Sergei Prokofiev
Piano Concerto No. 1-3

Martha Argerich, piano
Michael Tilson Thomas, conductor



Samuel Barber
Orchestral Works and Concertos
Leonard Slatkin, Charles Munch



Rimsky-Korsakov
Evgeny Svetlanov


Beethoven
Symphony No.9
Piano Transcription by Franz Liszt
Konstantin Scherbakov, Piano



Kronos Caravan

Scherbakov completes his survey of Franz Liszt transcriptions of Beethoven symphonies with the monumental Ninth Symphony. Liszt’s megalomania only extended to attempting to transcribe orchestral and choral forces to the piano, but not over-elaborating on the score nor altering the structure of the music. As such, the bare bones of the music may still be savoured even without experiencing the colours of the orchestra or the warmth of the chorus. That’s when a pianist’s imagination in phrasing and ability to bring certain lines of the music to life becomes paramount; anything less would be a meaningless run through.

To Scherbakov’s credit, his account of the Choral Symphony is not only technically accurate but also captures the spirit of the music. At 63 minutes, it is breezy and faster than most orchestral recordings. The first two fast movements run like clockwork; he observes the repeats and while there is some labouring involved, the frenetic pace never lets up for a moment. The sublime slow movement takes the shortest time – just over 12 minutes - to complete. Presumably its longeurs are not as well sustained on the keyboard as it usually is with an orchestra. There is a sense of improvisatory freedom in Scherbakov’s reading as the movement unfolds, and for moments, one does not miss the orchestra.

The proof of this pudding is surely in the choral finale, the ultimate test of a pianist’s endurance, reserves, and the ability to make a listener not miss the singers and chorus. Alas, even Liszt could not conjure wine from water on this occasion! (His son-in-law Richard Wagner’s own piano transcription does not dispense with the singers, but presents a different set of problems with balance.)

Scherbakov manages very well by varying the use of dynamics and shadings throughout the movement. The Ode to Joy theme in its first appearance and subsequent crescendo comes across luminously. While a single piano line barely makes up for the opening baritone solo, the struggle of the vocal quartet in their initial entry is quite well captured. The “Turkish March” section and tenor’s solo is taken very briskly – a daring decision – as the fugato that follows is taken at an even more frenzied pace. Only a pianist with supreme confidence in his abilities could pull that off!

The grand statement of the Ode to Joy by the chorus is a comedown of sorts, largely due to the piano’s rather than pianist’s limitations. However this is made up by the startling clarity in displayed in the great choral fugue. The magical effect of its carillon-like peals perhaps explains why this work is so regularly performed near Christmas in Japan (as well as Singapore), and so beloved. The coda is no less thrilling and Scherbakov delivers the goods with much panache. I won’t be too surprised if someday he chooses – like his famous compatriots Ashkenazy and Pletnev – to take up conducting!

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