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Stravinsky Shostakovich Prokofiev Scriabin ECM New Series 1679 (CD 465 1372) UK distributor New Notes One of the most thoughtful pianists before the public, Alexei Lubimov was a pupil of Neuhaus and Yudina in Soviet Russia and pioneered the Moscow Baroque Quartet on historic instruments. He was one of the first to record Mozart on fortepiano (Erato) and in interview This is an important recording of four key works of the early 20 C. For me the gem is the Stravinsky, played with a subtle combination of precision and enough rubato to characterise each phrase and obviate any suspicion of dry academicism. I love the Serenade and playing it, and this is my ideal rendering of a favourite Stravinsky masterpiece, not performed too frequently (others prefer it dryer and more 'objective' - you can't satisfy everyone!). I also enjoyed hearing every note in the Scriabin, close miked and meticulous on detail. Others give a more swirling, emotionally involving interpretation. The Shostakovich too is presented with complete lucidity, but it is a work I have not learned to love; my problem, not Shostakovich's. Best known of all is the tumultuous Prokofiev No 7, which Lubimov sees as having 'a strained optimism despite all the raging confrontations'. Impeccable recording and production and I always like to see ECM's austere black and white covers. For another interpretation of Prokofiev's piano sonatas, the first to be recorded, I retain my admiration and affection for Barbara Nissman's warmer interpretations.
Lubimov is a fortepiano specialist, and that figures in his clean and compelling account of Carl Philip Bach's F minor work, 'the most modern piece in the programme'. I have for years enjoyed playing this big Bach Fantasie on my clavichord, and on the piano the Bartok Dirges and the ineffably beautiful 'extra' Chopin prelude, so the programme chimed with my own tastes. Cage is represented not as an iconoclast but with 'a delicate East Indian lotus flower' and Silvestrov's eponymous title piece for the album harks back to Mozart to work a miracle of transmuted memory. Each of these miniature masterpieces is there for a reason, and the disc demands to be played straight through and savoured quietly. Arvo Pärt Lamentate & Da Pacem Domine ECM New Series 476 3048 [43 mins: released Sept 12 2005] It might have been expected to make its 'holy minimalism' effect in the vast Turbine Hall, but reviews were negative (e.g. Andrew Clements in The Guardian) and I must warn that this very short CD makes for a very long listen! |
told the writer that he believes fortepiano and Steinway have fertilised the development of his interpretations reciprocally. 
