Review: Alexandre Kantorow - Brahms and Schubert (2024)

Alexandre Kantorow’s new release for BIS marks the final chapter of the Brahms sonata trilogy which he started in 2020. Sonata No. 1 is paired here with works by Schubert, including his Wanderer Fantasy.

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Fine details are the name of the game in the Brahms sonata. No note is treated superfluously, and the number of gradients of piano dynamics Kantorow generates seems endless. An adventurous spirit is prevalent throughout the work, but is best encapsulated in the Scherzo (track 3). Both the writing and Kantorow’s performance seem to concentrate an appreciable amount of energy into the smallest of space. The repeated note staccato motifs are always crisp and unapologetically peppery, regardless of how thick the textures become. Kantorow shows that the movement’s spirited drive can be playful but, at its most effective, resplendent and symphonic.

While the Brahms is solid across the board, the Schubert offerings are where Kantorow truly shines. For the song transcriptions made by Liszt, Der Wanderer (track 5) stands out in musicality; the pianist can just as effectively create captivating suspense and tumultuous drama as he can contemplative lyricism. Part of this has to do with what he does with the pedal. While the stormy presence is bolstered through its ample use, he knows exactly when to scale back. The middle section shifts rely on Kantorow’s excellent finger legato, which enables him to create the right amount of space between the rolled chords.

Die Stadt from Schwanengesang has plenty of imagination and cleverly thought-out momentum. It’s not difficult to picture the octave tremolos and arpeggio motives as gusts of wind that pick up in intensity and, at full force, hit with fury. I was initially surprised with the amount of leeway Kantorow offers in doleful Der Müller und der Bach’s from Die Schöne Müllerin (track 6). Other versions (Emanuel Ax and Jorge Bolet) treat the line more squarely. This fluidity, however, is well-placed and contributes in both expressive and vocal capacity. There’s a spontaneous quality that well-captures the mindset of the protagonist, who at this point in the narrative is alone and introspective.

When I write about Schubert performances (as in a recent review of Maurilzio Pollini last recording with son Daniele), I often consider a barometer to be a pianist’s ability to adapt to his color changes. Kantorow is immensely successful in this regard. Each turn of harmonies offers a new perspective in texture, dynamics, or articulation. The Allegro con Fuoco of the Wanderer Fantasy (track 10) offers a solid start to the journey, with plenty of vibrant characters coming into play through the different repetitions of the main theme.

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The C# Adagio (track 11) takes its main theme from the Wanderer lied, and it seems that Kanrarow is able to infuse even deeper pathos into this performance in the way he lets the chords resonate fully. This sets up a beautiful contrast to the major sections, which not only flow beautifully, but show the pianist’s nimble fingerwork. And as serious as some moments are in the piece, joviality is not absent the Presto (track 12): it’s nice to hear how Kantorow can channel Schubert’s lighthearted humor just as successfully as he can evoke the deeper emotions.

In all of Kantorow’s previous outputs, I’ve found a pianist able to integrate musicality and artistry with fine technique and virtuosity. This album continues the trend, and wonderfully so. Particular mention should also go to Kantorow’s chosen Steinway D piano, which has a pleasing, warm temperament through all registers and an exquisitely rounded tone, superbly captured by BIS’ SACD recording. When a pianism of this excellence is matched by an instrument and recording of this caliber, the result is unforgettable.