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Dieter AMMANN (b. 1962)
The Piano Concerto (Gran Toccata) (2016-19) [31:02]
Maurice RAVEL (1875-1937)
Concerto for the Left Hand (1929-30) [18:48]
Béla BARTÓK (1881-1945)
Piano Concerto No. 3, in E major Sz. 119 (1945) [24:35]
Andreas Haefliger (piano), Helsinki Philharmonic Orchestra/Susanna Mälkki
rec. March, 2019 (Ravel); June, 2019 (Bartok); live concerts November, 2019 (Ammann) at Helsinki Music Centre, Finland
Reviewed in stereo
BIS BIS-2310 SACD [75:30]

This SACD opens with the Piano Concerto (Gran Toccata) by contemporary Swiss composer Dieter Ammann. Though I would describe this work as mostly classical in style, it contains elements from other kinds of music like jazz. Ammann has played keyboard, trumpet and electric bass guitar in a free-funk group, Donkey Kong's Multiscream, as well as in other apparently similar groups. His concerto is rhythmically charged, employs microtones and features many orchestral effects, often from percussion instruments. It strikes the ear as an ever-changing colorful panorama of sound, a piece filled with all kinds of kinetic activity, always seeming to follow its own path.

The Ammann concerto is not one that follows tradition, but it doesn't totally turn away from it either. Indeed, I've never heard anything like it, yet parts of it at times sound familiar, if not traditional: I wonder if it's just a coincidence it's coupled with works by Bartok and Ravel, because there are moments in the first movement where the piano writing reminds me of Bartok's and in the second movement of Ravel's. But clearly nothing in Ammann's piano style is actually imitative of either composer in any significant way. It also seems familiar, if only fleetingly, when certain orchestral passages appear on the verge of launching into a big lyrical melody or to be reaching toward an epiphany that will clear the way for some grand theme or resolution, but neither outcome happens and the concerto continues on its own unpredictable course.

There are some lengthy sections in the concerto where the piano is busy but only in a secondary way, sort of blending into the orchestra or italicizing rhythmic aspects. This is not to suggest the piano doesn't have a large role: there is a long cadenza in the first movement and there are other substantial passages in the concerto where the piano is dominant. Yet, overall the work might be called a concerto for orchestra and piano. In an album booklet essay the composer himself writes that the orchestra “meets the soloist on equal terms.” I think most listeners, however they view the roles of the piano and orchestra here, will find the concerto's music fascinating and well crafted, never containing a boring or pedestrian moment. That's the impression it left on me.

The first movement is very busy, quite bright and upbeat, and never seems to run short of energy, the piano nearly always providing colorful, often rhythmically spirited music. The second movement also contains much lively, imaginative music, and like the opening panel, some of it is mischievous and witty. The finale, the longest movement at 12:14 and probably the best of the three, begins mysteriously and soon a rhythmic morsel begins pulsating nervously via a sort of microtonal echoing effect that leads to a climactic section. Afterward, the music settles back into a mysterious mood for a time, but eventually regains energy, mainly on the impetus of the piano, and a brighter mood returns. Still the music seems evolving, appearing to struggle against darker forces, as the mysterious manner again returns, and the work ends quietly, with the piano playing a few last gasps.

The performance of Andreas Haefliger certainly seems well attuned to the expressive language of this concerto. It was he who suggested to the composer that he write this work, and it was also Haefliger who gave its premiere in 2019 in London, thereafter taking it on a highly successful tour to a number of major cities, including Boston, Helsinki and Munich. I'm sure the composer approved of his interpretation of the concerto. Susanna Mälkki leads the Helsinki Philharmonic Orchestra with a seemingly sympathetic grasp of the composer's style as well, but I must say that some of the scoring here, especially from percussion, has a somewhat muddy sound, with a bit of detail getting smeared. I suspect it isn't the fault of the BIS engineers as they are always dependable in producing vivid, well balanced sound in other recordings, as well as in the other two works on this disc. So, it's hard to know the reason for this—perhaps the acoustics? That said, it's only a minor problem affecting a few passages, not an issue of great concern. In sum, I think this is as fine a new concerto as I've heard in years.

As for the single-movement Ravel Left-hand Concerto, Haefliger chooses tempos mainly in the moderate range and turns in a fine but slightly understated account. He phrases the lyrical music in the first half with great feeling: thus, following the cadenza (2:11) that marks the piano's entrance, he plays the two themes that immediately ensue (2:52 and 3:34) most sensitively, with well judged dynamics, rubato and accenting. The fragile theme in the piano's upper register (6:07) is phrased with exquisite care, though the soloist's rubato here may be too much of a good thing. The faster music midway through has a lighter character, as Haefliger plays up the spunky rhythmic aspects of the robust jazzy theme, applying less weight than heard in most other performances. His approach isn't wrong-headed but rather different, at least to my ears. Still, it's a quite valid approach in its brighter take on the music. The so-called toy march that follows is well imagined and executed by Haefliger, and the rest of the concerto is very convincingly played, especially the cadenza leading up to the ending. Susanna Mälkki and the Helsinki players turn in fine work as well. This recording then is a nice alternative to my favorites in the concerto—John Browning (RCA), Yuja Wang (DG) and, on video, Eliso Virsaladze (Euroarts). If you favor a more lyrical, softer approach in this concerto, Haefliger's account will certainly satisfy your taste.

Actually, he takes a similar path in the Bartók Third in certain respects: again, lyrical music is phrased with great sensitivity to its emotional character. Yet, in this mostly gentle and valedictory-like concerto, Haefliger doesn't overlook the more robust character of the alternate theme in the opening panel, nor does he overplay the serene and quasi-religious manner of the Adagio religioso second movement, despite his expansive tempos there. In the faster and livelier music in the first two movements, Haefliger really catches fire, the latter panel's middle section coming to life in its sudden contrast and playfulness, its colors radiant and vivid. In fact, the second movement is played about as well as in any other account I've heard, and that includes Anda (DG), Argerich (EMI), Bronfman (Sony), Sándor (Sony) and others. In the finale Haefliger is also very convincing, the opening coming across with plenty of fire and energy, Haefliger's accenting and dynamics very Bartókian, showing a good percussive edginess. Again, he points up the brilliant colors in his imaginative phrasing throughout the movement, and then turns more anxious and driven as the emotional character of the music takes on a darker aspect. Once more, Mälkki and the Helsinki players partner him convincingly. A brilliant performance then, one to stand with the best of those mentioned above.

As suggested earlier, the sound reproduction is excellent in all three works, even despite the few moments in the Ammann Concerto mentioned above. This SACD offers three very good performances - the Bartók is outstanding - and if you are open to sampling the new concerto, this will be a most rewarding disc.

Robert Cummings



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