‘Echoes and reflections’, the punning title of Roger Nichols’
liner-note essay, makes the point that Debussy’s early piano works
‘echo’ the style of Schumann, Chopin and Grieg, while the later
ones are utterly individual in their ‘floating, ornamental quality’.
As for ‘reflections’ that’s all part of the composer’s painterly
style; it’s a sound world that really comes to life at the hands
of exceptional, intuitive/reflective pianists. The legendary Walter
Gieseking was one, as are Pascal Rogé and Jean-Yves Thibaudet.
But what about
Simon Trpčeski? The young Macedonian has already recorded
discs of Chopin, Rachmaninov, Scriabin and Prokofiev, which
may not make him an obvious choice in this repertoire. He
is one of that new breed of European pianists who silence
all criticism when it comes to sheer technique but seem to
attract it in matters of style and execution.
The opening of
Arabesque No. 1 is a very encouraging start, the music
seductively shaped, the recording full-bodied and warm. There’s
no doubt these early pieces owe much to Schumann et al,
which is why they only hint at the harmonic complexities of
Debussy’s later works. No matter, Trpčeski draws gloriously
rich, firm sonorities from his piano, especially at the close
of the first Arabesque. The more effervescent Arabesque
No.2 certainly underlines his technical strengths, with
some beautifully crystalline playing. That said Trpčeski’s
almost forensic attention to detail sometimes robs the music
of its character.
Only a minor reservation
so far, but it’s potentially more serious when it comes to
the wit and sparkle of Children’s Corner. The piano
exercises of ‘Doctor Gradus’ ought to sound more affectionate
and spontaneous than they do here. Trpčeski doesn’t seem
comfortable with the subtle rhythms of the piece, which is
also a problem with ‘Jimbo’s Lullaby’. The piano is very well
captured throughout, especially in the bass, but that mix
of fun and fantasy proves much more elusive.
The ‘Serenade
for the Doll’ is short on charm, although Trpčeski makes
amends with some evocative musical flurries in ‘The Snow is
Dancing’. If only that undeniable talent were put to the service
of the music and flaunted less this would be an enchanting
performance. Regrettably enchantment is also in short supply
in ‘The Little Shepherd’, which is despatched with little
affection.
And while that
perennial favourite the ‘Golliwogg’s Cake-walk’ has a few
smile-inducing moments it sounds more like a stroll with Jimbo,
thanks to awkward phrasing and extreme dynamics. It’s hard
to believe this music can sound so ungainly; in fact, the
Munich Trombone Quartet’s recent transcription of the piece
has far more wit and rhythmic vitality than this.
The two books
of Images show Debussy at his ‘floating, ornamental’
best, with ‘Reflets dans l'eau’ a quintessential example of
his mature style. Trpčeski does bring out something of
the music’s ambiguous, diffuse character, finding a Ravelian
glitter in the treble flourishes as well. As for the composer’s
homage to Rameau, Trpčeski achieves a certain gravitas
and simplicity that is most apt, but makes ‘Mouvement’ sound
too much like Rachmaninov. This impression is reinforced by
a big-boned recording, which highlights Trpčeski’s dynamic
excesses.
Broadly Book II
brings with it the same reservations about style and scale,
although ‘Et la lune descend sur le temple qui fût’ is slightly
more successful in both respects. Trpčeski shows more
restraint here, but then the piece barely rises above piano
so there is no temptation to indulge in pyrotechnics. Not
so in ‘Poissons d’or’, where Trpčeski really does sacrifice
musical good sense on the altar of empty showmanship. Very
disappointing indeed.
The real surprise
is the success of ‘Clair de lune’. Trpčeski plays this
magical score with astonishing sensitivity He doesn’t dispense
with the extrovert approach entirely but achieves a welcome
degree of refinement and charm. And the sense of scale is
altogether more satisfying too. There is some really lovely,
idiomatic playing here; if only Trpčeski musical judgment
were more consistent this would be a very desirable disc indeed.
‘L’isle joyeuse’
is middle-period Debussy, harmonically more complex and stylistically
better suited to Trpčeski’s gregarious musical personality.
He certainly points up the music’s coruscating character and
despatches it in a dazzling display that Liszt might have
envied.
And therein lies the
rub. This music has a number of wonderful interpreters so one
wonders whether commercial considerations and the lure of a ‘star’
pianist outweighed more important artistic ones. On the basis
of this disc at least it seems Trpčeski’s flamboyant style
is better suited to Rachmaninov, Prokofiev and Stravinsky. Of
course that may change, but for the moment this is very much a
work in progress.
Dan Morgan
Simon Trpčeski
(piano) 
