Elmas PCs 1 & 2 on Hyperion

[Ilja]

There is already a thread mentioning these recordings in the Composers forum, but as I specifically want to address the recordings rather than Elmas's work in general, I felt justified in posting here. I'll of course leave the fate of my post in the hands of the admins.


Earlier this week I bought the Elmas concertos on Hyperion (as download) and since then I've spent a few days with them. These new recordings are simultaneously not very different from the ones with Armen Babakhian that some of us knew - and revelatory.


First of all, let me say that I never felt much was wrong with Babakhian's pianism. On the contrary, I feel that generally speaking his touch (and rubato) in these Chopinesque works is probably preferable to Shelley's. However, Babakhian's recordings had two major issues: first was recording and particularly recording balance, where it felt as though all he microphones were clustered together under the grand piano. Secondly, the orchestra's playing lacked the finesse that is needed to make these admittedly somewhat derivative works shine.


That's not to say that it's uninteresting music; but mostly it's very delicate, and even if there are some thunderous passages that is not what these works are about. If you're looking for Lisztian "piano lionism", look elsewhere. I've always felt that Elmas's three concertos are really iterations of the same idea - their structure is almost identical from no. 1 to no. 3, down to detail. Over time though, they got longer and more refined in a pianistic sense. For me, number three is without question the best of the three (although that means it's the most anachronistic as well), which makes it a bit regrettable it isn't included here.


That refinement also means that proper sonics are crucial, and although I generally don't really care about audio quality that much, here the superior recording proves to be revelatory. Overall though, this new release doesn't really tackle the concertos that differently from Babakhian and Siranossian; timings don't differ too much, certainly rarely so much that it stands out (with the possible exception of the first movement of the first concerto). Without a doubt, they do as much justice to Elmas's concertos as anyone can possibly do: my only hesitancy - and it is slight - is with Shelley's playing, which is perhaps a tad too target-oriented for my liking. But the sonics are more than fine, and the Tasmanians really give it their all. An example of how to present unknown works, as far as I'm concerned.

[Alan Howe]

That's a really interesting review - thanks. I had imagined that one of the biggest differences would be in the orchestral contribution, and this would be my main reason for purchasing the newcomer.

[Mark Thomas]

I downloaded the recording when it became available, but haven't listened to either concerto yet, so this is a very encouraging review, thanks Ilja.

[Revilod]

Thanks for that...but can you explain what you mean by "target oriented" in this context please.

[Ilja]

Yeah, that was a bit vague. What I'm aiming at is that he seems to go through the music with the main aim of getting to the end with the least amount of hurdles, rather than taking time to reflect.

[terry martyn]

My copy arrived yesterday,but is yet to be played. Are you suggesting that he is performing the musical equivalent of painting by numbers?

[Alan Howe]

On the other hand, what Ilja's suggesting may be just what this music needs, i.e. a firm hand on the tiller, so to speak.

[Revilod]

I thought he was expressive without being indulgent.  All the Chopin influenced filigree in the first concerto goes well yet he tightens up for the first movement's big chordal third theme, for instance.

[Alan Howe]

Sounds good to me.

[Alan Howe]

My summary: thoroughly enjoyable third-rate music. Imagine stitching together Chopin and Rubinstein with very little sense of the music going anywhere and you end up with Elmas. However, as long as you stay in the moment, the pianism and general noise will keep you well entertained.

You have to admire Howard Shelley - he must have had a whale of a time recording these pieces.

[joelingaard]

Perhaps Mr Shelley is lacking taste. An expensive cost for Hyperion, and not really sounding like a good enough reason to purchase when other new recordings are a priority.

[Gareth Vaughan]

I think Simon Perry has enough business sense to know what it is worth his while to record and what not - otherwise Hyperion would not have survived as long as it has. And Howard Shelley's pianism is a testament to his good taste: he can make cheap music sound better than it really is.

[joelingaard]

If Alan calls it third-rate and going nowhere it is not recommended I think. A very good work is Raff's concerto!

[Alan Howe]

Well, I did say that the music was thoroughly enjoyable. Don't be put off buying the CD! And it's only my opinion - I'm probably wrong...

[Mark Thomas]

I have always enjoyed the three Elmas concertos since they first appeared in Babakhian's performances on YouTube, and I'm grateful to Hyperion for releasing the first two in such excellent performances by Shelley. No, none of them is great music, but I don't always want to be scaling the intellectual and emotional peaks, and am often very happy to amble along in the pretty pastures over which they tower (excuse the tortured metaphor). As an enjoyable, entertaining and sometimes diverting listen the Elmas concertos are good company. Gareth is right, Hyperion know what they're doing ... except in the case of the Raff concerto, but that door closed a long time ago I'm afraid.