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FRANZ SCHUBERT Impromptus D. 899 & D. 935;
Moments Musicaux D. 780; Three Klavierstücke D. 946
OLIVIER MESSIAEN Regard des Prophètes, des Bergers et des
Mages
On paper Schubert's two books of Impromptus, six Moments
Musicaux, and Three D. 946 Klavierstück might seem too much
of a good thing programed on a single recital, as Konstantin
Lifschitz did on July 12, 2000. Palexa's live recording of
that occasion, however, proved me wrong as I sat for two hours,
transfixed in front of my stereo system, thoroughly soaking
in Schubert's music and Lifschitz's riveting, at times revelatory
artistry. Indeed, this is the finest recording I've yet heard
from this pianist. He approaches the Impromptus with little
if any modifications from his basic, initial tempos, and he
underscores the music's boundless felicities through color,
articulation, voice leading, plus hand and finger balance.
By playing the final F minor Impromptu (the fourth of D. 935)
absolutely straight, Lifschitz clarifies twists and turns
in the melodic line other pianists usually blur. In the B-flat
major Theme and Variations Impromptu, each section flows from
the previous one to effortless, improvisatory effect.
It's also a joy to hear the hackneyed G-flat Impromptu beautifully
shaped at a true alla breve rather than at a lumbering four
beats to the bar. I also like Lifschitz's brisk treatment
of the D. 935 A-flat Impromptu, where he voices the hymn-like
chordal writing in the outer sections as if his fingers were
members of a sensitive string quartet. The Moments Musicaux
prove equally gripping. You might prefer a lighter touch and
more animation in the Third and Fourth selections, but No.
5's dotted rhythms have a ferocious, forward sweep that literally
took my breath away. Stripped of its latter-day monumental
accoutrements and slow-motion shoes, No. 6 is restored to
its lyrical, songful state. Lifschitz's controlled drama and
long-lined breadth will surely hold your attention in the
lengthy first two Klavierstücke, while No. 3's lively cross-rhythmic
effects simply sparkle under the pianist's exceptional fingers.
Lifschitz offers an unusual encore in the form of the 16th
movement from Messiaen's Vingt Regards sur l'Enfant Jesus.
He juggles the music's polytextural webs with pinpoint precision
and a wide array of colors at his beck and call. Certainly
this brilliant performance bodes well for a complete Vingt
Regards from Lifschitz. Maybe there'll be one, if this Schubert
recital sells. Buy it while you can. [Editor's Note: You can
purchase this CD online at www.taubman-institute.com]
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