| Gramophone Reviews "Grieg: Complete Lyric Pieces" |
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Nicholas Roth (pf) Blue Griffin Recording, BGR145 (175', DDD) By blowing off the drawing-room dust, a master pianist reveals Grieg's strength. Debussy may have derided Grieg's music as "bonbons wrapped in snow", yet his Lyric Pieces emerge as meaty, occasionally spicy and always filling hors d'oeuvres in the hands of pianist Nicholas Roth. It's true that their formal dimensions and picturesque melodies charm and delight when framed in soft-grained, intimate and dulcet-toned interpretations. However, Roth's full-throated projection, wide dynamic range, dry-eyed directness and aversion to sentimentality purge a century's worth of drawing-room dust from the music. The results are revealing. For example, in the "Little Bird" from Op 43, Roth articulates the ornaments with hair-trigger precision and controlled tonal gradations that Michelangeli would have understood, perhaps envied. He reinforces the Op 47 No 1 Valse Impromptu's ear-catching melodic modality by emphasising the droning left hand syncopations. While many pianists treat the Op 54 No 3 "March of the Elves" as a helter-skelter can-can, Roth maintains a deliberate, firm and purposeful tread. The bare, low-lying lines in the opening section of "Sadness", Op 65 No 3, sing out with the kind of foreboding rhetoric one associates with late-period Liszt. And rarely have the off-beat accentuations and thick left-hand accompaniments of "Wedding Day at Troldhaugen" sounded so clear and clean. Although Roth may not offer the nervous energy and brash underpinnings found in Aldo Ciccolini's intense 2004 Lyric Pieces cycle for Cascavelle (or, for that matter, Grieg's own piano recordings), his masterful, accomplished artistry will provide Grieg lovers with ample food for thought. BGR's vividly detailed, vibrant sonics further fuel my highest recommendation. Jed Distler
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