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 1st, 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 18th 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 1st
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 3rd 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 4th 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 1st
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.”
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].
P.S. 4: A little tasty exchange with another MusicWeb reviewer: the fun never stops.
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.
