![\"Arcadi](\"http:\/\/www.musicalamerica.com\/mablogs\/wp-content\/uploads\/2013\/12\/sonyVolodos.jpg\")
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By ANDREW POWELL MUNICH \u2014 Somewhere between the patent introspection of his new Mompou CD<\/a>* and the tags of his early Stateside career \u2014 \u201cbig bravura pianist,\u201d \u201cnew Horowitz\u201d \u2014 lies an accurate description of Arcadi Volodos<\/a>. It may simply be this: German Romantic, as in Schumann and Brahms, with impressionist flair.<\/p>\n That was the take, anyway, from a commanding, technically flawless Bell\u2019Arte<\/a> recital Dec. 12 here at the Prinz-Regenten-Theater<\/a>, and it is buoyed by the disc. The 41-year-old pianist from St Petersburg stands distant from the trajectory of his rise: 1998 Carnegie Hall debut, Berlin readings of Rachmaninoff and Tchaikovsky concertos (1999 and 2002). He still plays with strength and vision, but what distinguishes him now is a command of form and the willingness to disturb it in expressive ways.<\/p>\n Stardom, meanwhile, has improbably blurred thanks to the presence of another St Petersburg pianist with what trademark authorities might term a confusingly similar name<\/i>, Alexei Volodin<\/a>, 36. (No also-ran, the latter gave a recital<\/a> himself Dec. 15 at the Mariinsky.) Even so, allegiance to Volodos has held firm, particularly here in Germany, and to its credit his record label Sony Classical<\/a> has stayed with him.<\/p>\n Schubert\u2019s 1815 C-Major Sonata opened the recital, stitched up with its Allegretto (D279\/D346). It seemed a weak choice until Volodos testily hammered and carved his way through, knowing exactly what he wanted from the music. We heard the sound of Beethoven.<\/p>\n The pianist stressed formal commonalities in the standalone pieces of Brahms\u2019s Opus 118 (1893) and allowed contrasts to make their point without emphasis. Full, deep tone colors throughout, and natural lyricism in the framing sections of the A-Major Intermezzo and in the Romance, lent due character. In the final measures of the E-flat-Minor Intermezzo, as poetic cap, Volodos mustered a monumental stillness. (His reported recent success<\/a> in Brahms\u2019s Second Piano Concerto, with longtime collaborator Riccardo Chailly<\/a>, is consistent.)<\/p>\n After the break and a fluent Schumann Kinderszenen<\/i>, Volodos boldly energized the same composer\u2019s C-Major Fantasie<\/i> (both 1838), its three movements speaking with phenomenal power and passionate unity. For the Finale (Langsam getragen, durchweg leise zu halten<\/i>), he coaxed a mood of poignant reflection unmatched even by Pollini in the famous 1973 recording (made across town here at the Herkulessaal).<\/p>\n The CD* of miniatures by Federico Mompou<\/a> (1893\u20131987), recorded last December in Berlin, is a worthy issue in these times of superfluity. Few distinguished recordings have been made of the Spaniard\u2019s music, and Volodos commits himself intensely to it, judging from his liner essay as well as his playing. Although the output is often related to Satie, Mompou\u2019s late imaginative world (not the style) lies closer to Debussy in his Pr\u00e9ludes<\/i>.<\/p>\n Volodos declares the four M\u00fasica callada<\/i> sets (1951, 1962, 1965, 1967) to be peaks of achievement: \u201c \u2026 the music [Mompou] spent all his life moving towards \u2026 wrested from eternity, as if it already existed in the Spheres \u2026 .\u201d He plays eleven of the pieces, from the total of 28, drawing on all four sets in a sequence his own. This \u201cquietened music\u201d is both abstract and personal, the product of an old solitary man, but not one at death\u2019s door; Mompou lived another twenty years after completing Set 4. Many pieces are \u201cLento,\u201d a marking that satisfies the composer for divergent exercises in peace (VI), pain and emptiness (XXI), and generalized remoteness or stillness. Others, such as the Moderato XXIV of 1967, flow so plainly and concisely that a marking is hardly needed. The many chilly passages in the M\u00fasica callada<\/i> tend to be broken by warm chords in unexpected places.<\/p>\n Volodos revels in the myriad nuances of these valued miniatures and, as in Brahms, downplays contrasts in favor of coherence. He finds fantasy here and there, catches the fleeting moments of excitement, and instantly lets ideas go when they must. The interpretations are light of touch and magical.<\/p>\n Half of the disc holds short independent works, most of them tellingly shaped. In Preludio<\/i> 12 (1960) and elsewhere, Volodos shows Vlado Perlemuter<\/a>\u2019s knack for placing just the right weightings in pale adjacent phrases to support a long idea, saving music that could easily sound aimless. The much earlier (1918) Sc\u00e8nes d\u2019enfants<\/i> suite, home of the cute encore Jeunes filles au jardin<\/i>, receives an imaginative traversal. Sony\u2019s release is strikingly packaged with photographic details of Antonio Gaud\u00ed<\/a> buildings in Barcelona, the composer\u2019s home town, although typos mar its booklet. The company might now want to entice Volodos into documenting the remaining M\u00fasica callada<\/i>.<\/p>\n [*In August 2014 the disc received an Echo Klassik Award<\/i>.]<\/span><\/p>\n Photo \u00a9 Sony Music Entertainment<\/p>\n Related posts:
Published: December 22, 2013<\/span><\/p>\n
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