LDV74

FLORIAN NOACK 23 ‘Nomatter howmuchwe reject the idea,making a recording is unquestionably the beginningof a reflectiononourselves.’ And so Florian Noack contrasts the teenager he once was with the mature adult he has become. Prokofiev making use of Jiminy Cricket. Some of the pieces on the disc remind him of the brutal jolts of his defunct juvenility, especially those that hammer, that smash up the piano. They used to act as an outlet, to transcend the aggressiveness inherent in that decidedly awkward stage in growing up. ‘When I recorded the Sixth Sonata, I was very surprised to realise that I had radically distanced myself from that energy.’ Thus he tried to work on the score without submerging it in personal details, keeping as remote as possible the biographical elements that might take hold of it and give it meaning. To banish his personal imaginative world in order to concentrate on a strict cartography of the work. To stick to the blueprints. To try to convey through the notes and the harmony alone what they seek to express. As if to restore the declamation of the music, wrenched away from the Romantic intentions of his former self.