The final volume in APR’s treasure trove of live recordings
from Myra Hess’s sojourn at the University of Illinois concludes in
fine style. Not only, once again, does it extend the Hess discography
but also it provides an enlightening insight into the nature of her
live performances and the aesthetic and stylistic choices that informed
her playing.
Bach and Beethoven make up the bulk of the disc – composers
especially associated with her – and they deepen our appreciation of
her gifts. The Overture of the Fourth Partita explores the tensions
and compromises inherent between accented and legato phrasing. Predominantly
she favours a steady, fluid and legato style in the Partita, though
one capable of generating heat as the conclusion to the opening shows.
In the Allemande it is noticeable – and this is not, I think, a quirk
of the recording level – that she suppresses the left hand to an appreciable
degree - not to limit interdependence of hands or to nullify articulation
but rather to create a free flowing and treble oriented sonority. When
she chooses simplicity – as in the Aria – she is impressive and when
she requires momentum – but not motoric vitesse – as in the concluding
Gigue she is assured and memorable. Conversely in the opening movement
of the Tempest sonata, after the mysterious and veiled ascending
run, Hess is more than happy to conjure strong left hand accents, powerfully
shaped lines and a strong and decisively melodic impress. She is indeed
effortlessly powerful at 4’30 – power without undue force and certainly
without forcing through the tone. There is a splendid set of terraced
dynamics in this movement and her sense of drama is genuinely engaged
at the conclusion. Her chordal weight in the Adagio and her geniality
bring a Haydnesque sense of propriety to the movement (it’s unfortunate
that the last few bars of this movement and the very opening of the
Allegretto have been lost). She is quite heavy in this final movement,
rather emphatic with elegantly rhythmic playing. It’s not the most elemental
of Tempests; more equable and sculpted it looks back as much
as it looks forward.
There is a bonus in the shape of a transcription of
the March 1937 Ford Sunday Evening Hour broadcast. This was a popular
and long running coast-to-coast programme. The acetates are very worn
and there is a very bad side join at 4’14 in the Grieg with succeeding
fragmentation. But the survival of this performance is a matter of much
interest since the Grieg was hardly repertoire associated with Hess.
She plays it with a mixture of teasing primness and generous expansiveness.
She’s never afraid of strong playing and as she shows in the little
Chopin Etudes was splendidly lively in concert. The Bach Gigue finds
her in most buoyant and generous form.
This has been an outstandingly successful series of
discs – the quality of the transfers, given some intractable problems,
has been generously, often triumphantly high. The notes, attractive
and affectionate, are another pleasurable feature. More even than these
the series has both expanded Hess’s discography and our appreciation
and understanding of her as a creative artist. One can ask for little
more.
Jonathan Woolf
Myra Hess, piano