JULIUS KATCHEN Berlin, 1962 + 1964 Liszt | Brahms | Beethoven | Schumann | Chopin FRANZ LISZT (1811–1886) 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 … 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 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 Saperton, 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’ 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 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 . 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. tially made without any interruptions or return of the grandioso theme during the unleash with precision as well as consist- This anthology of solo recordings com- major edits. Some minor mistakes and recapitulation – Katchen conjures breath- ency from the tragically fatalistic nature prising works by Beethoven, Brahms, imperfections are therefore inevitable; takingly intensive moments of a symbiosis of the work a compelling undertow by Chopin, Liszt and Schumann, recorded however, this lack of complete manual of uncompromising pathos and formal which, however, he never allows himself during two recording blocks in 1962 and perfection is countered by the unre- stringency, resulting from the peculiar to be carried away; his relatively “light 1964 at the Lankwitz studio of RIAS Ber- peatable suspense of a quasi-authentic multipart but one-movement architec- handed approach” that (as is also the case lin, expands Katchen’s discography by as concert situation. Katchen takes high, ture of the sonata. There are surely only with ) tends towards non- many as six first releases: Beethoven’s almost existential, risks, and after only a few interpretations of this sonata that legato playing, becomes advantageous Rondo Op. 129, Rage Over a Lost Penny, few bars appears to have forgotten about relate detail and entirety so compellingly in the baroque-style motoric drive of all Chopin works presented here, and the microphones. Initially, his tempera- to each other, at the same time holding which Beethoven makes use in the vari- finally Liszt’s Piano Sonata in B minor ment doubtless rivals his creative ration- everything together. Katchen lends the ations and to which he was to return in which, for good reason, opens this selec- ality; his approach to tempo, articula- mysterious fi nal sounds of the sonata a his late oeuvre. Katchen underpins the tion. The (certainly still immense) techni- tion and dynamics is so rhapsodic that fascinating sense of ambivalence of salva- ambivalence of the rondo which, over cal demands of this monumental and yet the faithfulness to the text undergoes a tion and resignation, completing the cycle and above the musical joke, is a veritable highly condensed key work of the piano harsh endurance test and the virtuosic begun at the opening of the work. character piece, with a dashing and inde- repertoire after Beethoven are manage- grasp threatens to take over. However, Katchen’s enormous pianistic reserves fatigable speed, as though the sense of able today; however, the challenges to the deeper that Katchen penetrates the become apparent in his recording of harmlessness could, at any moment, turn the imagination of the performer have work, the more it becomes perceptible Beethoven’s Variations in C minor, into lunacy. As in the Liszt sonata, Katch- remained a touchstone of true virtuosity. how masterfully he presents the sonata WoO 80 (1806), which are, for inexpli- en’s virtuosity appears as an elementary Katchen’s interpretation is both aston- as an imaginary drama. (Liszt himself said cable reasons, underestimated or ignored energy which is tamed with intellectual ishing and debatable and takes a special to his pupil and biographer Lina Ramann by many pianists even today, and in the means, obtaining its interpretational func- place amongst the outstanding record- that Shakespeare’s great dramas had rustically ingenious Rondo “alla ingha- tion in this very fashion. ings of this sonata whose discography is inspired the conception of this work.) At rese” bearing the title (not originating This impression conversely proves not exactly small. One needs to take into the climaxes of the sonata’s artistically from the composer), Rage Over a Lost itself with Katchen’s Chopin interpreta- account that the recording – as was still ambivalent formal design – as for instance Penny, Op. 129, written around 1795-98. tion which eschews any form of virtuoso pomp. The naturalness, relaxed manner Katchen’s infallible feeling for subtle sus- and precise phrasing, which make his pense and the inner breath of the pieces. performance of the A fl at major Ballade It was no coincidence that, from an so compelling, are a wonderful proof of early stage, Katchen felt close to Brahms’ Joachim Kaiser’s observation that in the musical language whose expressive inten- case of Chopin, paradoxically, universal- sity and formal drama ideally matched his ists tend to have an advantage over spe- playing. Katchen’s Brahms interpretations cialists. The cliché of Chopin’s “effemi- are perfect examples of artistic sensitiv- nacy” stands no chance with Katchen, ity which was more than the result of and nor does he feel the need to hard work. His fabulous technique once celebrate the oft-evoked poetic aura of again appears as a creative means: who this music as a pretentious interpreta- is capable of mastering with such supe- tional device. Instead, he presents a riority the leaps, hand-positioning and straightforward performance, which rhythmic demands of the quasi-orches- nonetheless savours every moment and tral Scherzo Op. 4, an ingenious coupling penetrates the musical content. His of the scherzo from Beethoven’s Ninth interpretations of the Noc- with the minor-keyed stud- turnes Opp. 9,2 and 27,2 as well as the ies of Charles-Valentin Alkan? In the Berceuse Op. 57, which are often threat- history of sound recording, only few ened by sentimental distortion, feature pianists have managed to free Brahms’ the same degree of transparency. late piano works from the prejudice of Katchen’s tone does not possess the displaying the “melancholy of capabil- incomparable legato quality emulating ity” as convincingly as Julius Katchen. He the belcanto ideal that one finds with succeeds in regarding these late pieces  Rubinstein or Michelangeli; we are, how- in the light of the stormy, pathos-laden ever, more than compensated by early oeuvre (which, as a reservoir of recording: February 19,1962: Liszt, Brahms Op. 118, Beethoven, Schumann, Chopin Op. 47 May 25, 1964: Brahms Op. 116 + Op. 4, Chopin Op. 9 No. 2, Op. 27 No. 2 + Op. 57 ideas, Brahms never depleted) without recording location: Studio Lankwitz, Berlin recording producer: Wolfgang Buch losing sight of the classical coherence of recording engineer: Alfred Steinke musical form. In it, Schumann emerges as the great model, in whose piano works of the 1830s an almost infi nite imagina- Eine Aufnahme von RIAS Berlin tion and a sophisticated mastery of form (lizenziert durch Deutschlandradio) make up a fascinating whole. In “Vogel als recording: P 1962 + 1964 Deutschlandradio research: Rüdiger Albrecht Prophet” [“Bird as Prophet”], the sev- remastering: P Ludger Böckenhoff, 2014 enth piece of the Waldszenen [Woodland rights: audite claims all rights arising from copyright law and competition law in relation to research, compilation and re-mastering of the original audio tapes, Scenes] collection published in 1848, a as well as the publication of these recordings. Violations will be prosecuted. new dimension of mysterious immersion The historical publications at audite are based, without exception, on the original makes an appearance, emerging in the MASTER  tapes from broadcasting archives. In general these are the original analogue tapes, unsentimental clarity of Katchen’s inter- RELEASE which attain an astonishingly high quality, even measured by today’s standards, with pretation with particular poignancy. their tape speed of up to 76 cm/sec. The remastering – professionally competent and sensitively applied – also uncovers previously hidden details of the interpretations. Thus, a sound of superior quality results. CD publications based on private recordings 1 from broadcasts cannot be compared with these. Wolfgang Rathert Translation: Viola Scheffel We have made every attempt to clear rights for all material presented here. Should you nonetheless believe that we have accidentally infringed your rights, please let us know at your earliest convenience. We will endeavour to resolve any issues immedi- ately. photos: cover: IMAGNO/Lebrecht : American pianist Julius Katchen before his concert at the international Music fes- tival “Prager Frühling 1956”. Prag. May 26th 1956. © IMAGNO/Votava  + : Archiv Deutschlandradio art direction and design: AB-Design

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