Passions and Reflections
Sergei RACHMANINOV
(1873-1943)
Piano Sonata No. 2 Op. 36 [20.45]
Frédéric CHOPIN (1810-1849)
Douze Études Op. 25 [32.40]
Claude DEBUSSY (1862-1918)
Et la lune descend sur le temple qui fut [5.20]
Ondine [3.52]
Reflets dans l'eau [4.44]
Clair de lune [5.42]
Kasparas Uinskas (Piano)
rec. 14-17 July 2014, Immanuelskirche, Wuppertal, Germany
STONE RECORDS 5060192780536 [73.06]
I last heard the young Lithuanian pianist, Kasparas Uinskas, at a recital
in the Wigmore Hall where he was playing the pieces on this recording
together with Brahms' early Four Ballades. Following the recital Mr
Uinskas' agent asked me to review his then forthcoming CD and I am
pleased to see that the new recording, entitled
Passions and
Reflections, has finally been released.
The centrepiece of this CD is Chopin's second set of études which
were composed between 1832-36. Some of the études (particularly G sharp
minor and the two in A minor) are technically demanding works although the
études are treasured as much for their musical content as for their
technical innovations. Uinskas is one of the best exponents of Chopin I have
heard among the younger generation of pianists. In his hands each of the
études becomes a miniature tone poem: the lyricism, the wonderful harmonic
progressions and the unique artistry of Chopin's writing are
underscored in a completely fresh and innovative way while the technical
difficulties are handled with consummate ease. There was a wonderful
lyricism to the Aeolian Harp étude in which Uinskas created gorgeous
melodies and counter-melodies against the rustling textures whilst allowing
the beautiful modulations space to breathe. The F minor had artfully shaped
lines while the F major had brilliance and buoyancy. There was tremendous
agility and athleticism in the first of the A minor études with its
difficult left hand leaps and Uinskas captured the impish, mercurial quality
of the E minor to perfection. The double thirds of the G sharp minor étude
glided along effortlessly while in the C sharp minor Uinskas presented us
with a rapt and poetic musical narrative. The D flat major in double sixths
was allowed to blossom into life and had a radiance and effervescence while
the double octaves of the B minor were played with a Lisztian diabolism. The
Winter Wind étude was a tumultuous swirling vortex while the final C minor
had a symphonic breadth and richness of sound. This was really exceptional
playing which stands comparison with the best performances of the
études.
The opening work on the recording was Rachmaninov's Second Piano
Sonata which the composer wrote in 1913 and revised in 1931. Horowitz
started a trend among pianists of trying to create an amalgam of the two
versions which I think has ultimately proved to be unhelpful. In this
recording Uinskas very sensibly sticks to the revised 1931 version and the
CD booklet notes helpfully remind us that Rachmaninov included a terse note
in the score of the later version stating: "The new version, revised
and reduced by the author". The opening of the first movement had an
explosive power and Uinskas captured the restless agitation of the music
brilliantly. There was an impressive and imaginative range of textures and
colours and Uinskas crystallised the melancholic heart of the music. The
slow movement had a gorgeous tonal lustre and Uinskas allowed Rachmaninov’s
beautiful melodies to sing out in an unashamedly Romantic way. The opening
of the finale had enormous rhythmic propulsion before the music melted into
the opulent second subject. Uinskas allowed the music to build to a powerful
climax and the coda was a breathtaking virtuoso tour de force.
The final part of the recording is a selection of works by Debussy and
here Uinskas gave us a flavour of some of his more subtle and evocative
playing. There was superb control of touch, timbre and sonority in
Et la
lune descend sur le temple qui fut from the composer's second
book of Images. There was much to admire in
Reflets dans
l'eau with some elegant shaping of the ripples on the pond,
glistening, seamless arpeggios and artful evocation of water droplets at the
end of the piece. I wondered if Uinskas could have given us more finely
shaded dynamics and created a more nuanced sense of ambience and atmosphere
in the early section of the piece. In
Ondine (from the second set
of preludes) I was impressed with the way in which Uinskas was able to weave
together the composer's disparate threads to create such an effective
portrait of the alluring and capricious water nymph. I wondered if he might
make even more of the extraordinary contrasts and sonorities in the piece.
The final piece was
Clair de lune and here this most famous of
piano pieces was played with a gorgeous tonal sheen and without any hint of
cliché.
Overall, this is a very fine recording and the performance of
Chopin's second set of études is exceptional.
Robert Beattie
