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Moussorgski, Scriabine : Œuvres pour piano. Baryshevskyi.
Format : 1 CD
Total Time : 01:18:44

Recording : 01/02/2015
Location : Leverkusen
Country : Allemagne
Sound : Stereo

Label : AVI Music
Catalog No. : AVI8553332
EAN : 4260085533329
Price Code : DM021A

Publishing Year : 2015
Release Date : 28/10/2015

Genre : Classical
Modest Moussorgski (1839-1881)
Tableaux d'une exposition

Alexandre Scriabine (1872-1915)
Prélude op. 11
n° 1
n° 2
n° 5
n° 10
n° 12
n° 14
n° 21
n° 19
Feuillet d'album, op. 45 n° 1
Poème, op. 59
n° 1
n° 2
Feuillet d'album, op. 58
Poème, op. 69 n° 2
Poème, op. 67 n° 1
Poème, op. 71 n° 1

Antonii Baryshevskyi, piano

Dînant en ville, un jeune en bout de table vous tend sa carte quelconque, destination fond de poche. Et puis, supplément d'assurance à deux mains (de pianiste), c'est lui qui vous rappelle, nettement plus intéressant que son prime abord. Tel ce Baryshevskyi, ukrainien né en 1988, ayant étudié également à Paris. Car des russes (Rachmaninov, Stravinsky) aux français (Ravel, Debussy) en passant par Scarlatti, en collection économique promouvant des lauréats de concours, nous avions trouvé modérément convaincante (trop appliquée) sa première chatouille d'oreille. Or, ici et dans ce répertoire, fameux progrès : un jeu ample mais sans emphase, parfois délié, souple et rêveur. Résumons alla Scriabine : caressé. Dans les Tableaux, il concilie parfaitement franche gaîté (du crépage pépiant de volaille à un ergotage quasi entre maquignons) et insondable deuil (de cet ami dont on expose l'oeuvre). Les transitions (promenades) ne sont jamais les mêmes, et toujours originalement détaillées. Pour du vrai monumental, peut-être aurait-on préféré une conclusion certes solennelle, mais plus exaltée (grande porte de... Kiev, où est né notre interprète !). Le Scriabine est encore plus bellement ''caressé'' à partir de l'opus 59. Avec pas mal d'indications ''andante'', toujours difficiles à appréhender entre adagio et allegretto, modérées mais que nous préférons pas trop. On pourra trouver ainsi un peu lents les préludes 5-10-12 de l'opus 11, ou le prélude 67/1 (de même que déjà, le 1 n'était pas assez vivace). Et pour conclure, le Poème 71/1 donne plus dans l'hypnotique que le fantastique prescrit. Inversement, superbe petit grain de folie du Poème 69/2 (on entendrait Scarbo gratouiller). Mais bon, sanglante controverse possible. Disque à recommander chaudement aux amateurs de beau piano. Avec une somptueuse prise de son (à la limite, doucement quand même les basses, par exemple pour le presto de la plage 22, la sonate de Scriabine). (Gilles-Daniel Percet)

“The most important thing is to play on a good instrument”, Antonii Baryshevskyi confided to Ukrainian journalist Olha Kizlova in an interview given in 2013. “Furthermore, you need truly good schooling – an environment that allows for music education. Our [Ukrainian] piano culture is based on the teaching of [Heinrich] Neuhaus, who paid special attention to timbre and tone quality. Sonority is extremely important for an interpreter – something I’ve been working on for a long time.” Baryshevskyi reflects further on the subject of piano literature: “The choice of repertoire has to be just right. But even that aspect wouldn’t be enough if one wasn’t capable of expressing oneself earnestly and authentically. If you’re able to hold all of those elements in balance, nothing can ever go completely wrong. But if an artist just wants to put himself on display and express himself by means of music, the result will be a caricature. The most important thing is to achieve balance between the composer’s written intentions and the performer’s inner world of reflections and emotions. If you get that balance right, everything is right.” In her magazine feature on the young pianist, Olha Kizlova wrote of his “thoroughly well-conceived, deeply felt, authentic interpretation. He is guided by his perfect taste; heart-warming, thrillingly enchanting playing and a seemingly endless palette of colours and dynamics all inspire his listeners to concentrate along with him, obtaining their trust from the very first note. This young soloist has incredible potential and will consistently follow his own path, always guided by a self-critical endeavour to achieve perfection.” Born in 1988 in Kiev (Ukraine), Antonii Baryshevskyi started studying the piano when he was seven and ventured his first steps at Donska State Specialized Music School No. 14. After having obtained his diploma at Lysenko Music School in 2007, he pursued post-graduate studies at the Tchaikovsky National Music Academy of Ukraine in the class of Valerii Kozlov. At the age of 16, Baryshevskyi was already selected as “A Man of the Year 2005” for a specialized training scholarship, and as one of the participants in the Euro Radio Youth Concert in Munich one year afterwards. Antonii’s musical path then took him to Paris, where he concluded his studies in 2015 in the class of Marian Rybicki at the École Normale de Musique (ENM). He also participated in masterclasses imparted by Alfred Brendel, Daniel Pollack and Lily Dorfman. In 2012, the National Philharmonic Society of Ukraine awarded him the “Soloist” distinction. Baryshevskyi has won prizes at over 20 international and Ukrainian competitions, and ever since early youth he has performed at a series of festivals in his home country.

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