Duels
Franz LISZT (1811–1886)
Sonata in B minor S178 [31:19]
Robert SCHUMANN (1810–1856)
Kreisleriana Op.16 [33:43]
Ludwig van BEETHOVEN (1770–1827)
Allegretto from Symphony No. 7 (transcr. Liszt), Op.92 S464/7 [8:27]
Simon Ghraichy (piano)
rec. 2–4 September 2015, Frits Philips Concertgebouw, Eindhoven, Netherlands.
CHALLENGE CLASSICS CC72698 [74:16]
I hadn’t previously heard or even heard of the pianist
Simon Ghraichy. When I saw another recording of the Liszt Sonata in B minor
by someone I'd not heard of, I thought I would have a listen. A
quick search on the internet reveals that he has recorded another CD. That
one is purely of Liszt transcriptions and, having heard that as well (via
a streaming service), I can say that Ghraichy is well up to the task. On
the present disc, he tackles the famous Sonata in B minor which was composed
in 1853 and published in 1854. Like most of Liszt's works, it
underwent a number of revisions before being published. Some of these first
thoughts have been recorded and make for interesting listening in comparison
with the masterpiece that is the final version. Some of the history
of the piece is nicely described in the cover notes.
The sonata has been recorded numerous times by many pianists and everyone
seems to have a favourite performance. It is testimony to the complexity of
the work that someone has written a book about it which details the length
of time taken to play it in the dozens of recordings that were made up to
that point – not exactly the most enthralling book ever written, I imagine.
I have more than twenty recordings of the work by pianists past and present.
From the outset, this pianist starts heroically with the sinister-sounding
descending whole tone scale before leaping up into the middle register of
the keyboard: the first ‘Allegro energico’ section. Interestingly,
here Ghraichy seems careful but with a sense of power held in check for when
it is needed. Around 1:30 in, the ‘marcato’ rhythms in the bass
are particularly well done. The ‘Grandioso’ section is grand but
not too much so and the deceleration to the major key section is very well
phrased. I also like the way he understates the chords in the base at about
5:30. The following section marked ‘Cantando espressivo’ is played
in a way that emphasises some of the slightly clashing chords in the treble
which I had not actually noticed before, despite playing the work myself -
badly. Things do not stay quiet for long and when it gets to the ‘Allegro
energico’ section around 8:00, he shows that he can do power as well
as poetry. Liszt’s transformation of themes continues apace and at 12:23
we find a telling ‘Andante sostenuto’ in F sharp major. As with
all the slow and reflective parts elsewhere in this performance, this is wonderfully
played. After the repeat of the ‘Grandioso’ section (in a different
key) things wind up nicely before settling down again. All this is excellently
judged and there is a flexibility about the tempi which is interesting. These
are not pulled about so much that the piece loses sight of the coherent whole.
Around half way through, we get to an impressive ‘espressivo’
section but, before this, there are little tiny scale runs down from the treble
which after often played too slowly; here they are not which is a revelation.
The sinister descending theme from the start occurs again at about 19:00 before
the crazy ‘fugato’ section (also marked ‘Allegro energico’)
starts. Everything is very clear here. There is minimal pedalling and all
the phrases are excellently delineated. The clarity of the playing is really
helped by the quality of the recording which is impeccable. There is a fine
sense of yearning at around 25 minutes with another ‘Cantando’
section, in B major. The ‘Stretta’ section following this is very
fast and clear so that all the details stand out really well. The final few
pages, where Liszt winds all the themes together and transforms them into
the calm and peaceful ending, rising up the piano are really well played.
Overall, the slower sections are slow but not excessively so which means the
performance comes out at just over 31:30 – towards the slower end of
the recordings I’ve heard. This is a really romantic performance, perhaps
too lovely in places for some but excellent all the same. I look forward to
hearing more of Mr. Ghraichy's Liszt. He is clearly someone to listen
out for.
Schumann’s Kreisleriana Op.16 is divided into eight sections,
inspired by the composer's interest in the works of E.T.A. Hoffmann.
The first section, Äußerst bewegt (extremely animated) is indeed
extremely animated and certainly suits Ghraichy’s way of playing. It
is also very fast. Next follows a more reflective Sehr innig und nicht
zu rasch (very inwardly and not too quickly) which is also played very
well here. The first central section is slightly less “inward”
and is very cheerful and bounces along pleasingly. There is again, as in the
Liszt, some well-calculated phrasing here. After a repeat of the first part,
another more animated and bouncy section appears before a final return of
the inward sounding music from the start. There are bell-like effects at around
8:00 and some utterly breath-taking playing here. The Third section of the
work is another agitated part, dispatched with suitable aplomb. Again, there
is a more peaceful section in the middle. Part 4 is a slow section (Sehr langsam
– very slowly) and it is also played throughout. The remainder of the
parts of the piece are all played very well, the fast agitated sections (parts
5, 7 and especially 8) are played exactly right and this piece suits the pianist
well. The penultimate section with the fugal part in the middle is brilliantly
articulated so that all the details are very clear. The one remaining slow
more reflective section (no.6) is just as well played as the earlier ones.
Overall, this is a moving performance of a very interesting and complex work.
I daresay that, as with the Liszt, listeners will have their own favourite
performance – this one is one that makes me want to listen to this disc
often. I really must get to know Schumann’s Kreisleriana better
— I had forgotten what a fine work it is.
The disc ends with a Liszt transcription - that of the Allegretto
from Beethoven's Seventh Symphony in A major, Op.92. This is
probably the best recording I have heard of this piece. Somehow, despite the
technical demands, all of the details are present. There is a real feeling
of pathos and sadness despite the fact that it is supposed to be an ‘Allegretto’;
it is often played too slowly. That is not the case here and I really hope
that this pianist gets around to recording the whole of the Symphony transcription
at some point – he certainly has the technique for it.
There remains one minor question – I find myself somewhat puzzled by
the title of the disc – Schumann was a friend of Liszt’s —
at the time, before Clara poisoned her husband’s mind against Liszt
— and was unlikely to have had a duel with him in the way that Liszt
did with Thalberg.
Jonathan Welsh
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