Search - Tzimon Barto, Schubert :: Impromptus: Moment Musicaux Piano Sonata D

A Disaster

B. Gone | 06/16/2010

(1 out of 5 stars)

"After reinventing himself as renaissance man, poet, playwright, pianist, Barto has made a set of recordings that represent a complete break from his earlier "EMI" years. As a fan of the oracle from Toronto I am all for trying to do things differently. In his second phase Barto started with a Rameau "fantasy" album that I continue to enjoy, followed by an imaginative, but at times odd Ravel recording. Next, came a Haydn disc that apart from a single overly slow movement was highly enjoyable. Here we have Barto according to Schubert, or Schubert according to Barto. Yet, no matter what the perspective, "Ridiculous" is the only word that aptly describes this album.



Whereas his tendency to play things overly slowly was already present in the aforementioned albums here it is taken way beyond imaginable limits. Looking at the works on this double cd, two interpretations, each on the slow side, came to mind. For the moments musicaux that is Youri Egorov. Schubert: Sonata in c minor DV 958; Moments Musicaux DV 780 This is a recording that every pianophile should own. Egorov was in the final months of his life and brings incredible depth to these seemingly simple salon pieces. When it comes to the G major Sonata, there is of course Richter Sviatoslav Richter in Concert; Historic Russian Archives, who reaches the same depths as his younger fellow countryman.



So ladies and gentlemen present your slide rules for that G major Sonata.

Wilhelm Kempff in his standard top performance plays the four movements at 1) 10'56", 2) 6'54', 3) 4'00", 4) 9'02.

Sviatoslav Richter needs a "little" more time 1) 26'18, 2) 7'41, 3) 4'18, 4) 7'25".

Striking is the difference in the first "Molto moderato" movement, yet Richter pulls it off, and then some.

How about Barto? Here are the numbers: 1) 26'35, 2) 13"02, 3) 4'50", 4) 10'17.



Comparing Barto and Richter, one sees that they take the first movement similarly "ridiculously" slow, but that Richter picks up the pace after that. Yet, here is where the numbers game ends. What works in Richter, thanks to superhuman skills, becomes disastrous and completely arbitrary in Barto's hands. The music loses any sense of direction, head and tail. The same is true for the impropmptus and moments. At the beginning of the "music for the millions" moments No. 3, A la russie, one holds out some hope of something faintly resembling the composition despite all the weird rubato. Yet, then comes the second theme and another complete melt down. Ay caramba!



I applaud all those artist who are willing to stick their neck out and do things differently, especially in these times of ubiquitous undistinguishable cookie cutter performances. A good example is Andras Schiff's recent Beethoven sonata cycle. Although it is not my personal favorite cycle one has to give the guy kudos for often challenging the conventions and coming up with different answers, especially since they are founded on a well developed rationale. Here, in Barto's Schubert, no such rationale can be found at all. Arbitrariness in phrasing and slowness of tempo rules. Bravely listening through this whole ordeal I could not help but wonder "Tzimon what stops you from playing this another 50% slower??" Franz, I feel your pain, because many of your skillfully written notes fade to grey here in a manner that you never intended. Sic transit...



As an aside, it is striking how fellow former star Ivo Pogorelich - Youtube his newer stuff, and you'll know what you mean - is following a similar "slow path to destruction. Please feel free to enjoy the Jerusalem Post article referred to in the comment section.



So, be warned, fellow Amazonians. Even those of you who would like a first person encounter with "Schubert on the fritz", thank B for being the proverbial canary that went down this poisonous mine shaft. The album's cover shows a landscape partially covered in clouds, but still recognizable. Its contents however, have more in common with seeing that same landscape from 10,000 feet on a mostly cloudy day.

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