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Emil Gilels the Seattle Recital Beethoven • Chopin • Debussy • Prokofiev Emil Gilels the Seattle Recital Beethoven • Chopin • Debussy • Prokofiev

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Emil Gilels the Seattle Recital Beethoven • Chopin • Debussy • Prokofiev Emil Gilels the Seattle Recital Beethoven • Chopin • Debussy • Prokofiev EMIL GILELS THE SEATTLE RECITAL BEETHOVEN • CHOPIN • DEBUSSY • PROKOFIEV EMIL GILELS THE SEATTLE RECITAL BEETHOVEN • CHOPIN • DEBUSSY • PROKOFIEV 2 LUDWIG VAN BEETHOVEN (1770–1827) SERGEI PROKOFIEV Piano Sonata No. 21 in C major “Waldstein” op. 53 Visions fugitives op. 22 (excerpts) C-Dur · en ut majeur 9 1. Lentamente 1:02 1 1. Allegro con brio 10:33 10 3. Allegretto 0:53 2 2. Introduzione. Adagio molto 3:20 11 5. Molto giocoso 0:20 3 3. Rondo. Allegretto moderato – Prestissimo 9:02 12 11. Con vivacità 1:00 13 10. Ridicolosamente 0:47 FRÉDÉRIC CHOPIN (1810–1849) 14 17. Poetico 1:29 4 Variations on “Là ci darem la mano” 15:08 from Mozart’s Don Giovanni op. 2 MAURICE RAVEL (1875–1937) Alborada del gracioso (no. 4 from Miroirs) 5:48 SERGEI PROKOFIEV (1891–1953) 15 5 Piano Sonata No. 3 in A minor op. 28 6:53 ENCORES a-Moll · en la mineur IGOR STRAVINSKY (1882–1971) CLAUDE DEBUSSY (1862–1918) 16 Danse russe (no. 1 from Trois mouvements de “Petrouchka”) 2:37 Images I JOHANN SEBASTIAN BACH (1685–1750) 6 1. Reflets dans l’eau. Andantino molto 4:13 7 2. Hommage à Rameau. Lent et grave 5:13 arr. ALEXANDER SILOTI (1863–1945) 3. Mouvement. Animé 3:19 8 17 Prelude in B minor BWV 855a 3:09 h-Moll · en si mineur EMIL GILELS piano 3 GILELS IN SEATTLE Between 1955 and 1983 Emil Gilels toured North Amer- oso devices. Yet there is a mindful clarity and directness Listeners expecting to hear Debussy and Ravel Petrushka differs remarkably from the sleek and stream- ica twelve times. Unlike his Soviet colleague and rival with which Gilels “orchestrates” Beethoven’s pianistic served up with traditional allure, suggestiveness and lined presentations associated with modern-day virtuo- Sviatoslav Richter, Gilels loved the US. “I first came here textures and registral deployment. pastel shadings may be taken aback at first by Gilels’s sos, or from the kind of percussive exactitude charac- 22 years ago,” he said in 1977. “I lost here in the United Similarly, the rarely heard non-concertante version dynamism and sinew, only to surrender to the delight of terizing the composer’s keyboard aesthetic. As critic States very much of my heart. You know, I left here a of the 17-year-old Chopin’s Variations on “Là ci darem his singing tone and exuberant rhythm. True, Reflets Stephen Wigler explained, “Gilels makes Petrushka good portion of my life.” This certainly held true for his la mano” stands out for Gilels’s textural control, so mas- dans l’eau’s climactic point evokes waves at high tide sound like music written by a Russian composer of the fifth tour, an arduous three months of recitals, con- terful that one does not miss the composer’s original rather than whirlpools, but what is a live performance late 19th century, which was exactly what Stravinsky certo dates and recording sessions that began and piano-and-orchestra conception. “His intensely virile without risk? At the same time, Gilels shapes Hommage was trained to be and precisely what he was trying ended on the East Coast. In between came four West approach, mitigated by a velvety touch, took this music à Rameau’s gently declarative unison melody lines with to hide.” Coast appearances – in Los Angeles, San Francisco and out of the sickroom and salon into the open air, where the most ravishing legato and subtle use of the sustain- As the concert unfolds, the give-and-take between Portland, as well as the present recital recorded in the it could speak of triumph and tragedy rather than mere ing pedal. And unlike many pianists who treat Ravel’s the pianist’s inspiration and the public’s appreciation is Seattle Opera House on December 6, 1964 and released angst,” wrote Tully Potter of Gilels’s Chopin. Alborada del gracioso as an Olympic event, Gilels cou- palpable, boding well for future Seattle appearances. here for the first time. It must be remembered that Prokofiev was still a rageously holds back the tempo for maximum rhythmic But it was not to be; Gilels would only return once more For all of his acclaim as a driving virtuoso, Gilels living presence to musicians of Gilels’s generation. impact and thrust, thereby allowing the notoriously dif- to the city, in 1979: yet another reason to treasure this always channelled his technical brilliance and formi- Indeed, the composer himself entrusted Gilels with the ficult repeated notes to speak, sing and dance. previously unpublished document of one of the 20th dable powers of projection into substantial programs Eighth Sonata’s premiere, and the compact, intensely Small wonder that the vocally enthusiastic audience century’s greatest pianists in a live concert – his pre- and serious, large-scale works. Still, one cannot deny energetic Third Sonata that opens this recital’s second would not let the pianist go, and Gilels responds with ferred setting – and at the height of his powers. that the opening selection, Beethoven’s “Waldstein” half was a long-standing Gilels specialty. By contrast, two encores. Just as Myra Hess had her Jesu, Joy of Sonata, is also a showpiece, abounding in fast runs, selections from Prokofiev’s Visions fugitives reveal how Man’s Desiring and Vladimir Horowitz his Träumerei, the Jed Distler multi-directional scales, dramatic trills, broken and sensitively and colorfully Gilels could convey the com- Bach/Siloti B minor Prelude and Gilels were virtually unbroken octaves, novel pedal effects and other virtu- poser’s often underestimated lyrical sensibility. synonymous. The Russian Dance from Stravinsky’s 4 GILELS IN SEATTLE Von 1955 bis 1983 unternahm Emil Gilels insgesamt Seattle eröffnete, ist ohne Frage auch ein technisches zwölf Nordamerika-Tourneen, und anders als sein sow- Paradestück mit rasanten Läufen, Tonleitern kreuz und jetischer Kollege und Rivale Sviatoslav Richter liebte er quer über die Tastatur, dramatischen Trillern, Oktavgrif- die USA. »Vor 22 Jahren war ich zum ersten Mal hier«, fen und -brechungen, ungewöhnlichen Pedaleffekten sagte er 1977, »und ich habe den USA nicht nur mein und anderem Klavierzauber. Doch bei all dem verliert Herz geschenkt, sondern auch einen großen Teil meiner Gilels nie den Überblick und arbeitet geschickt mit Lebenszeit.« Das zeigt ohne Frage auch seine fünfte Klangfarben und -registern, um Beethovens Musik für Tournee, die insgesamt drei Monate dauerte und in die Hörer fassbar zu machen. deren Verlauf er diverse Soloabende, Konzertauftritte Auch die Variationen über Mozarts »Là ci darem la und Plattenaufnahmen absolvierte. Schwerpunkt der mano«, die Chopin im Alter von 17 Jahren komponierte Tour war die Ostküste, doch es gab auch vier Gastspie- und die Gilels hier in der selten zu hörenden Soloversion le an der Westküste: in Los Angeles, San Francisco und spielt, zeugen von einem meisterhaften Gespür für Portland sowie den Soloabend im Opernhaus von Seat- Klangtexturen, sodass man das originale Wechselspiel tle am 6. Dezember 1964, dessen Mitschnitt hier zum zwischen Orchester und Solist zu keinem Zeitpunkt ersten Mal veröffentlicht wird. vermisst. Oder wie Tully Potter einmal über Gilels’ Gilels galt als brillanter Virtuose, aber er stellte sein Chopin-Spiel schrieb: »Sein ausgesprochen männlicher technisches Können und die schiere Klangfülle seines Zugriff, gemildert durch einen samtweichen Anschlag, Klavierspiels regelmäßig in den Dienst gewichtiger Pro- holt die Musik aus dem Krankenzimmer und Salon hin- gramme und bedeutender, großformatiger Werke. Beet- aus ins Freie, wo sie von Triumphen und Tragödien hovens »Waldstein-Sonate«, mit der er das Konzert in erzählen kann statt von kleinlichen Ängsten.« 5 Man sollte nicht vergessen, dass Prokofjew zu Gilels’ Gilels bedankte sich mit zwei Zugaben. So wie Bachs Zeit noch lebte und höchst präsent im Musikleben war. Jesus bleibet meine Freude untrennbar zu Myra Hess So betraute er Gilels mit der Uraufführung der Achten gehörte oder Schumanns Träumerei zu Vladimir Horo- Sonate, und die kompakte, energiegeladene Dritte Sona- witz, so war Gilels’ Standardzugabe in der Regel das te, mit der die zweite Hälfte des vorliegenden Pro- h-Moll-Präludium von Bach/Siloti. Und die Danse russe gramms beginnt, galt lange Zeit als Markenzeichen des aus Strawinskys Petruschka wirkt bei ihm längst nicht sowjetischen Pianisten. In den Auszügen aus den Visions so glatt und stromlinienförmig wie bei vielen heutigen fugitives gelingt es Gilels zudem, auf höchst einfühlsame Virtuosen, ist aber auch weit entfernt von der perkussi- und abwechslungsreiche Weise Prokofjews allzu oft ver- ven Präzision, die Strawinskys eigenes Klavierspiel nachlässigte lyrische Seite herauszuarbeiten. auszeichnete. Der Musikkritiker Stephen Wigler meinte Wer Debussy und Ravel in den sonst üblichen, schil- dazu: »Bei Gilels klingt Petruschka wie das Werk eines lernden und charmanten Pastelltönen hören möchte, russischen Komponisten des späten 19. Jahrhunderts, mag zunächst irritiert sein von Gilels’ dynamischer, was Strawinsky seiner Ausbildung nach war, aber stets sehniger Lesart, die jedoch durch ihren singenden Ton zu verbergen suchte.« und rhythmischen Schwung besticht. Sicher, der Höhe- Im Laufe des Konzerts spürt man immer wieder, wie punkt von Reflets dans l’eau klingt eher nach tosendem der Pianist vom Beifall des Publikums geradezu beflü- Meer als nach einem kleinen Wasserstrudel, aber was gelt wird, was bei weiteren Auftritten in Seattle sicher wäre ein Live-Konzert ohne Risiko? Andererseits nicht anders gewesen wäre. Leider sollte es dazu nur modelliert Gilels die affirmative Unisono-Melodie von noch ein einziges Mal kommen, und zwar 15 Jahre nach Hommage à Rameau mit hinreißendem Legato und dem vorliegenden Konzert. Dadurch wird dieses bislang behutsamem Einsatz des Pedals. Und anders als viele unveröffentlichte Tondokument nur noch kostbarer, und Kollegen, die aus Ravels Alborada del gracioso einen es zeigt uns einen der größten Pianisten des 20. Jahr- olympischen Parforceritt machen, nimmt Gilels das hunderts in seiner bevorzugten Umgebung – im Live- Tempo so weit zurück, dass die Rhythmen Kraft und Konzert – und auf dem absoluten Höhepunkt seines Nachdruck gewinnen und die ungemein heiklen Tonre- Könnens.
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