Géza
Anda
Concertgebouw Orchestra,
Cond. Eduard van Beinum Recorded
in 1943, remastered from Siemens Spezial 78s 68132-3
Matrix numbers: 2363/2-GE5, 2364/4-GE5, 2365/2-GE5, 2366/2-GE5
Download ID: 152127/432811
Duration 15'28"
Although
generally regarded as French, César-Auguste-Jean-Guillame-Hubert
Franck (1822-1890, right) was actually of Flemish birth, and
musically can be seen as of the Germanic tradition, most notably in his
resolution of formal problems and the chromaticism of his harmony. If
in his overall work there is some unevenness, his best music is unquestionably
that of a man of genius.
The
Symphonic Variations, scored for piano and orchestra, is generally Franck's
happiest and most brilliant work. Written in 1885, it consists of a single
movement of about fifteen minutes duration, and vies only with his symphony
for the title of most-recorded orchestral work.
This
particular interpretation is of particular interest. Recorded by Deutsche
Grammophon Geschellschaft in 1943, it was later recalled with great affection
and even admiration by the pianist Géza Anda, who wondered aloud
how he could ever have played so well. In van Beinum he had an astute
and senstive conductor, and the overall impression is quite ravishing.
The
discs we've used for this transfer are also of interest. Rather than the
standard DGG yellow label, we find a light blue label, ringed with the
following: "MEISTERKLASSE DER DEUSCHEN GRAMMOPHON
G.M.B.H - DAS RECHT ZUR RADIOSENDUNG BLEIST VORBEHALTEN".
The label then states : "SEIMENS SPEZIAL - EXPERIMENTAL-SCHALLPLATTE
NACH DEM SILBER-VERFAHREN DES ELEKTRO-AKOUSTISCHEN FORSCHUNGS-LABORITORIUMS".
Each of the discs carries an additional message - in one case rubber-stamped,
in the other a printed label stuck on, both reading: "Deutsche
Grammophon GmbH, Hannover, Genehmigt 17.6.46, 30 Information Control Unit".
The latter seems to suggest approval by post-war occupying forces.
We'd
be most interested to know quite what the experimental processes were
that DGG or Seimens were experimenting with at the time - one can guess
from what was written that some kind of silver electro-plating might have
been involved. As it was, the sound quality was good, but marred by a
heavy hiss which has taken a lot of very careful work and processing to
reduce to acceptable levels. This is particularly crucial in this work
as there are a number of extended sections of very quiet playing; at these
points it was at times very difficult to separate piano from hiss!
REVIEW
OF FRANCK: Symphonic Variations
(Anda/Concertgebouw/von Beinum)
Cesar
Franck, along with Leos Janacek, is one of the great late-bloomers
in music. A prodigy piano virtuoso and composer as a child,
Franck settled into being a very capable organist, teacher
and composer of religious works. Suddenly, in his late 50's,
he burst into 11 years of greatness, producing a piano quintet
(F Minor) of blazing intensity. As with Janacek, this was
due to a passionate but platonic love affair with an attractive
student. Madame Franck walked out at the quintet's premiere,
perhaps smelling a rat. Smelling a somewhat different kind
of rat was Camille Saint-Saëns, who played the piano at the
premiere, but got up, neither acknowledging any applause nor
picking up the dedicatory manuscript on the piano. What he
perhaps smelled was a work whose power exceeded the boundaries
of French romanticism which he had set and would lead the
way to Debussy and Ravel. Six years later Franck fused this
late life passion with wonderful classicism and produced the
Variations Symphoniques, which although short, moves through
all of the facets of a piano concerto.
Van
Beinum begins most gruffly and Anda replies with such silvery
soft poetry. The same kind of piano orchestra intimacy exists
as in the slow movement of Beethoven's Fourth Piano Concerto.
But Anda takes command with forward motion, rubato and exquisite
shading. I have never heard Anda this good before. The piano
and orchestra are so intimate that they seem to dine of each
other's endings. The ending is joyeuse, but not raucous. This
performance belongs with the most French-right up there with
Casadesus and Cortot.
The
sound is adequate-perhaps a bit thin to my ears, sometimes
a trifle harsh (in the finale), but it is very clear and thankfully!
has unveiled the wonders of a performance that cannot go unheard.
