Composer: Benno Moiseiwitsch
Works: Schumann: Etudes Symphoniques, Kreisleriana, Carnaval; Chopin: Etudes Op. 10 No. 4, 8, and 9; Etudes Op. 25 Nos. 2 and 3; Sonata in B flat minor; Barcarolle Op. 60; Fantasie Impromptu Op. 66; Beethoven: Andante Favori in F; Mussorgsky: Pictures at an Exhibition; Palmgren: West Finnish Dance
Performers: Benno Moiseiwitsch, piano
Recording: Live recordings, unspecified locations, January-February 1961
Label: Pearl GEMM CDS 9192 [2 CDs: 154.58]
Benno Moiseiwitsch, a luminary of the early 20th-century pianistic landscape, is often overshadowed by his contemporaries, yet his artistry captures a distinctively vibrant essence of Romanticism. The latest release, “Moiseiwitsch in Recital,” presents a treasure trove of live recordings from 1961, providing a rare glimpse into the interpretive choices and technical prowess of a pianist who was a stalwart of the Golden Age of pianism. This collection, featuring works by Schumann, Chopin, Beethoven, Mussorgsky, and Palmgren, brings forth not only his musical interpretations but also the historical context that shaped them.
The Schumann selections notably reveal Moiseiwitsch’s deep affinity for the composer, with performances of “Etudes Symphoniques,” “Kreisleriana,” and “Carnaval” resonating with emotional intensity. Here, the pianist’s vigorous approach is both exhilarating and at times precarious, with moments of splashiness that may raise eyebrows among purists. For instance, in “Kreisleriana,” one can discern an ardent pulse, though the execution occasionally falters with slight missteps and a less-than-precise clarity in the inner voices. Nevertheless, these imperfections add a layer of authenticity to the recordings, showcasing the spontaneity of live performance.
Chopin’s Etudes, particularly the Op. 10 No. 4 in C-sharp minor, reflect Moiseiwitsch’s established interpretive framework from earlier decades. The fleetness and pearlescent tone that characterize his playing remain intact, yet the recording reveals a muddied texture in the voicings, a testament to the inevitable wear of time on an artist’s technical facility. The vibrancy of the Etudes Op. 25 Nos. 2 and 3, however, are imbued with an expressive fervor that is quintessentially Moiseiwitsch, evoking the emotional core of Chopin’s music with both passion and introspection.
The recording quality, while exhibiting some flutter and instability typical of live performances from this era, still manages to convey a lifelike presence that enhances the listening experience. Pearl’s meticulous remastering allows listeners to engage with the organic sound of Moiseiwitsch’s playing, even as one acknowledges the inherent limitations of the original reel-to-reel tapes. The absence of specific venue documentation may leave some curious, yet the collegiate acoustics of American recital halls seem to serve the music well, providing a warm, intimate backdrop for the resonant piano.
Comparatively, this collection stands alongside Moiseiwitsch’s earlier recordings, yet it does not quite capture the unassailable brilliance of his youth, particularly in the clarity and precision found in his 1938 HMV recording. The interpretive choices made here, while perhaps less polished, nonetheless reflect a seasoned artist’s engagement with his repertoire, offering a profound connection to the music that resonates deeply with listeners.
Moiseiwitsch’s contributions to the piano repertoire are not to be overlooked, and this collection serves as a significant document of his artistry in the twilight of his career. While the performances exhibit the natural imperfections of a seasoned musician, they simultaneously invite us into a world of emotional depth and historical resonance, reaffirming Moiseiwitsch’s place among the pantheon of great pianists. For aficionados of Golden Age pianism, this release is not merely a curiosity; it is an essential addition to any serious collection, illuminating the artistry of a musician who remains a vital link to the Romantic tradition.
