The pianist Felicja Blumental (1908-1991) is
very much the focus of this disc; one in a series that Brana is
producing to celebrates the work of a great artist. Hers was an
eclectic repertoire from baroque to contemporary. It included
many little known works as well as those written for her by leading
composers of the day.
The two concertos on the disc make for an interesting
coupling, juxtaposing what is arguably the most popular romantic
piano concerto with a youthful work by a much lesser known composer.
Yet romanticists who do not know Anton Arensky’s Piano Concerto
may find it hugely enjoyable if not a revelation in Blumental’s
hands.
Born in Poland in 1908, the Jewish Blumental
and her husband fled the country before the Nazi invasion and
settled in Brazil. She travelled widely and mixed in musical and
visual arts circles on a global scale. She had her portrait painted
by many artists and, no mean talent herself, sometimes turned
the tables by sketching the painter during sittings including
Marc Chagall.
The Tchaikovsky First Piano Concerto was recorded
in 1957 and the sound is difficult to describe. Simultaneously
thin and harsh with a piano sound that quickly decays would be
a start. Not only that, the focus is way over to the left channel,
especially the piano. These factors in themselves would rule the
recording out in a crowded field which is as competitive as you
can get. But even the performance would not compete too well.
Blumental and conductor Michael Gielen do not always seem to see
eye to eye. In orchestral passages Gielen often urges onward,
upping the tempo, and when the piano enters Blumental appears
to be reining him back. This is particularly noticeable in the
last movement and the piano’s opening tune with its rapid
off-beat syncopation sounds surprisingly unspringy. From a purely
technical point of view, Blumental sounds less comfortable with
quick repeated chords and arpeggios than she is in scale passages
and filigree work where she excels. She can turn in a scale of
breathtaking accuracy and delicacy that reminds me of Sviatoslav
Richter. Thus she shines in the prestissimo of the middle movement.
Pianist and orchestra are more at one in this movement than elsewhere
and even the sound is better (it seems to improve in quieter parts).
Anton Arensky’s Piano Concerto was written
in the year of his graduation with a gold medal at the St Petersburg
Conservatory. The Tchaikovsky Concerto is clearly a model and
there is plenty of Lisztian rhetoric and hot air. But a notably
feature of Arensky’s style is the flowing, melodic nature
of the piano writing which is reminiscent of Chopin. As in Chopin’s
concertos, melodies are decorated with delicate ornamentation
and this is where Blumental really comes into her own (incidentally,
I admire her Chopin – Brana have already released two discs).
In fact the performance fares far better than the Tchaikovsky
on all fronts, especially, I am glad to say, in respect of the
sound. Recorded in Milan in 1968, the balance is good with the
piano firmly in the middle this time. There is one interpretive
issue I found disconcerting and that is the slow speed at which
the “Scherzo-Finale” is taken. This is surely not
the allegro molto which the composer asks for. For that you would
have to go to Hyperion’s fine 1992 recording of the work
with Stephen Coombs and the BBC Scottish SO – at full price.
If you want to add a little known concerto to
your collection at medium price then Blumental’s performance
could be considered if you can tolerate that steady finale. The
Tchaikovsky Concerto comes more as an item of historical interest
although fans of Felicja Blumental will no doubt need to own the
recording.
John Leeman
Felicja Blumental - piano