Twenty-four Preludes, opus 34; Aphorisms, opus 13; Piano Sonata No. 1, opus 12; Three Fantastic Dances, opus 5.
Konstantin Scherbakov (piano).
Naxos 8.555781. DDD. TT 66:34.
Recorded Potton Hall, Suffolk, UK, 12 and 13 February 2001.

Shostakovich's piano music continues to gain in popularity and appreciation. The present Naxos disc matches his ever-popular Three Fantastic Dances and Twenty-four Preludes with the Piano Sonata No. 1 and Aphorisms, which are both far less well-known but by no means inferior works.

The Preludes, opus 34, are first on the programme. Scherbakov's interpretation of the set leaves no doubt that here is a thoughtful and intelligent musician. Prelude No. 5 is brilliant and effortless, as is No. 11. I am impressed most of all by his rendition of the preludes of a lyrical and dance-like character, such as Nos. 8 in F#, 17 in Ab, 18 in F, 19 in Eb and 22 in G. His palette of soft and delicate sonorities is rich and he creates poetic and varied images within a dynamic range of quiet to very quiet. One word of caution, however, is that the recording itself has a very wide dynamic range, so that when mf-f passages sound fine, sections played p-pp are barely audible, requiring immediate readjustment of the volume control.

Scherbakov's attention to subtle detail is remarkable, although at times it leads to tempi that are excessively slow for my taste, with chopped lines and phrasing. This mars his interpretation of, for example, No. 6 in B minor, making it pretentious instead of humorous, No. 10 in C#, taking away its inherent semplice, No. 15 in Db, losing its propulsion and drive, and No. 24, destroying its continuity. The familiar No. 14 is also disappointingly monotonous, because its inflexible agogics do not correspond to the drama and intensity of the music. However, despite some less convincing interpretations, the cycle as a whole is refined and musical.

In the next work, Aphorisms, Scherbakov demonstrates less imagination and sparkle than one might expect. His best performances here are No. 7, The Danse Macabre, played at an excitingly fast tempo and with an appropriately ironic flavour, and No. 4, Elegy, performed with warmth and beautiful tone. However, more often than not, I find that Scherbakov's interpretation lacks boldness and temperament. For example, the Nocturne, No.3, never reaches the required appassionato or ffff; the Funeral March, No.5, has little contrast between mp and ppp and sounds with little or no pedal where Shostakovich specifically requested pedal al segno from bar 9 to bar 22. Some odd pedalling and too-timid tone and dynamics impoverish the last, gorgeous piece, Lullaby. The only other currently available recording of this work, by Raymond Clarke (Divine Art 25018; reviewed in DSCH No. 18), is much preferable.

Shostakovich's Piano Sonata No. 1 remains one of the most difficult pieces in the piano repertoire and also one that still has no traditional interpretation. It appears that Scherbakov consciously denies its romantic roots and chooses to interpret it in a similar style to Aphorisms. It is otherwise difficult to explain why the f-ff climaxes from bar 170-197 have so little pedal and sound so anaemic, why there are so many unjustified ritenutos throughout, and why the Lento section is practically twice as slow as indicated. Although I find in this performance many enchanting (albeit often eccentric) sonorities, they do not add up to form a work representative of the young Shostakovich. This piece requires a firmer structural grasp, more daring and romantic virtuosity and colours, and, most of all, much more emotional spontaneity. Raymond Clarke's splendid recital is a better choice (Athene ATH CD18; reviewed in DSCH No. 11).

On the other hand, Scherbakov's Three Fantastic Dances are charmingly performed. These are among the strongest performances on the disc, and contribute to making it a good buy overall, especially at the budget price.

Sofia Moshevich
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