Schumann/ Rachmaninov/ Drozdov - Fantasie Opus 17 & Etudes-Tableaux Opus 39

Alexander Drozdov "Alexander Drozdov speaks to the hearts of the audience". That review from a leading Dutch newspaper sums up this artist in one sentence. Russian-born Alexander Drozdov is building a promising career and winning audiences in Russia and Europe, both as a recitalist and as a soloist with orchestra. "Aristocratic", "inspiring", "touching", "poetic" and of course "Russian soul" - these are some of the lasting impressions which his performances leave on his listeners. Having studied with famous Russian and Dutch musicians including Vladimir Tropp, Willem Brons and Jan Wijn, he graduated with distinction from the Conservatory in Amsterdam. He has appeared in numerous major festivals such as "Piano aux Jacobins" in Toulouse, CIMA in Tuscany and Bougival Music Festival in France. Last year his performance in the Radio Classique Festival at the Olympia Theater in Paris was broadcast live on national radio in France. (foto Alexander Drozdov, niet de cover foto) Notes What common thread binds Robert Schumann and Sergei Rachmaninov who, at first sight, appear quite dissimilar? Each wrote profoundly personal music, and returned time and again to the same themes throughout his composing life. Each suffered twists of fate which are clearly reflected in his work. Rachmaninov himself said: "A composer's music must express the spirit of his native country, his love, faith and thoughts, influenced by the literature and art he admires. I am a Russian composer, and my motherland has left it's marks on my character and my views. My music is the fruit of my character and that is why it is Russian music. I have never attempted to write specifically Russian music nor any other kind of music. The only thing I try to do when I compose is to compel my music to express directly and simply what is in my heart. Love, bitterness, sadness or religious zeal - all combine to form the substance of my music." Much of this could have been written by Schumann, although his beliefs and energy were directed more towards literary and artistic, rather than patriotic or religious, ideals. Each time I play their music, I feel closer to it's essence. I believe it's universal emotions, from suffering to idealism, can still speak to us today and I would like to share some of my thoughts with you. "Fantasie" is a keyword in the works of Schumann. It is no coincidence that he was eager to become a novelist, following the example of his favourite writer, Jean Paul. Composed in 1836, the "Fantasie" for piano can be compared to a poem or a story; it is like a romantic tale, where reality and imagination meet. It is full of quotations and references to Schumann's two great loves: his wife Clara Wieck and the music of Beethoven. In fact, Schumann originally considered calling this composition "Grand Sonata', then "Poems", but finally chose "Fantasie". The structure of this three movement work is based to some extent on it's programmatic conception. Schumann originally intended to name the movements "Ruins", "Triumphal Arch" and "The Starry Crown". In the opening a tumultuous left hand figuration prepares for an impassioned theme in octaves - a descending motto to which later lyric ideas are directly related. The many and violent changes of mood are heightened by a middle section, headed "In the Character of a Legend," which evokes nostalgic ideas of knighthood and the epic past. But even here the descending line of the motto theme is alluded to - Clara is never far away. Schumann wrote to her: "The first movement is, I think, the most passionate work I have ever composed-a deep lament, for you..." The middle movement is Schumann in one of his most characteristic attitudes, sending the Davidsbündler (the composer's imaginary League of David) marching against the Philistines. A grandiose theme sets the pace for a dotted rhythm. It continues obsessively, hinting strongly at Schumann's fragile emotional state which ended some years later in insanity. Contrasting episodes and a return of the march culminate in a breathless coda in which the melodic line, again in the dotted rhythm, challenges the performer's pianism to the utmost. This virtuosity leads to the heart of the work in a slow final movement. This beautiful poetic utterance, through "sighs and whispers" reveals the composer's soul and brings the "Fantasie" to a triumphant and peaceful close. Rachmaninov composed the Etudes-Tableaux op. 39 in 1917, at a fateful turning point in his country's history. His presentiment of Russia's tragedy is felt in many of his works, but especially in these pieces; eight of the nine are in the minor mode. We hear pain and foreboding, sorrow for a world which was to be irretrievably lost and nostalgia for his homeland. Did Rachmaninov know when he left Russia for a tour in 1917 that he would never return? The cycle of études has a definite emotional structure. The confusion and whirlwind of the first étude are replaced by images and memories in études 2-4. The fifth étude seems to protest against loss, while the sixth can be heard as the triumph of evil. At the beginning of the seventh étude we hear a funeral march, but patriotic fervour reawakens hope in the eighth. In the last étude, the only one in a major key, chaos is conquered; faith is victorious. My life has separated me from Russia, my own homeland, but strong links still bind me there, especially the music of Rachmaninov. Every time I perform it, it gives me the chance to take you, the listener, with me on a musical return journey to this wonderful land. I hope you will enjoy it! Alexander Drozdov Press reviews 'Impressive debut' - PianoWorld 2010 by Elser Niels With this debut CD the Russian born and residing in the Netherlands pianist Alexander Drozdov commands great respect. Sturdy pianisms with lots of dynamic relief in abundance, clarity of the definition form the first distinction.The second is the maturity with which this young pianist reveals his interpretations. Schumann Phantasy opus 17 drives innumerable interpreters to groundless hysteria, but not Drozdov, who clearly marks and joins his tempos, so that large arches are layed out, that, without trying to impress, are built up with clarity and balance with tone and tempo. All together impressive interpretation is presented here, that projects the passion from the first movement and the heroics of the second, to the ethereal and mystic synthesis in the slow finale. This interpretation withstands many a comparison. The overall message however sounds overwhelming and straight from the heart.