Carlos Gardels CD in Review
Carlos Gardels, piano
Recording: Matthew Snyder at Allegro Recording (6)
Paul Tavenner at Big City Recording Studios (1, 3-5, 7-10, 12);
Hideaway Recording Studios (2, 11)
Mastering: Paul Tavenner
MSR Classics: MS1847
2024
Though many speculate that classical music CDs are going the way of the dinosaur, new evidence to the contrary has been added to this reviewer’s assignments, the debut CD of young pianist Carlos Gardels on MSR Classics (MS1847). It is an actual physical CD, and cheers to that, as this musician is still a fan of holding one in hand as part of the listening ritual. It comes with a booklet, for which the artist (a published writer himself) has contributed some illuminating notes. There is much to praise in this release, which includes six Nocturnes of Chopin and selections by Debussy, but first, a bit about Mr. Gardels is in order.
When one hears the name Carlos Gardels, one probably thinks of the French-Argentine tango composer Carlos Gardels (1890 -1935) – but let there be no confusion, as this young American artist seems destined to add new resonance to the name. A Los Angeles native, the pianist Carlos Gardels made his concerto debut at age 15 as a soloist in the Rachmaninoff Third Concerto with the Pasadena Youth Orchestra. His formal education was at the Manhattan School of Music and Indiana University Bloomington, with principal teachers HakSoon Swiatkowski, Jeffrey Cohen, Émile Naoumoff, and Neil Stannard, as well as mentors David Dubal, Cyprien Katsaris, and Ruth Slenczynska. He made his debut appearance in Carnegie’s Weill Recital Hall in 2016 and has performed widely in the US, Europe, and Asia. His distinctions include prizes from the National Society of Arts and Letters, the Los Angeles International Liszt Competition, and the Young Musician’s Foundation, and he has also taught internationally, from Shanghai to Citrus College in California, where he currently resides. For composition, he has studied with Ian Krouse at the University of California, Los Angeles, and his compositions include Three Fantasies for solo piano, published in 2022 by Theodore Presser to favorable reception by students, artists, and the press.
One might ask why even mention Mr. Gardel’s composing when his debut CD includes only Chopin and Debussy rather than any of his own compositions, but his playing has a probing quality that goes a bit deeper than the typical output of young pianists today, making that aspect feel relevant. His CD is neither of the “wholesale” single-composer sort nor of the motley debut sampler kind that could be called “pieces I play well” – rather, there has been genuine thought involved in a Chopin-Debussy connection, through both the selections and the performances, ranging from very early works to very late ones of both composers. Mr. Gardels supports this musical connection in his program notes, citing Debussy’s documented love for Chopin, his editing of Chopin for the Durand publishing house, and his comment on “Chopin’s art of breathing with the pedal.” It is the playing itself, though, that persuades a listener – and thankfully these performances have no whiff of the didactic about them, simply a projection of kinship and musical evolution.
The first work on the CD, Chopin’s Nocturne Op. 9, No. 1 in B-flat minor, blooms thanks to Mr. Gardel’s fearless use of pauses and agogics for expressive emphasis – along with the occasional slight roll (or just a bit of left-hand preceding right hand) as he savors specially chosen moments. There is more than a touch of “old school” expressivity here, and one wants to cheer for a player who is not straitjacketed by metronomes and such, as with many players today. Though some could argue that Mr. Gardels is a bit overly generous with lingering and rubati at times (as they can lose potency with recurrence), there seems to be justification in most cases – as if a tour guide were saying “Wait, listen to this.” The recorded sound throughout (from multiple sessions, 2021-2024) is warm and live, but not overbearing.
The tracks that follow offer similarly warm and inviting playing, with singing phrases and skillful dynamic gradations. The Chopin Nocturne Op. 15, No. 2, in F-sharp major is particularly winsome in its feeling of inevitability. Here, Mr. Gardels seems to let the piece unfold on its own, minimizing any sense of interpretive will being imposed upon it.
Both Nocturnes from Op. 27 (C-sharp minor and D-flat major) follow. In the C-sharp minor, Mr. Gardels again lets the drama unfold naturally. When all turns to major mode towards the end, the colors are captured with such melting beauty that a listener has the sense of experiencing it for the first time – a major accomplishment in such a standard work of the piano literature. Mr. Gardels clearly has deep feelings for these works, and they are transmitted directly to the listener. The D-flat Nocturne is played compellingly as well.
The Nocturnes from Op. 62 (B major and E major) follow, representing the late days in Chopin’s oeuvre. The breathtaking B Major Nocturne is handled with intense care, particularly evident in the infamous trilled melody. In the E Major Nocturne, the liberty may strike a listener at first as a bit too much, almost approaching schmaltz, yet there is sufficient restraint in contrasting sections to help recapture the perfect sense of proportion in retrospect. The whole must be taken into account, and Mr. Gardel’s interpretations do emerge as well-conceived wholes.
The placement of Debussy next in this CD offers a welcome balance, with the Suite Bergamasque feeling like a natural extension of what precedes, but with new colors. The first movement, Prélude, is played in such a way as to illustrate the kinship with Chopin that the liner notes put forward – but with the clear beginnings of Debussy’s own distinct language. The famous Clair de Lune here is captivating as well, again encouraging the listener to listen to a standard work as if for the first time. Mr. Gardels takes time to savor the aftersound of his phrases, leading us to do the same. It has already been mentioned that the pauses preceding some special moments are illuminating, but this pianist also allows sufficient time after such moments to let the listener absorb their magnitude. Passepied closes the suite with just the right delicacy, crispness, and suavity, and to round off the program the CD offers a Prélude and Étude. The Prélude La fille aux cheveux de lin thrives with this pianist’s special tenderness, and the Étude Pour les arpèges composés, arguably one of the more Chopinesque of the Études, is played with artful delineation of harmonic surprises and turning points.
To those with a notion that the genius Debussy sprung forth out of some sort of spontaneous generation, this CD may inspire some rethinking. In addition, at just under 59 minutes, it offers the listener a very accessibly curated selection of two great composers, Chopin and Debussy, played with remarkable sensitivity. The CD can be found here: MSR Classics: MS 1847 and here: Carlos Gardels: Debut Album.
