Robert Schumann (1810-1856)
      Waldszenen, Opus 82

Igor Mikhailovich Zhukov
Melodiya 33214
Recorded 1965
Program:
Bach's Passacaglia in C minor, BWV 582
Schumann's Waldszenen
Tchaikovsky's Souvenir de Hapsal, Op.2
Rachmaninov's Barcarolle in G minor, Op.10/3
Prokofiev's Children's Music, Op.65
TT 73:27

In the mid 1990's, BMG/Melodiya released twenty volumes of piano music
performed by Russian pianists; the entire project was called "Russian
Piano School".  At the time, I was in the trenches with Bach and foolishly
passed on this twenty volume series.

Unfortunately, the series was subsequently deleted.  However, the used
market reared its head, and I found volumes 10 thru 20 in a box set here
in Albuquerque where Russian pianists are scarce.  I assume that the
series will be put back on the market at some point, but prospective
buyers currently will have to do some searching to find the box sets.
For those of you living not far from Albuqerque, there is a 2nd identical
box set still waiting at Wherehouse Sound.

Moving on to more substantive matters, Igor Zhukov is allocated volume
16 in the Russian Piano School series.  Zhukov was born in 1936 and
studied at the Moscow Conservatory School of Music under Emil Gilels and
Heinrich Neuhaus.  After graduating in 1960, Zhukov immediately began
touring in Germany and Hungary.

Zhukov has been much more than a solo pianist.  He was the long-time
director of the Moscow Chamber Orchestra, formed the Zhukov Piano Trio,
served as an editor and arranger (including Bach's BWV 582), and even
has assumed the role of recording engineer.  Zhukov could be considered
a man for all musical seasons and has a splendid reputation in his native
land.

To recap from previous reviews of Waldszenen, I have found Arrau, Richter,
and Wirssaladze the most rewarding versions on record.  Does Zhukov's
Waldszenen measure up to the interpretations of these three superb
artists?  Not quite.

Zhukov is a fine interpreter of Waldszenen.  A prevalent characteristic
of his performance is the use of broad tempos, his version being about
one minute longer than Wirssaladze's and two minutes longer than Richter's.
Actually, I didn't notice any problems emanating from either tempo or
pacing.

Zhukov also tends to employ lean textures.  Add in the typically clinical
and stark soundstage of Soviet engineering, and I would say that the
recorded performance is a sharp one.  This effect is problematic in a
few of the loudest passages, although a benefit at other time.

It all starts off wonderfully with "Entrance" where Zhukov gives us
a sad beginning with the sharpness I mentioned being tangy at the low
volume required by the music.  Zhukov is ready and nervously alert in
"Hunter in ambush", and "Hunting song" has plenty of zip although the
sharpness can be overwhelming.

The two playful scenes, "Friendly landscape" and "Shelter" are interpreted
in an exceptional manner.  Zhukov is sort of a benign "Dennis the Menace"
in "Friendly landscape", and the effect is exhilarating.  "Shelter" is
played ever so slowly and becomes the most incisive and lovely version
I know without damaging its playful foundation.

The sharp sound works well in "Bird as prophet" as Zhukov offers enticing
articulation and inflections.  The "Farewell" is another winner and one
of the most poignant versions on record.

There are really only two scenes that don't satisfy.  Although Zhukov's
"Entrance" is quite sad, he can't seem to conjure up much of it in "Lonely
flowers".  Even more disappointing is Zhukov's "Place of Evil" where
sinsister thoughts are absent.

I'll be reviewing the other works on the disc at later dates except
for Zhukov's arrangement of Bach's Passacaglia which I don't consider
at all successful.  First, there isn't any chance that the piano can
compete with the organ for thunder.  Yet, Zhukov's arrangement and
approach attempts just that - big mistake; he just ends up banging the
hell out of the piano keys.  The first few bars do sound enticing, but
that's because Zhukov starts off in a soft-spoken manner.  Personally,
I think he should have continued along the tender path and entirely
changed the nature of the music.  Even better, he could have dismissed
any notion of altering another's work and simply written his own music
from scratch; it's not a novel idea.  At any rate, if you want the full
effect from the Passacaglia, turn to an organ version such as E.  Power
Bigg's commanding and vital interpretation on Sony.

Don's Conclusions: Zhukov's Wladszenen is an excellent one slightly
flawed by sharp sound and two scenes of questionable merit.  It's certainly
not essential for Waldszenen lovers, although "Shelter" does stick in
my mind.

Given that Zhukov's performance and arrangement of the Passacaglia has
marginal value and that the other works on the disc are not from their
respective composers' top-drawer, I don't see much reason for anyone to
take on a dedicated hunt for this particular disc.  However, that box
set of 10 cd's remains a valuable acquisition, and I will be reviewing
portions of it as time progresses.  The Russian Piano School, steeped
in the elements of Intonatsia, is one of a kind.

Don Satz
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