| |
Sergei Prokofiev, a consummate pianist,
was no stranger to transcriptions. He arranged some
Schubert waltzes for four hands and transcribed a set
of ten pieces from Romeo and Juliet for solo
piano and, between 1942 and 1944, three sets from
Cinderella Thus Mikhail Pletnev had sources from
the composer for this two piano transcription of a largely
neglected ballet score. But more than that, Mr. Pletnev
released in 1995 a critically acclaimed performance
of the complete ballet suite in the role of conductor
with the Russian National Orchestra on the DG label.
Therefore he comes to it well versed in the nature of
the score, its charm, wit, beautiful melodies driving
rhythms, sinister undertones and colours.
And what a successful transcription this is! If the
piano can be said to be like a chamber ensemble two
pianos are like a full orchestra. The range of colour
and the vigourous rhythms take full advantage of the
piano’s possibilities as a lyrical and percussive
instrument. I can hardily think of any more suitable
pianists for this undertaking than Martha Argerich
and Mikhail Pltnev. Both are technicians of the highest
order and intensely rhythmic pianists coaching from
the pianos their full sound and variety of colours
while paying attention to detail. Ms. Argerich of
course is a proven Prokofievian as her recording of
his piano concertos will testify. An equal Mr. Pletnev
matches her note for note.
Although one can quibble at the fact that this disk
is only 50 minutes long, it is reasonable to couple
one fairy tale with another, and that from Prokofiev’s
contemporary, the jewel of French music, Maurice Ravel.
Ravel loved children and they loved him. He composed
Mother Goose for two children of close friends
for public performance but like Schumann’s Kinderscenen
it was beyond their technical and musical abilities.
Of the piece Ravel wrote:
"Ma mère l'Oye, pièces
enfantines pour piano, date de 1908. Le dessein d'évoquer
dans ces pièces la poésie de l'enfance
m'a naturellement conduit à simplifier ma manière
et à dépouiller mon écriture."
(Ravel [1938]). (“My Mother Goose,
four hand pieces for children, dates from 1908. The
design to evoke the poetry of my youth naturally led
me to simply my style and to make my writing less
elaborate.”)
Again the Argerich/Pletnev duo, this time with piano
à quatre mains, demonstrate what masters they
are in exploring the piano’s range. However
I found that the interpretation was slightly too percussive,
more Russian than French. It missed the simple, elegant,
Gallic classical charm of the work. I prefer the interpretation
of Robert Casadesus and Gaby Casadesus or that of
Victor Bouchard and Renée Morisette. But this
is merely a matter of personal taste. I do not think
anyone will be buying this disk just for the Ravel
which is widely recorded.
- Bill Riley |
