×

Uh-oh, it looks like your Internet Explorer is out of date.

For a better shopping experience, please upgrade now.

Darius Milhaud: Complete Piano Concertos
     

Darius Milhaud: Complete Piano Concertos

by Michael Korstick
 
The very idea of undertaking Darius Milhaud: Complete Piano Concertos as a single unit is a daunting one, as Milhaud's work for the combination of piano and orchestra encompasses an extremely broad range of styles, from Milhaud's frothiest neo-Classical concoctions to his densest, most experimental vein. Conductor/composer

Overview

The very idea of undertaking Darius Milhaud: Complete Piano Concertos as a single unit is a daunting one, as Milhaud's work for the combination of piano and orchestra encompasses an extremely broad range of styles, from Milhaud's frothiest neo-Classical concoctions to his densest, most experimental vein. Conductor/composer Alun Francis, nonetheless, has scored with the comprehensive treatment as applied to Milhaud's variegated oeuvre before, picking up a Cannes Classical Award at MIDEM in 2000 for his set of complete symphonies of Milhaud. This two-disc set is a more modest proposition, featuring pianist Michael Korstick in all of Milhaud's piano and orchestra works except the "Suite Concertante" (1947), an arrangement of Milhaud's "Marimba & Vibraphone Concerto" that like much of his work remains to be recorded. If there's an argument to be made for further exploring the uninvestigated side of Milhaud's extensive output, CPO's Darius Milhaud: Complete Piano Concertos makes it pretty effectively, as the previously unrecorded works here are among the most compelling in the set. Milhaud's most famous piano and orchestra work is "Carnival d'Aix, Op. 83b," played reasonably well here, but it's been done a little more sparklingly elsewhere, for example in Michel Béroff's recording with Georges Prêtre and the Orchestre Philharmonique de Monte Carlo for EMI Angel. The "Ballade for piano and orchestra, Op. 61," is likewise done nicely, although there is a little confusion in the percussion parts. This is typical; this one-movement sketch is like a continuation of the theme that concludes Milhaud's "L'Homme et son désir," and his multilayered percussion writing of that period is difficult to follow for typical orchestral percussionists. From a performance standpoint, the remaining works are fine and achieve the goal of making the most unfamiliar music clear and doing it justice. The "First" and "Second" concertos have been recorded before, the first, famously, with Marguerite Long and the second just one time before, with pianist Sari Biro way back in 1948. That leaves the "Third," "Fourth," and "Fifth" concertos, and of these, the "Third" is truly a winner. Written under pressure from his manager and, as in the case of most of his concertos, for himself, Milhaud was forced to write something easy enough for him to play that was still convincingly virtuosic for concert use. Milhaud later admitted that he wrote it a little beyond his own ability, but it is certainly a fine concerto, with a deeply effective middle movement. The "Fourth" was composed for a pianist who wanted a concerto that was especially hard in order to show off his chops, and Milhaud complied -- it is a messy work that is not a lot of fun. To let Milhaud be Milhaud was the best plan of action as far as that was concerned, and the "Fifth" and final concerto locates him back in his element. The "Five Etudes for piano and orchestra, Op. 63" (1921), are among the weirdest, craziest pieces written by Milhaud or anyone else -- the third movement features four simultaneous fugues traveling at the same time. The "Fantaisie Pastorale Op. 188," however, is the loveliest thing on this set, a transparent little slab of neo-Classical heaven that you regret is over once its 10 minutes are up. This is an example of the extremes of expression found within this two-disc set, and other than "Carnival d'Aix" and the "Fourth" concerto, all of the pieces reveal their virtues more completely on repeated listens. SWR's recording emphasizes the mid-range and doesn't have a lot of bottom, and in the works listing CPO has something wrong here -- the "Second Piano Concerto" is Op. 225, not Op. 228, which rightfully belongs to Milhaud's "First Concerto" for two pianos and orchestra.

Product Details

Release Date:
01/30/2007
Label:
Cpo Records
UPC:
0761203716227
catalogNumber:
777162
Rank:
110589

Related Subjects

Tracks

  1. Le carnaval d'Aix (11), fantasy for piano & orchestra, Op. 83b
  2. Ballade, for piano & orchestra, Op. 61
  3. Études (5), for piano & orchestra, Op. 63
  4. Concerto, for piano & orchestra (or 3 or 2 pianos) No. 1, Op. 127
  5. Fantaisie pastorale, for piano & orchestra (or 2 pianos), Op. 188
  6. Concerto, for piano & orchestra (or 2 pianos), No. 2, Op. 225
  7. Concerto, for piano & orchestra (or 2 pianos), No. 3, Op. 270
  8. Concerto, for piano & orchestra (or 2 pianos), No. 4, Op. 295
  9. Concerto, for piano & orchestra (or 2 pianos), No. 5, Op. 346

Album Credits

Customer Reviews

Average Review:

Post to your social network

     

Most Helpful Customer Reviews

See all customer reviews