BACH 5 Piano Concertos Bahrami Chailly 4782956
Youthful virtuoso takes a decidedly sanguine approach to five of Bach's piano concertos, assisted in all matters of infectious . . . brio by Riccardo Chailly . . . [a] blistering rendition. Bahrami uses the pedal sparingly if at all, and the Gewandhaus players eschew vibrato to produce a dry, biting style. Breathless and inflamed, the last movement Allegro radiates an energy that music -- when vital and exhilarated enough -- can bestow streams of light . . . the E Major Concerto bubbles with good spirits . . . The Adagio e piano sempre brings out Bahrami's legato playing as a pearly entity that requires no false glitter to make a noble impression . . . The A Major Concerto enjoys an infectious impetus.
. . . conducted with extraordinary vitality by Riccardo Chailly . . . The performances have a rhythmic litheness that makes you want to get up and dance. But Bahrami also has a mystical side. The slow movement to the F Minor concerto is out of this world.
. . . Mr. Chailly's approach to this repertory is typically vigorous, with reduced scale but no effort to tamp down the sound or, in this case, to treat the piano like a harpsichord. But he does side with early-musickers in favoring mobility over monumentality, with brisk tempos and clear textures. . . . Mr. Bahrami is returning the favor in fine style. His playing is everywhere strong and fluent. He embellishes lines freely . . . and with seeming spontaneity. The orchestra, which sounded stuffy and out of sorts on a New York visit under former leadership a decade or so ago, seems to be thriving under Mr. Chailly. It plays with freshness, commitment and vitality . . . this disc is eminently recommendable to specialists and nonspecialists alike.
Bahrami shows fine technique and crisp articulation in fast passagework. The lively opening movement of BWV 1055 is enlivened with high-spirited ornamentation, while strings gently caress the limpid piano line in the following larghetto . . . Much to enjoy . . .
Bahrami spielt kristallklar, fast ohne Pedalgebrauch . . . Vitale Tempi in den Ecksätzen und wunderbar kantable Mittelteile . . . Chailly und das Gewandhausorchester liefern zum geschmackvollen Spiel des Iraners einen Tuttipart, der nichts an Ausdrucksstärke und differenziertem Ensemblespiel vermissen lässt.