The young Russian, Sergei Nakariakov is in his element in the opening Jolivet Double Concerto, standing well out in front of his partner, Alexander Markovich. The balance is less than ideal, with the piano—often, it seems, in an obbligato or accompanimental role—set rather backwardly and the orchestra in a dryish acoustic. Yet, with its wild flourishes in the opening and catchy, angular main theme, this is certainly a success, contrasting bursts of energy with the slow central section and its passionately rhapsodic melancholy. The piano emerges more strongly in the very florid finale, the bubbling animation of the playing reaching a frenzy of activity towards the end.
The Tomasi (1901–71) is an even better piece. It opens arrestingly and then produces a brief muted solo that is almost a blues. Lyrical and rhythmic elements are agreeably alternated, when the lyrical theme returns fully scored on the strings, its yearning is much more French and the 'pop' flavour evaporates (2'36''). There is a long and interesting cadenza (spiced with side-drum snares) before the movement closes. The central ''Nocturne'' brings another muted solo, touchingly dejected, the removal of the mute increases the feeling of poignancy and the tutti develops a Ravelian ecstasy, the trumpet riding high on top—a splendid moment. The finale is deliciously blithe, the brilliantly complex trumpet figurations are launched with sparkling, easily pointed virtuosity, matched by comparable bravura from the orchestra. The Concerto could hardly be better played and emerges much more positively and characterfully here than in the previous version by Marsalis.
However, in the Haydn and Hummel, the Nakariakov/Lopez-Cobos performances do not quite match the famous versions by Hakan Hardenberger, who has the inestimable advantage of wonderfully smiling accompaniments from Marriner and the ASMF. Lopez-Cobos and his Lausanne players provide an alert, essentially classical backing in both works, although the Hummel is moved forward steadily rather than generating an affectionate charm. Nakariakov plays this piece in E flat (against Hardenberger's brighter E major) yet while he manages the lilting dotted theme in the first movement with an easy style that is distinctly appealing, and there is no lack of light and shade, his clear open timbre is slightly affected by the lower pitch. Hardenberger makes a very strong case for playing the concerto in the higher key. Under Lopez-Cobos the tuttis of the first movement of the Haydn are crisp and cleanly rhythmic and no more. Here, however, the lovely Andante is so gracefully phrased by Nakariakov, who completely dominates, that the ear is ravished and the finale sparkles delectably, as does, for that matter the finale of the Hummel.
The Teldec recording is truthful, but less flattering to the orchestra than the Philips sound for the ASMF, which though perhaps slightly over-reverberant, provides an appealing bloom. As a whole this new CD is a distinctive compilation, and confirms Nakariakov's position as one of the world's leading trumpeters.'