Document

  1991
    March 1991
        Instrumental
                Janacek Piano works.

Janacek Piano works. Rudolf Firkusny

DG 20th Century Classics (Mid price) (CD) 429 857-2GC (79 minutes: ADD). From 2707 055 (6/72).

Piano Sonata 1.X.1905, "From the street". Along an overgrown path. In the mists. Thema con variazioni, "Zdenka".

Janacek Piano works. Rudolf Firkusny

RCA Victor Red Seal (Full price) (CD) RD60147 (71 minutes: DDD).

Piano Sonata 1.X.1905, "From the street". Along an overgrown path. In the mists. Reminiscence.

Janacek Piano works. Mikhail Rudy

EMI (Full price) (CD) CDC7 54094-2 (79 minutes: DDD).

Piano Sonata 1.X.1905, "From the street". Along an overgrown path. In the mists. Reminiscence. Three Moravian [Dance] Dances

Rudolf Firkusny's fine set of performances on DG has long been a touchstone of interpretation of Janacek's piano music; and his quickness of response, his sensitivity of phrase, his ability to seek out the essence of Janacek's lyrical statements in a brief melodic curve are as rewarding as ever on the new RCA disc. He has not greatly modified them, except by sometimes refining his response still further. Yet Mikhail Rudy has something to contribute of his own. The Sonata's two movements are entitled "Presentiment" and "Death", and refer to an incident when a worker was killed in demonstrations for a Czech University in Brno. Firkusny plays the first movement with a controlled nervous intensity that makes its point well; but there is something deeply affecting in the quieter, more apprehensive manner of Rudy's playing. He makes the beautiful opening phrase more tentative; and he is gentler with the ravishing cadence when the music moves surprisingly from its home key of E flat minor on to G major (track 1, 1'06"). Rudy plays the second movement, "Death", with a sense of mourning rather than with Firkusny's controlled bitterness; and this completes a performance of great intelligence and sensitivity. What could the destroyed third movement have been like? Janacek tried to dispose of these two, and Fate mercifully prevented him; but can one imagine a successor? It is as complete an unfinished work as Schubert's symphony.

The other works in common, it will be seen, are In the mists and the beautiful Along an overgrown path pieces. Both artists play the second group of the latter pieces; but it is the first that contains the more potent music. As before, Firkusny is quick and delicate in his responses to music that must make its point deftly yet evocatively. Rudy is more pensive, as it were. The note-writers to all three records speak of emotional outlet, childhood sensations, reviving memories and so forth, and this is true as far as it goes; but with so passionately realistic and truthful a composer, there is surely also the assertion that it is the course we have taken through life which has led us to our present condition, and that to let the path become overgrown from a wish to forget is to falsify our own nature. Janacek's memories and evocations are sometimes painful; and a performance that does not take account of that also falsifies. Neither of these does falsify: Firkusny's is braver, Rudy's more burdened.

The delicate In the mists pieces are beautifully played by both artists; and both add the attractive Reminiscence (the Zdenka Variations have gone from Firkusny's new selection, but this is not among Janacek's best pieces). Those who admire Firkusny can safely let their choice be guided by the difference in repertory; but I urge all who do not know these marvellous pieces to try to hear Rudy as well before choosing. He has a compelling, moving quality as a Janacek pianist.

JW



		Rudolf Firkusny's fine set of performances on DG has long been a touchstone of interpretation of Janacek's piano music; and his quickness of response, his sensitivity of phrase, his ability to seek out the essence of Janacek's lyrical statements in a brief melodic curve are as rewarding as ever on the new RCA disc. He has not greatly modified them, except by sometimes refining his response still further. Yet Mikhail Rudy has something to contribute of his own. The Sonata's two movements are entitled "Presentiment" and "Death", and refer to an incident when a worker was killed in demonstrations for a Czech University in Brno. Firkusny plays the first movement with a controlled nervous intensity that makes its point well; but there is something deeply affecting in the quieter, more apprehensive manner of Rudy's playing. He makes the beautiful opening phrase more tentative; and he is gentler with the ravishing cadence when the music moves surprisingly from its home key of E flat minor on to G major (track 1, 1'06"). Rudy plays the second movement, "Death", with a sense of mourning rather than with Firkusny's controlled bitterness; and this completes a performance of great intelligence and sensitivity. What could the destroyed third movement have been like? Janacek tried to dispose of these two, and Fate mercifully prevented him; but can one imagine a successor? It is as complete an unfinished work as Schubert's symphony.



		The other works in common, it will be seen, are In the mists and the beautiful Along an overgrown path pieces. Both artists play the second group of the latter pieces; but it is the first that contains the more potent music. As before, Firkusny is quick and delicate in his responses to music that must make its point deftly yet evocatively. Rudy is more pensive, as it were. The note-writers to all three records speak of emotional outlet, childhood sensations, reviving memories and so forth, and this is true as far as it goes; but with so passionately realistic and truthful a composer, there is surely also the assertion that it is the course we have taken through life which has led us to our present condition, and that to let the path become overgrown from a wish to forget is to falsify our own nature. Janacek's memories and evocations are sometimes painful; and a performance that does not take account of that also falsifies. Neither of these does falsify: Firkusny's is braver, Rudy's more burdened.



		The delicate In the mists pieces are beautifully played by both artists; and both add the attractive Reminiscence (the Zdenka Variations have gone from Firkusny's new selection, but this is not among Janacek's best pieces). Those who admire Firkusny can safely let their choice be guided by the difference in repertory; but I urge all who do not know these marvellous pieces to try to hear Rudy as well before choosing. He has a compelling, moving quality as a Janacek pianist.