Pictures at an Exhibition (Mussorgsky)

Pictures at an Exhibition (Mussorgsky)
Scott Davie (piano)

 

Piano Sonata No 1; Fragments;

Oriental Sketch; Piano Piece in D

minor; Piano Piece in A flat

(Rachmaninov)

ABC Classics 476 3166

TPT:74’52”davie1

reviewed by Neville Cohn

 

 

Scott Davie provides one of the most satisfying recordings of Mussorgsky’s Pictures at an Exhibition currently available on compact disc. His musicality runs like a silken thread through the performance.

Recorded sound is exceptionally fine – it is in the best sense “real” – allowing the listener to savour Davies’ interpretative probings to the full. There’s not a dull moment in a performance brimming with insights that make even the meanest succession of notes eminently listenable.

The Promenade episodes that dot the score are a case in point. In lesser hands, they can so easily sound routine, even humdrum. Not so here. In turn strident and gentle, they are like fine musical sorbets that provide the aural equivalent of clearing the palate between courses at a sumptuous feast.

If ever there was a work in which the first rate is inspired by the third rate, it is this. Had Mussorgsky not written this work – triggered by drawings and paintings of his friend Victor Hartmann – it is almost certain these quite ordinary efforts would long since have disappeared into history’s rubbish bin. But Mussorgsky’s wonderfully imaginative work – written in homage to his friend who ahd die aged a mere 39 years – ensures that his friend’s lacklustre drawings will be thought of as long as this keyboard masterpiece remains in the standard repertoire.

Consider Davies’ account of Bydlo. How masterfully he suggests – in the most unequivocal of terms – the ponderous, lumbering nature of a ox-drawn wooden cart. The Ballet of the Unhatched Chicks is another gem, its insouciance coming across with featherlight buoyancy. By contrast, Catacombs, with its overlay of a tolling, treble-register bell, has about it an all-encompassing mood of desolation, of sadness beyond sadness.

In the first movement of the Rachmaninov Sonata, Davies marshals its tsunami of notes with remarkable success, giving to this epic utterance a sense of structure that would elude most others game enough to play it. Certainly, the wildness that lies at the heart of much of the first movement is impressively conveyed. Davies, too, manages to make the meretricious note spinning that is the finale sounds far better than it really is.

In a bracket of miniatures, Davies does wonders with Fragments coming across as a hushed essay in wistfulness. And one could hardly imagine a more sympathetic interpreter of the Piano Piece in D minor, its mournful essence judged to a nicety.

Copyright 2006 Neville Cohn

 

 


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