June 19, 2019

  • Giltburg Explores Rachmaninov's Preludes

     

    Rachmaninov: 24 Preludes
    Boris Giltburg, piano.
    Naxos Records 8.574025
    Total Time:  79:55
    Recording:   ****/****
    Performance: ****/****

     

    Boris Giltburg has been creating a steady stream of critically-acclaimed recordings ever since his initial signing with Naxos in 2015.  To date he has explored some Shostakovich, Beethoven, and, most notably, Rachmaninov of which he has gained a reputation as a premiere interpreter of the great Russian composer’s music.  Here he takes on Rachmaninov’s exploration of the grand tradition of exploring tonal harmony hearkening back to Bach and Chopin, and contemporary to Debussy’s preludes.

    Rachmaninov’s preludes were composed across an 18-year period and for many are the pieces where one turns to explore the composer’s development.  The preludes of Op. 23 and the “Prelude in c#” from his Morceau de fantaisie, Op. 3 (1892) are all part of his more Romantic style while those of Op. 32 (1910) already are firmly moving into a more modernist world.  The pieces are all quite different in character even though some, perhaps the most popular of the set, have beautiful lyrical melodies.  It is clear from the way these works are structured that Rachmaninov was working off a specific plan that would essentially link the entire collection of preludes eventually.  Throughout we hear him exploring sonorities that would find their way into his orchestral music (i.e., bells) with works that are more abstract also next to those whose inspiration came from paintings or literature.  The Op. 32, no. 4 prelude has echoes of the second symphony in its dramatic flow, for example.

    There are hundreds of recorded performances of the preludes, some gaining more attention than others, and it is generally the approach of the performer that helps make these pieces come alive beyond sheer pianistic virtuoso playing, although some of that is needed.  In the more popular Op. 3 prelude, Giltburg likes to have a lot of sustain that adds a rather dark quality to the music while also adding better contrast to the faster-paced section.  It is not quite dashed off, and it is a work that will likely be played by personal favorites, but Giltburg’s performance is convincing all the same recalling the composer’s own.  The Fazioli he performs on here has a very rich tone as well which certainly adds to the performance and sets up the listener for the intensity of what is to come.  These are carefully-conceived performances where each note seems to be given an equal weight against the notable melodic lines that are layered onto the often rich harmonies of the Op. 23 preludes (1901/03).  Once we are in to this set, especially the second prelude in Bb Major, we get a real sense of the sweep of the playing here with a rhythmic precision that is even maintained in the rubato moments throughout the music.  The fifth prelude in g minor has excellent, clear rhythmic pulse in the march sections and gorgeous romantic restraint in the lyrical section from which the other then grows out of for its return.  It's dreamier counterpart of Op. 32 is given an almost sublime performance here with its restraint and quietude and welcome pause from the intensity of moods that surround it.

    At this point, one can easily recommend this latest installment of Giltburg’s Rachmaninov cycle.  It is stunningly recorded and the performances are equally inspired here.  The pianist also provides some excellent notes to help guide the listener more, which are especially helpful to those coming to the music for the first time, or even for the hundredth!  In some ways, Giltburg’s approach brings us a blend of intimacy with more moodiness than stormy intensity though the latter certainly raises its head from time to time.  The real triumph here is the very clear textural playing that he achieves.  There is also a sense of the longer trajectory of the collection not just the individual pieces as standalone.  This has its own impact and the general interpretive approach.  Most likely those who have come to love this music will have their personal favorites and this too will be a matter of taste, but it certainly moves to the top of recordings of this repertoire.