Carnegie Hall Concert CD, インポート
1.Kinderszenen, Op. 15: Von Fremden Landern Und Menschen. Robert Shuman 2.Kinderszenen, Op. 15: Kuriose Geschichte. Robert Shuman 3.Kinderszenen, Op. 15: Haschemann. Robert Shuman 4.Kinderszenen, Op. 15: Bittendes Kind. Robert Shuman 5.Kinderszenen, Op. 15: Gluckes Genug. Robert Shuman 6.Kinderszenen, Op. 15: Wichtige Begebenheit. Robert Shuman 7.Kinderszenen, Op. 15: Traumerei. Robert Shuman 8.Kinderszenen, Op. 15: Am Kamin. Robert Shuman 9.Kinderszenen, Op. 15: Ritter Vom Steckenpferd. Robert Shuman 10.Kinderszenen, Op. 15: Fast Zu Ernst. Robert Shuman 11.Kinderszenen, Op. 15: Furchtemachen. Robert Shuman 12.Kinderszenen, Op. 15: Kind Im Einschlummern. Robert Shuman 13.Kinderszenen, Op. 15: Der Dichter Spricht. Robert Shuman 14.Sonata In V Minor. Ferents List 15.Piano Sonata No. 7 In B-Flatmajor, Op. 83: Allegro Inquieto. Sergej Prokofev 16.Piano Sonata No. 7 In B-Flatmajor, Op. 83: Andante Caloroso. Sergej Prokofev 17.Piano Sonata No. 7 In B-Flatmajor, Op. 83: Precipitato. Sergej Prokofev 18.The Musical Snuff-Box, Op. 32. Anatolij Ljadov 19.Etude In D-Sharp Minor, Op. 8, No. 12. Aleksandr Skrjabin 20.In The Hall Of The Mountain King / In Der Halle Des Bergkonigs (Arrangement: Grigory Ginzburg). Edvard Grig
The prestigious label RCA Red Seal cleverly devoted this recent CD to a special event in Matsuev's career - his Carnegie Hall debut as recitalist with a ravishing program: Schumann ("Kinderszenen"), Liszt (Sonata in B minor) and Prokofiev (Sonata no.7), to which the pianist added (on the delirious public request) no less than three encores (Liadov, Scriabin, Grieg).
It is useless to say that the entire performance is absolutely marvellous. It passes through three different moods - from the delicacy of Schumann's soulful miniatures to ardent romanticism of Liszt's sonata and then to the fiery panache of Prokofiev's outrageous style. Three distinct facets of Matuev's thrilling craftsmanship highlighted gorgeously by mighty masterpieces! What an astounding clarity in his finger-work! How precise nuances does he know to get from the most virtuosic passages! How insightful touch does he use to convey all the inner tensions of the score (Liszt Sonata) or the outrageous chords biting the keyboard (Prokofiev Sonata). There seems to be no effort in battling this huge terrifying works, so that finally Matsuev's virtuosic mastery naturally reigns supreme and picks up thunderous applause.
Five big stars!
Whether RCA had Kissin in mind with this program -- I doubt that they did, actually -- beginning with Schumann's Kinderszenen helps to set Matsuev apart from the generic flashy keyboard whiz who are Russia's stock in trade. He has natural, graceful musical instincts and I hope the PR campaign that tried to make him "the new Horowitz" has been scotched. Horowitz was a famous Schumann player, too, and here we have outbursts of glittering notes on occasion but without Horowitz's ear-catching eccentricities and electricity. Matsuev is almost daringly introverted at times. Will style and grace make enough of an impression when Argerich, for one, applies more charisma in Kinderszenen? Time will tell, but this is an appealing account on its own terms, reserved and without sentimentality.
By taking up the Liszt B minor Sonata, Matsuev begs comparison with both Horowitz and Richter, two giants who made a specialty of the work, as Pollini, to some extent, does today. After a rather neutral opening statement, Matsuev makes clear that his is a symphonic interpretation, outsized, grandly eloquent, full of light and color. He charges ahead with great assurance and impervious technique (helped by excellent recorded sound and a fine piano). His fingers of capable of spectacular clarity at high speed. The overall feeling is Gilels-like; that is, we hear enormous authority first and personality second. I came away impressed. Considering the spectacular sonics, here's a new frontrunner among recent recordings of this work, with Yuma Wang providing serious rivalry on DG.
Richter hovers over the Prokofiev sonatas like a presiding wizard, and I doubt his combination of fierceness and spontaneity will ever be equaled. Matsuev civilizes the Seventh Sonata by comparison, and again he's Gilels-like compared to, say Pletnev, who plays Prokofiev with whimsy and originality. The sardonic element is absent here, but Matsuev doesn't tip too far in the other direction; there's plenty of dramatic and flashy fingerwork here. What's impressive is how well Matsuev establishes a strong tonal center -- as Gilels always did -- so that nothing every sounds clangy, pingy, or crudely thunderous as Prokofiev exploits the range of the keyboard. The singing middle movement is handled quite effortlessly, without affectation. The heavy, clumped chords in the finale are powerful without being oppressive.
We get three encores: a dainty morsel from Liadov, a passionate Scriabin Etude, and a study in acceleration: a transcription for piano by the great Grigory Ginzburg of Grieg's In the Hall of the Mountain King, which is intended to exploit the wow factor. It does. (RCA should have provided a second CD to include two time-honoredshowstoppers, Liszt's Mephisto Waltz and Hungarian Rhapsody no. 2.)
I have no idea if Matsuev will grab the golden ring, but his gifts are enormous and will establish him at the top ranks of pianists for a long time to come.
As you can see, I am not impressed.