by Mike Rugby

Benno Moiseiwitsch is one of those virtuosi who evince such a natural, unselfish style of playing that one almost forgets the pianist is there. Effortless virtuosity is combined with what one observer described as a "liquid, quiet tone." One is almost unaware fingers are actually striking keys. Moiseiwitsch does not produce a large sound, or deep sonority, but carries the day with an infinite variety of color, touch and timbre, breathtaking in the ease with which he plays and unerring in its tastefulness

This "Russian" CD gives opportunity to hear Moiseiwitsch in music from his homeland, although some of the music is not worthy of his talents, or showcasing it to best advantage.

The Rachmaninoff Moment musical Op.16, #4 is horrendously difficult (look at the score!).  Moiseiwitsch ripples through it with amazing ease, although not bringing all the drama or force the work requires (perhaps a recording-sound issue?). The hackneyed prelude Op.23, #5 is remarkable for the voicings the pianist reveals in the lyric section, which even one who plays at this piece (this reviewer), score in hand, might not have seen until revealed here. The quiet, atmospheric #5 and #12 from Op.32 reveal fully all the attributes of infinite variety noted above, and must rank among the best performances ever of two of the composer's better efforts. Op.32, #10, "The Return", was the favorite prelude of both Moiseiwitsch and Rachmaninoff, recorded several times by Moiseiwitsch and even in video. There are more dramatic renderings of this prelude, but it is perhaps Moiseiwitsch who brings the suggestion of a tear on the face of Rachmaninoff others miss.  (Rachmaninoff thanked Moiseiwitsch for playing this work.)

The Medtner pieces include the Op.22 Sonata. A more cogent work than much Medtner, one remains disappointed.  Rachmaninoff named Medtner the best of his conservatory class, yet Medtner simply could not find the inspiration to enhance the craft of his effort.  As the liner notes state, Medtner was fortunate Moiseiwitsch gave his works exposure. The final movement, about five minutes long, contains perhaps more dynamic, color, and tempi changes than any other five minutes.  Evidencing the planning that surely had to go into the effortless result, it is remarkable how fully, and without any tension, Moiseiwitsch realizes all

While the Kabalevsky 3rd Sonata offered here was also recorded by Horowitz, it is unclear why either played the work, other than friendship. Once again, the last movement gives a wonderful example of the effortless, colorful sound of Moiseiwitsch, and the diligence and attention he lavished even on inferior fare, revealing a true understanding of, and respect for, the composer’s difficult job.

The CD also contains the rarely-heard four-minute Khatchaturian Toccata, a dark, impressionistic work, without the special effects one often associates with him.  As a different dimension to this composer, it is a composition worth hearing more often.

Prokofiev’s Suggestion diabolique is also included from a 1928 recording.  It was, apparently, a staple of Moiseiwitsch recitals (and even as an encore by Rubinstein in his epic 1961 Carnegie recitals).  The piece plays better than it is, but one would have wished another Rachmaninoff prelude.

The CD finds Moiseiwitsch playing from love and respect in the Rachmaninoff, perhaps more out of a sense of duty in others, but in all evidencing the qualities of effortless, colorful, heart-warming playing that set him apart.  Even as a first introduction to Moiseiwitsch, this "Russian" CD has merit. The transfers here by Marston are excellent and the price of this disc unbeatable.

 

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