Azerbaijani Piano Concertos (Works For Piano And Orchestra/ Shusha For Soprano And Orchestra) [CD]

Naxos has been a great pioneer in the far corners of the classical repertoire. The title of this recording must make it appear one of the most exotic and, potentially risky purchases for more conservative listeners. It turns out that nothing could be further from the truth. All of these works would sit very happily on Classic fm and I'm surprised that some don't already.

With vivid and clear sound this is a very fine recording of almost unheard works in the West. That the music comes from Azerbaijan provides little more exotic than Khachaturian, Rimsky Korsakov and Rakhmaninov: hardly an intimidating repertoire. The main question then is whether any of this music is any good?

In truth, quality varies but the two concertos on the disc are significant works. Amirov's concerto includes some marvellous writing for the soloist. How much that is a result of his collaboration on the work with Elmira Nazirova is a good question. Unfortunately for her, Nazirova was a gifted musician but she'll be forever remembered here for her association with Shostakovich and his Tenth Symphony in particular. I think this the better of the two concertos here partly because of the fine solo part and the material is the themes more memorable. There is nothing challenging here but there's plenty of fine music that deserves a much wider audience.

Aligezalov's Fourth Piano Concerto was written as recently as 1994 but belongs to Khachaturian's time and style with a few jazzy bits and hints of Bartok added. It's a more weighty piece than Amirov's but less colourfully orchestrated and with a touch more dissonance. It's certainly a decent work, worth repeated listenings, again with nothing to frighten any listeners.

Guliyev's, "Gaytagi", sounds like a nineteenth century showpiece and is entertaining even if the late "hey" shout from the orchestra sounds typically British - strained, self-conscious and embarrassed: Hardly great art but enjoyable stocking filler.

The two works by the soloist in Amirov's concerto, Farhad Badalbeyli are easy listening stocking fillers. You could argue that they're embarrassingly schmaltzy - best to listen to when no one else is around. "The Sea" is full of Claydermanesque arpeggios whilst "Shusha", with soprano soloist instead of piano, refers to the loss to Armenia of Azerbaijan's most cultured town. This latter work is particularly schmaltzy to my ears but to some Azerbaijani listeners perhaps the subject matter makes it genuinely moving. It begs a question as to what is expression in music. Joan Rodgers vocalises well in this final work and the main theme is easy to remember but it's no masterpiece. It begs the question too as to what such a piece ius doning on a recording of piano an dorchestra showpieces.

The performances sound uniformally excellent and although it's a British orchestra - The RPO - this sound world is hardly unfamiliar to them so why shouldn't they sound thoroughly at home with it. Murad Adigezalzade sounds marvellous in the Adigezalov concerto and Farhad Badalbeyli aquits himself superbly inthe Amirov concerto. I doubt any of this music could sound any better than it does here. This is the third Naxos disc, I think, of Azerbaijani classical music and, particularly in the case of Amirov, it makes a strong case for much more. Even with the schmaltz this is an excellent recording and, whatever your tastes, at such a low price it's a winner.

Everything here is at least intriguing. If you're looking for some exuberant, lush, cinematographic, Western-style, flashy piano concertos than you can only buy this disc. It's marvellous. Helped by the playing of the Royal PO and crisp piano playing by two, I think, Azerbaijani piano soloists, I enjoyed this disc very much and they do the most to introduce the listener into the world of Westernized Azerbaijani classical music. I own two other CD's of the composer Friket Amirov, on Olympia with an altogether as exciting as possible ballet called `Arabian Nights', and his piano concerto on Arabian Themes is as colourful as that ballet. The first thing I was thinking listening to this concerto was `Rimsky Korsakof with a Rachmaninov sauce' and there's nothing wrong with that. The booklet states these are original Persian melodies but I thought I was lost into Sheherazade or heavy footed Saint Saens. Altogether I enjoyed it very much. The 4th piano concerto by Adigezalov is also new to the catalogue and somewhat more difficult on the ear. It tries very hard to sound modern, and it isn't, and the repeating, loud passages in the wilder outer movements did me ask `could you please quit somewhat earlier and be somewhat briefer, mr. composer?' Here and there you get the feeling Gerschwin tries to gets through but it dies out instantly. Of the two shorter pieces I liked `The Sea' by Badalbeyli, it reminded me of Addinsell's Warsaw concerto with it's very cinematic program and lush string melody. The piano tingles and tangles along the way giving you the impression of being on a very luxuriant ocean steam liner. The vocalise `Shusha' could have been left out, it's for soprano and orchestra trying to imitate Rachmaninov's Vocalise. Mrs. Rodgers - the soloist - was just doing some shopping when mr. Yablonsky met her in the groceries store and said, `Hey, Joan, do you have time to record some 5 minutes of a Vocalise' and she said, `all right I've got some time before I've to pick up the kids from school' so she sang with a somewhat raw vibrato this charming piece, put her coat on and went for her offspring. That's the impression it leaved on me.
But this release gave me more pleasure than the 311th release of Hyperion's Romantic Piano concerto series with the 45th piano concerto by Moscheles coupled with the 31st one of etc, that's a boring series!