Schumann: Piano Concerto in A minor, Op. 54

Byron Janis began his extraordinary career as Horowitz’s star pupil.

Performing Beethoven’s Piano Concerto No. 4 (STEREO) RAI 1960, the concert was conducted by Torini Mario Rossi. Clara Haskill also performs Schumann’s Piano Concerto taken from her concert in Strasbourg 1955 (MONO). Conducted by Carl Schuricht.

Of the artists active today, Ricardo Muti has been a welcome guest at the Festival for more than 40 years. His first conducting engagements there did not just provide the basis for his current “telepathic” relationship with the Vienna Philharmonic, but also brought collaborations with important soloists of the older generation. Thus the new CD in the series FESTIVAL DOCUMENTS includes the Piano Concerto by Robert Schumann under Muti’s baton, with Sviatoslav Richter once more proving the uniqueness of his pianistic gifts. Over and above all its virtuoso challenges, Richter and Muti together give an account triumphant in its formal cohesion and in which they sculpt it as a large-scale musical arch.

Muti’s deep understanding of Rossini and Mozart – represented here by the Overture to 'Semiramide' and the Sinfonia Concertante K 364 respectively – is also clearly evident in these early recordings.

Angela Hewitt’s recordings of Schumann’s solo piano works for Hyperion have been described as ‘revelatory … something to cherish’ (Gramophone) and ‘unreservedly superb’ (The Guardian). Now she turns her attention to the works for piano and orchestra in a magnificent release which includes the beloved Piano Concerto in A minor—one of the most treasured concertos in the repertoire—and two other works also written for Clara Schumann.

Hewitt’s trademark clarity of line, and her technical control which never limits the expression of passion, are clearly in evidence. She is supported by the Deutsches Symphonie-Orchester Berlin and the brilliant Finnish conductor Hannu Lintu. A fascinating commentary by Hewitt herself completes this album which is sure to delight her ever-increasing legion of fans.

Sviatoslav Richter is universally acknowledged to be one of the greatest pianists of the 20th century, renowned for his virtuoso technique and the depth of his interpretations. He was born in Zhitomir, Russia, in 1915 but grew up in Odessa. Unusually, he was largely self-taught, although his organist father provided him with a basic education in music. He started to work at the Odessa Conservatory where he accompanied the opera rehearsals. He gave his first recital in 1934 at the engineer club of Odessa but did not formally study piano until three years later, when he enrolled in the Moscow Conservatory. He studied with Heinrich Neuhaus who also taught Emil Gilels, and who claimed Richter to be ‘the genius pupil, for whom he had been waiting all his life’. In 1945 he won the USSR Music Competition and the Stalin Prize in 1949, which led to extensive concert tours in Russia, Eastern Europe and China, but he did not appear in the West until he performed in Finland in May 1960. Appearances in Chicago and New York followed later that year and he then gave concerts in Italy, Germany, France and Britain, confirming his reputation for having a mystic communication with the music he played, and a technique that seemed almost super-human. Richter disliked recording in the studio and some of his finest recordings originate from live performances at concerts.

The first CD begins with a live recording from the 1979 Tours Festival of Handel’s Keyboard Suite No.5 in E, whose finale is known as ‘The Harmonious Blacksmith. After this comes another live recording, this time it is a delightful short piece by Mozart – Andante and Allegretto in C for violin and piano, believed to be intended as movements of an unfinished sonata – in which Richter is joined by the Russian violinist Oleg Kagan, whose career was tragically cut short by cancer. Staying with Mozart, Richter next performs the opening movement of the Piano Concerto No.22 in E flat K482, followed by the third movement of Beethoven’s Piano Sonata No.17 in D minor known as ‘The Tempest’. This was the first recording that the Soviet authorities allowed Richter to make in the West. Next we hear two works by Schumann: the finale from Faschingsschwank aus Wien (‘Carnival Joke from Vienna’) and the whole of his Piano Concerto in A minor, which has been described as ‘one of the most brilliant jewels in the diadem of Romantic piano literature.’

CD 2 begins with another great masterwork for piano from the Romantic period: Schubert’s Wanderer Fantasy, which is followed by the delightful Theme and Variations from Schubert’s ‘Trout’ Quintet, in which Richter is joined by the double bass player Georg Hörtnagel and members of the Borodin Quartet. Next we hear the romantic third movement of Brahms’s Second Piano Concerto followed in complete contrast by the first movement of Prokofiev’s Piano Concerto No.5. In 1940, while still a student, Richter had given the world premiere of the Sonata No. 6 by Sergei Prokofiev, a composer with whose works Richter was ever after associated. The programme ends with a complete performance of one of the most popular concertos in the entire piano repertoire: Grieg’s Piano Concerto in A minor.

Van Cliburn's extraordinary rise to fame in the late fifties was in no small part due to his performance of the Tchaikovsky concerto featured on this disc. This Regis release is a valuable document of the birth of a pianistic legend. The Schumann coupling shows a more introspective side to his musicianship.

Sviatoslav Richter’s comment that Hungarian-born Annie Fischer (1914–1995) was ‘a great artist imbued with a spirit of greatness and genuine profundity’ is just a sign of the esteem in which her fellow musicians held her. Curiously, of all the mid-century pianists, she seems to have been among the least recorded due to her profound dislike of the studio. Winner of the Franz Liszt International Competition in 1933, she made recordings of Schumann and Liszt with Klemperer (a close friend), Bartók with Markevitch and Mozart with Sawallisch. She recorded over a 15-year period all the Beethoven sonatas for Hungaroton.

Annie Fischer’s ‘unerring awareness’ (David Threasher) of the shifting moods in the Schumann Piano Concerto has been caught in wonderful sound by the WDR engineers in this ‘live’ recording which has never been issued before.

In the two Beethoven works, ‘she is powerfully authoritative’ (David Threasher).

Both these ‘live’ recordings have never been published before.

Maurizio Pollini said Fischer’s playing was marked by ‘a childlike simplicity, immediacy and wonder’ while the distinguished writer Bryce Morrison commented on her ‘depth and spiritual serenity’. All these recordings are great additions to her relatively small discography.