Page 487 - Liverpool Philharmonic 22-23 Season Coverage Book

peaks of phrases hang wistfully or how the ends of phrases are attended to with an
ineffable tenderness. The final piece, Der Dichter Spricht, certainly has some nice
color changes in the middle but, on the whole, doesn’t possess the deep level of
reflection or profundity that landmarks by Arrau or Argerich have. Kanneh-Mason’s
playing is admittedly declamatory but doesn’t have as much fluidity which is
necessary in creating the delicate balance between speech and contemplation.

Debussy’s L113 Children’s Corner makes for a lovely listen though again, it errs on
being fairly even-keeled. There is a lovely understatedness in Doctor Gradus ad
Parnassum in the pianist’s smooth tone that creates an aura of warmth. A version
like Bavouzet’s, however, shows more perceptible variations in harmonic color and
articulation. The much-loved Cakewalk is nice—but just that: at the heart of the
work is a sense of humor that, with the right amount of energy and boldness, comes
to life. Things do sound promising enough but the true character of the comedy
never fully emerges. Perhaps it’s the held-back fortes or the need for more zest
even in the softer sections.

While the selection of repertoire on this album is undoubtedly pleasing, it is
unfortunate that the performances do not fully seize the opportunity to offer a
distinctive perspective on these beloved compositions. As a result, listeners may
find greater satisfaction exploring other referenced recordings that delve deeper
into the nuances of these well-known works.

Childhood Tales
Isata Kanneh-Mason – Piano
Royal Liverpool Philharmonic Orchestra
Domingo Hindoyan – Conductor
Decca CD 4854180