The BBC Philharmonic ended its 2022-23 season in Manchester with a programme that might have been chosen as a showpiece for virtuosity.
Shortly before his death, Rachmaninov proposed recording the two-piano version of his swansong Symphonic Dances with Vladimir Horowitz. A curse on that RCA executive who turned the offer down. What amazes is how much pianistic magic can make up for the orchestral wizardry of the more familiar incarnation. The Kolesnikov-Tsoy duo is the one to redisover it now, and they did the same for Mikhail Pletnev’s recreative genius in music from Prokofiev’s Cinderella.
Who’d have thought Florence Price, Rachmaninov, Gershwin and Brahms would all fit the (unspoken) theme of 1930s America? Brahms made the bill by virtue of Schoenberg’s 1937 arrangement of the C minor Piano Quartet, so outlandish and camp that you’d be tempted to credit Stokowski as the orchestrator. Like Rachmaninov’s Rhapsody on the Theme of Paganini, it needs vertiginous audacity: that came in spades from conductor Joshua Weilerstein and pianist Martin James Bartlett.
Debussy: Piano Works Volume 2 Dennis Lee (piano) (ICSM Records)
Eleanor Alberga: Wild Blue Yonder (Navona Records)
The Playhouse Sessions: Bjarte Eike, Barokksolistene (Rubicon)
As Sir Mark Elder begins his penultimate season as music director of the Hallé, it’s clear that his command of, and communication with, the orchestra are as complete and purpose-driven as ever. It’s the first Thursday series concert of the new season, and at last a full set of concerts is in the offing, after three years of interruption and adaptation, but change is in the air.
Mozart: The Piano Sonatas (Robert Levin, playing Mozart’s fortepiano) (ECM New Series)
Brahms Lieder Anna Lucia Richter (mezzo-soprano), Ammiel Bushakevitz (piano) (Pentatone)
Ein süßes Deingedenken: A Tender Memory of Thee – Lieder by Fanny and Felix Mendelssohn Kateryna Kasper (soprano), Dmitry Ablogin (piano) (TYXArt)
To stage a double bill of unusual 20th century Russian operas would be brave at the best of times. To do so in the Fair City of Perth amply demonstrates Scottish Opera’s laudable commitment to extend its influence beyond the Edinburgh-Glasgow cultural axis.