Kentner plays Balakirev, Lyapunov & Liszt
View record and artist detailsRecord and Artist Details
Composer or Director: Mily Alexeyevich Balakirev, Franz Liszt, Sergey Mikhaylovich Lyapunov
Genre:
Instrumental
Label: APR
Magazine Review Date: 11/2016
Media Format: CD or Download
Media Runtime: 143
Mastering:
ADD
Catalogue Number: APR6020
Tracks:
Composition | Artist Credit |
---|---|
Sonata for Piano |
Mily Alexeyevich Balakirev, Composer
Louis Kentner, Piano Mily Alexeyevich Balakirev, Composer |
Reverie of Zapolsky |
Mily Alexeyevich Balakirev, Composer
Louis Kentner, Piano Mily Alexeyevich Balakirev, Composer |
(7) Mazurkas, Movement: No. 6 in A flat (1902) |
Mily Alexeyevich Balakirev, Composer
Louis Kentner, Piano Mily Alexeyevich Balakirev, Composer |
Islamey |
Mily Alexeyevich Balakirev, Composer
Louis Kentner, Piano Mily Alexeyevich Balakirev, Composer |
(12) Studies, 'Études d'exécution transcendent |
Sergey Mikhaylovich Lyapunov, Composer
Louis Kentner, Piano Sergey Mikhaylovich Lyapunov, Composer |
Author: Patrick Rucker
Kentner’s traversal of the B minor is vast in concept, elegantly masculine and very much to the manner born, with his fine feeling for varied characteristic sonorities evident throughout. The tenderly poetic Adagio eschews indulgence and is followed by a fugue that hurtles on at a breathtaking pace. Perhaps most remarkable is the finale, which achieves a grandeur unlike any other performance I know. It’s worth recalling that when the Sonata was released in 1951, only a handful of pianists had recorded the work. In terms of scope, if Kentner’s compelling reading comes in a relatively close second to Cortot’s singular interpretation, it has no truck with Horowitz’s virtuosity for its own sake.
Apart from the ubiquitous Islamey, most of Balakirev’s not insubstantial legacy of piano music remains at the margins of the canonic repertory. Loving care and imagination are lavished on the B flat minor Sonata, a work from the mid-1850s but which had only been published in 1949, the year Kentner recorded it. Both Rêverie and Balakirev’s sixth and last Mazurka post-date the Sonata by a full half a century. Avoiding salon platitudes, Kentner’s readings exude a rich, fin de siècle perfume. This Islamey may be less dazzling than some more recent recordings, but it is beautifully laid out and thoroughly virtuoso.
The entire second disc of the set is given over to one of Balakirev’s last pupils, Sergey Lyapunov. Kentner’s recording of his 12 Transcendental Etudes (1905) remains ostensibly the only one of the complete set in the catalogues. Taking their title and inspiration from Liszt, the substance and pianistic means of Lyapunov’s Etudes are more akin to Medtner or early Scriabin, without the unmistakable personality of either. Having heard these pieces live in private performances only twice, I find it difficult to make comparisons. What is clear from Kentner’s recording is his sincere investment in these pieces, and one feels he makes the strongest possible case for them. Whether his interest and devotion were justified must be left up to the listener.
Credit for the excellent transfers goes to Andrew Hallifax; Jeremy Nicholas supplied the superbly informative booklet-notes. This release comes as another welcome instance of APR’s continuing efforts to bring the history of recorded piano playing to our ears.
Explore the world’s largest classical music catalogue on Apple Music Classical.
Included with an Apple Music subscription. Download now.
Gramophone Digital Club
- Digital Edition
- Digital Archive
- Reviews Database
- Events & Offers
From £9.20 / month
SubscribeGramophone Club
- Print Edition
- Digital Edition
- Digital Archive
- Reviews Database
- Events & Offers
From £11.45 / month
Subscribe
If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information.