Born in 1919 and still musically active as of this writing (2009), pianist Viktor Merzhanov may best be known as an international juror and teacher. But he also made a handful of recordings for the Russian Melodiya label in the 1950s that reveal him to have been a pianist no less gifted and individual than many of his better-known contemporaries. His 1955 Chopin Preludes are on the highest level, abetted by the recording’s ambient 'concert-hall' perspective that gives a good idea of Merzhanov’s sense of projection and color. While Merzhanov plays with a great deal of freedom, his innate musicality and sense of proportion dominate.
Listen, for example, to No 2, where the pianist brings the accompaniments’ jarring dissonances to the fore, parking the treble melody in neutral, so to speak; or notice No 3’s rock-steady 16th-note runs and the little rhythmic kick in the right-hand upbeats. No 5’s cross-rhythmic effects rarely have been articulated so well. Ditto for the final prelude’s rolling left-hand ostinatos and No 19’s more-difficult-than-they-sound rotary figurations.
Long lines and full-bodied yet relaxed fingerwork lend distinction to showpieces like No 8 and No 16, and No 10’s downward runs sparkle with point and utter evenness. Merzhanov also takes a leisurely (yet never meandering), alluringly nuanced route through Nos. 13, 15, 21, and 23.
The Liszt Paganini Etudes make similar impressions. Merzhanov seems to articulate nearly every note and phrase with effortless specificity, character, and point, eschewing speed for its own sake. The E-flat Etude’s glittering downward octaves define poise, while La Campanella’s taxing leaps sing and dance as they rarely do in the hands of many contemporary hotshots. Although Scriabin’s Fifth sonata unquestionably confirms Merzhanov’s command and stylistic affinity for this wacky, passionate music, general listeners might have difficulty getting past the poor, muffled sonics and out-of-tune piano.
I suspect that Bryan Crimp’s transfers stem from excellent LP copies to which he has applied filtering. The reason I say this is because I own a slightly brighter, less bottom-heavy, yet well equalized transfer of the Paganini Etudes, released on the Talents of Russia label in 1995. If you encounter this disc, grab it, for it also includes Merzhanov’s jaw-dropping 1955 Brahms Paganini Variations. However, APR has provided a rare chance for pianophiles to easily access Merzhanov in his prime, so don’t hesitate!