Volodos Plays Liszt

Volodos Plays Liszt

Volodos Plays Liszt
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CD Details

Composer: Franz Liszt
Performer: Arcadi Volodos
Edition: Music CD
CD Release Date: 2007-04-17
Music Label: Sony Classics
Soundtracks:
  1. Ann�©es de p�¨lerinage I - Suisse, S 160; No. 6 La vall�©e d'Obermann
  2. Ann�©es de p�¨lerinage II - Italie, S. 161; No. 2 Il penseroso
  3. St Fran�§ois d'Assise, S. 175; No. 1 La pr�©dication aux oiseaux
  4. Bagatelle sans tonalit�©, S. 216a
  5. Hungarian Rhapsody No. 13, S. 244/13
  6. Ann�©es de p�¨lerinage II - Italie, S. 161; No. 1 Sposalizio
  7. Prelude in F minor after Bach "Weinen, Klagen, Sorgen, Zagen", S. 179
  8. Harmonies po�©tiques et religieuses, S. 173; No. 7 Les Fun�©railles
  9. La lugubre gondola (Trauergondel) No. 2, S. 200/2
  10. En r�ªve (Nocturne), S. 207

Music reviews of Volodos Plays Liszt

Music Review: Arcady Volodos, plays Franz Liszt + SACD = Liszt reincarnate?
Rating: 5 Stars

Listening to this SACD in multiple channels, I felt faint.

For starters, a listener simply has to hear this recital quite a few times before it even begins to sink in, as music. Like some deity with multiple arms, Volodos exhibits a sheer and athletic physical command of the Steinway keyboard so high and effortless that few players, indeed, could even move into a nearby technical neighborhood. His playing somehow seems to evoke combined associations with Alpine glacier skiing, luge, Houdini-like death-defying escapes, myth about King Midas golden touch, the finest possible human or animal gymnastics, ballet, modern dance, and maybe even the ancient Greek myth of Icarus.

Whew.

After a few spins, I stopped sitting in my listening room, jaw dropped and mind completely numbed by the sheer, vertiginous physical presto-chango of it all. Letting my ears and mind and heart seep past those outer flash barriers, then I could begin to get an inkling of this Liszt recital as music.

Whew, what music.

We continue to have an vaguely fond and enduring image of Franz Liszt - part genius, part virtuoso, part charlatan. Like one of those extremely well-read figures that used to pop up in novels or theater, an itinerant alcoholic (more often than not) who knew Shakespeare exhaustively without erring from memory, but who couldn't resist hamming it all up, every single time. We have grown a tad wary and cautious these days when Liszt gets programmed into a recital or concert. We rather regularly anticipate that one part genius to two parts glitz and blitz will be par for the musical course.

Not here and not with Arkady Volodos.

Vallee d'Obermann erupts at times from the Steinway keyboard as if we were reliving Vesuvius and the ancient panoramas of Pompeii. But Volodos' high-minded focus on the immense scale of the musical narrative never falters. He always finds the lyrical through lines of even the most complex or animated passages. Hearing him do this so consistently is a bit like being able to ride lightning, thanks to an Oppo touch of a button. Suddenly the arch-Romantic Era notion of the soul as an angel of embodied fire seems entirely less far-fetched and fanciful than before I put this SACD on for the first of many spins.

Whew, what a composer.

Could any number of later, great musical figures have dug so deep into musical color, musical electricity or magnetism or atonal dark matter - without Franz Liszt cracking open all these doors, just so? Note to Sony BMG marketing: Volodos must do the Scriabin piano sonatas as soon as he can manage recording them. Unless he says, No and has other fish to fry.

Pensoroso moves into other realms. The fires in this piece are completely banked, transforming all the extrovert mad feeling of the preceding work into something so sad and inward that it is difficult to grasp intellectually, and probably the only way to hear it is to let it take hold of you as you listen, and make you feel ethereal atmospheres which cannot quite be apprehended. Is this thought really a thought? A sensation? A perception? A mood? A feeling? Before one can figure it all out, the work is finished, and we are on to the next track.

Saint Francis preaching to the birds opens yet another, distinctive and fantastic musical vision. Volodos has his incredible way with the birds speaking, and perhaps under this magic spell a listener may be forgiven for believing that, like Siegfried after he has tasted Fafner's spilled blood, we really do hear and understand something Nature is saying to us, utterly beyond practical words rooted in socialization and culture. The religious overtones are clear - but never render the saint's sermonizing in any religiously amateurish or overly sentimentalized manner. Imagine Franz Liszt glimpsing realms within which modern French composer Olivier Messiaen would later take mystical and musical wing.

The Bagatelle without Tonality simply shows us how easy it already was in music by the composer's era to start floating free of the received legacy tonal hierarchies. The ability of the piece's harmonic aura to shift gears, turning deftly on a single note reminds one of Beethoven's abilities in this regard; but Liszt is reaching far beyond Beethoven's enharmonic or other key changes. A sprite breathes upon us in this seemingly improvised encounter. Can we trust our eyes or ears? Do we partly realize how wispy and homespun the brain's perceptions really are, of a constantly-changing and transforming world that is not at all solid?

Hungarian Rhapsody 13 returns us to the culturally rooted Franz Liszt, proud of his Hungarian ethnic heritage. Volodos has made his own arrangements of the original, suited ever so artfully to his own special high abilities. Now it takes a certain respect and technical reputation to get away with this sort of thing, at minimum, and Volodos obviously in this regard is the closest living performer who could stand without the slightest glare or embarrassment in the lineage of, say, Vladimir Horowitz.

Unlike even Horowitz, however, Volodos yields not a moment's sense of strain or effort. He manages the rhapsody so well that when he lets his fingers rise to break free of Planetary Gravities, we feel that freedom is the inevitable fulfillment of the earthbound restraint and pull that makes things cohere. What keeps this rhapsody from being nothing but a tasty bon-bon is the immense fun and joy that Volodos has in his way with it. Like running outside on a very fine Spring day, with the breezes let loose and the saps of Nature running, full flow. One feels very green, very young, juiced.

Oops. Space is running out for comments. Get this disc now unless you are terribly allergic to the piano or to Liszt.

The rest of the SACD is every bit as wonderful as the first has been.
More Volodos Plays Liszt free music reviews:
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Description of Volodos Plays Liszt

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