SCHUMANN: Piano Works
Arrau, Cortot, Fischer, Gieseking, Godowsky,
Haskil, Horowitz, Nat, Rachmaninoff, Tagliaferro
Andante 1964 (4CD) 4h 47 min
The Carnival by Rachmaninoff, the Symphonic Studies by Cortot, The ABEGG Variations by Haskil, all these referential recordings are already found in the collections of keen music-lovers. But although Pearl, Biddulph, Music and Arts, Dante, and Philips, to name but a few, had already begun reissuing these classics, it seems that Andante is now surpassing everything that has been done so far. This set of 4 discs devoted to Schumann would certainly confirm this.
This anthology contains only the best, apart from one or two pieces whose inclusion might be debated. As well as showing the evolution of Schumann interpretations between 1929 and 1949, it also highlights a strong propensity for risk-taking, mixing temperament with wrong notes that are quickly forgotten in the delight of the spontaneity.
The transfers to disc by the Parisian team at Art et Son are among the best, if not the best, of current technology. A good example is the Carnival recorded by Rachmaninoff. By eliminating much of the surface noise, the Philips version (456 945) accented the bass while limiting the harmonics of the medium and high voices. The team of Philippe Morin avoided that pitfall by reducing the number of filters in the transfer they performed for Dante (059), thus notably improving the sound of the medium voices. But the high voices were still too sharp. Having learned from experience, the same team has transformed the experiment for Dante into a master stroke for Andante. By leaving in most of the crackling, they have achieved a natural balance among the different registers. Listeners quickly forget about the constant surface noise and can concentrate their listening on more realistic and pleasant sonorities. But if, on the other hand, the surface noise is inconsistent (as in ‘Eusebius’ from the Carnival by Godowsky on Philips transfer 456 805), it catches the listener’s attention and quickly becomes unbearable.
As for the interpretations, the recording of the ABEGG Variations by Haskil for Polydor in 1938 was a wise choice. The Romanian pianist gives a spirited, fresh performance (his concluding maelstrom is amazing) that surpasses the 1951 Philips version. Her Walsdszenen recorded for London in 1947 are perhaps more uneven than in the Philips version, although they still contain moments of great emotion. ‘Jäger auf der Lauer’, for instance, is overlabored and the phrasing is not incisive, but Haskil pays admirable attention to the melodic line in ‘Herberge’.
This album also includes the 1929 version of the Symphonic Studies by Cortot, still a great classic. Despite the weakness of the Finale, they contain a naturalness missing in the 1953 recording.
Yves Nat recorded only the first three pieces of the Fantasiestück for Columbia, and they are on this disc. Although they are superb, it might have been wise to contrast them with his recordings for Discophiles Français. The Kinderszenen from the Columbia venture are a real treat, as is his Vienna Carnival. Instead of crushing the strong beats of the Scherzino, Nat lets the piece blossom in a world of elegance, finesse and nuance. The Intermezzo and Finale reveal the fine sensibility of a sensitive soul that refuses the common ground of tradition and vulgarity.
Tagliaferro, a member of the Cortot school, fashions a different Vienna Carnival. Awarded the Grand Prix du Disque, this recording reveals a balanced, controlled vision in which the melody always holds pride of place.
Godowsky recorded his Carnival in 1929, but his version does not suffer comparison with Rachmaninoff’s, made the same year. More questionable is Edwin Fischer’s playing of the Fantasie. A prisoner of his emotions and clearly enamored of luxuriance, his playing is labored and heavy. Alfred Brendel, who knew him well (he was one of his pupils), wisely put this recording aside when making recommendations to Philips for their Great Pianists of the 20th Century collection. The excellent Annie Fischer or Moisewitsch or Rubinstein, to name but a few contemporaries, left more noteworthy recordings of the Fantasie.
Whatever Stephen Wigler may say in his liner notes, Arrau does not approach the Kreisleriana with either fluidity or frankness. Like Edwin Fischer, he seems too bound to a Germanic tradition which had become so heavy that some Germans of the period declared Cortot to be the best interpreter of Schumann. With the understanding that comes with age, Arrau produced for Philips some versions that were more refined but no less profound.
Although a German too, Gieseking offers a modern approach. His interpretation of the Davidbündlertänze liberates the pathos from boredom with a fluidity that does not detract from the poetry.
Finally, Horowitz’s Arabeske is a model of its kind, with its sweet ingenuity and the delicacy of its melodic line.
With these recording jewels, presented in a luxurious cover enhanced by pertinent commentaries, this album illustrates the place that Andante occupies, which is to classical music what haute couture is to ready-to-wear clothing.
VILLEMIN
Published in American Record Guide, Vol. 65, N. 4