Monthly Archives: May 2017

Beethoven: Piano Sonatas Andor Foldes (piano)

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Andor Foldes (piano)

Beethoven: Piano Sonatas

Op 13 (Pathetique); opus 28 (Pastorale); opus 31 No 2 (Tempest); opus 53 (Waldstein); opus 57 (Appassionata);opus 81a (Les Adieux); opus 101; opus 109

DGG Eloquence 482 5854 (2CDs)

TPP: 79’26” & 74’09”

reviewed by Neville Cohn

 

BEETHOVEN_Sonatas_Foldes_masterBeethoven’s Les Adieux sonata is not for faint-hearted pianists. Some of it is the sound-equivalent of finest petit point embroidery done at top speed. Few can do so without, as it were, pricking a finger or two. But Foldes is up there with the best, traversing the finale’s measures without a stumble or three. Foldes is certainly no slouch here.

 

It’s sonatas such as these that Foldes would frequently include in recital programs together with music of Bartok – a painless way to introduce new audiences to what at the time would for many have sounded astonishing, unexpected or even bizarre to listeners in, say, Kenya or Bloemfontein.

 

Foldes also gave recitals in Bulawayo and Harare (then known as Salisbury) in Southern Rhodesia (now Zimbabwe), then thought of as the bread basket of Africa but now a hobbled wreck of a country – a basket case –  due to the arrogant, brutal and possibly mentally unbalanced incumbency of Robert Mugabe who, when he finally shuffles off to the oblivion that he so richly deserves, leaves a country laid waste due entirely to his hideous misrule. But even now, as the country sinks ever deeper into ruin, there are still other African leaders who extol the excellence and wisdom of Mugabe’s ‘vision’!

 

There’s first rate treatment of opus 101, its immensely challenging measures making it a closed book to most pianists. I’m listening to the fugue as I write this. With what effervescence, clarity and momentum Foldes imbues the notes. It is like a paean of joy. In opus109, its quasi-extemporisation quality is conveyed to memorable effect. It often borders on the ecstatic.  And it is so refreshingly free of exaggerations that lesser players offer too often in the name of  ‘interpretation”.

 

Some of the sonatas were originally recorded by Foldes on LP as far back as 1959. Their transfer to CD is timely. It will enable a new constituency of listeners to experience Foldes’ artistry. And for those coming to Beethoven for the first time, this fine compilation might well be an ideal first foray into the Bonn master’s wondrous creative territory.

Songs without Words

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Slava Grigoryan & Leonard Grigoryan (guitars)

ABC Classics CD 481 5101

TPT: 53’ 34”

reviewed by Neville Cohn

 

Grigoryan Brothers - Songs Without WordsIf ever you’ve come home after a really tough day at the office, perhaps an accidental wiping of a crucial report that cannot be retrieved and/or encountering a maddening traffic jam on the way home – what might one do?.

 

A few soothing gins and tonic or something a bit stronger might be just what’s needed to soothe frazzled nerves – but there’s another, frankly better,  way to chill out (without any risk at all of a hangover): put the Grigoryan brothers’ newest CD on – and relax to a joint effort that’ll work its magic in mere moments.

 

Seventeen tracks enshrine some of the world’s most loved melodies.

 

Take your pick: Rachmaninov’s Vocalise, Elgar’s Chanson de matin (a charmladen delight) and a Seguidilla, the bracing urgency of which rivets the attention. It’s from

an arrangement for two guitars of the full set of de Falla’s Seven Spanish Folk Songs.

 

I particularly like the gently lulling quality of Nana which, Falla has pointed out, was a song his mother used to sing to him when very young.  These delights are given near-flawless treatment, not least the first of the set: The Moorish Cloth. It’s beautifully negotiated with its crisp rhythmic underpinning. There’s a lively, lovely account of the Jota, its rhythms irresistible – and the Cancion is finely considered.  The very challenging Polo needs a greater sense of urgency, though.

 

The brothers’ account of Tchaikowsky’s None but the Lonely Heart would surely charm even the grumpiest bird from a twig – and there’s an exquisitely languid account of Ponce’s Little Star.

 

There are sure to be tracks which listeners will happily play over and over  – and over – again. Don’t take my word for it. Get yourself a copy – and feel those nerve knots relaxing.

Bartok: Piano Works

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Andor Foldes (piano)

Eloquence DGG 480 7100 (4CDs)

TPT: 212’ 06”

reviewed by Neville Cohn

 

 

In the 1950s, South Africa was very far from the main highways of the international concert circuit. So, when Andor Foldes arrived to give concerts in Johannesburg and Cape Town, it was a visit of considerable consequence. His African itinerary began as far north as Kenya and then, travelling ever southwards, there were concerts as well in Southern Rhodesia (now Zimbabwe) – in Bulawayo and then-Salisbury – and then the Union of South Africa (as it was then known).

 

Bartok CDFoldes played concertos with orchestras in Johannesburg and Cape Town – and the works he performed were mainstream – Mozart and Beethoven.  But there was another, very significant, arrow to Foldes’ bow.

 

He’d studied with Bartok and was a passionate advocate for his compatriot’s music, specially that written for piano.

 

In Cape Town, apart from his work with orchestra, Foldes met, and played for, members of the South African Society of Music Teachers (SASMT). Much of Foldes’ repertoire was by Bartok which in those days was considered ultra-modern – and its performers very daring. Those piano teachers who’d attended that meeting and listened to Foldes at the keyboard were agog; it was a startling, completely new sound- and mood-world which Foldes revealed.

 

Its complex rhythmic patterns – and unusual and sometimes grating dissonances –  triggered gasps of astonishment (I was told  later). The sonic and stylistic Bartokian world that Foldes revealed at that long-ago performance was so unexpected, so startling, even shocking, that it made an indelible impression on those present.

 

If Foldes’ intention was to carry the flag for his compatriot, it was an immensely

effective way to do so.

 

Within weeks of his visit, a shipment of some of Bartok’s piano scores (brought by Union Castle Line steamers which plied weekly between Cape Town and Southampton) arrived. Far and away the most popular of these works was Bartok’s Five Rumanian Dances.  To this day in South Africa, it’s very often heard in local eisteddfodau.

 

Foldes’ keyboard wizardry is abundantly present in an Eloquence 4-CD pack. It’s on compact discs for the first time. It is one of most significant and worthwhile re-issues of earlier recordings in the Eloquence series.

 

He does wonders with the material; his recordings have the stamp of the highest authority, a magnificent tribute to the composer’s genius – and one of his chief interpreter’s most significant offerings.

 

Foldes plays Bartok’s Out of Doors suite with an understanding of style and mood which totally engages the listener. (This was a particular favourite of the composer who frequently played it when stressed by health or financial problems. It brought him an inner peace.)

 

Much the same can be said of just about everything in this collection. Fifteen Hungarian Peasant Songs is pure delight as is a confrontingly muscular account of Allegro barbaro.