Kathleen
Long, piano
Originally released in 1951 as Decca LP LK4023
Believed to be transcribed from earlier Decca 78rpm releases
Download ID: 202998/395698
(Duration 37'18")
Sonata
No. 2 in G minor, Op. 22 - rec. 9/1/48
Novelette
in D major Op. 21, No. 2 - rec. 1950?[b*]
Romance
in F sharp major Op. 28, No. 2 - rec. 1950?[a*]
Novelette
in F sharp minor Op. 21, No. 8 - rec. 1950?[b*]
*These pieces were made to provide LP couplings for recordings dating from 1943-48 and were not allocated 78rpm matrix numbers. In consequence it has not been possible to date them precisely, though they were probably recorded in a single session, with the tapes perhaps being edited on [a] 9 Mar 50, [d] 9 Jun 50
Play
sample Romance:
We
continue our collection of piano recordings by Kathleen Long with
this 1951 Decca release, which would appear to be a compilation of late
1940's recordings made for 78rpm issue.
The
earliest days of the LP resulted in a number of recordings being issued
on the new format following brand new, taped (rather than cut to 78rpm
disc) recording sessions. It also resulted in some rather rushed - and
in this case, short-lived - releases, and recording companies were exceptionally
reluctant to reveal whether the recordings were new or re-releases of
older material.
As with our earlier Fauré compilation, released in April 2006 as
PAKM015, this makes for some difficulties
in finding the precise piano tone required - to put it bluntly, from a
technical, sound-quality perspective the original Schumann recordings
were pretty dire.
This
particular restoration ended up being a rare example of Peter Harrison
and myself working on the same material. I had spent a long time working
on the record and had found a tonal quality I was happy with - but the
endless swish of the vinyl and other noise problems were driving me mad!
I asked Peter if he'd like to take a stab at it to see whether he might
have more success coming at it with a fresh approach. Following his amazing
clean-up, working at the very limits of what is currently technically
possible, I supplied various EQ and other settings which aimed to replace
what The Record Guide rather sniffily referred to as the piano's
"shallow and metallic" sound with something rather more
believeable - and listenable!
Perhaps
this is where we - Peter and I - are prepared sometimes to cross a line
with regard to intervention in the recorded sound. Something here was
clearly wrong, to the extent that the reviewers of the day didn't like
it, and almost nobody had purchased it. And yet with the almost forensic
precision of modern audio analysis and remastering technology, I believe
that between us we have succeeded in revealing a wonderful recording that
neither of us suspected would be there.
After
an exceptionally long gestation, a musical flower has finally come into
bloom - just have a listen to the sample Romance and I think you'll
agree...
REVIEW
OF SCHUMANN PIANO RECITAL Kathleen Long (1940's)
I
had decided to sample several minutes of the Schumann 2nd
sonata since I'm not fond of the work and I ended up listening
to the whole thing and enjoying it immensely. That might serve
as my whole review.
Schumann
in his piano music was uncomfortable with sonata form. His
true metier was collections of subtly related piano pieces
such as Carnaval and Davidsbundlertanze. His three sonatas
are only fitfully inspired and filled with rhetorical homages
to form. The second sonata begins with the tempo indication
"prestissimo possibile" ("as fast as possible")
and 50 or 60 bars later asks the pianist to play faster. It's
hard to play very fast and very lyrically for five or six
minutes. Kathleen Long does it with consummate ease. The second
movement is so fresh, so quiet, so new. The somewhat contrived
scherzo and the finale are very convincing.
The
Novelettes feature a lot of Schumannesque vehemence, not all
of which seems justified. Ms. Long brings out the lyical content
in the first one. Her playing of the second one (#8, F# minor)
convinces me that it is a great work, very powerful, very
masculine. In Kathleen Long's hands, it is the final word
on Florestan, ardent, fiery, and Schumannesque to the nth
degree.
Having
been blessed with her Faure and now with her Schumann, let
us hope that a little more Kathleen Long remains.
Andrew
Rose's introduction for this CD tells us how difficult this
restoration was and the fact that both he and Peter Harrison
had to work jointly to produce it. The finished product shows
no sign of their labor and strain except perhaps in its clarity
and beauty.
