Saint-Saens, Ravel, Gershwin: Piano Concertos (CD review)

Andrew von Oeyen, piano; Emmanuel Villaume, PKF-Prague Philharmonia. Warner Classics 01 90295 90848 5.

The first question you might ask about this album is why it contains such seemingly disparate composers as Saint-Saens, Ravel, and Gershwin on the same program. The answer, of course, is that the agenda is not so unusual as you might think. Not only did all three men write piano concertos, but they all in some way or another influenced each another. In particular, Saint-Saens influenced Ravel, and Ravel and Gershwin influenced the other. Besides, the soloist for the album, Andrew von Oeyen, is an American now living in Paris, who says he has fallen in love with French music. Fair enough.

The second question you might ask is, Who is Andrew von Oeyen? He's an American concert pianist, born in 1979, who here makes his piano-and-orchestra debut recording after releasing several solo discs. He began playing the piano at age five and made his first stage appearance at age ten. By age sixteen he was playing with the Los Angeles Philharmonic, and after further studies at Juilliard and Columbia University and wins in several important piano competitions, his career was well on its way. The present disc marks his first release for Warner Classics, with accompaniment by Emmanuel Villaume and the PKF-Prague Philharmonia.

The opening piece on the program is the Piano Concerto No. 2 in G minor, Op. 22, by the French composer Camille Saint-Saens (1835-1921). He wrote it in 1868, and it remains among the most-popular of his five piano concertos. Oddly for a modern concerto, Saint-Saens begins his work with a relatively slow movement, followed by a faster second movement that resembles a scherzo, and finishes with a very quick Presto. These mercurial tempo changes prompted the Polish pianist and composer Zygmunt Stojowski to joke that the piece "begins with Bach and ends with Offenbach."

There is no doubting von Oeyen's intensity from the start as he gives every indication that he wants to get our attention. He varies the contrasts about as much as I've ever heard, making the opening movement more balky than ever. Which is neither here nor there; just more emphatic. The second movement is cheerful and bouncy enough, and if anything the orchestra carries it though as much as Mr. von Oeyen. Then in the finale, von Oeyen goes full bore with an all-out assault on the score, sounding exciting enough if a bit too studied for my taste.

Andrew von Oeyen
Next, we hear the Piano Concerto in G Major by French composer Maurice Ravel (1875-1937). He wrote it between 1929 and 1931 after a concert tour of the United States. Its most notable feature is the use of American jazz idioms, which Ravel probably picked up from Gershwin, whose Rhapsody in Blue appeared several years earlier.

I rather enjoyed von Oeyen's Ravel more than his Saint-Saens, which tended toward a want of charm. Maybe it's the combination of American and French expressive styles that suits the pianist. Still, when one has spent years as I have listening to Arturo Benedetti Michelangeli (EMI/Warner) play the piece, it's hard to find comfort in anyone else's interpretation. By comparison, von Oeyen never quite displays the imagination or creates the atmosphere that Michelangeli does. Nevertheless, my own quibbles should not distract the listener from enjoying von Oeyen's approach, which is more straightforward yet still jazzy enough to satisfy almost anyone. Additionally, von Oeyen offers us a particularly sensitive slow movement that in itself may be enough to sell the disc.

After that we find the Second Rhapsody by American composer George Gershwin (1898-1937). Here, some folks might quibble about whether the piece is a real piano concerto at all, but I would remind them that by definition a modern concerto is "a composition for orchestra and a solo instrument" (Harvard Concise Dictionary of Music). Gershwin's Second Rhapsody fits the bill. He wrote it for the 1931 Hollywood movie Delicious, on which both he and his brother Ira worked. Initially, Gershwin (and/or the studio) called this particular musical sequence Manhattan Rhapsody, New York Rhapsody, and Rhapsody in Rivets. Shortly afterwards, Gershwin more fully orchestrated it for concert use, titling it the Second Rhapsody. Although other people later reorchestrated the music (most notably Robert McBride some fourteen years after the composer's death), Mr. von Oeyen here plays the original 1931 version.

Following the pattern of getting better as we go along on the disc, Von Oeyen does a splendid job conveying the hustle and bustle of Gershwin's big city. His virtuosity seems always at the service of the music rather than simply drawing attention to itself. What's more, Maestro's Villaume's orchestral accompaniment keeps the rhythms on track and the musical impulses moving forward in suitable agreement. There are no awkward convolutions here, just a polished and stimulating tone picture.

The program concludes with a "bonus track": the Meditation from Jules Massenet's Thais, transcribed for solo piano by Mr. von Oeyen and bringing the total recorded music on the disc to over sixty-six minutes. For me, this was the highlight of the album, a hushed and heartfelt rendition that never lapses into teary-eyed mawkishness.

Producer and editor Christopher Alder and engineer Jakub Hadraba recorded the album at Studio 1, Czech Radio, Prague, Czech Republic in August 2015. The piano sounds solid and well placed from the start, if a mite wide, and the tone rings true. When the orchestra enters in the first movement of the Saint-Saens, it appears dynamic, full, and resonant, if not particularly deep or transparent. While strings sound a touch shrill and fuzzy at times, the overall effect is one of soft warmth rather than forward  brightness (or ultimate clarity).


To listen to a brief excerpt from this album, click on the forward arrow:

No comments:

Post a Comment

Meet the Staff

Meet the Staff
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.

Mission Statement

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

Contact Information

Readers with polite, courteous, helpful letters may send them to

Readers with impolite, discourteous, bitchy, whining, complaining, nasty, mean-spirited, unhelpful letters may send them to classicalcandor@recycle.bin.

"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa