Shura Cherkassky - The Complete HMV Stereo Recordings [CD]

Master Magoo
The pianist Shura Cherkassky hasn't just got the small stature of the cartoon character. He also shares with him the ability to always get back up again, and a taste for the unexpected. Would you like to see?
Shura Cherkassky was quite a person. A pianist of Ukrainian origin, he emigrated to the USA after the Russian Revolution. He was a student of Josef Hofmann in Philadelphia and experienced rapid success in America before going out of fashion in the 1940s. As a result, he came back to Europe, where the sensitivity, spontaneity and enthusiasm of his performances reinforced his position amongst the heirs of the 19th century masters. Underneath his jovial `Mister Magoo' manner, he hid a nostalgic outlook. His life-story is as amazing as his style. He spent the last 40 years of his life in hotels, in rooms which he overheated. He rehearsed every day for exactly 4 hours and if anything unforeseen stopped him, he would carry over to the following day any minutes he had missed...
His mother, Lydia, who was his first teacher, was also a pianist - indeed she even played in front of Tchaikovsky. To make her son appear even more of a master, she tried to make out he was 2 years younger than he actually was, stating he was born in 1911 when in fact he was born on 7th October 1909, in Odessa. On the 100th anniversary of his (real) birth date, a small British label unearthed some unedited tapes, recorded in Abbey Road studios at the end of the 1950s. Now available in France, this double-disc contains some real treasures, especially some pieces which were rarely played by the pianist, like Beethoven's delightful Bagatelle Op. 119, No. 1 or Gounod's Waltz from Faust, transcribed by Liszt.
We became familiar with certain other pieces (particularly Bach/Busoni Chaconne, in which the pianist gave free rein to his fantasy) in the recordings of the 1980s, recorded by Nimbus in an exciting boxed set (cf. no 513). The first versions are in mono... but much better because of their sound quality - the reverberation by Nimbus partly swamps the palette and feel of his magical touch. That said, both interpretations are quite similar.
Litolff's (1818-1891) fluent Scherzo for piano and orchestra isn't strictly speaking a revelation (it already appeared in the `Cherkassky' volume in the `Great Pianists' series.) It sums up everything about the charm of the artist - how he lovingly assumes such freedom of rhythm, his elastic technique, which leaves sounds sparkling, his flowery descants, the simple beauty of cantabile, the extremely sophisticated nuances (also in Saint-Saëns' The Swan, arranged by Godowsky). As a bonus, First Hand Records offer an alternative version of Gershwin's Three Preludes and Chopin's Ballade No. 3 not included on the mono LP. A delight!
Jérôme Bastianelli

International Piano - July/August 2009

This is a remarkable release. A small company, only formed in 2007, has licensed previously unissued early stereo tapes from EMI. Cherkassky recorded these tracks for HMV/EMI in 1956 and 1958 and they were issued at the time only in mono on LP and EP, but at the recording sessions experimental stereo recordings were also made. The excellent transfers, made by Ian Jones at Abbey Road Studios, have deliberately left the sound as close to the original as possible, retaining a very slight amount of tape hiss in order to faithfully present Cherkassky's unique palate of tone colours. Indeed, the sound quality is extraordinary - just sample A Shanghai Tragedy by Abram Chasins to hear the full spectrum of Cherkassky's glorious sound world. Of particular note are Preludes by Rachmaninov and Gershwin that have not been legitimately reissued since their appearance on 45rpm EP discs. Rachmaninov's Op. 23 No. 2 is a little underplayed, but the famous G minor Prelude, particularly the central section, finds Cherkassky in top form. The most substantial work comes in the form of Busoni's monumental reworking of Bach's violin Chaconne, and one orchestral work, the once immensely popular Scherzo by Litolff with the BBC Symphony Orchestra and Malcolm Sargent (not the later recording with Boult) is given a riotous performance injected with Cherkassky's irresistible humour. Other highlights include Saint-Saens's Le Cygne in the labyrinthine arrangement by Godowsky where Cherkassky's control of sound is breath-taking, and some wonderfully controlled Liszt.

There are short encore pieces by Beethoven, Schubert and Poulenc and, of course, there is Chopin - a composer with whom Cherkassky has always been strongly associated. Superlative performances of a Mazurka, Waltz and Nocturne are followed by the second and third Ballades, the third being particularly memorable for its parlando opening and relaxed tempo, similar to the recording by Rachmaninov. If all this was not enough, First Hand add an appendix of alternate takes of the Gershwin Preludes and the Ballade No. 3 of Chopin. This is an excellently produced and fitting centenary tribute to one of the most extraordinary pianists of the twentieth century.

Reviewed by: Jonathan Summers

Musical Opinion - August 2009 ****

Hats off to First Hand Records here collecting all of Shura Cherkassky's HMV stereo recordings and for presenting them with excellent annotation and data. Full marks, too, for lan Jones's re-mastering, which presents the recordings with immediacy, freshness and tonal fidelity. The solo tapings were set down in London in 1956 and 1958 in Abbey Road Studio No. 3. The first disc opens with a magisterial and searching account of the Bach/Busoni Chaconne and continues with a delightful Beethoven Bagatelle and then a rippling, rather restless, Schubert Impromptu. Several Chopin pieces give the feeling that Cherkasskv just sat down and played; yet there is real artistry in his shading and touch, and soulful passion in tempestuous passages. The one real disappointment is Litolff's Scherzo (with the BBCSO and Sargent, Kingsway Hall, 1958) which lacks humour and elfin tread, and is also rather loud. Saint-Saëns's The Swan, in Godowsky's elaboration, gives particular pleasure, as do other showpieces - by Liszt (not least his transcription of the Waltz from Gounod's Faust, which will have you smiling), Liadov, Gershwin (rather aggressive), Rachmaninov (two Preludes played with Slavic depth), Poulenc and Chasins's Three Chinese Dances. Also included are alternative takes of the Gershwin Preludes and Chopin A flat Ballade. This is a feast for Cherkassky fans and for admirers of distinctive pianism.

Reviewed by: Colin Anderson

Gramophone - August 2009

First Hand's classily presented two-disc set of the complete HMV stereo recordings made in 1956 and 1958 is a treasure trove of Cherkassky rarities. Of the twenty works here, all released for the first time in stereo, twelve have never previously appeared on CD, among them the five Chopin titles and the Bach-Busoni Chaconne. While he was generally at his best in front of an audience, these studio recordings have the same vitality and spontaneity as a live performance. The Litolff Scherzo is a delicious musical soufflé (better, I think, than the more familiar recording with Boult) while the Hungarian Rhapsody No.13 and the Faust Waltz (especially the stunning coda) are examples of pure pianistic joie de vivre. But above all - and this applies to both discs - are the sheer beauty of sound, individuality of conception and musical imagination that Cherkassky brings to whatever takes his fancy. Required listening for all students of the piano.

Reviewed by: Jeremy Nicholas

BBC Music Magazine - September
PERFORMANCE *****
RECORDING ***

The centenary of Shura Cherkassky's birth is an excellent excuse for the archives to dig up some buried treasure. Both these releases [reviewed with BBC Legends] involve performances that have never been heard on CD before: gems for pianophiles, they preserve the great pianist's idiosyncratic and poetic artistry in all its glory.
Born in Odessa in 1909, Cherkassky moved to America with his family in 1922 and made his debut there aged 14, creating an instant sensation. He was much influenced by his main teacher, Josef Hofmann, but in both life and art he was a law unto himself. Diminutive and unassuming, he had immense charisma on stage. His performances sound utterly spontaneous, with no piece ever emerging in quite the same way twice; yet at the piano he was the epitome of poise and control. Famously footloose, yet obsessive about detail, he lived for decades in a London hotel, more at home on the road or in the concert hall than anywhere else...
The HMV studio recordings are older, dating from 1956 and '58, many here in stereo for the first time. A plethora of Romanticism, this, with occasional forays beyond including two different recordings each of Gershwin Preludes and the Chopin Third Ballade, illustrating the way that Cherkassky would vary his interpretations, enhancing inner voices, shades of colouring and deliciously singer-like melodic shaping. The recording seems warm, rounded and if a tad muffly, nevertheless very immediate.

Reviewed by: Jessica Duchen

International Record Review - July/August 2009

During the 1950s Shura Cherkassky recorded fairly extensively for HMV, and the original LPs, long out of print, have been eagerly sought after by collectors. Only a few selections from Cherkassky's HMV repertoire have reappeared on CD: most notably a single disc from Testament (SBT1033) and another from Medici Arts (MM013-2). (Cherkassky's Chopin Etudes from 1953-55 were at one time licensed for inclusion in the Philips Great Pianists series). Read more ›

This very welcome reissue marks the centenary of Cherkassky's birth, but he is not all that long gone from among us. He died only 14 years ago, he was still performing until very near the end, and another of his recitals that I own is the formidable and demanding programme that he gave to mark his 80th birthday.

Cherkassky was a pupil of Hofmann, but from what little of Hofmann's work there is in my collection I would not say that Cherkassky's playing resembles his to any marked extent. Indeed it is not easy to find a close parallel for Cherkassky at all. His choice of repertory was distinctive, based in the 19th century but featuring a good deal of music that we used to call avant-garde as well as works on (or beyond) the outer fringes of what passes for classical. I don't know him in any 18th century music - this is the second performance I have from him of the Bach/Busoni Chaconne, but that is a piece that I file under Busoni and not under Bach. Listening to Cherkassky in this work might be expected to invite comparisons with Michelangeli, but again the approach is too dissimilar for comparisons to mean much to me. Similarly with the Rachmaninov B flat prelude, of which there is a legendary account by Richter. Cherkassky certainly does not displace Richter, but he is not trying to, and I find the contrast delightful and feel no need to rank them. Perhaps Cziffra comes closer, and there are a couple of Liszt numbers here, but I think I would still know this is not Cziffra even if I would find it hard to pinpoint the detailed difference.

What gets this 2-disc set a 5-star rating from me is the special service it provides to me as a music lover. It brings me more of the playing of the unique and irreplaceable Cherkassky. He was diminutive in stature but big in personality, and I cannot hear playing like this elsewhere. I hope it is not dereliction of my duty as a reviewer if I say that I have not even troubled to assess these performances in any kind of league tables. Most of them stand a good chance of being some people's favourites, and indeed the second of the two accounts here of Chopin's A flat ballade may be mine, or at least first equal with the extraordinary performance of that underestimated composition by Guiomar Novaes. What I should stress is that nothing here is routine, and, really, nothing is quirky or wilful either. All of this playing is marked by both passion and intellect, and the formidable technical command is too obvious to need much comment.

All the recordings here date from the later 1950's, and in the famous Litolff scherzo Cherkassky is partnered by the BBC SO under Sargent. The recorded quality strikes me as quite good, although perhaps a touch too close-to and resonant here and there. Details of the recording process are provided for the technically minded in the liner note, and I should really say that this liner note is better than average in several ways, of which the very small print is not one, although one understands the reasons for that, and I at least appreciate its succinctness and informativeness.

For all these reasons I salute this issue. I am sure many older music lovers will welcome it as much as I do, but in the nature of the case Cherkassky may be unknown to the new generation, and I commend it to these with especial fervour.

Shura Cherkassky is remembered mostly for his mastery in the romantic repertoire, however this CD spans from Bach to Gershwin and shows us that Cherkassky was more than just 'the last of the romantics'. The depth of sound he creates shines through in these wonderfully re-mastered recordings, which have been re-mastered from the original stereo source tapes stored in the EMI archive. A MUST buy for ALL classical music lovers.