KATIN Liszt: Recital No. 1 (1953/4) - PAKM024

PETER KATIN RECITAL SERIES

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 (1953/4)

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