Russian Emigré Composers
Prokofiev Visions fugitives Op.22 Nos. 1,4,8,9,11,14,15,18,19
Medtner Sonata-Ballade Op. 27
Grechaninov Op. 78/1-2, Op. 61/2,5,6
Rachmaninov Nyne otpushchayeshi from the All-Night Vigil Op. 37
Fragments (1917)
Etude-Tableaux Op. 39/7
Stravinsky Three Movements from Petroushka
Students of this blog will recognize this as the disc of the recital that Alexander Karpeyev toured internationally during 2017, the anniversary of the 1917 Russian revolution. This original and excellent programme features the composers who left Russia immmediately before or after 1917: Prokofiev, Medtner, Grechaninov, Rachmaninov and Stravinsky.
All the music is chosen to illustrate the ‘final flowering’ of these composers between 1910 and 1919. After leaving Russia, maintaining a distinctive voice was not easy for any of them. Each of the émigrés developed their own relationship to Russia after leaving. Prokofiev returned home permenantly after 15 years living in France and the US. Medtner settled in London while Grechaninov, Rachmaninov and Stravinsky ended up in the US. All struggled to maintain their creativity after 1917.
Karpeyev is a Medtner specialist and the Sonate-Ballade Op. 27 grows with each listening. The Finale is particularly winning with its rich melodic inspiration and glittering ornamentation. The Grechaninov character pieces are all very well characterized, and the recital reaches the apex of its nostalgia for old Russia with a marvelous rendition of the "Nyne otpushchayeshi" from Rachmaninov’s All-Night Vigil and the Etude-Tableaux Op. 39/7 with – what could be more Russian – its climax of pealing bells.
The piano is in very good shape and the recording in St Bartholomew's Church in Brighton sets the piano at a slight distance in a resonant acoustic. The airy sound does least favours to the Prokofiev Visions Fugitives. Coupled with a romantic performance, the result is slightly unfocused.
The famous Stravinsky showpiece from Petroushka is given a dazzling performance, awash with colour and very strongly characterized. There were many details I’d never heard before and the expressiveness was a welcome contrast to the famous speed-fest version from Maurizio Pollini. Not that Karpeyev is exactly slow, just that the story-telling which is inherent in this score is given more space to weave its magic.
This recording beautifully captures Karpeyev’s qualities and sound world: virtuosity led by musicality of great poetry and refinement. A very fine debut with no doubt more to come.
