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RAVEL; PROKOFIEV; SCHLIMÉ (PENTATONE CLASSICS)
At first glance the programme for this disc, showcasing the hotly tipped
Francesco Tristano Schlimé, seems wholly unrelated. But as the helpful
booklet note explains, the two concertos share the same year of
composition, 1932, both following commissions for Ravel and Prokofiev from
the left-handed pianist Paul Wittgenstein. Connecting the trio, Schlimé's
own improvisations draw on material from the two pieces.
Unfortunately the Ravel fails to satisfy, with much of its verve and wit
lost in a strangely detached reading that seems intent on slowing up the
tempo as much as possible. This spoils the first two movements, and to some
extent the finale, with plenty of detail in the accompanying parts but too
little forward momentum. The trumpet exposition of the main theme is far
too languid, and when the piano takes off on what should be its virtuosic
central section, the effect is rather limp. Meanwhile the slow movement is
pushing its luck at over eleven minutes, and while Schlimé exerts admirable
control at the barely audible opening, arching the long phrase
effortlessly, the orchestra's entrance emphasises the long, drawn out
approach. Beautiful sound notwithstanding, this cannot be recommended
unless this stance appeals.
The Prokofiev fares much better, though even this reading is a little
too clinical, the orchestral polish again admirable but a touch cold, with
less of the wide eyed exuberance the opening of this work can bring.
Schlimé plays with great energy, however, securing some thrilling glissandi
in the first movement, while Pletnev's Russian National forces come into
their own in the Larghetto, the nerve centre of the concerto.
Ultimately, though, this reading lacks the extra insight the best
interpreters, Sviatoslav Richter and Vladimir Ashkenazy among
them, bring to the piece.
Schlimé's improvisations are for solo piano and are an enjoyable listen,
with the first responding to the slow movement from the Ravel in an airy
treble. The second and third take their lead from Prokofiev, with
'Progression' employing a spiky and syncopated approach, 'Return' a series
of weighty chords that gradually open out.
Pletnev's involvement in the disc seems to have been hands-on - he it
was who asked Schlimé to complete the disc with improvisations - and one
wonders if it was he who suggested the spoiling tempo choices of the Ravel.
An interesting disc, for sure, but not appealing to all tastes.
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