RACHMANINOV: PIANO CONCERTO NO. 1, STRAVINSKY, SHCHEDRIN, Denis Matsuev, Mariinsky, Valery Gergiev/Mariinsky MAR0587 For his latest release Denis Matsuev has had the interesting idea to present three works for piano and orchestra from three different generations of Russian composers on this SACD and, since the performances and recordings are uniformly excellent, this is a most satisfying programme. Matsuev immediately demonstrates his virtuoso credentials in a scorching account of Rachmaninov’s 1st Piano Concerto in its usual 1917 revision. The outer movements leave one breathless with the pianistic fireworks on display, yet in the central ‘Andante’ he is able to bring great romantic warmth and delicacy to the music with his nuanced playing. Since Valery Gergiev and the Mariinsky Orchestra seem to be fired by Matsuev’s enthusiasm, their alert accompaniment is both thrilling and, where appropriate, caressingly sensitive. The conductor’s idiomatic moulding of the romantic theme with which the Concerto opens being a case in point. Stravinsky’s Capriccio that follows is equally impressive. Matsuev really brings out the humour in this witty piece while the powerful contribution of the players of the Mariinsky Orchestra gives Stravinsky’s sparkling orchestration a definite Russian feel. Finally we have the 2nd Piano Concerto of Rodion Shchedrin. This was written in 1966 and is one of the composer’s most inventive pieces. Though it flirts with the music of the European avant- garde of the time by using a twelve-tone theme in the opening movement ‘Dialogues’, it sounds closer to Prokofiev than any serialist composition. This is especially true in the driving toccata-like second movement ‘Improvisations’ that Matsuev dispatches with considerable aplomb. The final movement ‘Contrasts’ is a compositional tour de force during which Shchedrin introduces a jazz combo between passages of tremendous rhythmic energy. The present recording is dedicated to the memory of the ballerina Maya Plisetskaya (1925 -2015) Shchedrin’s wife and dedicatee of this Concerto who passed away shortly after the making of this recording. An alternative version on SACD by Mark-Andre Hamelin is equally recommendable as an interpretation but is nowhere near as well recorded as this one. All three works were recorded live in the Concert Hall of the Mariinsky Theatre by the excellent team of Philipp Nedel (b-sharp), Martin Kistner and Fyodor Naumov. The 5.0 DSD multi-channel is one of the most vivid I have heard from this label and is worthy of Matsuev and Gergiev’s exciting partnership.

MAHLER: SYMPHONY NO.1, Utah Symphony Orchestra , Thierry Fischer/Reference Recordings FR-715 Older collectors will remember with affection the cycle of Mahler symphonies recorded by Maurice Abravanel and the Utah Symphony Orchestra that began in the 1960s. Those pioneering recordings (the first complete Mahler cycle to be recorded in the USA) not only introduced Mahler to many listeners but raised the profile of this fine Salt Lake City based orchestra. Now, from the Reference Recordings Fresh! Label, we have a compelling new account of Mahler’s 1st Symphony recorded in state-of-the-art sound from this same orchestra under their current Music Director, the Swiss conductor Thierry Fischer. This was taken from live performances given in the Maurice Abravanel Hall (September 2014). A glance at the total timing for this SACD (52.55) indicates that Fischer’s performance is towards the swifter end of the spectrum for recordings of this work, suggesting that it is to be the antithesis of lingering indulgence, which indeed proves to be the case. The magical opening pages of the first movement are beautifully controlled with the off-stage trumpets suitably distanced yet absolutely audible. The surprising immediacy of the woodwind entries indicate that the engineers have gone for a closely recorded balance ( possibly to avoid audience noise) but any slight lack of the dreamy atmosphere of Mahler’s ‘Naturlaut’ is more than compensated for by the freshness of the playing and the crisply focused sound. The main body of the movement, with the exposition repeat taken, is beautifully shaped with Fischer conveying the sense of foreboding in the passage from 8.13. The gradual build up to the movement’s final climax is free from any exaggerated slackening of tempo and the final pages are exhilaratingly joyous. The Ländler Scherzo is trenchant and beautifully articulated by the orchestra with the bass line especially clearly defined. Fischer’s sane tempo maintains the music’s momentum while the Trio section demonstrates both his lightness of touch and masterly control of rubato that gives the music a winning insouciance. The contrasting grotesque funeral march that follows shows the superb quality of the individual players in this orchestra, as first muted double bass then bassoon, cello, bass tuba, clarinet and finally plaintive oboe make their entrances over the steady tread of the timpani. The parodic klezmer passages are suitably telling but never over played. The raging opening of Fischer’s finale is a roller-coaster ride with fabulous orchestral playing and demonstration worthy sonics that will be seized upon by both audiophiles and Mahlerites alike. The thunderous percussion and incisive brass of the Utah Symphony are absolutely thrilling, but with the appearance of the lyrical second theme (at 3.22) the Utah strings are given the opportunity to show their mettle. This they do with ravishingly sensitive playing and subtle nuances of dynamics, whilst Fischer’s use of rubato is subtle and free of mannerism. As the material from earlier movements is recalled there is no loss of impetus and the build up to the triumphant final bars is magnificently handled, the coda capped with a room-shaking bass drum. The recording team from Soundmirror, Boston (Dirk Sobotka, John Newton and Mark Donahue) have, as usual, worked their magic and, as I have already indicated, produced a 5.1 multi-channel recording (64fs DSD) of astonishing tonal richness, clarity and presence. On the basis of this recording there is little doubt that Thierry Fischer is a Mahler interpreter of some stature and the projected recording of Mahler’s 8th Symphony in February 2016, scheduled for release in 2017, will be eagerly anticipated.