Composer: Modest Petrovich Mussorgsky (1839-1881)
Works: Pictures at an Exhibition, Hopak de jeunes ukrainiens, Scène de foire, Sonata (piano duet) in C major
Performers: Nina Kavtaradze, piano; Michail Voskresensky, piano (sonata duet)
Recording: Danacord DACOCD 552 [56:47]
Label: Danacord
Mussorgsky’s piano oeuvre, while overshadowed by orchestral transcriptions, represents a pivotal chapter in the evolution of the 19th-century keyboard repertoire. His most celebrated work, Pictures at an Exhibition, originally conceived for solo piano, embodies a fusion of nationalistic fervor and innovative compositional techniques. The present recording, featuring Nina Kavtaradze and Michail Voskresensky, offers a significant opportunity to engage with Mussorgsky’s original intentions, particularly for those only familiar with the ubiquitous orchestral renditions, notably Ravel’s.
Kavtaradze’s interpretation of Pictures at an Exhibition is steady and sinewy, reflecting a deep understanding of Mussorgsky’s idiomatic style. The percussive nature of her playing is particularly effective in the more robust sections, such as “The Great Gate of Kiev,” where she captures the grandeur and architectural solidity that underpin the piece. Her choice of pedal usage allows for clarity amidst the dense textures, an essential factor given the composer’s proclivity for consecutive chords and octaves. However, in quieter, more introspective moments—such as the second movement, “Gnomus”—the performance could benefit from a more elusive touch. The springy, downward slinking chords seem to yearn for additional limpid mystery, an aspect that can evoke a more haunting atmosphere.
In contrasting movements like “Ballet of the Unhatched Chicks” and “The Market,” Kavtaradze’s robust technique shines but occasionally lacks the lightness of touch that one might hope for in this music’s more playful passages. Here, it is difficult not to recall Sviatoslav Richter’s legendary interpretations, which set an intimidating standard. Kavtaradze’s steady integrity does provide a sense of constructional solidity, reinforcing the notion that Mussorgsky’s work is indeed a masterpiece of keyboard composition.
The additional works on the disc, while less known, provide an intriguing insight into Mussorgsky’s creative process. “Hopak de jeunes ukrainiens,” derived from his unfinished opera The Market in Sorotchinsk, showcases the composer’s flair for folk-inflected melodies, yet it frequently finds itself relegated to orchestral arrangements, such as Rimsky-Korsakov’s. Kavtaradze’s rendition captures the buoyancy and rhythmic vitality, serving as a worthy counterpart to the more substantial Pictures. Similarly, “Scène de foire” offers an impressionistic glimpse into market life, with its vivid characterizations drawing on Mussorgsky’s unique harmonic language.
The recording quality is commendable, with a clear and well-balanced sound that allows the nuances of Kavtaradze’s playing to emerge without distortion. The piano’s resonance is captured beautifully, enabling the listener to appreciate the textural intricacies of Mussorgsky’s writing. This clarity, coupled with the thoughtful engineering, enhances the overall listening experience.
This release is a valuable addition for those seeking to explore Mussorgsky’s original piano works. It provides an authoritative performance of a monumental keyboard masterpiece alongside lesser-known gems, illustrating the composer’s radical approach to piano writing. Kavtaradze’s interpretation, while occasionally falling short of the ethereal qualities desired in certain passages, offers a solid and engaging experience that invites both admiration and reflection on the enduring power of Mussorgsky’s music.
