Ever wondered
why pianists make recordings?
Scenario One: The
pianist is highly regarded as a concert artist, has celebrity
status, and the record label stands to make a tidy profit from
recording sales. Examples: Argerich, Brendel and Perahia.
Scenario Two: The
pianist is a compelling interpreter, has a cult following or
connoisseur appeal, and the record label wishes to showcase his
/ her specialised repertoire. Examples: Hamelin, Aimard and
Ogawa.
Scenario Three: The
pianist has mass popular appeal, largely generated by the record
label that aims to reap in megabucks, often independent of
actual talent itself. Examples: Lang Lang, Maksim “The Piano
Player” and Richard Clayderman.
Scenario Four: The
pianist is virtually unknown and needs a calling card for
himself / herself. Examples: Virtually anyone with ten fingers.
The above discs fall
firmly into the fourth category. Having never heard either
artist in recital or recording, curiosity led me into hearing
their discs, in a hope of experiencing some solid musicianship
and music making. In that respect, I was not too disappointed.
Zeynep
Ucbasaran comes from Turkey (that forward-looking Islamic
nation that produced Idil Biret and Fazil Say) but now resides
in USA. For her disc, she chooses three of the most popular and
demanding extended Liszt pieces, and delivers quite an earful.
The half-hour long Sonata in B minor comes off well.
There is enough contrast between the barnstorming and meditative
sections to keep the listener engrossed, and her fingers do not
let her down in the torrents of octaves. In the Dante Sonata
(the epic final movement from the Italian book of Liszt’s
Years of Pilgrimage) and Vallée d’Obermann (from the
Swiss book), which pack in more punch in shorter spans of time,
there are moments when she sounds strained. However, her
apocalyptic vision of the inferno and the thrilling way she
closes Vallée are still worth a listen.
Zeynep (the covers of
her other discs drop the last name) certainly has what it takes
for the music of Liszt – technique, temperament and sweep – and
judging by what is heard and her attractive photograph, she
ought to make quite an impression on stage. But subject to
repeat listenings on disc, is that enough? Those who have
attended and enjoyed a “live” concert of hers might be quite
happy to own this disc but for the general listener, the
competition in such familiar repertoire is formidable. Need I
just mention the names of Martha Argerich (in the Sonata)
or Lazar Berman?
There
is hype aplenty in the booklet of Spaniard Jesús Ma Gómez’s
recital disc where amongst other things, he is described as
“among the most outstanding figures of his time”. The Japan
Recital featured here was recorded in front of a “live”
audience in 2000 at Morino Hall in Matsudo. But why offer only
53 minutes? Was it just an hour-long recital? Were there pieces
performed not deemed worthy for inclusion? Were there no encores
played? The answers to these questions will not be found in the
notes.
Gómez reveals a musical
soul and sensitive touch in Ravel’s seemingly facile Sonatine.
The Mouvement de Menuett is refreshingly direct and
tender, while the drive in the finale does not let up
till he very end. He creates a wash of sound in Debussy’s first
book of Images; his Reflets dans l’eau yields a
wealth of colour, there is a stately feel to Hommage ŕ Rameau,
and he generates an impressively swirling perpetual motion in
Mouvement. The Spanish pieces see Gómez very much in his
element. The rhythms of Albeniz’s Cordoba come alive and
there is palpable nostalgia and feeling in the lilt of Granados’
Valses poéticos. Reserving the fireworks to the last,
Granados’ showy Allegro de Concierto comes across vibrant
and with much flavour. One wonders why he did not offer more of
the same.
There has been no
editing or touch-ups, so flubs and slips (there are quite a few
of these) are plainly evident and these would prove irritating
on repeated hearings. Pianists like Horowitz and Kissin had no
qualms about post-editing so I don’t see why Gómez should
subject his listeners to his warts and all. I am afraid that
this disc may be for his admirers only.
