P. I. Tchaikovsky
Piano Concerto No. 2 / Concert Fantasia
Dmitri Yablonsky, Conductor
Piano Concerto No. 2 in G major, Op. 44
"Konstantin Scherbakov's freedom of expression and outgoing virtuosity brings a fresh and unpredictable view to Tchaikovsky's Second Piano Concerto, his approach being one of a free flowing rhapsody that emphasises tempo and dynamic changes. His dexterity creates the most mercurial passages, at times used to form moments of filigree lightness. Cadenzas become exciting technical showpieces in the style of Liszt, with phrases shaped in the most unexpected way. At times the music almost comes to a halt before exploding once again in the utmost brilliance, that sense of improvisation is, after all, the original intention of cadenzas. At times in tutti passages he seems to take Yablonsky by surprise, and the dash to the finale's finishing post must have frightened the hard-pressed Philharmonic violins. Much the same level of adrenaline floods through a free flowing Concert Fantasy, Scherbakov taking the word 'fantasy' as the composer's sign of intent, the music at times meditating before darting off in another display of agility. It's a long way from the standard approach, but most interesting. He is enthusiastically supported in both by the Russian orchestra, Yablonsky also providing an elegant and beautiful cello solo in the long orchestral passage that open's the concerto's second movement." David Denton, David's Review Corner
"After excellent accounts for Naxos of Tchaikovsky's First and Third piano concertos, Konstantin Scherbakov and Dmitry Yablonsky offer an even finer sequel. Indeed, this performance of the Second piano concerto moves straight to the top of the pile (along with Pletnev's) as the reference edition of a work that so often comes across as heavy and dull. Not here! With swift tempos and a "take no prisoners" approach, the result is infinitely exciting. The first movement's huge contrasts in tempo and dynamics between first and second subjects (and beautifully executed transitions between them) practically define the Romantic aesthetic, chez Tchaikovsky. The slow movement's accompanied trio textures seldom have flowed more winsomely, and you have to hear Scherbakov to believe how thrillingly he flings himself into the finale's fistfuls of notes. It seems such a simple concept: play the living daylights out of the music. Why do so few pianists attempt it?