Xiayin Wang - brilliant pianist, magnificent concertos

I could stop right there with just one word - "magnificent". But I can't help but elaborate.

Xiayin Wang (no relation to DG's Yuja Wang) is an amazingly diverse and virtuosic player. I found her earlier Chandos disc of American Concertos fantastic. Then to follow up just as successfully with this program of somewhat unusual Russian/Armenian concertos, is astonishing. She is helped by two significant factors: 1) the stupendous orchestral support of the Royal Scottish National Orchestra conducted by Peter Oundjian, and 2) the superlative SACD sound by Chandos. The piano is not spotlit, as is so often the case, allowing the orchestral contribution to become so much more important, meaningful and potent. Yet amazingly, they never drown out the soloist. It truly sounds like one is listening from the best seat in the hall, resplendent with dynamic amplitude.

Let's start with the Tchaikovsky 2nd, which seems to be such a difficult work to bring off (at least on record). It so often sounds either obnoxiously bombastic, or uncharacteristically flippant. Here, it is quite simply, magnificent. The musical purpose these performers lavish upon this work cannot be more highly praised. In the 1st movement, I found it striking how it all makes such musical sense here without being at all pounding and bombastic and noisy, yet losing none of its power. The phrasing of a musical line from the orchestra is ravishing throughout. And Wang plays with much less pedal than is normally heard, bringing such clarity of textures, it emphasizes the musical line.

The 2nd movement is played uncut, as it should. And played at the correct tempo, as here (it's marked Andante, NOT Adagio), one feels remorse anyone ever felt it should be cut. It unfolds with natural beauty and grace, just as the composer must have intended it to. Wang is magnificent in her rare ability to play with rubato without altering the basic pace or tempo. It's not fussy, it's not indulgent, it's just naturally musical. And it is a rare thing to hear. The Finale finishes the work with real flare and power, not for an instant lightweight or flippant. It's marked Allegro con fuoco, and fire is exactly what they deliver.

The Khachaturian takes us into another sound-world, but is just as convincingly portrayed. The 1st movement brings a never-before-realized variety of mood and styles - beginning with plenty of Armenian passion, but then lightening the textures in the next section to a dreamy delirium, followed by a hint of jazz, and back to Russian fervor. Then, at about 10 minutes in, we are treated to a most glorious "Oriental"- sounding interlude. What a delight.

The 2nd movement offers a lovingly intimate, singing musical expression. Once again, Wang's rare ability to use rubato without slowing the tempo brings enormous dividends. And, fortunately, the flexatone is recorded very distantly, not at all spotlit, as is so often the case. It sounds like it's way back behind the percussion, and adds just a barely perceptible hint of tangy flavoring, allowing the violins to carry the tune with the most gorgeous, singing body of tone. The Finale then shows us what a virtuoso Wang is; bravura on full display, and the orchestra letting loose with passion and power - the Chandos sound expanding magnificently.

In closing, while I realize my overuse of the word magnificent may be annoying, there simply is no better word to describe the playing heard on this disc. I could not tear myself away from the stereo even for a moment. I sat mesmerized and enthralled from beginning to end (75+ minutes - thank you, Chandos!). This is easily my favorite disc of the year. Do not miss it.
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Wang's earlier disc is no less superlative. Imaginative programming, wonderful sound, peerless playing. And, again, the orchestral contribution (from the same forces) cannot be more highly praised:  it is potent, energetic, idiomatic and superbly played. And, particularly in the Gershwin, Peter Oundjian matches the legendary Arthur Fiedler and the Boston Pops in sheer verve and flair. It is interesting to compare this orchestral response in the Barber concerto with that of the LSO for Elizabeth Joy Roe on her 2014 Decca recording of it. The LSO sounds completely bored and disinterested in comparison. They aren't helped by the thick, murky Decca recording either.

Of course, Xiayin Wang is the star of this show and her playing brings unmatched bravura and sensitivity. In the Copland and Gershwin, her flair and energy, combined with a natural, jazzy spontaneity, are positively infectious, engaging and exhilarating. Topping it all off is superlative SACD sound from Chandos - resplendent in color, glitter, warmth, sparkle and power. They provide the most natural perspective and acoustic, allowing the piano to be naturally balanced, yet giving the orchestra its full, potent impact. It all makes for one of the most enjoyable concerto collections I've heard in years.

I know I've used the word "superlative" too many times. But there simply is no better word to describe these performances. We finally have a worthy successor to Earl Wild! I was beginning to think that would never happen.