BACH: The Well-Tempered Clavier, Books I & II.
Samuil Feinberg (piano).
Pristine Audio PAKM 063A/063B TT: 108:19 +115:16.
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Born in Odessa to Jewish parents, pianist and composer Samuil Feinberg
(1890-1962) enjoys a legendary, even mythical reputation in Russia. As
a composer, he took off from Scriabin but later flirted with atonality
and Schoenbergian serialism, a serious risk in the Soviet Union. Two of
his teachers went to prison. Never one to put his music forward in the
first place, an attack on one of his piano concerti by the Soviet-music-for-the-proletariat
crowd stopped him from performing his own music in public ever after, and
even though his output wasn't large, he kept composing until his death.
Some of his work has made it to CD.
As a pianist, however, Feinberg attracted serious admirers. Scriabin declared
him the best interpreter of his sonatas. He was especially known for his
Chopin and Beethoven, and revered for his Bach. He held the entire Well-Tempered
Clavier in memory (as well as the 32 Beethoven sonatas, all the Scriabin
sonatas, and large swaths of Chopin). Consequently, this release from the
audiophile label Pristine of Soviet-era mono recordings made near the end
of his life constitutes a major contribution to our appreciation of this
figure, currently somewhat obscure in the west.
Feinberg's architectural control through dynamics strikes one in the very
first prelude. He approaches the entire set as a Romantic, however. In
the first fugue, the dynamics move over a wider range than usual among
current pianists. However, the rhythm is taut without strictness, and again
the dynamics serve the architecture, this time in bringing out the right
voice at the right time. He has achieved a preternaturally clear sound
without banging or tip-toeing affectation. His legato is perfection and
sounds effortless. Furthermore, the level of each subject entry varies
with great sensitivity. I could give you a blow-by-blow of each prelude
and fugue, because the high quality of interpretation and performance deserve
such a treatment, but you wouldn't really want that. I would rather make
the bald pronouncement that these discs are an essential part of every
collection. I won't say there aren't individual preludes and fugues among
the separate items I wouldn't have taken differently, had I only Feinberg's
intellect and fingers. However, there's not one misfire in the 96, and
most of them haven't been bettered. Furthermore, you won't mistake Feinberg
for anyone else. He achieves individuality without the bizarre. Two great
musical minds meet here -- Bach and Feinberg. Even if you already regard
Bach's Well-Tempered Clavier as a monument of western music, Feinberg reveals
you have likely underestimated it. Preludes and fugues that tend to go
by in other interpretations here leap out at you with the joy of a new
find. Favorites become even more astonishing.
Pristine's brand has consisted of cleaning up and giving real presence
to "historic" recordings -- that is, those with surfaces filled
with Schmutz and of severely compressed dynamic range. However, the results
depend on the quality of original engineering and pressings, and Soviet
recordings often fail to rise to the level of an air check. Nevertheless,
if you compare these results with the pressing on the Talents Russia
label, you realize what miracles Pristine has pulled off. Most importantly,
they
give you a clear idea of Feinberg's pianism and capture the incredible
subtleties of his playing, no small feat.
How can I recommend this disc too highly? As far as I'm concerned, a landmark
in recorded music.
S.G.S. (April 2022)
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