Kabalevsky: Piano Music / Mclachlan

Murray McLachlan: piano

Kabalevsky: Piano Sonata No. 3 in F major opus 46 / Piano Sonatina No. 1 in C major opus 13 No. 1 / Twenty-Four Preludes for piano opus 38

In his enthusiastic accompanying notes Murray McLachlan refers to Kabalevsky's "direct yet memorable" qualities and, more specifically, to the "terrifying" development section of the Third Sonata's first movement. He also quotes a passing reference to the composer's "profound psychological content". But this is surely overstating the case (the latter comment reads suspiciously like communist propaganda) because for all its fluency, its passing fancies and attractions, Kabalevsky's style is facile and derivative. True, the 24 Preludes flash with intermittent brilliance but so far from being deeply rooted in Russian folk melody they suggest several ill-digested influences; those of Tchaikovsky, Mussorgsky, Stravinsky and most of all, Prokofiev. The true source of so much self-conscious whimsy and iconoclasm is not hard to fathom. The First Sonatina, too, while useful teaching fodder, is oddly without quality (the central Andantino is notably arid) and only the Third Sonata shows Kabalevsky at his consistent best. While hardly part of the standard repertoire (McLachlan's claim) the occasional performance and recording bear witness to its piquancy, its propulsive energy and character.
Clearly, such music requires very special pleading and pianistic resource if it is to hold its listener's attention but despite an engaging air of bustle and involvement Murray McLachlan's performances (Volume 1 of a projected complete cycle) hardly withstand close scrutiny. A relish for the more bombastic Preludes (Nos. 5 and 24) is countered by tameness and caution in the moto perpetuo whirl of No. 14 or the ebullient Festivamente of No. 21. The Third Sonata, like many of the more intimate Preludes, is rushed and graceless notably in the opening and insinuating melody and there are altogether too many reminders that mere facility is a poor substitute for other more durable musical and technical virtues. The recordings are competent but colourless and there is no competition here for Jacob Flier's long-deleted MK recording of the Preludes or Horowitz's legendary performance of the Third Sonata, recently reissued by RCA. Hopefully APR will transfer Moiseiwitsch's inimitably vital and affectionate account of the same Sonata before long.
Bryce Morrison - Gramophone, April 1993