Edvard GRIEG (1843-1907)
Chasing the Butterfly
Full track listing at end of review
Sigurd Slåttebrekk (piano, Grieg's own 1892 Steinway at Troldhaugen)
Edvard Grieg (piano) (the 1903 acoustic recordings)
Oslo Philharmonic Orchestra/Michail Jurowski
rec. October-November 2007 and 10-14 March 2009, Troldhaugen, Bergen, and
April 1903, Paris (CD 1); 12-13 August 2004, Olso Konserthus (CD 2)
SIMAX PSC1299 [79:10 + 29:05]
‘Chasing the Butterfly’ might sound like a euphemism for something exotic
and druggy, but in this case the Sommerfugl represents wispy and elusive
remnants of Grieg’s performances of his own music. These were captured in
Paris 1903, and the old acoustic recordings preserved on noisy 78 rpm discs
are given as the second half of the first CD of this set. After a burst of
the healthy modern recording made on Grieg’s fine old piano at his home of
Troldhaugen in Bergen I almost immediately found myself wanting to hear the
originals to have some point of reference. The amount of surface noise makes
things difficult at first, but you fairly soon zoom in onto the composer’s
playing, which, through Ignaz Moscheles at the Leipzig Conservatory, can be
said to provide a link back to a 19th century style of performing.
This is not so very strange or unrecognisable, but does show a certain licence
and freedom which some would find hard to take from musicians today. One track
towards the end of the disc has Grieg and Slåttebrekk ‘conversing’ as the
track cuts between the old and the new in The Wedding Day at Troldhaugen.
This is a slightly disconcerting effect and perhaps not the ideal way to bring
the old and the new together, but does make for a very direct way of comparing
and shows how close the two players are. There is always a certain amount
of argument as to how much of a composer’s freedom in performance is the flexibility
felt while dealing with their own music at any one moment, or that this indeed
represents the way an audience would have expected to hear the music. Either
way, hearing Grieg’s own playing is something rather magical. I remember hearing
a piano roll of Grieg’s own playing at the Amsterdam pianola museum, and almost
being able to sense his aura at the keyboard. These recordings give a comparable
feeling of looking down a dim and stained lens back through time into a different
era - another country.
Coming back to the modern recordings is quite a shock, the noise suddenly
removed, state of the art stereo sound bringing the music right back to today.
This effect is ameliorated by the use of an historic instrument, Grieg’s own,
and in the intimate surroundings and acoustic he would have known as well
as he knew his own socks. Sigurd Slåttebrekk’s recreations of Grieg’s own
recordings are very convincing. They are accurate imitations, as far as one
can tell from comparisons with the sometimes dimly perceivable old recordings,
but in fact they go further than that as musical experiences. Assuming one
knows the music; each piece has familiarity, but is at the same time filled
with differences to the ways musician often play them today. The music is
frequently taken at high speed, and endowed with a kind of easy swagger which
is more personal than the ‘precious jewel with a bit of folk influence’ that
we seem to find these days. I’m sure the circumstances of recording in 1903
weren’t perhaps the ideal in which to give the best imaginable performances.
Given the time limits of each side of a record there may have been tempo considerations,
and indeed, some of the recordings preserve only partially complete versions
of movements.
Based on the evidence to hand, Sigurd Slåttebrekk has taken his recordings
further than the nine tracks of Grieg’s own playing, and the complete Piano
Sonata in E minor Op.7 and Ballade in G minor Op.24 expand on the
research done into Grieg’s recordings to give us a realistically authentic
style in works too long to ever have been recorded in their entirety over
100 years ago. With 1903 recordings extant, the Alla menuetto is a
reference point, as is the Finale, given in truncated form by Grieg
and played complete by Slåttebrekk. With the other two movements given a similar
amount of verve and emotional investment this is a superb performance to have,
as is the substantial Ballade Op.24. This is the kind of piece which
‘has it all’ in terms of minor key depths and variations – a summation of
the composer’s creative values. Through Grieg’s piano it breathes a life of
its own, filled with warmth and humanity as well as a soul-searching poignancy.
CD 2 is a nice bonus, a reissue of the acclaimed recording of Grieg’s Piano
Concerto in A minor Op. 12, previously issued on Simax PSC1260 in SACD
form (see review).
This is added as it was the starting point which ended up with the project
represented by the first disc of this set. I am very happy to add my voice
of appreciation for this performance, which is bright and entirely lacking
in stodge. Yes, there are numerous excellent recordings of this famous piece
around, but this one goes as far as any I could name in removing it from any
form of jaded stereotype and making it sound freshly minted and full of rich
discovery. The performance balances Grieg’s sense of fun against the moments
of mystery in the first movement. It provides all the emotional warmth and
expressive longing one could ask for in the central Andante, and the
wildness of spirit in the final Allegro moderato is powerfully physical
and genuinely inspired.
This two CD set is presented in a nice foldout pack, and has a substantial
booklet with notes from the pianist and his artistic soul-mate in this project,
creative director and recording producer Tony Harrison. There are plenty of
photos as well, including of the interior of Grieg’s room, which shows exactly
why the acoustic is so close and intimate. This is a unique collection, and
one which can shine new light and different perspectives on favourite Grieg
recordings such as those by Gilels on Deutsche Grammophon. The 1903 recordings
have already been released on Simax PSC1809, but put in this new context they
take on a new and even more valuable significance.
Dominy Clements
Grieg from a different perspective – utterly fascinating.
Full track listing:
CD 1
Bryllupsdag på Troldhaugen / Wedding Day at Troldhaugen, Op. 65, No. 6 [2:02]
From: Piano Sonata in E Minor, Op. 7
Alla menuetto [2:39]
Finale [2:36]
Til Våren / To Spring, Op. 43, No. 6 [1:54]
Gangar, Op. 54, No. 2 [1:53]
Sommerfugl / Butterfly, Op. 43 No. 1 [1:55]
Humoreske, Op. 6, No. 2 [1:38]
Brudefølget drar forbi / Bridal Procession Passes, Op. 19, No. 2 [2:58]
Etterklang / Remembrances, Op. 71, No. 7 [1:41]
Piano Sonata in E minor Op. 7 [16:43]
Ballade in G Minor, Op. 24 [19:06]
Sigurd Slåttebrekk (piano)
Bryllupsdag på Troldhaugen / Wedding Day at Troldhaugen, Op. 65, No. 6 [2:00]
From: Piano Sonata in E Minor, Op. 7
Alla menuetto [2:37]
Finale [2:35]
Til Våren / To Spring, Op. 43, No. 6 [1:50]
Gangar, Op. 54, No. 2 [1:54]
Sommerfugl / Butterfly, Op. 43 No. 1 [1:47]
Humoreske, Op. 6, No. 2 [1:39]
Brudefølget drar forbi / Bridal Procession Passes, Op. 19, No. 2 [2:54]
Etterklang / Remembrances, Op. 71, No. 7 [2:31]
Edvard Grieg (piano)
Bryllupsdag på Troldhaugen / Wedding Day at Troldhaugen, Op. 65, No. 6
(Grieg/ Slåttebrekk)[2:00]
Til Våren / To Spring, Op. 43, No. 6 (1930s re-issue of 1903 recording) [1:54]
CD 2
Piano Concerto in A Minor, Op. 16 [29:05]