Also, Rococo Variations. Tzimon Barto, piano; Dimitri Maslennikov, cello; Christoph Eschenbach, German Symphony Orchestra, Berlin. Capriccio C5065.
Russian composer Peter Tchaikovsky (1840-93) never seemed quite satisfied with a good many of his works, and that included his popular Piano Concerto No. 1 in B-flat minor, Op. 23. He completed it in 1874-75, revised it in 1879, and then revised it yet again in 1888. It may have been that the composer was simply thin-skinned and could not bear the criticism that came before and after the concerto's première, or maybe he didn't care for the way the first performers played them. In any case, on this disc pianist Tzimon Barto plays the Concerto accompanied by Christoph Eschenbach and the German Symphony Orchestra, Berlin.
The Concerto's opening theme, one of the most famous in all of music, is towering, monumental in nature, often played in a heroic style befitting its scope. Here, Barto approaches it more ruggedly than many other pianists of note. OK, this may be unfair, as the other pianists I have listened to over the past forty or fifty years have been towering figures themselves and attacked the score with a more vigorous elegance than Barto. Compare Cliburn (RCA), Argerich (DG or Philips), Giles (RCA), or Wild (Chesky), and you'll see what I mean. Barto prefers to emphasize exaggerated dynamic contrasts, pregnant pauses, and considerable variants of tempo. Although later in the movement he proceeds at a more conventional pace, he takes a good two to three minutes longer to get through the Allegro than almost anybody else. I suppose you could say that Barto is brawnier in his reading than most others; but, really, it's one thing to bring a noble robustness to a score and another thing to be overindulgent, even in so excessive a score as this one is. Thus, listeners not used to Barto's burly manner may find it a distraction in this interpretation, even an affectation; Barto's fans, however, will undoubtedly love it.
Anyway, I found Barto more successful in the slow second movement, where he doesn't appear to feel so compelled to be lofty at the expense of intensity. Still, even here he applies a good deal of dramatic license to the music so that we sometimes pay more attention to the player than to what he's playing.
In the finale, Barto is lyrical and flowing, with the hints of the opening motif nicely tying the work together. It's a showy piece of music, and Barto is certainly a showman. His performance will either wow an audience, or them shaking their heads.
Tchaikovsky premiered his Variations on a Rococo Theme for Cello and Orchestra, Op. 33, in 1877; however, his theme isn't really an eighteenth-century Rococo type but one Tchaikovsky devised himself in the Rococo style. The music, a theme and seven variations, has a classical-period feel to it, at the same time retaining a thoroughly Romantic mood. While cellist Dimitri Maslennikov handles it nicely, making it appropriately sweet and light, again we get a somewhat heightened rubato, the tempos and accents varying considerably within each section. This makes me wonder if the decision to do so wasn't as much the conductor's as that of the two different soloists in the album's two works.
Capriccio made the recording in Berlin in 2010, the sound as big as the performances. In the concerto the piano is very close, the orchestra spread out behind it in a dazzling accompaniment meant undoubtedly to knock the listener's socks off with its wide stereo spread and huge impact. The piano is, indeed, strong, with excellent clarity and punch; and the orchestral sonics showcase a well-detailed, if somewhat heavy midrange, with a ton of bass energy. If anything, there may be too much upper bass energy, as it tends slightly to veil the lower mids. The cello piece is more transparent, the cello not quite so out in front. In short, this is a kind of superspectacular, blockbuster sound, albeit without too much emphasis on multi-miking.
John J. Puccio, Editor, Publisher, Reviewer
Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.
Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer
For more than 20 years I was the editor ofThe $ensible Soundmagazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.
For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Onkyo C-7030 CD player, Legacy Audio StreamLine preamplifier, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE speakers augmented by a Legacy Point One subwoofer. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my LG G7 ThinQ cell phone, which features surprisingly sophisticated audio circuitry. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
Bryan Geyer, Technical Analyst
I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.
Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.
It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.
When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.
So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio
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