Eldar Nebolsin first came to my attention in 1994, when the pianist (19 at the time) recorded an exciting and energetic Chopin B minor sonata for Decca. Judging from his Rachmaninov Preludes, recorded in January 2007, Nebolsin has evolved from an unbridled keyboard whiz into a thoughtful artist who channels his virtuosity toward serving the music. He takes his sweet time over the C-sharp minor Prelude’s opening section, yet his keen sense of nuance and timing not only prevents the music from dragging but also sets up a contrasting context for the torrential middle section that follows.
Nebolsin hits on a tempo for the B-flat major Prelude that addresses the grandeur Rachmaninov intends by his Maestoso directive yet also allows the thick climactic chords to fully sing out without slowing down the pulse. In an era where young pianists stretch out the B minor Prelude until its backbone crumbles, Nebolsin’s lilting fluidity is both a corrective and a tonic.
The steady gait Nebolsin favors in the G-sharp minor reveals this popular prelude in an uncommonly urgent light, although the G major’s curvaceously shaped phrases and sensitive harmonic pointing bear more than a few welcome traces of Horowitzian intoxicants. Surprisingly, the C major and C minor Preludes make a labored, heavy-handed impression and are bogged down by swirling passagework that fails to scintillate and soar. You could imagine suppler, more transparent handling of the D major’s overlapping textures by clicking your ruby slippers and repeating the mantra “Sviatoslav Richter” 500 times. Still and all, the budget price and excellent engineering may attract collectors wishing to supplement the mid-price Ashkenazy reference edition. Thanks to Naxos for putting Eldar Nebolsin back on the discographical radar.
