The French pianist France Clidat (1932-2012) made something of a
speciality of Liszt, and her interpretations of the Hungarian composer’s
music are highly regarded by those in the know. His music took on a
prominent role in her career, and she recorded a significant amount, as
detailed in her discography. In 2010 Decca France issued a 14 disc set (476
4035) of solo piano works which looks interesting, but which I have not
heard.
Amongst her teachers at the Paris Conservatoire was Lazare-Lévy
(1882-1964), the influential pedagogue and virtuoso pianist. Maybe it was he
who influenced her choice of repertoire. Later, she would hone her pianistic
skills with none other than Emil Gilels. At the Budapest International
Competition in September 1956 she won the Franz Liszt Prize – it was the
first time it had been awarded since 1937. The author and reviewer Bernard
Gavoty dubbed her ‘Madame Liszt’ after a successful concert given at the
Théâtre des Champs-Élysées. Thus, she stood alongside Monique Haas, Cécile
Ousset, Robert Casadesus and Philippe Entremont as an outstanding
representative of the French piano school. In addition to her concert
career, she taught for several years at the École Normale de Musique in
Paris. Her world-wide travels took her as far as Japan, where she gave
master-classes. She served on the jury of several major piano competitions,
including the International Franz Liszt Competition, and was awarded a
Chevalier de la Légion d'Honneur.
In this performance of the First Concerto there’s an innate feeling of
structure and unity. It can seem rather disjointed and piecemeal in some
hands. This isn’t the case here. Norrington and Clidat successfully traverse
the narrative of the score, particularly highlighting the more lyrical
sections. The Second Concerto is generally a more intimate affair, and in
the second movement the section between piano and solo cello is captured
exquisitely. I have always loved the Richter/Kondrashin
recording here. At no time, in these performances, do you feel
that Clidat sacrifices lyricism and poetry for mere showy virtuosity.
The
Totentanz is one of most exciting performances I’ve ever
heard. There’s tremendous energy, drama and menace. The wide dynamic range
adds to the thrill of this powerful reading. The
Fantasy on Hungarian
Folk Tunes for piano and orchestra, S.123 is rhythmically buoyant, full
of memorable melodies and an apt vehicle to showcase the pianist’s virtuosic
prowess.
These are well-recorded versions in superb sound for their forty years,
with the responsive acoustic of the Salle De Doelen, Rotterdam conferring a
sense of space, warmth and clarity. Balance between soloist and orchestra is
ideal. Norrington provides admirable support. Clidat draws rich sonorities
from the fine piano. Her range of tonal colour is admirable. As well as
displaying a complete command of the technical difficulties these works
exact from the player, her expressive powers in the more lyrical sections
are what make these performances highly distinctive.
Stephen Greenbank
