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Chopin, Debussy, Ravel
Chopin, Debussy, Ravel in Bloomington, MN
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In a way, young pianist
Kim Bernard
sets himself a big challenge by choosing very standard repertory works for his debut album over unusual pieces. After all, to make an impression with
Chopin
,
Debussy
, and
Ravel
is more difficult than it is with, say,
Charles-Valentin Alkan
or
Louise Farrenc
. Furthermore,
Bernard
is the kind of player whose virtues come from thorough training, of the sort that can squeeze the life out of the music. He is not a subjective pianist but rather one who executes the music cleanly down to its small details. As it happens, he has the chops to impress listeners anyhow, and one wants to hear more from this artist. He is at his absolute best in
's
Le tombeau de Couperin
, a neo-Baroque work whose ornaments ring brilliantly under
's hands. His angular reading of
L'isle joyeuse
is also memorable, even if his pieces from
Book I of Images
may be too dry for some tastes. There is absolutely no shortage of recordings of the
works at the beginning of the program, but
persuades that he has something new to say about them; consider the entrancing
Berceuse, Op. 57
. With excellent sound from the Studio de Meudon, this is an auspicious debut. ~ James Manheim
Kim Bernard
sets himself a big challenge by choosing very standard repertory works for his debut album over unusual pieces. After all, to make an impression with
Chopin
,
Debussy
, and
Ravel
is more difficult than it is with, say,
Charles-Valentin Alkan
or
Louise Farrenc
. Furthermore,
Bernard
is the kind of player whose virtues come from thorough training, of the sort that can squeeze the life out of the music. He is not a subjective pianist but rather one who executes the music cleanly down to its small details. As it happens, he has the chops to impress listeners anyhow, and one wants to hear more from this artist. He is at his absolute best in
's
Le tombeau de Couperin
, a neo-Baroque work whose ornaments ring brilliantly under
's hands. His angular reading of
L'isle joyeuse
is also memorable, even if his pieces from
Book I of Images
may be too dry for some tastes. There is absolutely no shortage of recordings of the
works at the beginning of the program, but
persuades that he has something new to say about them; consider the entrancing
Berceuse, Op. 57
. With excellent sound from the Studio de Meudon, this is an auspicious debut. ~ James Manheim
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