Composer: Hommage
Works: Live Concert from Berne, November 4th, 1969: Ludwig van BEETHOVEN Piano Sonata No. 30 in E, Op. 109; Frédéric CHOPIN Nocturne in F sharp, Op. 15 No. 2; Etudes, Op. 25 – No. 6 in G sharp minor, No. 9 in G flat, No. 1 in A flat; Scherzo in B flat minor, Op. 31; Maurice RAVEL Sonatine; Claude DEBUSSY Estampes; Franz LISZT Etude de Concert No. 2, ‘Gnomenreigen’; Johann Sebastian BACH Italian Concerto; Ludwig van BEETHOVEN Piano Sonata in G, Op. 14 No. 2; Robert SCHUMANN Fantasiestücke, Op. 12; Ludwig van BEETHOVEN Piano Sonatas – C, Op. 2 No. 3, F, Op. 10 No. 2, D minor, Op. 31 No. 2, E flat, Op. 31 No. 3; Robert SCHUMANN Kinderszenen, Op. 15; Carnaval, Op. 9; Symphonic Studies, Op. 13; CHOPIN Scherzos – B flat minor, Op. 31, C sharp minor, Op. 39, B minor, Op. 20; Three Nocturnes, Op. 9; Ballade in A flat, Op. 47; Sergei PROKOFIEV Piano Sonatas – No. 2 in D minor, Op. 14, No. 4 in C minor, Op. 29; Alexander SCRIABIN Six Preludes, Op. 13; Etude in B flat minor, Op. 8; Etude in C sharp minor, Op. 42; Dimitri KABALEVSKY Piano Sonata No. 3, Op. 46; Igor STRAVINSKY Piano Sonata (1924)
Performers: Werner Haas (piano)
Recording: Recorded 1963-74, preserved by Schweizer Radio DRS, Tonstudio Bern
Label: DABRINGHAUS UND GRIMM Archive MDG642 1086-2
Werner Haas, a pianist whose legacy is often overshadowed by tragic circumstance, emerges in this extensive six-disc collection as a figure of remarkable versatility and interpretative insight. The recordings, spanning from 1963 to 1974, showcase not only his technical prowess but also his deep engagement with a broad repertoire, from the Baroque complexities of Bach to the early modernist idioms of Stravinsky. The selection of works included not only highlights his affinity for Romantic and Impressionist composers but also offers a rare glimpse into Haas’s interpretative evolution over time.
The opening concert from Bern presents Beethoven’s Piano Sonata No. 30 in E, Op. 109, with Haas’s pearly touch immediately establishing a sense of clarity and depth. The first movement breathes improvisational air, yet the structural integrity remains intact, a testament to Haas’s understanding of Beethoven’s architectural genius. The variations in the second movement, while at times slightly brisk, unveil a lyrical expressiveness that is consistently engaging. His interpretation of the final Allegro ma non troppo, though resolute, might have benefited from a more explosive culmination to match the growing harmonic tension. Nevertheless, the overall execution is compelling, balancing introspection with a commanding presence.
Chopin’s works that follow reveal Haas as a sensitive interpreter, particularly evident in his performance of the Nocturne in F sharp, Op. 15 No. 2, where his lyrical phrasing captures the essence of the composer’s melodic genius. The technical demands of the Etudes, especially Op. 25 No. 9, are met with finesse, and Haas manages to avoid the trappings of cliché that often beset these pieces. In contrast, his interpretation of the Scherzo in B flat minor, while bold, occasionally threatens to unravel, a reminder of the precarious balance between freedom and control inherent in Chopin’s music.
The exploration of Ravel and Debussy is equally illuminating. The Sonatine is played with an exquisite sensitivity, embodying the textural nuances and rhythms that characterize Ravel’s style. Haas’s ability to navigate the delicate layers of Debussy’s Estampes, particularly the evocative “Pagodes,” showcases his refined touch and coloristic understanding of the piano, further solidifying his stature as a prominent interpreter of French repertoire.
As the collection progresses to Bach’s Italian Concerto, recorded in 1972, Haas delivers a robust interpretation. The first movement, though perhaps lacking in the briskness often associated with period performance, is characterized by a rich, sonorous quality that elevates the work beyond mere technical display. Haas’s nuanced articulation in the second movement reflects a thoughtful approach, akin to an aria, effectively drawing the listener into its lyrical embrace.
Comparisons with notable recordings, such as Martha Argerich’s interpretations of Schumann, reveal moments where Haas’s performances, while intimate, occasionally lack the vibrant tension and drama that characterize the best interpretations of these works. His rendition of Schumann’s Carnaval, for instance, is marked by a certain heaviness that does not quite capture the playful spirit of the Commedia dell’arte, nor does it fully embrace the emotional dichotomies intrinsic to Schumann’s music.
However, it is in the final disc that Haas truly shines, particularly in his interpretations of Prokofiev’s works. The Second Sonata is delivered with a keen sense of balance between lyricism and aggression, revealing the multifaceted nature of Prokofiev’s style. Haas adeptly navigates the contrasting textures and rhythms, showcasing both technical mastery and interpretative depth. The Kabalevsky Sonata, often overlooked, emerges as a highlight, with Haas’s performance emphasizing its rhythmic vitality and melodic charm.
This comprehensive collection not only serves as a tribute to Haas’s artistry but also as a critical reassessment of his place in the pantheon of 20th-century pianists. The engineering quality, preserved by Swiss Radio, captures the nuances of his playing while offering a clear sonic landscape that allows the listener to fully appreciate the richness of his interpretations. As such, this release stands as an essential contribution to the recorded legacy of a pianist who deserves greater recognition. The breadth and depth of this set invite repeated listening, revealing layers of musical insight that continue to resonate long after the final note has sounded.
