JULIUS KATCHEN Berlin, 1962 + 1964 Liszt | Brahms | Beethoven | Schumann | Chopin FRANZ LISZT (1811–1886) JOHANNES BRAHMS Sonate h-Moll Scherzo es-Moll op. 4 Lento assai – Allegro energico – Rasch und feurig 8:14 Andante sostenuto – Allegro energico 27:25 LUDWIG VAN BEETHOVEN (1770-1827) JOHANNES BRAHMS (1833-1897) 32 Variationen Sieben Fantasien op. 116 22:00 über ein eigenes Thema c-Moll WoO 80 9:51 I. Capriccio. Presto energico 2:01 II. Intermezzo. Andante 3:34 Rondo a capriccio G-Dur op. 129 Allegro vivace III. Capriccio. Allegro passionato 2:32 “Die Wut über den verlorenen Groschen” 5:00 IV. Intermezzo. Adagio 4:25 V. Intermezzo. Andante con grazia ed intimissimo sentimento 3:31 ROBERT SCHUMANN (1810–1856) VI. Intermezzo. Andantino teneramente 3:50 Waldszenen. Neun Stücke für Klavier op. 82 VII. Capriccio. Allegro agitato 2:07 VII. Vogel als Prophet Langsam, sehr zart 3:21 Sechs Klavierstücke op. 118 9:54 II. Intermezzo. Andante teneramente 5:55 FRÉDÉRIC CHOPIN (1810-1849) V. Romanze. Andante 3:59 Nocturne Es-Dur op. 9 Nr. 2 Andante 4:26 Ballade As-Dur op. 47 Allegretto 7:35 Nocturne Des-Dur op. 27 Nr. 2 Lento sostenuto 6:42 Berceuse Des-Dur op. 57 Andante 4:26 An American in Paris … and in Ber- Jewish family of immigrants in the state and English literature. The next devia- courted their prodigal son in order to lin: Julius Katchen’s RIAS recordings of New Jersey and made his début aged tion from too predictable a career path bring him back home as soon as pos- of 1962 and 1964 only ten with Mozart’s D minor Con- as an “OYAP” followed when Katchen sible. But the opposite was the case! In certo; in the following year he was invited decided to remain in Paris, having given an interview conducted by the music A case of incurable leukaemia in the by Eugene Normandy to take part in a a spectacular début in that city in 1946. critic Alan Rich for the New York Times 42-year-old American pianist Julius concert with the Philadelphia Orchestra As several prominent American artists on 18 November 1962 on the occasion of Katchen not only snatched away from his as the youngest ever soloist in the his- before him, he felt closer to Europe even Katchen’s fi rst tour of America – after a French wife Arlette and their 8-year-old tory of that orchestra; and a year after though the USA, during the course of the 15-year absence from American concert son a husband and father, but also ended, that he gave his solo début in New York. Cold War, also became a cultural world stages – the pianist spoke both candidly in 1969, one of the most remarkable Such a meteoric rise at the outset of his power. Nonetheless, for Katchen the and extensively about the issue, explain- musical careers after the Second World career had been facilitated by his family productive rivalry between New York ing that the long pause had not been due War. Alongside Eugen Istomin (1925- background: his mother was a trained and Paris artists and intellectuals that to reservations from his side: 2003), Leon Fleisher (b.1928), Claude concert pianist and his two grandparents, developed during the 1950s in the most “It is rather a matter of where the Frank (b.1925), Gary Graffman (b.1928), who had emigrated from Europe and diverse spheres (jazz, painting, photo- opportunities lie. I couldn’t have gotten William Kapell (1922-1953), Jacob given their grandson his fi rst lessons, had graphy, fashion and philosophy) proved the training in Europe that I got here. Lateiner (1928-2010) and Abbey studied at the music conservatoires at highly inspirational. With up to 150 per- But when it came to actually building a Simon (b.1922), Katchen belonged to Warsaw and Moscow. Later on, Katchen’s formances a year he was the most active career, Europe seemed to offer more the generation dubbed by the press as most important teacher was David musical ambassador of his nation in the than did the United States: more chances “OYAP” (“Outstanding Young American Saper ton, the son-in-law of the legend- whole of Europe; in addition, he was hon- for concert dates, and a better climate Pianists”); pianists born, or naturalised, ary Leopold Godowsky; he taught at the oured by being engaged to perform for for growth. in the USA who were noted after 1940 famous Curtis Institute for Music in Phila- the fi rst-ever issued vinyl disc of classical The United States today offers the and quickly established themselves as delphia and his other students included music: Brahms’ Sonata in F minor, Op. 5, fi nest training in the world for pianists. strong and enduring competition to the Shura Cherkassky, Jorge Bolet and Abbey recorded for DECCA in London in 1949. Thanks to Hitler, the great teachers European pianists who had dominated Simon. Katchen’s father Ira, however, Considering Katchen’s European pres- came here in the thirties, and most of American music life until that point. who practised as a lawyer, insisted that ence and reputation, one might expect them have remained. I find something Katchen had been born into a Russian- his son add a degree course in philosophy the American concert agents to have rather unwholesome about the Euro- pean conservatory atmosphere. There is 10 recital programs. Here I would have too much of a competitive spirit instilled been much more limited by management into students. The concours – the prize pressures, into playing fewer works more competitions held in the schools where often. one pianist comes out on top of everyone You are encouraged here to come to else – breeds unhealthy attitudes. each city or town with a soup-to-nuts In this country, piano students come program, and to be careful not to play together constructively, and they can over the audience’s head. Managers con- even become friends. They attend one stantly underestimate audiences. Euro- another’s concerts, and applaud. In Paris pean audiences are given credit for more they go to hear a colleague play, but only sophistication. Furthermore – and this is in the hope of seeing him break his neck. terribly important to an artist’s growth – Here, a student can partake of the there is much more opportunity there great traditions of piano teaching. The to return to the same city over and over Russian virtuoso tradition is represented again. That way you develop your own by men like Horowitz. And Serkin brings public, and can gradually give them harder out the classic German approach, with programs. […] its emphasis on chamber music. Most American artists are criticized in American pianists, myself included, have Europe for the kind of programs they worked out a personal combination of usually play: you know, the sweep through both ideals. the repertory from Bach to Boulez. The But in Europe, an artist gets a better public prefers specialized programs that chance for self-realization, once he has show what the artist really feels close gotten his training. There is less competi- to. I’ve been giving all-Brahms recitals tion for dates and repertory. Last season, in Germany, for example, and they have for example, I played 24 concertos and been successful. Now I’m recording all the piano music of Brahms for London life. The easier path of assimilation, for [Records]. I’d like to give the series here, which Katchen could have opted, did and I think people would come. But eye- not measure up to his artistic ethos. He brows would be raised. “Where’s the therefore took on the enormous task of Bach group?” “What, no Chopin?” That performing and recording the complete sort of thing. Not by the public, I mean, Brahms piano works, including the con- but by the managers. certos and chamber music with piano. But – and this is why I object to being Katchen’s discography also reveals this called an expatriate – I feel a great joy in urge towards universality as well as the being back in New York. The lack of an willingness and ambition to explore the American career has given me a sense of most diverse styles, ranging from the incompleteness. I need my own country’s classical and romantic eras to contem- approval. Sure, I’m established. I’m not porary American music and symphonic approaching my dates with the Philhar- jazz, including Gershwin’s Rhapsody in monic this week with the all-or-nothing Blue and Piano Concerto. With all works feeling of a youngster making his Town that he tackled, he attempted to fi nd con- Hall debut. But it would be equally absurd vincing solutions and interpretations; in to pretend that the United States doesn’t this quest, his pianistic prowess was no exist for me.” raison d’être as such, but served a deep These comments reflect Katchen’s intellectual and emotional penetration both confident and scrupulous nature; and identifi cation of the music. The art- he was an artist who, despite all exter- ist, who always appeared outwardly con- nal success, perhaps still felt homeless, trolled and needed no pose, gave it his dreaming of overcoming the various all, as is impressively documented in the cultural, economic and mental barriers French television recordings of Katchen’s between European and American music impassioned rendition of Schubert’s Wanderer Fantasie and Brahms’ Sonata common in the early 1960s – was essen- before the entry of the fugato or at the In the variations, Katchen manages to in F sharp minor.