This is not the first version of Tchaikovsky’s B Flat Minor Piano Concerto to be based on the so-called “1879” version, but it’s certainly a much more persuasive attempt than the first, by pianist Kiril Gerstein. The 1879 (“Second”) version includes some minor adjustments to the dynamics of the orchestra and soloist, small cuts and notation changes to the phrasing, as well as tempo markings adjustments. Most of which will not become immediately apparent when listening to this version, even if the veteran classical music listener is well familiar with the most-often heard “third version”. In any case, after few close listenings I can tell that contrary to Gerstein’s dedicated observance of all the minor changes, pianist Xiayin Wang and conductor Peter Oundjian take some of the changes as written, and some they pass on or go through without a fuss, which is the correct approach – not all of Siloti’s later corrections were bad ones, mind you, even if not officially approved by the composer.
Musicology research aside, this new version of the Tchaikovsky old racing horse deserves attention. The transparency of the orchestra’s different sections and the clarity of execution from the soloing brings much joy throughout. There are moments that listeners might have not been aware of coming through surprisingly clear, such as the jumpy dialogue between orchestra, woodwind and stings in the first movement (4:15). Here and elsewhere the Royal Scottish National Orchestra proves itself a marvelous ensemble of first-rate players (this is true especially to the unnamed solo players coming from the woodwind section). Hear, for example, how characteristic their contribution is in the introduction of the new theme at (5:50 onward).
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Listening with more attentiveness to Xiayin Wang you have the sense she goes straight to the heart of the music, no fussing about, in the best possible sense. When the pianist continues this memorable theme, listen how bare, plainly beautiful she answers the winds in the same section (6:14). Many other pianists have delved into those bars like their life depends on it, with slow, excessive rubato and over pedaling. You won’t find that here. The same is true of the technical command, almost taken for granted these days, but how meaningful and rich a sound wang produces in the famously difficult octaves and arpeggios in this concerto.
The second movement sounds just right for “Andantino simplice”, although I could live without the forwardly recorded bassoon contribution coming behind the first entrance of the pianist (an annoyance Martha Argerich’s and Abbado’s famous version also entails). Here the overall “coolness” of approach is much more obvious, if expertly done. Beatrice Rana’s recent version with Antonio Pappano makes for a better impact in the climaxes, but wang nicely articulates her part, and executes the same detailed dialogues with the orchestra that will enlighten and delight many unsuspected listeners. The relatively slow tempi also allows it, one of the more discernible changes in the score of the 1879 version.
The third movement is playful, almost effortlessly interacting with the orchestra’s section, not the sometimes hectic affair we hear on other versions (Argerich is again a good example, great as her versions are). The sense here is of a much more optimistic view of the movement, and some cuts made in this 1879 score makes for a more compact a movement.
Accepting Martha Argerich and Abbado’s 90’s Berlin version as a benchmark version, this one will no doubt delight any fan of this concerto or Tchaikovsky’s. Another recent version which can stand the comparison is Beatrice Rana’s take with the Orchestra dell’Accademia Nazionale di Santa Cecilia under Antonio Pappano. Rana is more stormy and sometimes reflective, Xiayin Wang takes the more direct back-boned rhythmic approach.
Rounding Up a Full Cycle
Having released Tchaikovsky’s Second Piano Concerto in a previous issue for Chandos with the same forces, it’s only sensible to include the rather neglected, single-movement Piano Concerto No. 3 to complete the cycle. It’s not one of the composer’s greatest inspirations, but wang, Oundjian and the RSNO gives it a persuasive account, again coming closer to a musical collaboration expected from a chamber group than from a full-sized orchestra and pianist (listen, as an example, to the almost jazzy theme and instruments exchange at 3:24). It brings this version to life, and will sound convincing even to the most stubborn of a resisting listener. It may be the most coherent effort of this elusive piece since Stephen Hough’s, in his full cycle (Hyperion, 2009), and rounds up what is a great Tchaikovsky cycle.
It’s pleasing to see that a new generation of pianists give their attention to the under-performed Scriabin Piano Concerto, as we’ve seen from other latest versions by Yevgeny Sudbin and, again, Gerstein. All, as it happens, give glorious accounts, which is quite frankly hard to choose from. As with the Tchaikovsky concerto, Xiayin Wang is the more clear-headed, perhaps cooler representative, while Sudbin is looking forward to the late Scriabin, giving a more intensive (yet controlled) performance with superb support from the Bergen Filharmoniske Orkester under Andrew Litton. Gerstein gives the most outward, almost lush piano part, and the best version of the slow movement of the three (though his recording quality is not on par with the other two). Ashkenazy’s famous analog version with Haitink and the LPO is a good benchmark, but starts to show its age. Xiayin Wang strength, among many others, is the smilingly ease at with which she communicates the musical statement, her Scriabin is no exception. A great option if you are not familiar with the piece, or if you want a second version free from idiosyncratic mannerism.
It’s worth mentioning this is one of the more realistic Piano Concerto recordings sound image in recent memory; Chandos did pull it off this time with flying colors; the balance between soloist and orchestra is very similar to what can be heard in a good concert hall, with the piano blend naturally into the sound of the large orchestra yet stay focused in the long solo parts on both concertos.
This is a generous album, with excellent performances of all pieces and superbly recorded. A well worthy closure to a full Tchaikovsky Piano Concertos cycle with a fascinating supplement in the form of the Scriabin Concerto. Highly recommended.
Images: ©️ Chandos Records, ©️ Columbia Artists
Tchaikovsky – Piano Concerto No. 1 & 3
Scriabin – Piano Concerto
Xiayin Wang – Piano
Royal Scottish National Orchestra
Peter Oundjian – Conductor
Chandos Records, CD CHAN 5216
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