Katchen vol.1
Julius Katchen, who died of cancer at the age of 42 in 1969, was one of the unique pianistic talents of the century. Katchen left America shortly after World War II and landed in Paris, where he soon established himself as one of the most dazzling and sought-after instrumentalists on the continent. In America, however, he remained much less well-known. These magnificent recordings show a superb interpreter in his prime, and is easily one of the best sets in the "Great Pianists" series.
In his memoirs, "Knowing When to Stop," the composer Ned Rorem paints a poignant picture of the young Katchen. Rorem describes Katchen as an outwardly ebullient but inwardly troubled man who struggled with his homosexuality (he eventually married a woman) and with the loneliness and isolation of the travelling virtuoso life. In terms of sheer musicianship, Katchen was second to none. With a repertory of 50 concertos and 20 recital programs in his fingers at any given moment, Katchen's memory was rivalled only by "a technique that shamed Horowitz" (as Rorem describes it). Sometimes criticized as a cold, mechanical interpreter, Katchen once told Rorem that he orgasmed while playing the andante of Brahms' F minor sonata at a London recital. These discs offer ample evidence of Katchen's taste, integrity and overwhelming mastery of his art.
The recording of Brahms' F minor sonata is stunning. Recorded when the pianist was only two months past his 23rd birthday, they show a finished musician at work. Brahms was the composer most associated with Katchen, and it is easy to hear why. His identification and intimacy with Brahms' music is clear throughout these selections. His recording of Rorem's Second Sonata for Piano is another hair-raising experience. Premiered by Leon Fleischer, the sonata was rearranged and given a fourth movement by the composer especially for Katchen, whose playing matches finesse, subtlety and emotion with the most natural of techniques. His Franck, Mendelssohn and Liszt are likewise beautifully played. Perhaps the most interesting selection, however, is Balakirev's "Islamey," which was long considered the most unplayable piece in the repertory. Katchen makes it sound like child's play, with fingerwork that must be heard to be believed.
This is an extraordinary musical experience by a great pianist who deserves to be much more well-known.
