Melvyn Tan: Miroirs
View record and artist detailsRecord and Artist Details
Composer or Director: Carl Maria von Weber, Franz Liszt, Maurice Ravel, Domenico Scarlatti
Genre:
Instrumental
Label: Onyx
Magazine Review Date: 08/2019
Media Format: CD or Download
Media Runtime: 78
Mastering:
DDD
Catalogue Number: ONYX4194
Tracks:
Composition | Artist Credit |
---|---|
Invitation to the Dance (Aufforderung zum Tanze) |
Carl Maria von Weber, Composer
Carl Maria von Weber, Composer Melvyn Tan, Piano |
(8) Valses nobles et sentimentales |
Maurice Ravel, Composer
Maurice Ravel, Composer Melvyn Tan, Piano |
(12) Etudes d'exécution transcendante, Movement: No. 5, Feux follets |
Franz Liszt, Composer
Franz Liszt, Composer Melvyn Tan, Piano |
Miroirs |
Maurice Ravel, Composer
Maurice Ravel, Composer Melvyn Tan, Piano |
Années de pèlerinage année 3, Movement: Les jeux d'eau à la Villa d'Este |
Franz Liszt, Composer
Franz Liszt, Composer Melvyn Tan, Piano |
Sonatas for Keyboard Nos. 1-555, Movement: D minor (L422) |
Domenico Scarlatti, Composer
Domenico Scarlatti, Composer Melvyn Tan, Piano |
Sonatas for Keyboard Nos. 1-555, Movement: D (L415) |
Domenico Scarlatti, Composer
Domenico Scarlatti, Composer Melvyn Tan, Piano |
Années de pèlerinage année 1: Suisse, Movement: Les cloches de Genève |
Franz Liszt, Composer
Franz Liszt, Composer Melvyn Tan, Piano |
Author: Jed Distler
As it happens, the programming concept proves more interesting than Tan’s actual pianism. His Weber is note-perfect yet hardly as exuberant and shapely as in the Michael Endres or Garrick Ohlsson recordings, let alone older benchmarks from Schnabel, Friedman and Fleisher. Much of Tan’s playing is overly loud in the Ravel Valses, hampered by twitchy tempo adjustments and inconsistent balances (the second waltz, for instance, is all over the place and never really settles), lacking the centred focus and transparency one hears from Arthur Rubinstein, Abbey Simon and, more recently, Steven Osborne.
Why bother recording Liszt’s ‘Feux follets’ if you can’t match the airy suppleness of Richter, Ashkenazy or Trifonov? Tan’s heavy-gaited and notey dispatch of Ravel’s ‘Noctuelles’ lacks lightness and shimmer, as do his prosaic renditions of the aforementioned Scarlatti sonatas. He gets through ‘Alborada’ on a wing and a prayer, leaving little sign of life or inspiration in his wake. However, Tan displays far more fluency and variety of tone in the final two selections: Liszt’s ‘Les cloches de Genève’ and Ravel’s ‘La vallée des cloches’, leaving the listener with 11 recommendable minutes over the course of a 78-minute recital.
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