I’ve
written about Sofronitsky’s Schumann before; in fact this
same programme, with the same running order, in Vista Vera’s
release of a few years ago (see review). A few words, then
to reprise the performances and then some thoughts about
transfers.
An individualist of powerful
personality Sofronitsky's last, live recordings - he preferred
them to studio ones - have generally been shrouded in rumour
as to his state of health. His early death has been ascribed
to alcoholism but arrhythmia has been convincingly advanced
as a reason for his increasing debilitation during those
final years. Certainly these Schumann performances enshrine
uneven musicianship which at its best rises to exceptionally
eloquent heights but which can also rely on less immediately
appealing characteristics.
In
Carnaval for instance he takes time - understandably -
to warm up but also indulges in some precipitous voicings
and some harsh accents (in Préambule), quixotic
tempo acceleration (Pierrot) and heavy handed phrasing
(Coquette). This is the kind of performance to be
judged on its own terms and reference to say, Rachmaninov's
or Myra Hess's legendary recordings is best put to one
side. Sofronitsky is aptly full of vigour and incisive
rhythm in Lettres dansantes (though his speed here
is relatively sedate) but does tend to make a bit of a
meal of the rubato, voicings and dichotomy between rough
rhythm and legato in Estrella.
Kreisleriana amplifies these occasional extremes of response. In places he's quite
expansive, and he tends to prefer relaxed nobility of rhythm
to say, Horowitz's sense of urgency. That said his gravity
and weighted chords in the fourth of the pieces (Sehr Langsam)
is undeniably affecting and taken at a convincing tempo. Arabesque is
also fine and an attractive reading.
Uneven
yes but unsettlingly human and with a technique still able
to cope with most demands, Sofronitsky remains one of the
troubling giants of post-War pianism.
As
for transfer perspectives one finds that there’s a touch
more surface noise on Vista Vera and a degree more presence
on Classical Records. Sometimes the aggressive sound has
defeated both companies even to the extent of a rather
metallic edge creeping into the newer transfer. Otherwise
there’s really not much to choose between them – and I
wonder as to the original source material used, information
that is not divulged. The newcomer’s notes are definitely
better though.
Jonathan
Woolf
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Vladimir Sofronitsky (piano) 
