Ludwig van BEETHOVEN (1770-1827) arr. Franz LISZT
(1811-1886)
Symphony No. 7 in A, Op. 92 [40:52]
Symphony No. 1 in C, Op. 21 [26:25]
Yury Martynov (pianoforte Erard 1837)
rec. 17-21 September 2012, Doopsgezinde Gemeente Church, Haarlem, The
Netherlands
ZIG-ZAG TERRITOIRES ZZT317 [67:17]
We’ve had a few good recordings of the Beethoven
symphonies as arranged for piano by Franz Liszt, but Yury Martynov’s
project is - to my knowledge - the first on period instruments. It’s
certainly a welcome change of pace as long as Martynov keeps selecting
pianos as good as this 1837 Erard, which has a pretty full and clear
sound that shouldn’t irk many modern-instrument enthusiasts. It
approaches the orchestral qualities Liszt desired; the bass is especially
satisfying.
It’s been very common for pianists to compensate for the smaller
sound by playing more quickly. Pianos can’t sustain notes the
way that stringed instruments can, so a lot of Beethoven’s writing,
transcribed for piano, benefits from being played like piano music.
Yury Martynov bucks this trend, turning in performances slower than
many orchestral ones. The Seventh symphony’s allegretto is 9:34
here; compare to Kleiber’s 8:09 or Karajan’s 8:01 (1962).
Martynov has a more romantic sensibility, stripping the First Symphony
of its post-Haydn classicism. It’s ironic, given his background
in early music and continuo performance, but Martynov takes many a creative
liberty - consider the big slowdown for a hushed, heavily pedaled reading
of the third-movement trio, or the long suspenseful pauses as the finale
begins. Honestly, I find the expansiveness and soft touch detrimental
in the First; this is a piece and an arrangement that could use a little
classical rigour and sharpness.
The same qualities which give me pause in the First Symphony contribute
to an excellent performance of the Seventh. Though virtuosity is on
full display in the fast movements, it’s Martynov’s hypnotically
slow, funereal tread in the allegretto and his light, jovial way with
the scherzo that stick in my memory. His is a performance that really
uses the piano, and specifically this period instrument, to maximum
effect.
The booklet offers helpful discussion about what changes Liszt had to
make during the transcription process, even if it frames the discussion
in the context of Freudian analysis. The sound is good and the piano,
as mentioned, a joy to hear; if I liked this less than Martynov’s
first volume, it’s because the rather sleepy First Symphony performance
doesn’t live up to the vitality of the other three works he’s
recorded. The Seventh is a reading that would enrich any collection.
Brian Reinhart
