“Classical Piano: The Essential Masterpieces” – Album in Review
Vladimir Tiagunov, pianist
Released by Record Union, May 6, 2020
Catalog Number: RU 233600
UPC: 7321170125946
It is a brave new world for this classical music reviewer to receive a Spotify link to review an album, but that was the case with a new recording released on the Record Union platform by pianist Vladimir Tiagunov (vladimirtiagunov.com), a young pianist with considerable passion and drive.
Not a “cookie-cutter” pianist, Mr. Tiagunov is a pianist of bold gestures, projecting a large spirit but sometimes a nonchalance about details. Those “details” here include the instrumental sound and editing, so this recording is neither for the faint of heart nor for lovers of the pristine; it promises, however, not to be dull.
Mr. Tiagunov’s programming is also largescale. Here he plays a generous and demanding recital of Beethoven’s Sonata in F minor Op. 57 (Appassionata), Schubert’s Fantasy, Op. 15 (Wanderer), the second (A-flat major) of the Moments Musicaux D. 780, six Chopin Études from Op. 10, and Mussorgsky’s Pictures at an Exhibition. Though no details of recording are given (where it all was recorded, by whom and when, and whether in several days or in one continuous recital), one surmises from his selections that he is a pianist of considerable stamina and dauntless courage.
Mr. Tiagunov starts his program with Beethoven’s Op. 57. Playing a questionably serviced piano of rough sound, with what seems to have been minimal editing, he still conveys enough of the work’s inherent drama to distract the listener’s ears from the rawness of both most of the time. The first movement has a good deal of excitement. Having heard the many highly edited performances of this work that are available today, one fares best if not listening microscopically but with a certain aural “squint” to imagine it as a live performance.
In a live performance, one imagines the pacing would be more natural also. Perhaps it is the way Spotify streams from track to track, but there seems to be much too much haste between the Beethoven’s first and second movements, ruining any preparation for the meditative music ahead. (One hopes that this rapid segue is not where the attention-deficit modern listening experience is headed!) Then, in the second movement, the piano (which elsewhere one would describe as serviceable at best) becomes hard to bear. There is a twangy quality to the bass that grows more and more disturbing, especially for those low offbeats, which also sound unduly poked out. One wonders at this point why a pianist of such dedication has not held out for a better recording situation. If someone with the means is reading this review: please buy or lend this young pianist a better instrument and perhaps more leisurely recording session!
Not all of this reviewer’s reservations are related to equipment. Two diminished chords at the end of the central movement are further examples of haste – and it is not just a matter of the fermata of the first one being undetectable, but that its half-note value is actually shortchanged. One wonders where the fire is. Possibly such haste stems from an awareness that there is still the Wanderer, more Schubert, six Chopin Etudes, and Mussorgsky’s Pictures yet to come, but if so, then a “less is more” approach to programming may help future albums. I personally prefer hearing a single piece with ample time for full note values to speak, rather than feeling I am on a high-speed train with quick stops for major masterworks.
The finale of the Beethoven fares best of the three movements. Here, the same urgency that detracts from other movements creates an edge-of-seat excitement. I enjoyed it overall, a few raced measures notwithstanding.
Moving on to the Chopin Études, Op. 10, there is much to admire. The first in C major has a live brilliance to it. This brilliance at times verges on the breathlessness of an athletic contest (with the occasional smudged notes that beset live performance and usually get tidied up in the studio), but all in all it is effective. The second Étude in A minor goes at quite a clip as well. Though one misses some details underlying the prominent tops, the outlines and continuity are always there.
The third Étude in E major communicates a heartfelt involvement that I appreciate greatly, occasional eccentricities and all. There are extremes of speed beyond the usual range and some very personal liberties, plus more of the tonal issues already mentioned, and yet the individuality brings it a freshness that is much needed after hearing the sameness of so many recordings. Similar sincere lyricism is heard as well in the Étude No. 6 in E-flat minor, emerging as quite soulful despite the heaviness of the instrument.
For lovers of sheer speed, No. 4 in C-sharp minor is wildly fast, and No. 12 in C minor (the “Revolutionary” Etude) enjoys plenty of surging and roiling energy from Mr. Tiagunov’s left hand.
Moving on to Schubert, we hear the second (A-flat) of the Six Moments Musicaux, Andantino. Here the music is treated with a welcome spaciousness, and it creates an effective stylistic transition to the world of Schubert for the Wanderer Fantasy. Anyone who has played the Wanderer knows it is a beast (even Schubert who composed it was known to have said “let the devil play it”), but Mr. Tiagunov seems to take special pleasure in tackling such beasts. He fares well, with masses of leaping chords and arpeggios well in hand and not too many bruises. Mr. Tiagunov lets the heavenly Adagio section speak eloquently from its opening phrases and expansively rolled chords through to the build-up to the next movement – with again, much to admire.
In a surfeit of riches, more virtuosity follows with Mussorgsky’s Pictures at an Exhibition. There are few surprises here except more speed in several spots than one has generally heard. This pianist moves especially briskly through the opening Promenade. It holds together well, but it can also hold together with more relaxed pacing.
High marks go to Gnomus, with its trills having just the right snarly, menacing quality, plus the appropriately childlike Tuileries, the fittingly lumbering Bydlo, and the atmospheric Old Castle. Mr. Tiagunov fares especially well in the muscular and clearly contrasting sections. The characters in Goldenberg and Schmuyle emerge as just the right foils for each other, and the Baba-Yaga movement shows brilliance and power.
Promenade No. 3 is quite fast – again begging the question of where the fire is – but there is surely some reason behind it. The Ballet of the Unhatched Chicks I’ve heard played more lightly, but again, little about this entire recording emphasizes delicacy. Cum mortuis in lingua mortua could also be softer to gain more mystery.
The final Great Gate of Kiev finds Mr. Tiagunov closing the recital in his element, and many will undoubtedly enjoy hearing him play it in live concert when the pandemic is over. For those who cannot wait, this recording can serve as a fair substitute.
The album contains 30 tracks and is distributed to all top digital music services: AppleMusic, Spotify, YouTubeMusic, Pandora, Tidal, Deezer, and others.
