Great Pianists of the 20th Century, Vol. 64

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Music reviews of Great Pianists of the 20th Century, Vol. 64

Music Review: Superhuman Pianism!
Rating: 5 Stars

All of the Russo-Romantic pianists understood that the study of double-notes was critical to the development of a first-class technique. Indeed, the Lhévinnes encouraged all of their Juilliard students to practice scales in double-thirds and double-sixths. (Some of us listened; those who didn't realized soon enough how our insubordination hindered our technical growth.) Two of the best performances on these two discs are the Chopin double-thirds (G-Sharp Minor) and octave (B Minor) études. Mr. Lhévinne's recording of the former is surely one of the most brilliant piano tracks of the century. The speed and clarity are nothing short of hair-raising. And as exciting as the turbulent octaves are in the minor sections of the B Minor étude, the legato of the middle section, in the parallel major, is even more masterful, and utterly captivating. Also included in this mini-grouping of Chopin's études is a dazzling performance of the A Minor ("Winter Wind") study, the entire performance again showcasing Lhévinne's peerless virtuosity.

There is yet another legendary performance in this set - Mr. Lhévinne's rendition of the Schulz-Evler Arabesques on Johann Strauss's On the Beautiful Blue Danube. The two-CD set would be worth purchasing for this track alone. This work proves the perfect vehicle for Lhévinne's pearlescent technique and elegance. The listener is swept away in the undulating, wave-like flourishes, and is constantly amazed at Lhévinne's musical and pianistic brilliance.

And, of course, let us not overlook his performance of Schumann's harrowingly taxing Toccata, again demonstrating his great pianism and impeccable taste - or, for that matter, his passionate rendition of Rachmaninov's G Minor Prelude, played with so much abandon that it seems to teeter at the edge of control, yet remarkably remaining intact, fresh and, ultimately, secure.

There is never an overdone rubato, never an unshaped phrase, never a harsh sound, never a quibble with tempi. Like all the great musicians, Lhévinne convinces you that this performance, his way, is the perfect way (until you hear one of the other greats, who convinces you similarly!). His combination of virtuosity, elegance, thunder and lightning, delicacy, control, and command of the "big picture" clearly place him among the pianistic titans of the 20th Century.

Of particular interest in this collection is the Lhévinnes' collaboration on Ravel's transcription of Debussy's Fêtes - all the more amazing because, according to the liner notes, they recorded it on a whim after completing the Mozart two-piano sonata and realizing that they had some time left in the studio! The tone and pianistic coloration is nothing short of awesome; the playing youthful, exuberant and joyful, like pianistic explorers taking two Steinway concert grands for a test ride. You will definitely want to listen to this one attentively!

The Mozart on these discs is technically perfect and perhaps, on occasion, slightly mechanical by present-day (read "Periah/Schiff/Uchida") standards. This was typical of the musical thinking of the day: save your emoting for Chopin and Brahms and let Mozart be more "classical." The two-piano playing is superb throughout.

Mme. Lhévinne's performance of the Chopin E Minor Concerto is another gem in this set. Her golden tone (Van Cliburn, her most famous student, calls it "amber") sings out consistently, and her use of rubato is a veritable treatise on the subject. Her understanding of Chopin's style is both profound and complete, creating a stunning account of this familiar work. Be assured, though, that as superb as her playing is, her husband easily steals the show. He is a tough (that's tough as in "all but impossible") act to follow.

I recommend this CD without reservation. While not every track is at the same level as the Chopin Concerto or Blue Danube paraphrase, the CD offers abundant rewards. To those who are unfamiliar with Josef Lhévinne's playing, it is a stunning introduction to his genius. The sound, of course, is occasionally tubby (Lhévinne died in 1944 and the earliest recording dates from as far back as 1920), but the Philips engineers have struck an acceptable balance between diminishing the hiss and scratch, while keeping enough highs to recapture the essential sound of these great artists. It is always amazing to me how successfully the tone of the Golden-Age pianists was captured, even in recordings almost a century old.

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