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The magnificent British pianist Harold Bauer
(b.1873) faced a dilemma few encounter. He made his professional
debut as a violinist and it was only an encounter with Paderewski
– who quipped that Bauer had the hair of a pianist – that led
to a decisive change of direction. He studied with the older man
in Paris, where he immersed himself in musical life, received
the dedication of Ravel’s Ondine and gave the Parisian
premiere of Debussy’s Children’s Corner Suite. His two-piano concerts
with Osip Gabrilowitsch became famous, as were his chamber ensembles
with the leading instrumentalists of the day. Later settling in
America he continued to impress, and to record, and was the leading
light behind the Beethoven Association in New York though his
career slowed down during the Second World War. He died in 1951.
This is the third and last of Biddulph’s tribute
series to Bauer and continues the very high standards already
set. The copies are good ones and the transfers by Ward Marston
are warm and sympathetic, qualities that the pianist himself demonstrates
throughout this recital. Schumann’s Fantasiestücke gets a
tremendously affectionate and lyrical reading. There’s poetry
and limpid beauty in Des Abends and poetry even in the
midst of the bravura of Aufschwung. Bauer characterises
In der Nacht with simplicity and colour; it’s not under
too much pedal and it’s not overplayed (as a bonus there’s an
unpublished take of In der Nacht as well). Bauer doesn’t
go in for virtuoso dramatics in Traumeswirren where he
couldn’t have competed with the Horowitzes of this world but it
is delightfully scaled. In all this is a marvellously evocative
1935 set.
His Liszt stresses the lyricism and withdrawn
intimacies rather than the overt drama but his Grieg shows enviable
qualities every bit as convincing as his Schumann. The Norwegian
Bridal Procession is genuinely witty and rhythmically acute whereas
the Albumblatt is surprisingly serious and inward. Delicious inflections
inform Papillon and there is a profusion of colour here – Bauer’s
colouristic palette in this kind of music really was sophisticated
but utterly natural sounding – whilst he finds freshness and verdant
life in To Spring. If you want fine-spun tracery try his subtly
shaded and beautifully voiced Notturno. And to sample his more
frolicsome nature try the rusticities of the Op. 6 No. 3 Humoresque.
In every way – from selection, transfer and notes
– this is a distinguished and exciting release and illuminates
Bauer’s musicianship to our lasting advantage.
Jonathan Woolf
Harold Bauer (piano)
