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.
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.
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.
Thanks for that...but can you explain what you mean by "target oriented" in this context please.
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.
My copy arrived yesterday,but is yet to be played. Are you suggesting that he is performing the musical equivalent of painting by numbers?
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.
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.
Sounds good to me.
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.
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.
:)
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.
If Alan calls it third-rate and going nowhere it is not recommended I think. A very good work is Raff's concerto!
:)
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...
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.
I'd have the same gripes about a "UC Label" which would of course refuse to record certain works I was quite certain deserved it, though you're right about the Raff at least not suffering from an even better recording and performance; if one wants a work to enter the repertoire, one should no more be satisfied with 2 or 3 good recordings than people geneally are with works that already are in the repertoire :)
It would be nice if Hyperion combined in a CD Elmas´s Third (reputedly his best) with the Pabst, which in my opinion is no thirdrate work.
Jeremy Nicholas' notes (https://www.hyperion-records.co.uk/dc.asp?dc=D_CDA68319) are wrong, however. There was a Steingräber publication of the 2nd concerto- and many other Elmas works- in 1923 or so; but it was not the work's first publication (which was no later than 1906.)
Also I -think- the first concerto is dedicated to the 19-year-old (at the time of publication in 1906) Arthur Rubinstein, not to Anton as claimed. ... hrm. The typeset two-piano reprint gives "A. Rubinstein"; if it was dedicated at time of composition, it could have been Anton; if dedicated at time of publication as seems more likely to me, probably Art[h]ur. Actually, I don't know...
... but a fair enough assumption, Eric, as Anton died in 1894.
Wouldn't PC1 have carried a dedication from the date of its composition rather than that of its publication? According to the sleevenote, the concerto was written in 1882, so I think it's far more likely that it was dedicated to Anton, rather than Arthur.
I'm not sure that follows. I can only speak with certainty of Raff, but in several cases the dedication of the published work was different to the one he originally intended. If Elmas' concerto was dedicated to Anton Rubinstein when published then I assume it would have to be "in memory of". The score available at IMSLP looks like a modern re-setting and gives no clue.
On the other hand, this article states:
<<During his travels, Elmas became closely acquainted with the Russian composer and pianist Anton Rubinstein, the French composer Jules Massenet, the French pianist Joseph-Edouard Risler, the Armenian lexicographer Guy de Lusignan, among others.>>
http://www.armeniapedia.org/wiki/St%C3%A9phan_Elmas
And here's the
apparent clincher:
<<Au cours de ses voyages, Elmas devient un ami proche du compositeur et pianiste russe Anton Rubinstein (
à qui il dédie son premier concerto).>>
https://www.wikiwand.com/fr/St%C3%A9phan_Elmas
Translation: <<In the course of his travels, Elmas became a close friend of the Russian composer and pianist Anton Rubinstein (
to whom he dedicated his First Concerto).>>
...until one comes across this entry:
Concerto de jeunesse (non orchestré)
Dédié à Anton Rubinstein.
=Youth Concerto (not orchestrated)
Dedicated to Anton Rubinstein.
And there is no dedication mentioned here in respect of PC1!
https://www.wikiwand.com/fr/St%C3%A9phan_Elmas#/Piano_et_orchestre
Oh dear - not exactly clear, is it?
...I think that last entry is a mistake - see this article:
<<...et fait la rencontre du compositeur et pianiste Anton Rubinstein à qui il dédiera bientôt son premier concerto pour piano.>>
(= ...and meets the composer and pianist Anton Rubinstein to whom he will soon dedicate his first piano concerto.)
https://www.imprescriptible.fr/archives/france/achkhar/446.pdf
thank you.
btw he did dedicate his unpublished (unfinished?) early pre-first youth concerto to Anton- it depends on which one that latter article means- but I think I can take the case as shown from the rest despite the A.Rubinstein on the retypeset reduction.
What's needed is sight either of the manuscript, or the title page of the original published score, and probably both!
I will see if the person who uploaded the typeset scores on behalf of the now defunct Foundation is contactable, for starters. Hyperion's notes at least say where many of the extant manuscripts are.
I'll be honest here: although it's a possibility, I don't believe for one moment that Elmas dedicated his PC1 to Arthur Rubinstein when all the evidence points to his close acquaintance with Anton in the 1880s when he composed it.
I agree. Still, won't hurt me to double-check, I suppose. A number of times I'm surprised (as shouldn't be...) to see the cases in which (now) well-known 20th-century performers (a century-plus ago) performed pieces we're currently rediscovering...
Yes I agree too, of course, but I've learned during a long bout of research into Raff's oeuvre that there's truth in the old tag that to assume sometimes makes an "ass" of "u" and "me".
I can find no reference to Arthur Rubinstein having a PC by Elmas dedicated to him at the age of 19. Not impossible, I agree, but...
PS I've been listening to PC3. Yawn. Sorry!
My copies of Carrillo, Elmas, Romberg´s First and Third,and a catch-up purchase of the latter´s Fourth,arrived simultaneously, alongside a late purchase of Josephine Knight performing Piatti´s Cello Concertos. After the tribulations of the Carrillo, I was really looking forward to the Elmas, especially after the high recommendation by Presto Classical. Hyperion´s iconic series has thrown up some gems, even a masterpiece (in my opinion) - Brull´s Andante and Allegro op 88 (which every aspiring concert pianist should embrace). On this occasion, Alan´s comments about the Elmas being thirdrate were too kind. Some of you know that I am unfortunately in the Rex Harrison school of thought about Howard Shelley´s playing. We can´t all be politically correct, and at times today I was expecting the magic piano suddenly to say ´Spaaaaarky´. As to the music, I´m afraid In a Monastery Garden came to, and annoyingly stayed in,my mind.
I turned for solace to the Piatti and have already played it twice.