TZIMON BARTO
Music of Ravel

Tzimon Barto is a funny name. To whom does it belong? It belongs to an American pianist, born and raised in Florida. He started out Johnny Barto Smith, Jr.; now he has that fancy, foreign-ish moniker. At any rate, Mr. Barto has a diverse repertoire, and his latest CD is all-Ravel.

It comes to us on a Finnish label, Ondine. And that name is appropriate, because Mr. Barto first plays “Gaspard de la nuit,” whose opening section is “Ondine.” Mr. Barto seems made for Ravel. He has touch, which is a poor word, but which indicates an ability vital to the music. He has ear, which allows him to apply the right colors. And he has a mind that directs him to proper interpretation, overall.

He knows where Ravel should be clear, and where he should be a bit blurry. Mr. Barto is delicate, but never fragile or silly. Often, to use an old cliché — especially where French Impressionism is concerned — his playing sparkles like diamonds.

“Ondine” avoids being airy-fairy, having a sturdy pianism behind it. The next section of “Gaspard de la nuit,” “Le Gibet,” unfolds with gentle but horrible inevitability (just as Ravel wants). And the closing “Scarbo” is dizzying almost beyond belief. This is a studio recording, of course, and therefore not fully to be trusted. But, the blizzard of notes aside, Mr. Barto is totally musical.

Next come the five “Miroirs.” In what may be the most famous, “Alborada del gracioso,” Mr. Barto is exceptionally spiky, unafraid to give Ravel some punch. (Sounds like a drink.) I’m not sure about the pianist’s rhythmic hesitations, however. The main feature in another of these pieces, “La Vallée des cloches,” is evenness: evenness of tone (or color), evenness of weight.

And the disc ends with “Jeux d’eau,” in which Mr. Barto is casual, ferocious, shimmering, and perfectly Ravelian. Frankly, this is some of the best Ravel playing you will find on disc. Mr. Barto is a wizard.

Incidentally, his bio tells us that he “speaks four languages fluently, is a reader of Homeric Greek, Classical Latin and Biblical Hebrew, studies Farsi and Mandarin, and writes poetry.” He is also a novelist and bodybuilder.

So, what do you do in your spare time?

CHICAGO SYMPHONY ORCHESTRA
Bernard Haitink, cond.
Mahler’s Symphony No. 3

Last fall, Bernard Haitink, the veteran Dutch maestro, took over as principal conductor of the Chicago Symphony Orchestra. And he opened with Mahler’s Third Symphony. The reviews from Chicago critics were ecstatic: “one for the history books.” Now this performance is available on disc, from the orchestra’s own label: CSO Resound. Actually, the recording is put together from three performances, October 19–21.

Mr. Haitink is a famous Mahlerian, having recorded a popular cycle of the symphonies with his old band, the Concertgebouw Orchestra. And his Third with the CSO is commendable indeed. The beginning movements — there are six — are clean, wise, and fantastic. Mr. Haitink is showing the advantage of years. And the CSO is playing at its formidable best.

It is starting with the fourth movement that I have reservations. This movement, which has the song “O Mensch! Gib acht!” is slightly ponderous. The mezzo soloist is Michelle DeYoung, who sings this music often. She is somewhat tremulous here, but nonetheless moving. The next movement — which features the children’s chorus — is slightly heavy, not delivering the full, merry, springy effect.

And how about the last movement, a stretch of sublimity rarely matched in music? It is slow and careful. There is nothing quite wrong with it (and the orchestra plays immaculately). But neither does it plumb the depths, or scale the heights. It must be said, however, that the final pages build upliftingly. (They’d better.)

People who have more recordings of the Mahler Third than they have, say, coasters — and I’m afraid that includes me — will want this one. Those in need of their first Mahler Third may want it, too. One could do considerably worse.

BERLIN PHILHARMONIC ORCHESTRA
Sir Simon Rattle, cond.
Bruckner’s Symphony No. 4

The Berlin Philharmonic Orchestra is churning out CDs the way GM once did Buicks. The latest — on EMI Classics — brings us Bruckner’s Fourth Symphony, nicknamed the “Romantic.” Sir Simon Rattle, as usual, conducts. And I note that this recording is put together from live performances that occurred on the very nights when the Chicago Symphony Orchestra was doing Mahler’s Third: October 19–21, 2006.

And this is a fine Bruckner Fourth. The symphony opens with a horn call, and the BPO’s — horns, that is — are peerless. They perform stunningly all through the work. In the first movement, Sir Simon is relaxed, as we can expect him to be, but he also keeps a pulse. In all four movements, he breathes and sculpts beautifully. He keeps the score in balance, respecting Brucknerian architecture.

I might also mention that, in the first movement, Sir Simon brings out the charm of the music. Not often is charm associated with Bruckner, but he has it.

The slow movement is duly unrelenting, if not the most profound or religioso you’ve ever heard. And the BPO is guilty of some loose pizzicatos. As for the Scherzo, it is exciting and majestic, even if the Trio within it is slightly flat (in spirit). And the Finale carries the right sweep and command.

Not everyone is happy with Sir Simon’s leadership at the Berlin Philharmonic, and I myself have sniffed. But one and all should be happy with this recording of the Bruckner Fourth, a beautiful and understanding traversal of a masterpiece.