An intense and unique vision

Discography Rudolf Serkin, relatively little extent, is the image of his conception of music: stripped, classic, simple, solid. With the first school of Vienna as a gravitational center of the inevitable Serkin are obviously (at least) its Beethoven (grouped mainly in the unmatched Masters cabinet), Mozart's Concertos (with Abbado for example, but not only) and his few Schubertian recordings, most of which was once distilled in the collection "The Art of interpretation", now gathered in this small economic cabinet.

The program is not busy, only 3 drives, but each record is a must: the Sonata in A major D959 (. Reg February 1966) and the Sonata in B flat major D960 (Rec September 1975.), May being one of most compelling posthumous diptychs that we have engraved; Sonata in C major D840 "Reliquie" (Reg. March 1955 mono), 4 Impromptus op.142 D935 (Rec. January 1979) and the Six Moments Musicaux op.94 D780 (Rec. 8 December 1952, mono) .
Lastly, the Piano Quintet in A major op.114 D667 "Trout", a marvel of balance and spontaneity as he knew in bloom at the Marlboro Festival (August 15, 1967 captured). Serkin is framed by bows Jaime Laredo (violin), Philipp Naegele (viola), Leslie Parnas (cello), and Julius Levine (bass).

The Schubert Serkin as splashed his Beethoven is a pianism traveled with powerful energy and natural speech. A Schubert speech that is also not focused on the fragility, roundness, or charm. True to its ascetic design, the Maestro may seem at first severe or stiff, lacking immediate seduction; It is intense and clear reality as can be a truth revealed without compromise.

In total concentration and a compelling desire to recount, undressing one might say, unvarnished and without mystery, Serkin not trying to cut corners; it uses to mark the relief, avoiding any temptation to embellish, questioning more than the metaphysical physics. An interpretation that is both personal and unwavering, with an almost disembodied piano, as if he wondered himself closer to the prophecy of poetry, and a total Schubert decoction where there is intelligence and naked 'irresistibility of style.

The sound recording is essentially correct but usually lacks depth and has a light breath. It was also the occasion (failed) to repeat his early recordings of the thirties with the stepfather Adolf Busch (Fancy D934 and D929 Trio). But if the publisher had wanted a neat product, we probably would not have been entitled to simple glossy covers (3 CDs held in a cabinet the size of a standard single album), as we botched too often used in this kind of issue (as eg any registration date will be sought in vain; obviously not talking about a date remastered!).

So we will be consoled by the pleasure of meeting together for a pittance these essential records for any and all Schubert piano enthusiast. Certainly, probably can not be satisfied with this alone Schubert reading; impossible to forget the poetic curves of Lupu or irresistible humanity of a Schnabel (to name only two unquestionable references). But Schubert it challenges us across the piano, in an intense and unique vision, and therefore indispensable.

PS: in addition to what Schubert serkinien, I would strongly advise to go to discover the album of Hans Richter-Haaser, a discography UFO that should surprise more than one.