Ravel: Piano Concerto in G Major / Prokofiev: Piano Concerto No. 5 / Schlime: 3 Improvisations Francesco Tristano Schlime

• Maurice Ravel (1875-1937): Piano Concerto in G (1931)
• 1 I. Allegramente 09:35
• 2 II. Adagio assai 11:16
• 3 III. Presto 04:11
• Sergei Prokofiev (1891-1953): Piano Concerto No. 5 Op. 55 in G (1932)
• 4 I. Allegro con brio 05:12
• 5 II. Moderato ben accentuato 04:13
• 6 III. Toccata: Allegro con fuoco (piu presto che la prima volta) 01:58
• 7 IV. Larghetto 07:54
• 8 V. Vivo 05:35
• Francesco Tristano Schlime (1981): 3 Improvisations
• 9 No. 1. Reveal 07:12
• 10 No. 2. Progression 02:04
• 11 No. 3. Return 05:12
• Total Runtime 01:04:22

Info for Ravel: Piano Concerto in G Major / Prokofiev: Piano Concerto No. 5 / Schlime: 3 Improvisations

Young Luxembourg-born virtuoso Francesco Tristano Schlimé is in no rush in either of the two piano concertos here, considerably stretching tempos beyond the norms in almost every movement. He is abetted by an equally laid-back Mikhail Pletnev, himself a virtuoso pianist of the first rank. Pletnev draws fine playing from his Russian National Orchestra, the music in general sounding supple and relaxed, with the edges sanded smooth and the attacks less potent.

The first movement of the Ravel comes across best, with its bluesy Gershwinian character having a mesmerizing dreaminess and the jazzy rhythms given sufficient sparkle by the soloist and orchestra to yield an enchanting blend. But the overly deliberate tempo set by Schlimé at the outset of the second movement imparts a ponderous pall that sabotages much of the lovely main theme's charm. The finale, with its mischievous pranks and playful character, fares a bit better, but again Schlimé and company hold the reins back a bit too much.

The five-movement Prokofiev Fifth, with its lively, odd-numbered movements and slower, even-numbered ones, needs more spirit in the outer movements and crucial central toccata, as well as less ponderousness in the long, dark fourth movement. Still, Schlimé's playing is virtuosic and multi-hued, especially in the angular, jumpy first movement, and the orchestra is more than competent throughout. Argerich in the Ravel and Richter and Ashkenazy in the Prokofiev would be preferable alternatives to this decent but somewhat reticent offering.

Schlimé's own composition, 3 Improvisations, closes out the disc. The work, containing vague thematic and harmonic reminiscences of the two concertos, may appeal to those with an interest in Messiaen and modern jazz. The sound throughout the disc is clear, but slightly distant and low-level. (Robert Cummings, AMG)

A shining new talent forces you to listen to these concertos anew… Here is music making to wonder at. Rarely can the two concertos have been performed with such meticulous care and affection….PentaTone’s sound and balance are exemplary and I can scarcely wait to hear such a sensitive, personal and meticulous young pianist in the widest possible repertoire.” (Gramophone)

“Schlimé brings flair, care and imagination, matched by the crisp, translucent playing of the Russian National Orchestra conducted by one of his mentors, Mikhail Pletnev.” (Geoffrey Norris, Telegraph, UK)

Francesco Schlime, piano
Russian National Orchestra
Mikhail Pletnev, conductor

No biography found.

Booklet for Ravel: Piano Concerto in G Major / Prokofiev: Piano Concerto No. 5 / Schlime: 3 Improvisations