Composer: Felix Mendelssohn
Works: Piano Concertos: No. 1 in G minor, Op. 25; No. 2 in D minor, Op. 40; Variations sérieuses, Op. 54; Rondo capriccioso, Op. 14
Performers: Jean-Yves Thibaudet (pianoforte), Leipzig Gewandhaus Orchestra/Herbert Blomstedt
Recording: Recorded 20-21 Dec. 1997, Leipzig Gewandhaus (Concertos); Rec. 10-11 March 2001, The Colosseum, Watford (solo pieces)
Label: DECCA
Mendelssohn’s piano concertos remain a cornerstone of the Romantic repertoire, embodying a blend of lyrical grace and virtuosic flair that speaks to both the heart and the mind. In this recording, Jean-Yves Thibaudet, accompanied by the Leipzig Gewandhaus Orchestra under the baton of Herbert Blomstedt, offers a fresh perspective on these beloved works, alongside a selection of Mendelssohn’s solo piano music that highlights the composer’s depth and complexity.
Thibaudet’s interpretation of the First Piano Concerto, while undeniably fleet, tends to favor a certain superficiality in the outer movements. The rapid tempos he adopts, particularly in the Allegro molto appassionato, evoke a lively energy but risk sacrificing the emotional weight that this movement can convey. The lightness of touch, while technically impressive, lacks the depth and gravitas that a more measured approach might evoke. In contrast, the Andante, while beautifully played, does not convey the full spectrum of Mendelssohn’s lyrical potential; it feels somewhat pallid when compared to the more robust interpretations of artists like Moura Lympany, whose nuanced phrasing offers a richer tapestry of sound.
The Second Piano Concerto, frequently suggested as the superior of the two, benefits from Thibaudet’s passionate engagement, particularly in the first movement, which resonates with echoes of Schumann. This interpretative choice aligns well with the work’s Romantic ideals, though the lingering impression of keyboard superficiality remains. One cannot help but feel that a more profound exploration of its thematic material might elevate the performance further. The collaboration with Blomstedt, while competent, occasionally feels static, lacking the dynamism found in more fervent partnerships, such as that of Rudolf Serkin and the Philadelphia Orchestra.
The solo pieces, however, reveal a different side of Thibaudet’s artistry. The Variations sérieuses and Rondo capriccioso showcase his technical prowess and interpretative sensitivity. The former, particularly the eighth variation, is a tour de force of fingerwork, where Thibaudet navigates the intricate passages with assured precision. His cantabile in the slower variations is both lyrical and expressive, demonstrating a command of Mendelssohn’s melodic lines that is delightful. The recording of these solo works also benefits from a more intimate acoustic that allows for a closer connection between the artist and the listener, in stark contrast to the more generalized sound of the concertos.
The engineering quality of this recording is commendable, capturing the clarity and brilliance of Thibaudet’s playing. The orchestral sound is well-balanced, though at times it can feel overshadowed by the piano, particularly in the concertos where the soloist’s brilliance might have benefitted from a more cohesive integration with the orchestra.
Thibaudet’s performance, while showcasing his technical ability and musicality, suggests that he may offer more compelling interpretations of these concertos in the future. His adeptness in the solo repertoire, particularly in the Variations sérieuses, provides a rich listening experience that may ultimately eclipse the concertos in this particular recording. The invitation to explore more of Mendelssohn’s oeuvre, such as the Songs without Words, seems not only appropriate but also necessary to fulfill the promise that Thibaudet’s artistry holds.
