Is the opening Allegro of
Dejan Lazic's performance of
Rachmaninov's Second Piano Concerto from May 16, 2008, a failure or a fake-out? At the start,
Lazic seems overly restrained and out of step with tradition. The famous series of introductory piano chords are a simple crescendo, the first theme is almost inward, and the march at the development's climax is a tad held back. It's not that one could doubt
Lazic's ability: his roiling arpeggios, crashing octaves, and racing arabesques are ideally articulated. But one might, based on the evidence of the opening Allegro, question his commitment to this romantic warhorse.
Lazic begins to show his hand in the central Adagio sostenuto, which broods deeply at its start, takes flight in its climax and cadenza, and then unexpectedly pulls back into itself at the close. This brief efflorescence predicts the concluding Allegro scherzando's electrifying volte-face. At last,
Lazic spurs on the work and he rides it to glory, tearing through thickets of thirty-second notes, bolting over barrages of eight- and ten-note chords, and charging with reckless courage through the colossal coda to emerge victorious. Aided and abetted by the talented
Kirill Petrenko and the stalwart
London Philharmonic Orchestra,
Lazic's Second surely deserves to enter the pantheon of great Seconds.
As a generous and appropriate coupling,
Lazic has added
Rachmaninov's Moments Musicaux, the set of solo piano six works published just prior the concerto, in beautiful studio performances of great strength and greater sensitivity. Channel Classics' super audio sound is vivid and colorful, with a wonderful sense of place in the live recording.