Katin
is on fine form and the Mendelssohn works sparkle beautifully...
it
just makes one sorry we never hear these pieces in concert today...
- James Jolly, Gramophone, October 2006
Peter Katin's
prodigious talent showed itself in his debut recital at London's Wigmore
Hall, when he was just 18. Four years later he made his appearance at
the Henry Wood Promenade Concerts; the following year, 1953, found him
at Decca's studios making his first recordings.
To choose an all-Liszt recital was perhaps not too surprising- but to
choose less familiar pieces throughout, as he did, was. At the time the
disc was released, none of these pieces was available on LP in the UK.
And a problem arose: the programme that had been selected was not within
the capabilities of the cutting room! Side 1 would not fit! Thus it was
that the 12-inch LP LXT 2977 omitted the first of the two Polonaises that
had been recorded; and a second, 10-inch disc LW 5116 was released that
contained just the two Polonaises. To have the complete recital one thus
needed to buy both records - and would end up with two copies of the second
Polonaise! Our restoration unites the recital as (we believe) it was originally
intended. (Some years later Peter Katin re-recorded the same recital in
stereo with the 'full' programme - disc cutting having progressed to allow
longer side lengths - but our release is, please note, taken exclusively
from the earlier mono recordings.)
A second release was to follow on the heels of the first: this time with
Katin as soloist in an orchestral concert with the LPO and Martinon. A
major Liszt piece - the Totentanz is its centrepiece, however Mendelssohn
makes an equally important appearance with his Capriccio Brillant and
Rondo Brillant showcases. And a second recital the same year: again an
all-Liszt programme was selected but this time we get some 'pops', including
three of the most popular of the Hungarian Rhapsodies. They received rave
reviews.
Our restorations were sourced from original pressings of the Decca LPs
in the possession of a personal friend of Mr Katin's (one of the sleeves
is autographed). We were very fortunate to have at least two copies of
each release available to us and so could pick and choose for the best
quality. Thanks, Robert and Don!
Notes
by Peter Harrison
Review
notes: PETER KATIN RECITAL SERIES (1954)
Franz
Liszt is a problematic composer. Probably the greatest musician
of the 19th century for his own transcendental technique,
his influence on other composers, his voluminous and selfless
transcriptions of other composers' music, and his advocacy
of Wagner, Berlioz, Grieg and countless others, his own ouevre
is exceedingly large and varies wildly in quality. But even
in the least of his works Liszt imparts a romantic afflatus
that combines sentiment, virtuosity and an often pale but
distinct lyricism. Because Lizst possesses such virtuosity,
many performers (even Horowitz and Richter) stress the pianism
to the detriment of the music, which can sound superficial
and fustian. The musical virtuosity must be mastered, then
subordinated to convey the larger musical idea.
Peter
Katin, an English pianist, known to me in a limited fashion
for his performances of Mendelssohn and Rachmaninoff, understands
the way Liszt should be played and has the virtuosity to do
it. He has not had a brilliant international career, but over
and over again in the three volumes below, I was impressed
by his tremendous musicianship and also by his virtuosity
when needed. Most of all, he seems to be able to subordinate
his virtuosity to capture and convey the elusive Liszt romantic
ethos.
Liszt
Recital #1: "Dante Sonata", 2 Polonaises, 6 Consolations
(1954)
An
excellent example of Katin's ability is his playing of the
"Dante" Sonata. All those octaves, trills and bass
rumblings are made to mean something beautiful and coherent.
There is no triple fortissimo banging. The first Polonaise
is much grimmer and leaner than Chopin , a very sad piece
of music. Katin conveys a spare bitterness that I have never
heard before. In the happier Polonaise #2, hear Katin's runs
toward the end of the piece as an example of Liszt playing
at its best. The six Consolations, which I have mostly considered
as rather faded sentimentality, are played with a tenderness
and subtlety. In particular, the third Consolation in D Flat
Major now strikes me as great music.
Even
Peter Katin cannot quite rescue the first two Liebestraume
from the trunk in the attic, but his playing of number three
is lovely, transforming its slightly saccharine quality to
lyricism. The Rigoletto Paraphrase is gay and delightful.
The supreme warhorse, the Hungarian Rhapsody #2, is played
so differently and so magnificently that it almost defies
description. The textures in the "Lassu" portion
are very lean and rapid. There is no grand, rhetorical lingering
over each phrase. The 'Friss" has an astounding drive
that banishes all thoughts of the circus. It must be heard.
The Rhapsody #15, the Racoczy March from Berlioz "Damnation
of Faust", is again very tight but exciting.
No
better example of the difference between early and middle
19th century romanticism and Katin's versatility could be
provided. The Mendelssohn are gentle, musing, elfin works.
Katin plays them like a puff of breeze and they retain their
charms very well. The Totentanz is a vision of Hell. The Katin
opening octaves do not pound; they rattle hollowly in the
spare frame provided by the orchestra. There is occasional
lyricism, but the emphasis is on the dry skeletal bones scattered
around some lunar landscape bereft of love, life and hope.
A frightening realization of Liszt's demonic vision.
The
sound is very detailed and clear, a great improvement over
the original Decca LPs.
Download
our Full Discography Printable text listings of all Pristine Audio historic releases
Restoration
by Peter Harrison:
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Katin
is on fine form and the Mendelssohn works sparkle beautifully...
it
just makes one sorry we never hear these pieces in concert today...
- James Jolly, Gramophone, October 2006
