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This year is the centenary of Kempff's birth. He
was born on November 25th, 1895. It is right that he should be singled out for some kind
of place in DG's new series The Originals. But I hope there will be more. Nothing less
than the reissue of his entire recorded output is adequate as tribute to the memory of
this singular genius.
Of all Beethoven pianists, he is the one I most
readily turn to, foibles and all. About his 1961 recording of the Emperor Concerto
there can be few doubts. "The clearest recommendation for the Emperor I
imagine I shall ever make, " wrote EG at the time. "When music reigns, "
say the words in the Choral Fantasy, "night and storm turn to light. "
That is the miracle which Beethoven, and Kempff, effect here.
Kempff was never a heavyweight among Beethoven
pianists. What he had was intellect and imagination in perfect balance, a fabulous touch,
great rhythmic elan, and a kind of improvisatory zeal thattranslated into other
termscan best be described as a true and abiding sense of wonder. I met him only
once, but I remember him saying how he always got a special thrill of excitement when the
red light came on in the recording studio. And it shows! How different to so
manyoften very successfulrecording artists who are terrified by its admonitory
glow.
I felt this most acutely whilst listening again
to his performance of the Fourth Piano Concerto. I was always less than happy with his
decision to use his own cadenzas in this work. They still strike me as being vapid
alongside Beethoven's own burning improvisations, for all that they are an earnest of
Kempff's own improvisatory instinct. But the performance as a whole is such a joy, so
light-filled, that even that qualification tends to fade into insignificance.
And how beautifully Leitner and the Berlin
Philharmonic accompany Kempff. This was the new young Berlin Philharmonic of the early
1960s, poet-musicians to a man, trained to listen and respond and then, in performance,
take wing into precisely those areas of mind and imagination that were Kempff's own
natural habitat.
The 1961 Fourth sounds especially radiant in the
new transfers. I noticed a touch of gruffness in some of the orchestral tuttis in the Emperor
but it, too, generally comes up with glistening clarity, the balances between solo and
orchestral voicings flawlessly judged by balance engineer Werner Wolf and by the musicians
themselves. A record like this is a joy to return to.
RO