PIANO: GREAT RECORDINGS
Sony Music 88843091752 (30 CDs)
Here is another “piano cube”, a boxed-set released by the German division of Sony Music in 2014, comprising 30 discs from the vast back catalogues of the leading American labels RCA Victor and Columbia Masterworks. A total of 30 pianists are represented, and is presented in chronological sequence, from historical pianists during the monaural era to the early 2010s. Its selection across the board is rather impressive, but by not having 50 CDs, for me, is a lost opportunity.
It is almost regrettable to consider how many great pianists and their recordings have not been chosen. The likes of Jorge Bolet, William Kapell, Van Cliburn, Gary Graffman, Charles Rosen, Eugene Istomin, Lazar Berman, John Browning, Fou Ts’ong, Peter Serkin, Cyprien Katsaris, Tedd Joselson and even Denis Matsuev / Sergei Edelmann / Vladimir Feltsman – all of whom recorded for RCA / Columbia – could have easily filled another 15 discs. As I said, a lost opportunity.
We should be satisfied with what we have, and there are still lots to be discovered and enjoyed. The earliest recordings date from 1940 and before, and there can be no more definitive performances than those of Sergei Rachmaninoff (1873-1943). This compilation includes only short pieces – a selection of Preludes, Etudes-tableaux and transcriptions – all short enough to fit a single side of a 78 rpm disc. The second disc sees Bela Bartok (1881-1945) in a selection of Mikrokosmos and his legendary recording of Contrasts with violinist Joseph Szigeti and clarinettist Benny Goodman. These are historically significant recordings, and thus a great start.
All the great early performers were emigres to American from the Old World including the Bohemia-born Rudolf Serkin (1903-1991) in performances of Beethoven’s First and Third Piano Concertos. From the stylish Frenchman Robert Casadesus (1899-1972), ne gets to hear Mozart's Piano Concerto No.21 and 24, performed with his own cadenzas.
The pair of Ukraine-born Vladimir Horowitz (1903-1989) and Poland-born Arthur Rubinstein (1887-1982) are highlighted in repertoire they championed, for which they were justly celebrated. Horowitz in Domenico Scarlatti Sonatas and Rubinstein in Chopin’s Waltzes and Impromptus were nigh unimpeachable, even to this day.
During the post-Stalinist thaw in the Soviet Union, two Russian pianists made famous debuts in USA to great acclaim. Emil Gilels (1916-1985) came first, immortalised by his recording of Tchaikovsky’s First Piano Concerto with Fritz Reiner – famously described to have been “stewed in Russian juices”. “Wait till you hear Richter!” was his response to just accolades, and Sviatoslav Richter (1915-1997) obliged with Brahms’ Second Piano Concerto with Erich Leinsdorf and the Chicago Symphony. Beethoven's Appassionata Sonata (Op.57), from his 1960 American tour, is the substantial filler. Both these recordings have become priceless relics of the Cold War.
Continued in Part II:
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