orchestra No. 2 CD was sent to the host of this program in August 2014, no mention of our recording was made during the broadcast. Even an email politely acknowledging reception of the CD has proven too much to handle for these public broadcaster's employees...

P.S. 5: In true form, on March 1st 2015, In Concert broadcast the Scherzo of the faster-than-light-who-knows-what-it-means Yuja Wang take on the concerto and a CD will be offered by the CBC program for whom could send a letter about what music means to them. We'd better not apply I suppose...;-)

Prokofiev Piano Concerto No. 2 CD

Svetlana's new CD of the Prokofiev Piano Concerto No. 2 featuring the Omsk Academic Symphony Orchestra conducted by Vladimir Rylov will be released in September 2014... 

However, since you read this post, your curiosity gets rewarded with a taste of the recording...




In other news: We are very happy to see the Omsk Academic Symphony Orchestra -rebranded Siberian Symphony for the occasion- and its music director Dmitry Vasiliev receive rave reviews for their latest CD of world premiere music by Weinberg (1919-1996).

MusicWeb International writes: "This was my first experience of hearing the Siberian Symphony Orchestra (Omsk Philharmonic) who under the reliable baton of principal conductor Dmitry Vasilyev excel in this wonderful and inexplicably neglected music. The Symphony makes compelling listening with Vasilyev’s unfailing instinct producing assured orchestral playing of striking directness. The engineers provide clear sound with a natural and realistic balance."

And in Sinfini, Norman Lebrecht writes: The Siberian Symphony Orchestra, conductor Dmitry Vasilyev, play as if their lives depend on it and the sound in the Omsk Philharmonic Hall is immaculate.

Those who listened to Svetlana's 2010 Rachmaninov Live CD already knew of Vasiliev's flair and this orchestra's musicality and will also discover the sound quality of the new Omsk concert hall through her Prokofiev recording.

"The Battle": Upstaged backstage..

An hour before the concert, Antoine checks the stage while I practice

As is customary, many gathered in the maestro's dressing room after the concert for a glass of champagne. We were all high from the Prokofiev concerto and a powerful performance of Scriabin's "Poème de l'Extase" from the orchestra led by Vladimir Rylov. My 7 y old was very moved as he took the full blast of fortissimos of this soaring piece to heart... So Maestro Rylov invited him to the upright piano and then Antoine unleashed his second opus entitled "The Battle"... Epic!

He's handing me flowers!