 "Pan", le chef d’œuvre pianistique de Viteslav Novak, aura eu de la chance au disque, discographie superlative autant que minimaliste : jadis Frantisek Rauch (Supraphon), hier Patrick Hemmerlé (Mélism) en ont offert des gravures superlatives, faisant entrer dans ce poème tout l’orchestre onirique et sensuel qu’il y invitera ensuite. Aujourd’hui Tobias Borsboom les rejoint à un même degré dans l’art de l’évocation, pianisme subtil où j’entends l’ampleur harmonique héritée de l’un de ses maîtres, Geoffrey Douglas Madge, sens des atmosphères et de la narration, usage infiniment subtil du jeu de pédale, et un art de coloriste qui exalte cette fascination pour Debussy qu’un Novak à l’orée de ses quarante ans infusait dans le paysage de la musique tchèque des années 1910. C’était ouvrir sur des horizons nouveaux, refuser en quelque sort les idiomes nationaux pour inclure la musique tchèque dans le concert contemporain européen. Disque admirable, que les anglophones ne se privent de lire l’éclairante notice de ce pianiste dont je guetterai les prochains albums. (Discophilia - artalinna.com) (Jean-Charles hoffelé) A masterpiece of Czech late-Romanticism, in its original piano version: the only modern recording. For his debut on Piano Classics, the Dutch pianist Tobias Borsboom presents a unique new recording sure to attract the attention of pianophiles everywhere: the five-movement, hour-long tone-poem which Vítezslav Novák (1870-1949) composed in 1910. The work is marginally better known through the orchestration made by the composer two years later, but the great breadth, melodic richness and sumptuous harmonies of Pan still await discovery by all but the most devoted follower of Slavonic byways. Novák composed the work at the height of his powers. It presents a pantheistic, spiritual autobiography in music, responding to the idea of the Greek god, and the myths associated with him, through highly colourful, evocative music. The forest stirs and murmurs in a manner reminiscent of Dvorák, but the sea also swells with Debussyan waves of sonority and there are hints of Janácek in the cycle’s brooding second movement, ‘The Mountains’, which inhabits the mood of Novák’s more concise orchestral masterpiece, In the Tatras Mountains. As Tobias Borsboom observes in his invaluable booklet essay, the cycle emulates Smetana’s Ma Vlast in pursuing a cyclical unity through the return of themes and leitmotifs. Thus the opening ‘Pan’ theme lends a universal, shaping power to the entire work. A glorious C major apotheosis – on the scale of Scriabin, Schoenberg and Strauss in their contemporary works – brings the finale, ‘Woman’ to a transcendent climax. The piano version has many virtues of its own, not least clarity of line and texture, which Tobias Borsboom’s performance brings out.
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