This set is described
as being from historic recordings from
the Russian Archives. Being as the recordings
date from the 1980s one can be understandably
sceptical about the over-used epithet
‘historic’. But in this case the description
‘historic’ is altogether justified.
These four discs document the development
of one of the most remarkable pianistic
talents of our time. The discs span
the years 1983 to 1989, covering Evgeny
Kissin’s development as a pianist from
the age of 11 to 17. They include the
recording of the famous concert, in
March 1984, when Kissin, then aged 12,
played both the Chopin piano concertos.
It was this concert which brought him
to international prominence. What was
truly remarkable about his talent was
not his dexterity, phenomenal though
that was, but his stupendously developed
emotional response to the music. The
music on this disc just does not sound
as if it was being played by a twelve
year old child. His talent does appear
almost fully formed from the outset;
he is possessed of remarkable strength
and a wonderfully strong singing line.
The Chopin First Piano
Concerto opens with a very robust peroration
by the Moscow Philharmonic, marred by
pitch variation in the recording. At
this stage one is not too hopeful about
the quality of the performance. But
then, finally, Kissin enters displaying
a fine cantabile; poetry combined with
remarkable strength. The orchestra prove
a surprisingly fleet and subtle accompaniment.
There are times when his wonderful sense
of line is combined with an unexpected
toughness. These are Chopin interpretations
which are poetic without being overly
sentimental. And throughout the disc
Kissin displays a heart-stopping pianistic
range.
This strength and ability
to play loudly are on display in the
opening of the Tchaikovsky Piano Concerto.
Recorded shortly before his 16th
birthday, for this recording he has
the support of the St. Petersburg Academic
Symphony Orchestra conducted by Valery
Gergiev. Between them, Gergiev and Kissin
create a stunning opening. Kissin is
one of those rare pianists who possess
the strength and cunning to be able
to play expressively whilst playing
loudly. But this bravura power is only
one of the characteristics that a pianist
needs to play this work. In the more
skittish moments, Kissin seems to be
overly careful. Once past the opening,
the liaison between pianist and conductor
seems to be constantly on the careful
side. So that, for all his pianistic
range and sheer power, the performance
does not quite develop as fully as one
would like. In the second movement,
his playing is delightfully light-fingered,
but again omits that element of skittishness
that can be brought to bear. But, you
have to keep on telling yourself, he
is not quite 16.
The Tchaikovsky is
coupled with a recording of the Shostakovich
Concerto for Piano, Trumpet and Orchestra
recorded just over a year later. Kissin’s
discography does not include that many
20th century works. So this
recording makes fascinating listening,
even if the concerto does come over
as being one that Kissin is overly in
sympathy with. The sound on this recording
is not quite so good and the piano comes
over as very glassy; I am not convinced
that it is quite in tune. Kissin plays
the piano solos in a brilliant, hard-edged
way, giving the piece a very crystalline
texture. This very sober reading works
best in the slower movements. A previous
Gramophone review of a recording of
this concerto by Kissin with the same
conductor described that performance
as one of the most vulgar performances
the reviewer had come across. I can’t
really describe this recording as vulgar,
but what the piece lacks is that essential
sense of irony and fun.
These four concertos
are coupled with recordings of piano
music by Chopin, Liszt, and Schumann
ranging from some of the earliest recordings
on the discs (Liszt’s ‘Waldesrauschen’,
‘La Leggierezza’ and his transcription
of Schumann’s ‘Widmung’) to the most
recent recording on the disc (Chopin’s
3rd Piano Sonata). The earliest
recordings are marred a little by a
rather glassy piano sound, but remain
stunning as a testament to the 11 year
old Kissin’s development, both emotionally
and technically, as a pianist. In the
later recordings the tone seems to darken,
the performances develop a greater depth;
Kissin starts to dig closer to the emotional
heart of the pieces. There is more harnessing
of virtuosity towards exploring greater
intensity. The discs conclude with a
stupendous performance of the Chopin
Piano Sonata by the 17 year old Kissin.
These discs are essential
listening for anyone interested in the
development of fine pianism. None of
the recordings is a library choice,
but as the testament to the development
of one of the 20th century’s
most remarkable pianists they should
be on everyone’s library shelves.
Robert Hugill
Evgeny Kissin (piano)