I was introduced to
Tchaikovsky’s Second Piano Concerto
in my teens, and ever since then have
considered it a better piece than the
ubiquitous first. That feeling was largely
engendered by the performance, which
I still feel to be one of the great
concerto recordings. The pianist is
Igor Zhukov, accompanied by the Moscow
Radio Symphony Orchestra under Gennadi
Rozhdestvensky, the label (of course)
Melodiya and the whole reading is simply
spellbinding, not just in terms of technical
execution (Zhukov is phenomenal) but
for the sweep, passion and feeling for
the piece. Another, not insubstantial,
reason for regarding this as a benchmark
is the fact that it is played complete,
with all Siloti’s savage cuts (particularly
the slow movement) opened out, revealing
the structure and composer’s intentions
correctly. Even notable readings from
Gilels, Cherkassky and a particularly
thrilling account from Moel Mewton-Wood
are ruled out (for me) by adopting the
truncated version.
Happily, that view
has largely altered, with excellent
modern versions, totally complete, from
Peter Donohoe, Jerome Lowenthal, Mikhail
Pletnev, Viktoria Postnikova and, of
course, the present artists Elisabeth
Leonskaja and Kurt Masur. This version
was originally on full price Erato coupled,
interestingly and surely ideally, with
the same key Grand Sonata
in G major. Apex obviously considers
the Third Concerto more apt for
re-release - I’m not sure I agree -
and so it comes into direct competition
with a number of the above. Actually,
I am very impressed with this reading,
which has glorious tuttis from Masur
and the New York Philharmonic and, possibly
more importantly, the difficult solo
part is despatched by Leonskaja with
a bravura that recalls some of her great
Soviet colleagues. More than once I
was reminded of Zhukov’s steely fingered
virtuosity (try the first movement’s
great central cadenza at around 11’12)
but her playing is tempered by a lyricism
that may be gender related. Her treatment
of the gorgeous second subject (2’32)
is more graceful than Zhukov, with a
singing line and natural, unforced rubato.
When the heat is really on (pianistically
speaking) she does resort occasionally
to over-pedalling, where Zhukov rips
into the cascading torrent of notes
with no fear. But bearing in mind that
this is ‘live’ (the booklet doesn’t
say this, but there are far too many
coughs and shufflings for the studio)
this is mightily impressive piano playing.
I was more convinced overall than Donohoe’s
version, which I’ve always preferred
for Barshai’s conducting than the solo
playing. Donohoe’s slow movement, with
its great trio sonata opening, boasts
none other than Nigel Kennedy and Steven
Isserlis as soloists, though the uncredited
players on the Apex recording (presumably
the respective leaders of the NYPO)
are just as good, and the slight extra
momentum in tempo does let the music
flow more freely.
The finale is really
thrilling, with Leonskaja in Argerich-like
mode, making light of Tchaikovsky’s
demands. There is more Germanic weight
than other readings, probably due to
Masur, but that does lend the music
a gravity that is deserves.
The Third Concerto,
an odd piece that started out as a symphony
and ended as an unfinished one-movement
Piano Concerto at the composer’s death,
has been championed by most of the pianists
listed above, but I have to say I remain
unconvinced, both with the melodic material
and orchestration. The recording comes
from a few years later than the Second,
but the smudged trombone entry at the
start, plus some extraneous noise, might
still suggest a live source. The original
Sonata coupling may well have
ensured a better market for this as
a re-issue. My commitment to the Zhukov
is still unshakable (it is on CD, though
I’m not sure of current availability)
but if you don’t know the wonderful
Second Concerto, this is a pretty
good starting place.
Tony Haywood
Elisabeth Leonskaja (piano) 
