Composer: Wolfgang Amadeus Mozart
Works: Piano Sonata No. 10 in C major, KV. 330; Piano Sonata No. 17 in D minor, Op. 31 No. 2 “Tempest”; Piano Sonata in B minor, S. 178
Performers: Evgheny Brakhman (piano)
Recording: Recorded at Radio della Svizzera Italiana, Lugano, December 2001
Label: EMI
The recording of Evgheny Brakhman’s debut under the auspices of Martha Argerich presents an enticing exploration of well-known repertoire that spans the classical canon. Each work selected—Mozart’s exuberant C major sonata, Beethoven’s tempestuous “Tempest” sonata, and Liszt’s sprawling B minor sonata—offers a distinctive lens through which to evaluate Brakhman’s artistry, particularly given his youth at the time of recording, merely 20 years old. This juxtaposition of youthful exuberance against the weighty historical significance of the music creates a fertile ground for both admiration and critique.
Brakhman’s interpretation of Mozart’s Piano Sonata No. 10 is marked by a crystalline clarity that highlights his technical prowess. The sonata, composed in 1784, is not just a showcase of the young Mozart’s brilliance but also a testament to the Classical ideal of balance and clarity. Brakhman’s deft touch produces a sparkling sound, particularly in the finale, where his adherence to steady triplet figurations and the precision of his Alberti bass lines merit commendation. However, one might argue that the interpretive depth occasionally lacks the warmth and exuberance that one might expect from a more seasoned pianist. The youthful enthusiasm is evident, yet at times it flirts with a cool detachment, which may leave some listeners yearning for a more emotionally resonant delivery.
Transitioning to Beethoven’s “Tempest” sonata, Brakhman maintains a disciplined approach, particularly in the first movement, where his meticulous attention to syncopated accents provides a solid foundation. Yet, the slow movement, crucial to the sonata’s emotional landscape, feels somewhat under-characterized. The drum-roll-like accompaniment, intended to evoke a sense of mystery, lacks the depth that some of Brakhman’s more illustrious predecessors, such as Richard Goode or Solomon, have offered. These artists manage to imbue the movement with a profound sense of introspection that is missed in Brakhman’s rendition. Despite this, the finale showcases his technical dexterity, particularly in the complex interplay of broken chords, which he navigates with commendable ease.
Liszt’s B minor Sonata presents perhaps the greatest challenge for Brakhman, as it demands not only technical precision but also a compelling narrative arc. The piece’s monumental structure requires an interpretive vision that conveys the emotional depth embedded within its sprawling themes. While Brakhman executes the notes with finesse—his double octaves toward the end are particularly striking—the performance lacks the dramatic contrasts and emotional fluctuations that characterize the best interpretations. The opening, which should convey a sense of impending journey, feels flat, and despite Brakhman’s secure technique, one cannot help but feel that the performance misses the larger-than-life qualities that Liszt’s music often demands.
The recording quality itself is commendable, though it reveals a slight imbalance where the piano’s damper mechanism is distinctly audible, potentially distracting from the overall listening experience. This close balance, while offering an intimate portrayal of Brakhman’s touch, detracts from the grandeur that some of the repertoire calls for, particularly in the Liszt sonata.
Brakhman’s debut, while filled with moments of clarity and technical prowess, ultimately reveals the complexities of interpreting such venerable works. His performances show great promise and musical intelligence, indicating that he possesses the tools necessary for future growth. However, in comparison to the wealth of available interpretations, particularly for Liszt and Beethoven, Brakhman’s approach occasionally falls short of capturing the profound emotional narratives that these masterpieces convey. The potential for greatness is evident, and as Brakhman continues to mature as an artist, one can only hope that he will harness the depth and nuance required to elevate his interpretations to the level of the very best in the field.
