Sergei Prokofiev (1891-1953)
Piano Concerto No. 2 in G minor, Op. 16
Alexey Shor (b. 1970)
Piano Concerto No. 1
Behzod Adburaimov (piano)
Royal Philharmonic Orchestra/Vasily Petrenko
rec. 2024, Henry Wood Hall, London
Reviewed as a download
Alpha Classics 1124 [58]

I very much enjoyed Behzod Abduraimov’s previous two CDs from the Alpha label. In the most recent, titled “Shadows of my Ancestors”, he tagged a good selection from Prokofiev’s Romeo and Juliet to Ravel’s Gaspard de la nuit and a piece from his native Uzbekistan. His prowess in Gaspard make it no surprise that the mighty Prokofiev Second he tackles in his new disc, holds no fear for him.

Written when Prokofiev was mostly twenty-one years old, lost, then reconstructed ten years later, it presents a formidable challenge to pianists. Over thirty minutes long, in four contrasting movements, it is massive, dramatic and always intense. There have been three outstanding records in the last ten years that I have collected. At the age of twenty-two, Beatrice Rana chose it for her debut on Warner (review), recorded in Rome and shepherded by Antonio Pappano. In 2019 in Saint Petersburg, Daniil Trifonov recorded it for DG (review) with the Kirov and Gergiev. Most recently fellow Russian Zlata Chochieva’s version on Naïve was seriously impressive.

In terms of pure timings there is very little difference separating the four versions under consideration. Listeners who know this work well however, understand that there is a lot more to do than clock watching, when performances of it are to be evaluated. Abduraimov sets up a gentle narrante and he is accompanied sympathetically by the RPO and Petrenko (is this their first recording?). There is a bit of congestion in the sound at the first forte (cue 4 in the score and 2:14 in this recording). The next theme occurs after some lovely work from the flutes and clarinets of the orchestra and the pianist enters with his flippant strolling song five bars after cue 7 in the score (3:14). Abduraimov is cheeky and plays around a bit with the tempi, but it is done with style and Petrenko (an experienced Prokofiev conductor) follows in a similar vein. The finger-work in the keyboard part now gets hair-raising! Abduraimov doesn’t seem troubled by it and arrives at his little rest at cue 12 without a bead of sweat on his brow (figuratively speaking). The section leading up to the next orchestral episode at cue 18, is all rising and descending at different dynamics and Abduraimov takes this very well too.

The lovely orchestral passage from 5:05 always reminds me of Stravinsky’s Firebird. It is a calm before the storm, as when it ends, we begin the epic cadenza that takes the place of the development section in this work. Thematically, the piano plays with just the principal theme stated at the start of the work, but it is volcanic. The intensity builds slowly but inexorably and the eruption when it arrives is unparalleled in the concerto repertory. The writing is often spread over three staves and the breadth of compass is immense. Abduraimov’s cadenza does not match Trifonov’s sense of grandeur not Chochieva’s clarity but it is still mightily impressive, as it should be and it is definitely con tutta forza.

The orchestra come back in fortissimo at cue 21(10:06). I would have liked a wider separation in the sound picture and a bit of space between the piano and the orchestra, as the sonics do feel a little overloaded and thick in these pages.

Following the score is not advisable for the next movement (unless you want to make yourself dizzy). In the scherzo, Prokofiev doesn’t let up with his semiquavers in the fast moto perpetuo he sets up in both hands. It is a nimble and dextrous account from all concerned. The third movement is a menacing heavy march which Prokofiev calls an intermezzo. Abduraimov plays with varying shades and I was especially impressed with his light filigree work when he gets chance to do it: pianissimo scales at cue 70 and those flourishes at 71. Trifonov in this movement is superb though and for me remains uneclipsed.

The finale to Prokofiev’s Piano Concerto No.2 begins in a frenzy with an off-beat percussive theme which must have sounded very avant-garde at the time. Wild leaping chords die down and at cue 99 in the score, we hear a new theme. The piano takes up the folk tune like idea at the next cue (Track 4, 2:21 on this record). This calming song is nicely phrased by Abduraimov and embellished by the RPO led by the principal bassoon. At cue 108 the movement moves into an allegro section which is vigorously done here and brought to a conclusive end by Petrenko at 6:00 with a chord of Beethovenian assuredness. 

The cadenza section which follows is perhaps Abduraimov’s best showing in the piece. He relishes those fermatas and creates a Holstian sense of wonder and mystery in the rising and descending passages from 7:00. It is all very stylish and he builds up well to the faster episode which follows. The sense of rising force is well managed; any sense of climax held in check until that final flourish, which even then is tempered by the crafty composer. 

I was glad to encounter the pianist in this work which he was always going to record. The version certainly shows his virtuosity and his developing maturity. Aged thirty-four now, he is an exact contemporary of Trifonov and it will be interesting to watch both their careers as they develop. Space has precluded me from writing about the merits of the Chochieva and Rana performances. They are excellent and well worth hearing. Ashkenazy’s version with Previn is still worth a dusting off occasionally as well, as many collectors will attest.

Behzod Abduraimov couples his Prokofiev 2 with a brand new concerto by Ukrainian born Alexey Shor. His Piano Concerto No. 1 is a twenty-six-minute work and here receives its world premiere recording. In the notes, Shor himself writes about the work and reveals that it is a very personal work to him, depicting different stages of human emotions. He tells us how he uses a wider palette of textures and dynamics than he had hitherto in previous works.

It is a lovely, elegiac, tonal work. The first movement is in a light neo-classical style. After an orchestral exposition the soloist enters in the normal classical manner. The principal theme is developed quite nicely before a second more Romantic idea is sung by the piano (from around 2:30). This gentle theme is again handled ingeniously and thrown between soloist and orchestra. There are other themes that Shor introduces but it is the one we heard at the onset that comes back at 7:15 resolutely in the orchestra. Whilst this first movement does not probe any depths of the soul, it is skilfully crafted and worthy of the time taken by Alpha and the musicians in getting it onto disc. There is a cadenza beginning at 10:54 which like the Prokofiev, uses mostly material from that first subject. Abduraimov clearly enjoys himself and the movement finishes in style.

The second movement is an andante, tender and gentle of manner. The construction seems to be a theme and variations, some of which are played by the orchestra, most by the soloist. Some variations stray quite far from the original temperament in key and mood; all are charming and I enjoyed them very much. The finale termed as an allegro con passione is in rondo form, short and snappy. I believe Shor lives now in America and I can hear obvious US influences here.

The new concerto is a nice partner for the Prokofiev, adding to this disc’s appeal for me. I was glad to hear it and I expect I will return to it in my summer listening.

Philip Harrison 

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