ナターシャ・パレムスキ:チャイコフスキーとラフマニノフを弾く(Natasha Paremski plays Rachmaninov & Tchaikovsky) Import
1-3.チャイコフスキー(1840-1893):ピアノ協奏曲 第1番 変ロ短調 Op.23/4-27.ラフマニノフ(1873-1943):パガニーニの主題による狂詩曲 Op.43
録音 2012年12月5-6日 ロンドン ヘンリー・ウッド・ホール
The sound is very good. There is such a good working balance between the piano as soloist and the various instrumental departments of the orchestra that one gets all the charming touches that Tchaikovsky wrote into the music without slighting anyone. As it happens, this technicality is a grateful one since it so nicely matches what we get from Paremski, Gabel, and the RPO.
Tempos are relaxed. Nothing eccentric. Yet in this instance, relaxed does not mean, sleepy. Both Paremski and Gabel have a similar angle on the concerto, indebted to Tchaikovsky as the composer of the three Late Romantic period ballets. Color, charm, bel canto shaping of all the familiar concerto melodies .... one easily welcomes this reading as kin to all the Christmas season Nutcrackers at their festive bests, and then some. Equally welcome are the ways in which both Gabel and the RPO with Paremski pace and shape the more dramatic, virtuoso aspects of Tchaikovsky's style. Neither the orchestra nor the pianist are muscle-bound, but rather lean, balletic, and incredibly poised as various scenes come and go. When Paremski backs off in sections where others go full tilt with keyboard barnstorming, it is not just a trick to catch your attention, but part of a larger grasp on where the music has come from, and where the music will be going. Paremksi can conjure plenty of tonal presence from her piano when she needs to and when she wants to do so. Ditto for the orchestra, let loose in bright, theatrical fashion by Gabel. The slow middle movement has consistent flow, so it never seems bored with itself. And the last movements pyrotechnics, fireworks, and broad song are brought off so nicely that .... well .... I for one could understand anybody who immediately hit the start button to hear the whole concerto yet again.
But the Rachmaninoff Paganini Rhapsody waits to be heard.
As it also happens, the characterful and songful approach Paremski/Gabel/RPO brought to the Tchaikovsky serves the rhapsody very well. The rapidly passing variations sections come and go, with both the orchestra and the piano getting their musical due, both separately and together. The ensemble of the RPO is clearly right on its toes, as those off-beat variations sparkle and catch all the right fire. The tempos are slightly less relaxed than was the case with our Tchaikovsky first concerto. Again nothing eccentric, and nothing sleepy either. The abundant touches of instrumental and keyboard effects that Rachmaninoff wrote into this rhapsody flood out in a disciplined yet delightful manner. One feels as you listen that everybody is enjoying themselves immensely in this music. But not at the expense of sloppiness on anybody's chosen instrument. There are one or two places where Paremski and company do something with the music that is very unusual and very much their own, though I will not say more for fear of spoiling the surprises. In those moments and in retrospect, I did not find those manners so outlandish that the magical spell of rhapsodical song-fantasy was broken or suspended. A sort of Straussian Till Eulenspiegel impish comes across just right, perhaps. The ensemble is not only very disciplined on all counts, but the players breathe together as if all were chamber music. Gabel and the orchestra take uncommon care to integrate their imaginative playing with the spontaneous yet un-self-conscious ebb and flow of the tempo that unites Paremski and everybody else in the same interpretive ethos. Oodles of color and charm are this reading's reasons for being.
I know we have just had a complete Rachmaninoff concerto set from Valentina Lisitska [ASIN:B00B2TTVNU Rachmaninoff: The Piano Concertos], but after hearing how well Paremski and her musical partners do on these two war-horse show pieces, I perversely find myself wishing they would record the rest of the Rachmaninoff, if not also have a go at the Tchaikovsky second that is rarely given its due (though the new recording from Matsuev/Gergiev/Mariinsky does sweep the board so far). Tchaikovsky: Piano Concertos Nos.1 & 2 I think the special imagination of the players in these two readings would do the other music proud.
I join other reviews in giving this disc Five Stars. One really should not rank imagination in music, but once you listen you will perhaps agree with us who were delighted and surprised.