This Decca 2CD set
of Beethoven and Mozart recordings,
issued along with a companion
box that contains the other four
Beethoven piano concertos (240 822-2),
makes an apt memorial tribute to a pianist
who stands as one of the ‘Great Pianists
of the Century’. Katchen quite properly
features in the distinguished series
of recordings marketed by Universal
under that title. His achievement might
have been greater still but for the
cancer claimed him in 1969 at the tragically
early age of forty-two.
To begin with Beethoven:
Katchen’s performances of this repertoire
remain among the most distinguished
ever recorded, and his command of the
dexterity required is admirable. His
view of the Fourth Concerto is less
poetic than some (Alfred Brendel with
Rattle (DG) or with Haitink (Philips),
for example) but this is valid enough
in its way. The articulation of detail,
as in the rhythmically insistent main
theme of the finale, is most effective.
Likewise the Fantasia
for piano, chorus and orchestra is given
a rhythmically urgent interpretation,
the tone set, as ever with this piece,
by the questing piano solo with which
it opens. Thereafter the combinations
with orchestra and, eventually, chorus,
are well handled and balanced by the
conductor, Piero Gamba, with whom Katchen
worked regularly.
The Mozart offerings
are more mixed than the Beethoven. For
example, the string sound in the C major
Concerto, K415, puts it in the ‘historical
class’ rather than in competition with
more recent recordings. In fact this
was always so, such as when previously
issued in LP format on Decca’s Eclipse
label. The performance, however, is
strong and idiomatic, since Mozart’s
C major ceremonial manner suits Katchen
well. The same might be said also of
the great C major Concerto, K503, which
was recorded during the mid-sixties
with Karl Munchinger and the Stuttgart
Chamber Orchestra. The benefit of a
fuller recorded sound is felt here,
though if there is a caveat it is that
the slow movement might have been more
poetic and lyrical.
The D minor Concerto,
K466, finds Katchen achieving a real
sense of dramatic impetus, well supported
by conductor and orchestra. This work
was a favourite of Beethoven, who performed
it and wrote cadenzas for it which have
become the norm. There is abundant vitality
and intensity about this performance
which make it a compelling experience
for the listener.
To complete this interesting
collection there is the A major Sonata
Mozart composed during his trip to Paris
1778. Katchen recorded this in London
in 1954, and while the sound does show
its age the new transfer has probably
added a dimension that brings extra
value. Without comparing it to the original
it is impossible to be sure, of course,
but the sound is truthful and accurate,
while background noise is kept to a
minimum. As to the performance, there
is that crisp articulation and poised
shaping of rhythm that are the hallmarks
of this great pianist’s playing.
Terry Barfoot
Julius Katchen (piano)