This recital by Denis Matsuev seems initially to have been planned as very much the concert of the CD (his 'Unknown Rachmaninov' disc on RCA). Somewhere along the line, though, it was decided that he should be joined by the Russian National Orchestra conducted by Dmitry Liss. In the first half, the orchestra were squeezed onto the stage for Rachmaninov's Piano Concerto No.1. For the second half, Matsuev alone played the two most substantial works on his new disc – the newly discovered Suite in D minor arranged for piano (1891) and the second sonata. I can only guess that word hadn't got out early enough that this was more than just a piano recital: an orchestra and soloist of this quality should undoubtedly have attracted a larger audience.
First of all, it has to be said that this was an evening of quite astonishing pianism. Matsuev's virtuosity is impressive enough on disc, but the effect live is even more astounding. His command of the keyboard is total and even the most technically demanding passages are dispatched with nonchalant ease. Add to this the sheer stamina required to perform a programme like this and one could not help but be impressed.
The performance of the piano concerto was very fine indeed. The Russian National Orchestra provided detailed and direct accompaniment to Matsuev's playing. The pianist himself launched into the first movement with incandescent power, unleashing the barrages of chords and double octaves with controlled fury. The big first movement cadenza was breathtaking and although he pushed the instrument to its limits with his playing, he was always in total command.
However, it's not just about fistfuls of notes: he has an aristocratic way with phrasing the more lyrical melodies, with rich tone and a broad sweep. This was particularly affecting in the beautiful slow movement – this might not be mature Rachmaninov, but he's already fully able to spin a long, beguiling melodic line. The orchestra also excelled themselves in their long breathed paragraphs. The sheer thrills of the finale were enough to whip the audience – with a big Russian contingent – up into a state of justified excitement.
There was maybe something a little anti-climactic about returning to the second half as the last orchestral seats were being carted off, with only the piano left on the stage. However, when Matsuev returned he more than made up for it by conjuring up some truly orchestral sonorities from the piano. This was especially the case in his performance of the piano version of the lost suite for orchestra, from 1891.
There was not much difference between his reading of this work and the sonata that followed and that on his recent CD. In the flesh, though, his virtuosity was all the more impressive; he seemed to have endless reserves of power in his fingers and hands and this was carried through to the encores. He chose three additional pieces which were also included on his disc: the Preludes in G sharp minor Op.32 No.12 and G minor Op.23 No.5 and the newly discovered Fugue in D minor (1891). This fugue really is a fantastic showpiece and brought the house down. However, in the performance of the G minor prelude I felt that Matsuev's playing finally crossed the line between pianistic fortitude and over-percussive loudness.
The Serge Rachmaninov Foundation is obviously some doing some great work to bring some of the composer's lesser-known works to the public's attention and to bolster his reputation as a significant and serious composer, rather than just a 'composer-pianist'. They have already supported a recording of Francesca da Rimini on Chandos and in late 2008 they will be supporting Valery Gergiev leading the LSO in a 'major celebration' of the composer's symphonic works. However, by the end of this concert I did wonder about the wisdom of over-exposing audiences to his music. An astounding display of pianism though this concert no doubt was, so much of the composer's early music, played with such unstinting power by Matsuev ran the risk of tiring those listening.
By Hugo Shirley