Costas Fotopoulos has made some good choices from Rachmaninov’s
piano repertoire for his debut CD. The two substantial works on
the disc are the Corelli Variations and the Second Sonata, the
first of which catalogues many of the varied styles in Rachmaninov’s
piano works: the heavy Slavic, the delicate Rococo the lyrical
vocalise, while the latter is a substantial showcase for
virtuoso pianism. Between them, the two works give Fotopoulos
the chance to display both his stylistic versatility and his technical
skill.
The programme opens in a relatively
subdued mood, at least for Rachmaninov, with three of the
Op.39 Etudes-Tableaux (numbers 4, 5 and 6). There is drama
here, though, and Fotopoulos gives engaging performances,
without sacrificing precision or clarity for the passion of
the moment. The same is true of the Corelli Variations, although
there is a slight tendency here for undue restraint, not a
lack of rubato, dynamics or pedalling so much as a lack of
spontaneity in their application. A secure reading though,
with an impressive sensibility to the stylistic variety between
the variations.
Fotopoulos has divided his musical
studies between the piano and composition, and the next work
on the disc is his own Toccata, composed in 2001. Film music
is an important part of his portfolio (as is accompanying
silent films) and filmic qualities are immediately apparent
in the piece. Jump-cuts between styles and tempi pull the
music between different moods and colours. Two styles predominate,
a florid classical idiom – I’d like to say in the style of
Rachmaninov, but it is closer to Ravel – and a selection of
jazz textures, off-beat chords and vampy moto perpetuo obligattos.
The convincing, if brief transitions between the two are impressive,
and speak of long hours spent fitting piano improvisations
around silent films.
Given this mastery of instantaneous
musical gear changes, it is curious that Fotopoulos has opted
for the original 1913 version of Rachmaninov’s 2nd
Sonata. As he points out in the liner notes, the main difference
between the two versions is that the smooth and often lengthy
transitions between sections in the original are replaced
in the revised version with briefer and more functional modulations.
It is an engaging performance, though, combining a technique
that is more than secure enough for Rachmaninov’s virtuoso
textures with an acute ear for the harmonic colours that the
composer draws from the piano.
The CD is part of an interesting
recording project. The label JCL Records has been set up by
Jonathan Cooke, who is also the pianist’s agent. At a time
when orchestras and venues are sticking it to the man and
setting up their own labels, it seems agents and artists’
managers are also picking up on the idea. This CD is well
recorded, professionally presented and programmed to play
to the performer’s strengths. All in all, it seems the ideal
way to make a recording debut.
Gavin Dixon
Costas Fotopoulos (piano)
