Review: 'Visitng Rachmaninoff' - Melnikov, Lezhneva

This album was recorded at Villa Senar in Switzerland, owned by Rachmaninoff, on the composer’s own Steinway piano. Pianist Alexander Melnikov and soprano Julia Lezhneva visit Rachmaninoff through his less-often recorded works, including the Op. 22 Chopin Variations and three sets of Romances.

Visiting Rachmaninoff

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Commentary is in order for the piano itself. It was recorded before, famously by Mikail Pletnev (‘Hommage à Rachmaninoff’, DG) and more recently by Behzod Abduraimov (Sony). Reviewing the Abduraimov recording, I mentioned that the instrument had a slight edginess and smaller spectrum in the loud passages, but that the sweeping playing of that performance made one forget about the instrument used. Here, the instrument sounds more finicky: the middle to upper registers are noticeably plunky and can sound thin, while the lower ones possess a depth and warmth that we’re accustomed to hearing on newer Steinways. Managing these two very different sonic characters is a challenge; Abduraimov brought out the more extroverted qualities of the piano, but found ways to soften its stringency.

The Chopin Variations certainly show the distinct personality of the instrument, but also Melnikov’s unique ability to work with it. The more vivacious variations do come off a bit clunky and dry, but this has more to do with the piano’s headstrong temperament than it does the pianist’s abilities. Even in these textures, there is much to be appreciated. Clarity and meticulous fingerwork contribute to creating nervy, urgent energy, not out of place in the greater emotional context of the set. A lot of the writing here is contrapuntal, and Melnikov successfully traces the trajectory of every line and its place in the greater musical fabric. The slower-moving variations are where Melnikov’s musical prowess is at its best: slower and gentler key strikes counterbalance the less-ideal aspects of the instrument’s personality, and there are some gorgeous color changes, as we hear at the 0’30” mark of the Theme (track 1).

In his booklet notes, Melnikov makes an interesting remark about the Chopin Variations demonstrating “symphonic-oriented” thinking in Rachmaninoff’s. Indeed, this realization come to light in the pianist’s treatment of the vertical textures throughout. Variations with thicker textures transform the piano into an ensemble: Melnikov reconciles power with good resonance and welcome fullness, even in the most emphatic points.

Both soprano Julia Lezhneva and Melnikov are well-matched in bringing texts to life in the selection of Romances. We can hear the dark introspection of We Shall Rest (track 24); the exchange between hymnal calm and anguished bitterness of Christ is Risen (track 25); or the jagged juxtapositions of extreme moods in Again I am Alone (track 26). What I found particularly admirable about Lezhneva is her versatility: she covers such a wide spectrum of emotional content without a single aspect feeling strained or otherwise contrived.

Alexander Melnikov, Julia Lezhneva (images: ©️ Julien Migno, Emil Matveev)

Throughout the Romances, I also sensed Melnikov’s innate responsiveness to Lezhneva, not just in by supporting but amplifying sentiments, like the subtle sadness of Twlight (track 30). In the intriguing Melody (track 36), the shimmer he adds to the piano part complements the singer’s seemingly ebullient optimism. One only needs to look at the text to realize the irony: its focus on death. And don’t miss the beautiful fragility of Lilacs (track 32): Very much in the way a flower blooms, the duo lets the music start with the gentlest of nuances, gradually blossoming into a striking splendor.

The solid liner notes include full text and translations, as well as Melnikov’s own reflections on the music. It also has a description (and a photo) of Villa Senar. it’s nice to know that Rachmaninoff’s place of inspiration is open for the public to visit and experience. But for those who cannot visit, this album serves as a remarkable effort in capturing the essence of the villa and the composer’s spirit.