Johannes Brahms (1833-1897)
Piano Concerto No. 1 in D minor, Op. 15 (1854-58)
Piano Concerto No. 2 in B-flat Major, Op. 83 (1881)
Simon Trpčeski (piano)
WDR Sinfonieorchester/Cristian Măcelaru
rec. 2023 (No. 1); live, 7-11 March, 2023 (No. 2), Kölner Philharmonie, Cologne, Germany
Linn CKD732 [2 CDs: 95]
Macedonia-born (1979) Simon Trpčeski delivers a somewhat scaled down performance of the Brahms First Piano Concerto, and while his account of the Second is more mainstream in its approach, it too is a bit restrained in places. These descriptions might discourage some readers from purchase of this pair of discs, but actually both performances have much to offer. Trpčeski isn’t the first pianist to take the view that the youthful Brahms, just twenty-five when he completed his First Piano Concerto, would not likely be mired in the kind of dark tragedy often associated with much of this work, especially the first movement. One thinks of the late Radu Lupu as one pianist who successfully adopted a more relaxed and warmer approach. Thus, it’s not that Trpčeski is unexciting or bland; rather, he tends to be subtle and focuses more on the lyrical aspects of the work and in the end turns in a mostly convincing performance.
The Brahms First begins with plenty of drama from the orchestra, which is led very ably by Romania-born, France-based Cristian Măcelaru. The opening chord and the drum roll that continues afterward bring on a sense of power and even anger: some have claimed the opening represents Brahms’ reaction to his friend Robert Schumann’s then-recent suicide attempt. In contrast the strings play the main theme with a somewhat less assertive character and remain a bit restrained throughout the orchestral introduction. Trpčeski enters with a more gentle manner than is usual and goes on to deliver a very beautifully played account of the lyrical F major theme. The octave passage that launches the development section is played with restraint and a rather deliberate tempo. This passage and the rest of the development need a little more spirit and in certain places more heft. The remainder of the movement is well played by both the soloist and orchestra.
The Adagio is probably the most successful movement in this performance. Măcelaru draws fine playing from the orchestra in the introduction, delivering a most sensitive rendering of this serene yet passionate music. Trpčeski enters with gentle, caressing tones, the music taking on an almost religious air, especially as it swells in volume (2:26 to 2:58) to reach a sort of climactic release of consolation. The more intense and imposing music in the middle section is performed with the appropriate mixture of stateliness and fervor by both Trpčeski and the WDR players.
The finale brims with energy throughout, though Trpčeski plays with a lighter touch than is usual and thus tends to understate his role a bit. He may well see the music as looking back toward the Classical period (a reasonable view, no doubt) rather than toward the Romantic era. Nevertheless, he doesn’t shortchange the mostly joyous and vigorous character of the music. The Coda is particularly well played. In the end, this is a good performance of the work but one that won’t please everyone.
Recorded in concert, the Second opens with fine solo horn work, and Trpčeski follows with a well-played but slightly reserved cadenza. The orchestra then delivers the exposition with plenty of energy and gravitas. When the piano reenters at 3:28 Trpčeski’s potent chords and the scampering notes that follow are played with abundant pedal. In fact, he often uses liberal amounts of pedal in the first movement, though there are moments too when he lightens his touch (4:07 to 4:18) and uses little to no pedal. Overall, Trpčeski makes these contrasts work well and his tone here and throughout the concerto typically adapts sensitively to the emotional flow of the music. The brisk and challenging passage on piano (7:43 to 8:24) that builds to the big orchestral statement of the main theme in F minor brims with energy and tension, though I wish the wild trills at the end of this passage were more forward in the sound field. Still, the first movement comes off quite convincingly overall.
The Scherzo is played in a slightly understated manner by both the soloist and orchestra. Brahms designed this turbulent movement to be in sonata form and placed the Trio in the development section. Here there is less a sense of urgency and angst in the outer sections, though in the development section the mood does turn appropriately stormy. Trpčeski holds back somewhat in his fortes in playing the main theme and the orchestra follows suit. In the end, one must assess the playing here as good but slightly wanting for greater emotional extremes.
As in the First Concerto, it’s the slow movement that makes the finest impression here. The cello solo, probably played by Oren Shevlin, is lovely indeed, though I believe his instrument is a bit too closely miked. But with playing of this caliber, it’s hard to complain. As most readers are likely aware, the piano’s role is limited in this movement, but Trpčeski wisely doesn’t attempt to overplay his part to compensate for his absence at the opening and his deference to the cello in the main theme’s recapitulation near the end. When he finally enters at 2:40, Trpčeski maintains the serene mood with gentle, sensitive playing and then nicely develops tension in leading up to the turbulent B flat minor theme. The rest of the movement is beautifully played by all.
The finale opens in a very playful and gentle manner, Trpčeski’s tone soft and his interpretive stance elegant. For most of the movement he maintains this less aggressive style, though the stormier music that comes on as the music develops has ample weight and a strong sense of agitation. Overall, Trpčeski’s understated manner works very well here, and he is seconded on the orchestral side quite ably by Măcelaru. This is one of the better Brahms Seconds, though I prefer Serkin/Szell, Cliburn/Reiner and Grimaud/Nelsons, the latter contained in a set that also pairs the two concertos. In the First my preferences are Rubinstein/Reiner and once again Grimaud/Nelsons. The sound reproduction on this Linn double CD is generally good, though the piano is a bit shrill in places and the drums often have a boomy and somewhat recessed sound in the First, but are better recorded in the Second. Overall, I’m glad to have this new set from Trpčeski and Măcelaru since both performances take an interesting and, in the case of the First, quite unusual but valid approach to the music.
Robert Cummings
Previous review: Simon Thompson (February 2024)
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