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Pianos and Pianists - Consultant Editor Ates Orga

CD Conspectus
 

'Grandeur without mannerism'
IGOR KIPNIS

on the art of

SERGIO FIORENTINO

 

continued from last Friday, November 5th

 

Fortunately, through the ministrations of three Fiorentino enthusiasts, there are now a number of valuable reminders of the great pianist. In Germany, Ernst Lumpe, connoisseur of piano playing and informed admirer of Fiorentino [instrumental in persuading him to appear in Germany in 1992], has brought his name to the wider notice of others. In Britain, Bryan Crimp, whose label Appian Publications & Recordings features so much valuable [and responsibly documented] pianistic material from the past, has released no less than seven CDs, providing an admirable cross-section of Fiorentino's major repertory. Notably the 1993 German recordings on APR 7036 (2 CDs, including Chopin's Funeral March Sonata, Scriabin's Fourth, Beethoven's Op 110, and the C major Fantasy of Schumann). Russian Sonatas by Scriabin [Nos 1, 2, 4], Rachmaninov [Nos 1, 2, the latter in the 1931 revision], and Prokofiev [No 8]) on APR 5552 & 5556. The late Schubert B flat and Chopin Third on APR 5553. Wonderfully evocative early recordings from the 1960s, entitled, Vol. I, 'The Contemplative Liszt') on APR 5581. And Bach's Partitas Nos. 1 and 4 plus the pianist's own transcription of the unaccompanied G minor Violin Sonata on APR 5558.

On the latter, Fiorentino displays his characteristically gorgeous tonal palette, plus a certain deliberateness familiar at times from other of his recorded performances - for example, the Schubert B flat Sonata [a measured reading]. But he is never staid, lethargic, or lacking in esprit. The lively movements bounce along merrily (the Courante of the First Partita), in spite of a post-romantic yet never merely objective outlook the playing exceptionally clean, well articulated ... and, oh, so musical and warm. Fiorentino's own transcription of the G minor Sonata is effectively filled in harmonically, without ever approaching a Godowsky-like extravagance, while his Fourth Partita is extraordinarily eloquent: suprisingly, he even adds a few discreet embellishments to the repeats of the Allemande and Sarabande. This, like the Liszt anthology, is listed as a Vol I.

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Copyright © Igor Kipnis, November 12th 1999

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