The program looks promising, but the reality turns out to be a bit disappointing. There is probably nothing in music sillier than playing Boléro in either of its composer-authorized keyboard versions. After all, the piece consists entirely of two elements, dynamics and tone color, both of which vanish in these arrangements. Also, although the booklet claims that Ravel himself made this transcription for two pianos and percussion, I’m not buying it. Two pianos, yes, but the percussion? No. If true, it sounds even dumber and more monochrome than the two versions for keyboards alone.
On to the Bartók. Pascal Rogé has a reputation as a French repertoire specialist, and while of course he can play other music, he and his wife sound a bit timid in Bartók’s more ferocious idiom. The first movement introduction lacks both mystery and steadiness of tempo (it keeps wanting to accelerate before Bartók suggests it), while the finale needs more rawness and verve. It’s all too light. The star of this particular show, actually, is the timpanist, who plays his part with amazing clarity and precision; but this piece is not a timpani concerto and the two pianists ought never to be overshadowed as they are here by all of that banging and thumping.
Matthew Hindson’s Pulse Magnet is one of those generic, pop-influenced, quasi-minimalist rhythmic studies that sounds like a noisy accompaniment in search of a tune. It’s fun for the first few seconds of each movement, then it just becomes annoying. It is, however, very well played by the entire team, and they sound like they’re having a good time. I only wish we were too. In sum, this well-intentioned release, cleverly programmed and looking good on paper, just doesn’t deliver the goods in real time.
