BBC Legends BBCL 4231-2, 74:53 (Distrib. Koch) *****:
More sensational music performances from the late Ukrainian keyboard colorist Shura Cherkassky (1909-1995), of which the Emperor Concerto from Usher Hall, Edinburgh (29 January 1992) with Belgian maestro Ronald Zollman (b. 1950) ranks among the most sonically handsome renditions I know. Zollman’s French horn principal likely deserves special mention throughout the first movement as well, but Cherkassky–noted for his unique application of touch to pieces well fossilized by tradition—imbues the concerto with a glittering freshness that proves breathtaking. By the time he reaches the late quasi-cadenza, alla musette, we could weep for the sheer magic of his tone. Zollman approaches each tutti with renewed enrgy and thrust, and we could well believe that Cherkassky could generate the same intensity and colored, nuanced exactness we expect from Michelangeli. The Adagio spreads out before us in a measured, broad tapestry, the cadences marked by thudding pizzicati and molded phrases from French horn and oboes. Ravishing staccati and trilled progressions from Cherkassky that suddenly lull us to heaven, legato. The amazing half-step descent to the Rondo, given one of the broadest readings on record. Shattering entries by Cherkassky to the theme and its resounding trill, the ritornello and subsequent variants constant delights from Zollman and his principal bassoon.
The Gershwin Concerto–like the Emperor new to the Cherkassky discography–from Royal Albert Hall (14 September 1985) with Vernon Handley enjoys all the bluesy touches we want in this most cosmopolitan of New York classics, including snaps and warbling woodwinds. Cherakssky can boogie-woogie the tunes as well as Oscar Levant and Duke Ellington, and Handley has his orchestra sparkling, sliding, and wah-wahing with the best of them. The coda of the first movement has Tin Pan Alley to spare, the runs silken, glimmering, explosive at once. The cornet solo to begin the Adagio segues beautifully into the oboe, the winds underneath palpitating and searching along lower Park Avenue, maybe heading towards FDR Drive. Cherkassky starts off with a stride, New Orleans come to Herald Square. Lovely violin solo worthy of Grappelli, cornet and flute playing the blues. Cherkassky gives the riffs for the Andante heart and soul, the arpeggios straight out of Debussy. Thunder and lightening for the Allegro agitato, Cherkasky negotiating the repeated notes and syncopes with impish relish. Handley keeps the orchestra blazing, clopping, and clinking in jazzy rhythms, the rubato thick enough to slice with an axe. Yes, there’s the gong. The audience must still be cheering. If Woody Allen collects Gershwin Concerto records, he’ll want this one.
Old wine inspirationally decanted in Cherkassky bottles and with gorgeous sound.
— Gary Lemco
