Fault Melnikov

Alexander Melnikov’s recent, excellent set of the Shostakovich 24 Preludes and Fugues (currently nominated for the BBC Music Magazine Awards) demonstrated eloquently that he was no slavish follower of performing tradition. This new disc of Brahms’s earliest surviving piano works shows his questing musicality in another way. In an absorbing booklet essay on Brahms’s pianos and pianism, Melnikov cites the copious (and contradictory) evidence of how Brahms played, and what pianos he used and favoured. Brahms’s partiality for Steinways and Streichers is well attested, as is his admiration for Bösendorfer’s instruments, and Melnikov has opted here for an 1875 Bösendorfer even though, as he comments, it is ‘notoriously difficult to play and to regulate’, shortcomings ‘compensated by the beauty and nobility of its sound’. Those qualities, along with immediacy of attack, agile articulation and individuation of registers, are admirably well caught in this recording: no matter that none of these works were played on such an instrument when they were new. Melnikov shows himself a formidable Brahmsian, and the piano’s ‘nobility’ is best displayed in the surging grandeur he brings to the finale of the C major and the intensely sensitive readings of both sonatas’ variation-form slow movements.

Isabelle Faust and Alexander Melnikov present the third volume in their complete set of sonatas on period instruments. Their playing, showing “great elegance and utter rigour,” is distinguished by “a tender and delicate expressiveness served by exceptionally subtle nuances” (Classica).

In nearly every respect this is outstanding. The Rondo brillant and the Fantasie, both written for the virtuoso duo of Karl von Bocklet and Josef Slawik, can sound as if Schubert were striving for a brilliant, flashy style, foreign to his nature. Both are in places uncomfortable to play (when first published, the Fantasie’s violin part was simplified), but you would never guess this from Faust’s and Melnikov’s performance; they both nonchalantly toss off any problem passages as though child’s play. The Fantasie’s finale and the Rondo brillant are irresistibly lively and spirited, and this duo’s technical finesse extends to more poetic episodes – Melnikov’s tremolo at the start of the Fantasie shimmers delicately, while the filigree passagework in the last of the variations that form the Fantasie’s centrepiece have a delightful poise and sense of ease.

The patron saint of neglected instruments, Hindemith composed more than 30 sonatas for very diverse resources – including, unusually, such instruments as the bass tuba and double bass. Among the more obscure combinations is the Sonata for Althorn and Piano, which opens this arresting new disc, and stands out further for including a spoken dialogue between the two players (here, Teunis van der Zwart and Alexander Melnikov) at the start of its finale. Sonata-starved trombonists also value Hindemith’s contribution to their repertoire, but as Gérard Costes shows, this is not merely Gebrauchsmusik (utility music), useful only to performers themselves. Played with blazing tone by Jeroen Berwaerts, the Trumpet Sonata emerges with particular brilliance. These three brass sonatas generally come across with more subtlety than on the well-known recordings by Glenn Gould and friends. Anchoring this new project, Alexander Melnikov is a superbly thoughtful and questing pianist.

After a successful trilogy devoted to the concertos and trios of Schumann, Freiburger Barockorchester and Pablo Heras-Casado could not ignore one of Beethoven's most unusual works: the Triple Concerto. Alongside Isabelle Faust, Jean-Guihen Queyras and Alexander Melnikov, they bring this score to life as only true chamber musicians can, revealing it's subtlest colors and balances. The trio transcription of the Second Symphony, which was supervised by the composer himself, judiciously completes this exploration of lesser-known Beethoven, in which intimacy mingles with grandeur.

Teunis van der Zwart and Alexander Melnikov have chosen to pay tribute to Giovanni Punto, now unknown to most music lovers, even though he truly established the cor basse (horn focused on the low register) by devoting no less than sixteen concertos to it! It was he who inspired Beethoven's famous Sonata op.17; the pieces by Danzi and Ries also bear the mark of his legacy. This recording provides an opportunity to discover the unique sound of this instrument in four emblematic works.

The Mozart sonatas for fortepiano and violin, as they are accurately called, represented a genre that was beginning to become old-fashioned in Mozart's own time, with the piano the dominant instrument and the violin, during Mozart's youth at least, an almost optional accompaniment. They aren't played as often as Mozart's other chamber music, but there are many ways to play them. It is good to have a spate of new recordings oriented toward historical performance; these put the listener closer to Mozart's experimental frame of mind in this genre.

With his First Concerto, the young Brahms set his own course in the wake of Beethoven and Schumann and at the same time poured forth his personal emotions in this work of impressive dimensions. Russian soloist, Alexander Melnikov, has chosen an instrument contemporary with the premiere, a magnificent Blüthner piano from 1859, a perfect match for the Sinfonieorchester Basel under it's British conductor Ivor Bolton. In addition to Brahms's Tragic Overture, the program also includes the much rarer Overture to Éliza, an opera by Cherubini, a composer whom Brahms greatly admired.

With this new volume, Alexandre Melnikov has chosen to delve into three distinct periods of the composer’s career, ranging from the dazzling though seldom-heard No. 4 to the magisterial No. 9. In between those two, the sonata no. 7 once again evokes the troubled atmosphere characteristic of the three so-called ‘war sonatas’. Sviatoslav Richter claimed to have learned the piece in a mere four days.