Liszt: Piano Concertos; Totentanz; Piano Sonta, etc - Krystian Zimerman; Boston Symphony Orchestra; Seiji Ozawa

Franz Liszt: Piano Concertos No. 1 & 2; Totentanz; Piano Sonata in B minor; etc - Krystian Zimerman, piano
Boston Symphony Orchestra; Seiji Ozawa, conductor
Classical | 2 CDs | EAC Rip | 416 MB (3% recovery) | FLAC+LOG+Cue | Full scans | FSon & RapidShare links
Publisher: DGG | Recorded: 1987, 1990 | Published: 2011

This is playing in the grand manner. I have associated Krystian Zimerman in the past with refinement rather than bravura, while of course saluting his technique, but from the start of the E flat major Concerto I note a consciously leonine approach. This is no bad thing either; for the music really calls for it. I even felt he was deliberately taking risks in a few technically perilous places where some of his colleagues, at least in the studio, play safe; and indeed his octaves in the opening cadenza are an example. The result sounds spontaneous and, yes, even brave. Ozawa and the orchestra are behind the soloist in all this and the deciso element is fully realized. But don't let me imply a lack of finesse; not only do lyrical sections sing with subtlety, the big passages also are shapely. There is plenty of drive in this Concerto. In the A major Zimerman adopts a different approach; he evidently considers it a more poetic piece and the playing style, strong though it is, is to match. Finely though he handles the gentler music, there are odd sniffs and hums in the molto espressivo passage following the D flat major cello solo, and also in the last of the work's quiet sections. In the gorgeously grisly Totentanz, both music and playing should make your hair stand on end. The sound has a depth that suits the music and the piano is especially impressive, and though in a few passages I wondered whether there was too much bass, I find it attractive.
Among alternatives in the concertos, Richter with Kondrashin and the LSO on Philips remains in a class by himself for sheer effortless command; but the 1961 recording is not striking and 39 minutes is short even for this magisterial playing; it would be more competitive at medium price. That price tag attracts on Berman's DG version, as do some subtleties, but he often seems contrived in this direct music, while the piano sound is not very attractive. Duchable (Erato/RCA) too is rather lugubrious in places such as the start of No. 2, which is (I think mistakenly) played first. He is a thoughtful artist with a fine technique, and the Hungarian Fantasia is good. But I prefer Zimerman's freshness (he reminds us that this is a young man's music), and his coupling of the Totentanz. - C.H.; Gramophone (concertos)
***
It is to be expected that an artist who has made one of the outstanding recordings of the Liszt concertos (DG, 11/88) should also give us one of the finest ever B minor Sonatas. Whether you think it is the finest ever may depend on your priorities (and on whether you think it is sensible to venture such opinions). What can surely be said is that Zimerman brings to bear a combination of ardour, forcefulness, drive and sheer technical grasp which are tremendously exciting and for which I can think of no direct rival. But it also seems to me that others have achieved a subtler pacing and shading of climaxes, or a more philosophical inwardness, that make their readings equally, if not more rewarding. Pollini, also on DG, is perhaps the most nearly comparable in approach, but he is less overtly rhetorical from moment to moment and more concerned with long arcs of dramatic tension.
DG have given Zimerman a very bright, close sound-image, as the very opening demonstrates. The staccato octaves hook into you, and the release of tension at the first fortissimo has an almost startling vehemence. For me Zimerman's dramatic timing in these opening pages is wonderful, and the sternness which regulates the emotional pressure is close to my ideal for the whole of the long allegro energico. This is playing in the grand manner, and if you automatically dislike 'conventional' agogic hesitations and surges you will probably resist many of Zimerman's initiatives; if, however, you dislike such things only when the technical and temperamental backup is defective you will surely relish their application here.
It is with the Andante sostenuto slow movement (from 12'25") that the inspiration wavers a littlenot so much in the lyrical playing (though I do regret the self-conscious middle-voice projection which leads into this section from 12'00") as in the building of the central climax. This comes to the boil too soon to clinch the crucial moment at 1514" (Moho sostenuto on page 21 of the Peters edition), and as I have hinted it is the overall profile of climaxes which is the Achilles heel of the performance, for try as he might Zimerman cannot overtop his magnificent playing in the early stages. Blame the music if you like, but others have shown that a more convincing overall trajectory is possible. Richter and Brendel are two such (both on Philips). Brendel's structural and poetic insights offer rich compensation for some highly idiosyncratic pianism, whilst for atmosphere and abandon Richter (live from Budapest in 1958) is without peer-his, despite miserable recording quality, is the version to which I find myself most frequently returning.

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