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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.
Liszt Recital #2: 3 Liebestraume, Rigoletto Paraphrase,
Hungarian Rhapsodies #2,6,15 (1954)
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.
Peter
Katin-First Concert: Mendelssohn: Capriccio Brilliant, Rondo
Brilliant; Lizst: Totentanz (LPO, Martinon) (1954)
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.
Reviewer:
Bill Rosen
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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
