Liszt: Piano Concertos 1&2, Totentanz, Fantasy

Armenian pianist Nareh Arghamanyan, who has been playing since the age of five, has been making an impressive round of performances with noted orchestras all over the world.

She shows amazing maturity and restraint in these two warhorses. Arghamanyan takes a lyrical and more sedate style into her soul with readings that are just loaded with flexible and soaring flight-of-fancy finger work that focuses on Liszt’s inimitable sense of rhapsodic invention. These are not hell-bent-for-leather performances but instead those that seek a chamber music intimacy within the confines of a large orchestra whole — and it works.

One could argue that a piece like Totentanz, maybe the composer’s most devilish orchestral score, would not respond to the melodic musings of a light touch, but you would be wrong. This work, a series of variations on the Gregorian Dies irae, achieves its percussive effects on its own with little help needed from the pianist, and holds her own in a splendid reading. The Fantasy on Hungarian Folk Tunes, that originally featured conductor Hans von Bulow as the pianist at the premiere, is one of two arrangements Liszt made of his Hungarian Rhapsody No. 14. It is an enthusiastic and fun piece of work taken for what it is — an audience-pleaser and rousing work of great invention. Again, Arghamanyan is at the top of her game, as is the splendid Berlin Radio Symphony Orchestra and their young conductor. Pentatone provides wondrous surround sound.