Liszt: 12 études d'exécution transcendante - Stanev
RCA 88697658442
Stereo/Multichannel Hybrid
Classical - Instrumental
Liszt: 12 études d'exécution transcendantes S.139 (Transcendental Studies)
Vesselin Stanev (piano)
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- Franz Liszt: Études d’exécution transcendante (12), S. 139
- Franz Liszt: Études d’exécution transcendante (12), S. 139 No. 1
- Franz Liszt: Études d’exécution transcendante (12), S. 139 No. 10 Allegro agitato molto
- Franz Liszt: Études d’exécution transcendante (12), S. 139 No. 11 Harmonies du soir
- Franz Liszt: Études d’exécution transcendante (12), S. 139 No. 2
- Franz Liszt: Études d’exécution transcendante (12), S. 139 No. 3
- Franz Liszt: Études d’exécution transcendante (12), S. 139 No. 4
- Franz Liszt: Études d’exécution transcendante (12), S. 139 No. 5
- Franz Liszt: Études d’exécution transcendante (12), S. 139 No. 7
- Franz Liszt: Études d’exécution transcendante (12), S. 139 No. 8 Wilde Jagd
Review by John Broggio - September 5, 2016
A technically perfect but ultimately an uninspiring account.
This is one of three accounts in my possession on SACD (Liszt: 12 études d'exécution transcendante - Arrau & Liszt: 12 études d'exécution transcendante - Gerstein are also to hand) as well a stunning account from Lazar Berman and excerpts from all manner of pianists across the era of recordings. This review was prompted by Adrian's perceptive and accurate review of the Gerstein disc - I've purchased it and find it a worthy successor to Lazar Berman's performance & imagination but in sound that he (we) could only dream about hearing. So my curiosity was piqued about how a pianist I know relatively about, Vesselin Stanev, would compare.
Technically, Stanev is better able to convey the fire of 4 (Mazeppa), 7 (Eroica) and 8 (Wilde Jagd) than Arrau whilst retaining complete command of the complex and varied textures across every one of the 12 studies. Unfortunately, that command is not exercised to the benefit of highlighting the melodic parts nor shaping them as sensitively as Gerstein; this aspect of Stanev's playing is consistent no matter the mood of the study and is almost as though he is daring us, the listener, to guess what the melody should be. Listening to Stanev soon after Gerstein was perhaps unfair but it vividly illustrates the shortcomings of this account in comparison to Gerstein's version which as Adrian Quanjer correctly states "is as convincing and mature as one could possibly wish for." Sonically, Stanev is not helped by the fact that it is recorded at a much higher level than Gerstein, consequently restricting the dynamic range afforded to Stanev's playing.
All in all, this account captures the first and second words of the title but at no time does it come close to making the listener that Liszt & the performer have transcended the supposed limits of the piano keyboard, something which Gerstein does with every single phrase.
Copyright © 2016 John Broggio and HRAudio.net
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