Customer Reviews

Liszt: Etudes d'Execution Transcendante [Transcendental Etudes]

5 star:		(4)
4 star:		(1)
3 star:		(1)
2 star:		(1)
1 star:		(0)

 

 

I love Liszt's "Etudes," and I place Bolet's performance at the top. Like other favorite music, such as the Well-Tempered Clavier and Beethoven's Symphonies, to name but two, I own several performances of the "Etudes", and will probably buy more. But I don't think anyone will ever blow Bolet away, and I guess only Liszt himself could.

Like the other Ensayo recordings by Bolet, these lack some of the verve and spirit that one usually finds in other Bolet recordings. Bolet was usually described as a romantic, and usually his heart shines through the music (particularly on any live performance). But these are a bit Liszt-less (if you will excuse the pun)and technical sounding.

The Decca version is better. It is available in their box set of Bolet's Liszt Piano recordings. Decca also issued the Transcendental Etudes separately at one point, but that is out of print (but appears in used and auction sites.) If you still have a turntable, the LP version is much better sounding than the CD.

But if you don't want to shell out the 40-50 dollars for the box set, and don't do vinyl anymore, this is your only choice and not a bad one. And I would still prefer to listen to Bolet on an off day, than most pianists' best day.

Another superior version is Bolet's recording of these (Etudes 1,2,3,5,7,8-11 only) in the 1960's with RCA. This is (I believe) only available in a mono version RCA LM-2291. Unfortunately this version has not been re-issued, but it is frequently available used on auction sites.

This is a priceless recording that every Bolet buff should be grateful for being available. It gives a rare opportunity to compare Bolet in his absolute prime with his late recording legacy for DECCA which is largely, but mistakenly, thought to be stodgy stuff of little value. What finer yardstick we could have than a complete recording of Liszt's Transcendental Studies, a rare amalgam of pyrotechnics and poetry.

Let's first put both recordings into some kind of historical perspective. Jorge Bolet recorded the Transcendentals for Ensayo in 1970, when was but 55-56 years old and largely unknown; this was four years before his now legendary recital in Carnegie Hall [Jorge Bolet I: Great Pianists of the 20th Century, Vol. 10] which made him a star almost overnight. In the late 1970s, when he himself was in his late sixties, Bolet signed his first contract with major label (DECCA) and recorded prolifically until the end of his life (1991). In March 1985, aged 70, he made his second complete recording of the Transcendentals, now available second-hand separately [Liszt: Piano Works, Vol. 7 (Transcendental Studies)] or as a part of the wonderful box set with Bolet's complete Liszt recordings [Liszt: Piano Works [Box Set]]. So there is a difference between both recordings of some 15 years, during which Bolet's technical prowess, even his artistry indeed, are supposed to have degenerated badly. This is tosh.

The usual and widely known notion is that Bolet's late recording of the Transcendentals is much too slow to be taken seriously, whereas his early one is much faster and more virtuosic. It is true, of course, that the Ensayo rendition is more powerful, but a comparison of the timings shows that, overall, it is but slightly faster than its later counterpart (in round brackets: the timing of the same piece from the DECCA recording):

1. Prelude 1:00 (1:04)
2. [Molto Vivace] 2:45 (2:56)
3. Paysage 4:40 (4:50)
4. Mazeppa 8:05 (8:55)
5. Feux follets 4:10 (4:32)
6. Vision 5:54 (6:21)
7. Eroica 5:14 (5:31)
8. Wilde Jagd 6:17 (6:30)
9. Ricordanza 10:55 (10:52)
10. [Allegro agitato molto 5:04 (5:30)
11. Harmonies du soir 10:18 (10:42)
12. Chasse-neige 5:23 (6:07)

It will be noticed that, more often than not, the difference in the timings is negligible (nos. 2, 3, 5, 7, 8, 11) or there is virtually no difference at all (nos. 1 and 9). The etudes that are conspicuously faster for Ensayo do not necessarily profit by that. The mystical atmosphere of 'Vision' and 'Chasse-neige' is somewhat lost here, nor is No. 10 any more compelling because it is nearly half a minute faster. The biggest and most obvious difference - both temporally and aurally - is 'Mazeppa' which is nearly a minute longer and does not have the somewhat underpowered left hand in the main theme which slightly mars the late recording for DECCA. Significantly, 'Mazeppa' for Ensayo gains in terms of grandeur and drama, but it lacks the subtlety and the poetry of the later version. The bottom line, however, is this: apart from slightly faster tempi and more powerful left hand, the earlier recording is very similar to the later one indeed. In virtually ever study - the shortest one included! - there are a number of unique touches that make Bolet's playing unique and unforgettable. I am reminded of his humorous statement that he himself couldn't sense that maturity in his playing that was supposed to mark his late years (according to the critics) but had been missing in his early ones. Small wonder he couldn't: it is imaginary.

There is no possible way to mistake Bolet's artistry, especially in the Transcendentals, with that of anybody else, no matter whether you will hear the early recording for Ensayo or the late one for DECCA. Personally, I do prefer the latter, for it is more insightful and poetic, and I have never much cared for a technical tour de force at the expense of the music as so often is the case with Liszt's Transcendental Studies. Yet the sweeping power and passion of the earlier recording makes it well worth listening. Amazingly, Bolet's legendary technique - praised highly by Harold Schonberg himself, no less - is never at the expense of melodic lines, nor degenerates into mere banging or rushing. His characteristic poise is as evident here as anywhere else in his discography, and it makes a compelling combination with the awesome power of his playing. Indeed, my only quibbles, artistically, with this recording stem from comparison with Bolet's later attempt for DECCA. On its own, the early interpretation for Ensayo is miles ahead from that of any other pianist in my listening experience.

The only real trouble with this recording is the sound. It is decent enough to be listenable, but it is more appropriate for something recorded in 1950, rather than in 1970. The balance is fine, yet the bass is often flat and the overall sonority and dynamic range are limited. These are certainly not Bolet's faults. But one should try to understand. Not only was the recording made more than 40 years ago, but it was made for a very obscure label and in, of all places, a casino in Barcelona, God (should he exist) knows on what piano and with whom as recording engineer (there is nothing mentioned on the cover about either of these issues). At any rate, the indifferent sound is a very small price to pay for such blend of power and poetry.

The booklet is just as indifferent as the sound, containing one dull essay in English and Spanish. As a special bonus, however, there is a gorgeous full-page photo of the Bolet in his prime, who has been described as looking more like a buccaneer or a successful businessman or a matinee idol, rather than like a concert pianist.

For Bolet buffs, the disc is of course indispensable. So is for Liszt buffs, but only if they are not members of the Berman-Berezovsky-Cziffra gang. If you are chiefly interested in the technical side of the studies - a harmless interest, at all events - then you definitely should skip Bolet and go for the aforementioned trio of bangers. I surmise loud banging is what most people called 'excitement' in these pieces. Well, some of us are not so easily excited, alas. If you care much more for the music itself, subtle and suggestive as no other music for solo piano, you may just as well find something memorable in Bolet. For me, personally, he remains in a class of his own and virtually untouchable in the Transcendentals. Only Claudio Arrau has ever timidly approached Bolet's mastery, but even the great Chilean is sometimes rushed or insensitive, or plain dull. Bolet never is.

I too used to think Bolet's Transcendental Etudes were the best--until I heard Claudio Arrau's. Why not get both and compare.

I too used to think Bolet's Transcendental Etudes were the best--until I heard Claudio Arrau's. Why not get both and compare.

yeah, he plays the notes...but so slowly, so sedatedly, makes me fall asleep! I'm happy with Arrau's, supplemented in some of the weaker spots by Berezovsky. Don't need this at all.

Usually, I like to listen to a CD completely before I write a review about it. Admittedly, I only listened to Bolet play the first four Transcendental Etudes on the "Liszt Piano Works" boxed set. After I listened to Bolet play "Mazeppa," one of the most difficult works ever written for solo piano, I could listen no further.

Bolet has some real technical limitations, and his pianism is dated. The effort was real and sincere, and he plays the "Consolations" and "Mephisto-Waltz No. 1" with real passion and flair. However, Bolet is just not masterful with the "Transcendental Etudes."

However, you should definitely look elsewhere for these works. My recommendation? My top choice is the Lazar Berman recording on the Melodiya BMG label. How do you find it? Type in "Lazar Berman" on the Amazon classical search. Scroll down until you see a set of piano keys with Lazar Berman's face superimposed on it. The CD has a noticeable amount of red on it, too. I believe this CD is a recent reissue of the old recording from the fifties or sixties. It is unbelievable. Berman dwarfs all other sets of Transcendental Etudes.

"Preludio," the opening etude, is crystal clear. All the notes are very clear, the tempo is fast and engaging, and Berman uses broad, sweeping pianism to get the listener engaged for the set. Amazing!

Then, we hear the treacherous A minor study. It is extremely difficult, and Berman does not slow down the toughest sections that use contrary motion (Bolet and Jando both slow down horrendously and barely escape!). He plays with power and urgency and brings real drama to the piece.

Berman's "Paysage" is gorgeous. It is played more slowly and softly than any others (Bolet, Arrau, Jando, Berezovsky, Sherman). Bermans shows that he does not simply like to play and pound loudly and quickly. His account is more sensitive and far-reaching in its tenderness than the other accounts.

What follows is truly, literally hair-raising! When Berman plays "Mazeppa," you will sit up and take notice! He plays with brooding passion, power, and a real feeling of terror. More than any other account, I can see the promiscuous Count Mazeppa tied nude to a horse and dragged across the Ukraine as punishment for his affairs (Yes, that really is the story line. I am not making this up!). The notes are clear, the runs are powerful and furious, and nobody else can match the power, passion, and contrast Berman brings to this work. Even the outstanding rendition by Arrau on Philips pales in comparison to this!

Berman's "Feux Follets" is great. He has the full technical and musical measure of this glittering showpiece. However, I like Boris Berezovsky's recording of this work the best. His light, spritely, "leggiero" finger-work is unmatched, even by Berman. Still, Berman plays beautifully and lightly.

The other etudes are amazing, as well. You can find outstanding individual performances of the etudes that exceed Berman on certain pieces. However, I believe that, taken as a whole, Berman delivers the best complete set of these amazing works! See what you think! Granted, these are old recordings, and the sound is like the acoustic resonance of a shoe-box. However, do not let this dissuade you. The ear will quickly adjust. It really is worth it. Really.