Vladimir Feltsman
www.feltsman.com has built a considerable
catalogue of recordings for Nimbus in recent years. A quick look at the list of
his recordings on the Nimbus website shows the breadth of his repertoire www.wyastone.co.uk/all-labels/nimbus/nimbus-alliance.html?instrumentalist=3090&p=1
with A Tribute to Rachmaninoff (NI6148), A
Tribute to Scriabin (NI6198), A
Tribute to Tchaikovsky (NI6162), Beethoven
Diabelli Variations (NI6257), Beethoven
Piano Sonatas (NI6120), Chopin
Waltzes and Impromptus (NI6184), Liszt
- Bénédiction de Dieu (NI6212), Bach
- The English Suites (NI6176), Bach
Six Partitas (NI6207), Mussorgsky
Pictures at an Exhibition & Tchaikovsky Album for the Young (NI6211), Haydn Keyboard Sonatas (NI6242), Schnittke Sonata No.1 and Schubert Sonata
'Reliquie' (NI6284), Chopin Ballades
(NI6128) and Chopin Nocturnes (NI6126).
Now from Nimbus www.wyastone.co.uk/all-labels/nimbus/nimbus-alliance.html
comes Volume 1 of Vladimir Feltsman’s
Schubert series that includes the sonatas in A minor, D.537 and G major, D.894.
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| NI 6297 |
Vladimir Feltsman picks up wonderfully on the bold rhythmic qualities
of the opening theme to the Allegro ma
non troppo of Schubert’s earliest surviving complete sonata, his Sonata in A minor, D.537 (1817) which
he subtly develops throughout with some very fine phrasing. He soon allows some
darkness to intrude but moves swiftly between moments of depth and passages of confident
rhythmic momentum with lovely phrasing and beautifully fluent, light textured
playing.
Feltsman gives the Allegretto
quasi andantino a nice lift in the offset little rhythm, soon followed by
playing with a lovely natural flow. This pianist is so aware of the varying
rhythmic facets of this movement, observing Schubert’s markings so well and
bringing out so much of the strange beauty.
The Allegro Vivace
opens with some fine flourishes, Feltsman soon letting the music rush ahead
before steadying to a more flowing tempo. Again Feltsman manages Schubert’s
sudden changes of tempi and direction perfectly, allowing a freedom and
spontaneity to Schubert’s creation.
This is a very fine performance to which, for all the
assurance and experience, Feltsman brings an added sense of discovery.
The lovely little Adagio
in E major, D.612 (1818) moves between gentle introspection and moments of
sparkling playfulness in Feltsman’s hands. His touch is exquisite as is his
fine phrasing, with more wonderfully spontaneous scales and flourishes.
With the B flat major
Scherzo, Allegretto of Schubert’s 2
Scherzos, D.593 (1817), Feltsman’s fine rhythmic playing again reveals so
much of the attractions of this little piece, making it an absolute delight. He
brings a sense of fun to every bar and his well-judged little pauses add a terrific
sense of anticipation. With its lightly flowing middle section he shows it to
be a little gem.
Feltsman brings a lovely forward momentum to the second of
these Scherzi, the D flat major, Allegro
moderato. There is a sense of light hearted enjoyment not to mention a fine
flowing central section.
The Sonata in G
major, D.894 (1826) brings such a change, with Feltsman’s fine pacing and
phrasing drawing out much tension and depth in the opening of the Molto moderato e cantabile. He subtly
and slowly builds the drama and tension before finding a lighter mood with some
most delicate, exquisite passages. This pianist also brings moments of great authority
as he develops the drama, offset by passages of terrific spontaneity. There are
some beautifully judged phrases and tempi and the way he offsets dramatic,
darker passages with lighter passages is quite special. One becomes aware, for
all Feltsman’s fine detail, of a strong structural understanding. What a
journey this first movement proves to be, never rushed, impressively
visualised.
The Andante
follows perfectly with Feltsman allowing a slow, thoughtful flow of invention.
Soon he lets go with a great outburst as the music develops in dynamics. Later
there are so many fine moments before the music rises again with playing of
great authority, leading to the gentle coda.
Feltsman brings a
fine sense of rhythmic phrasing to the lighter Menuetto. Allegro moderato with some beautifully hushed delicate
moments before suddenly coming alive with fine dynamic phrases.
Schubert’s playfulness is heard in Allegretto with Feltsman’s fine touch and fluidity bringing much to
this movement, beautifully paced and realised, with exquisitely pointed
rhythmic phrases before the music leads fluently to its lovely little coda.
Vladimir Feltsman probes Schubert’s inner world more deeply
than most in this sonata.
This is an impressive start to Feltsman’s Schubert series
which I look forward to hearing. The recording is first rate and there are excellent
booklet notes from the pianist.
For more reviews of Vladimir Feltsman’s Nimbus recordings
click below:
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