Grieg – Lyric Pieces (Emil Gilels) [2010]

1.Arietta, Op. 12 No. 1. 
2.Berceuse, Op. 38 No. 1. 
3.Butterfly, Op. 43 No. 1. 
4.Lonely Wanderer, Op. 43 No. 2. 
5.Album-Leaf, Op. 47 No. 2. 
6.Melody, Op. 47 No. 3. 
7.Norwegian Dance (Hailing), Op. 47 No.4
8.Nocturne, Op. 54 No. 4. 
9.Scherzo, Op. 54 No. 5. 
10.Home-sickness, Op. 67 No. 6. 
11.Brooklet, Op. 62 No. 4. 
12.Homeward, Op. 62 No. 6. 
13.Ballade, Op. 65 No. 5. 
14.Grandmother's Minuet, Op. 68, No. 2.
15.At your feet, Op. 68 No. 3. 
16.At the cradle, Op. 68 No. 5. 
17.Once upon a time, Op. 71 No. 1. 
18.Puck, Op. 71 No. 3. 
19.Gone, Op. 71 No. 6.
20.Remembrances, Op. 71 No. 7.

Emil Gilels – piano

A complete four-record set from Adni and now a selection from a Russian giant: how strange that after slender representation in the catalogue, Grieg's Lyric Pieces should have made such a come-back. The sleevenote tells us that though in Russia, as here, this music is usually kept for the schoolroom, Gilels's interest was aroused when he heard a Norwegian folk-tune over the radio and shortly afterwards found it in one of these pieces. He then went on to discover the rest, and came to the conclusion that they are "not merely simple, childlike pieces", but that they "open up a world of great intimacy of feeling".

Certainly this comes across in his playing. Except in "Puck" (Op. 71 No. 3) which he takes as a really fast, urgent allegro molto, his tempo is nearly always slower than Adni's. This allows practically everything, from the earlyish "Lonely Wanderer" to the latish "At the cradle", to sound more searching. Perhaps the most outstanding example of all is "Melody" (Op. 47 No. 3), which sounds happy at Adni's flowing tempo and sad at Gilels's andante. In point of fact Grieg's own marking is allegretto, and this is not the only time that Gilels bends the music to his own introspective conception of it. Adni, though less intense, is more obedient to tempo indications as they are usually understood, which certainly pays off in the allegro giocoso alla marcia of "Homeward" (Op. 62 No. 6). Gilels is not nearly as glad to be back. But in "Grandmother's Minuet" (Op. 68 No. 2) Adni's allegretto grazioso is surely too lively for an old lady. Gilels at least only makes her pull her skirts up in the middle section.

However searching he is, Gilels respects the basic simplicity of the music's style. There is no exaggerated point-making whatsoever. And it is lovely pianism. But I can see that a younger listener might well prefer Adni's brighter candour, reinforced, incidentally, by the more full, forward and clear tone of the HMV recording. J.O.C. --- gramophone.net

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