Schumann: Kreisleriana & Etudes Symphoniques / Vlado Perlemuter (2000)

Before Perlemuter recorded his powerful Phantasie he’d visited Wyastone to set down his Kreisleriana and Etudes symphoniques. He was 78 when he recorded the former, his technique still strong, the playing direct, powerfully conceived and conceived moreover in a concentrated arch. Never one for easy emoting, this is not necessarily the most pliant cycle one will hear, but that was never his aim. Similar virtues attend the Etudes symphoniques which avoids sentiment and bombast equally. Some may read into his playing, because of the biographical connections, vestiges of Cortot’s Schumann playing, but Perlemuter was long since his own man. – Jonathan Woolf, MusicWeb International

The French pianist, Vlado Perlemuter, was the third of four brothers whose father was a rabbi. Although born of Polish Jewish parents in Lithuania, at the age of 4 he was taken to Paris where he lived for the rest of his life and is therefore thought of as a French pianist. He began to learn the piano at the age of 9 and two years later received piano lessons from Moritz Moszkowski which continued for the next two years. At 13 he joined the piano class of Alfred Cortot at the Paris Conservatoire and when he was 15 received a premier prix in piano. At the examination he played Fauré’s Theme and Variations Op. 73; the composer was chairman of the jury at the examination. The following year, when he was 16, Perlemuter won a prix d’honneur for his performance of the Variations, Interlude and Finale on a theme of Rameau by Paul Dukas. His success continued when he won the Diémer Prize for which only those students who had already won a premier prix could compete. In 1921 Perlemuter began to give concerts, subsequently occasionally meeting Gabriel Fauré, for whom he played.

A few years later Vlado Perlemuter heard Ravel’s Jeux d’eau and the impression this work made upon him led him to study and learn the complete works of Ravel between 1925 and 1927. For six months during 1927 Perlemuter had the rare opportunity of studying Ravel’s works with the composer himself, travelling regularly to the composer’s home in Montfort-l’Amaury. At this time he also studied with Robert Lortat. Two years later Perlemuter performed the complete solo piano works by Ravel in two recitals in Paris, the first pianist to do this. In 1953 he published details of his work with Ravel in a book entitled Ravel d’après Ravel (Lausanne, 1953). He also gave chamber music recitals with Gabriel Bouillon, Pierre Fournier and the Calvet Quartet.

During the 1930’s Vlado Perlemuter strove to establish a career as a pianist. In 1934 he played a few pieces by Prokofiev for The Music Society in London, and made his Wigmore Hall recital debut in 1937. It seems that rather than playing the music of Ravel for which he was so suited, he chose a stolid programme which included J.S. Bach’s Italian Concerto BWV 971 and Beethoven’s Piano Sonata in F minor Op. 57 ‘Appassionata’. Two years later he returned to the Wigmore Hall, this time choosing repertoire in which he was acknowledged as an interpreter: Ravel’s Sonatine, Schumann’s Études Symphoniques Op. 13, Beethoven’s Piano Sonata in E flat Op. 81a ‘Les Adieux’ and Chopin’s Préludes Op. 28.

In 1938, as World War II approached, Vlado Perlemuter was appointed as an assistant professor at the Paris Conservatoire; but by 1942 he was desperately trying to get himself and his wife to Switzerland as his name was on a list of French Jews to be arrested. Alfred Cortot, although Commissioner of High Arts in the Vichy government, did nothing to help him, something which Perlemuter never forgave. He was not permitted to perform in Switzerland, so the war years were a difficult time for Perlemuter who had a breakdown requiring him to spend three years in a sanatorium. He returned to Paris in the late 1940’s, in 1950 resuming his performing career and taking up a teaching post at the Paris Conservatoire: his most famous pupils are Michel D'Alberto and Christian Zacharias. Teaching was an important part of Perlemuter’s career. He gave master-classes in Japan, Britain and Canada and served on the juries of many piano competitions, but he also performed regularly in Europe, North Africa and Japan. He often visited Britain, but when he played at London’s Wigmore Hall in 1962 The Times’s critic referred to the concert erroneously as his London recital debut. Although Perlemuter rarely visited America, he was Pianist in Residence at Indiana University in Bloomington, Illinois; however he apparently returned to Europe before the end of his contract. He was made an Officier de la Légion d’honneur and a Commmandeur de l’Ordre des Arts et des Lettres.

Vlado Perlemuter is known primarily for his performances of Ravel and Chopin. He also played Mozart, Beethoven, Schumann, Franz Liszt, Fauré, Franck and Debussy. His style is one of clarity, variety of tone and lack of obvious virtuosity. He penetrates to the heart of the music, revealing it in its simplicity and naturalness. He was a nervous performer, with memory lapses and inaccuracies being evident in concerts, especially nearer the end of his career. An example is a Prom concert from August 1964 when during a performance of Schumann’s Piano Concerto Op. 54 Perlemuter had a serious memory lapse, but somehow he and the BBC Symphony Orchestra conducted by Malcolm Sargent managed to hold things together.

The majority of Vlado Perlemuter’s recordings were made after the age of 50, but in the days of 78 rpm discs he did record a few sides, most notably F. Liszt’s Deux légendes for the Lumen label. Perlemuter gives excellent readings of both Légendes, which are full of rhythmic fluidity, and he extracts wonderful tonal qualities from the Pleyel piano. He also accompanied soprano Ginette Guillamat in a Fauré song for French HMV in 1937. It was not until 1955 that Perlemuter was asked to record his authoritative versions of the complete works of Ravel. These were made for the American Vox company, and included the complete solo piano music as well as the piano concertos with the Orchestre des Concerts Colonne and Jascha Horenstein.

Vlado Perlemuter made a few LP’s for the Concert Hall label which include Schubert’s ‘Trout’ Quintet with the Pascal String Quartet. Concert Hall produced what is one of his best discs, an LP of works by Chopin including a wonderful Barcarolle Op. 60 where Perlemuter’s lustrous sound is caught to perfection. No less impressive on this disc are his accounts of the Ballade No. 2 in F major Op. 38, the Fantaisie in F minor Op. 49 and the Scherzo No. 2 in B flat minor Op. 31. In the 1960’s and 1970’s Perlemuter recorded a great deal for the BBC in London and INA in France. Sir William Glock, head of music at the BBC, thought Perlemuter’s Chopin comparable to Artur Schnabel’s Beethoven and had him record most of Chopin’s works for the BBC. He also played the complete works of Ravel on French radio in 1950. INA have issued on compact disc two chamber music performances from the 1960’s of the Quintets by César Franck and Gabriel Fauré, whilst IMG/BBC Legends have issued an excellent Chopin disc which includes the Piano Sonata in B minor Op. 58 from 1964 and the Préludes Op. 28 from 1972.

From 1974 Vlado Perlemuter recorded a large part of his repertoire for the British label Nimbus. He recorded the major works of Chopin including the ballades, études, préludes, many of the nocturnes and the two piano sonatas. Other repertoire includes F. Liszt’s Piano Sonata in B minor, Schumann’s Fantasie Op. 17, Études Symphoniques Op. 13 and Kreisleriana Op. 16, a disc of Fauré and two of Ravel. He also recorded some repertoire that he had played from the beginning of his career: J.S. Bach’s Italian Concerto (BWV 971), some Beethoven sonatas and the Variations and Fugue in E flat Op. 35. The recording of Chopin’s Scherzo No. 3 in C sharp minor Op. 39 is particularly fine. It was recorded in 1990 when Perlemuter was eighty-six. It has wonderful colours and shadings of tone and encapsulates all the excellent qualities of his playing. The complete études were recorded in 1983 when Perlemuter was seventy-nine, and some of the more taxing ones reveal his age. He recorded the Piano Sonata in B minor by F. Liszt in 1974 and Schumann’s Fantasie Op. 17 in 1990. Many of the Nimbus recordings are extremely reverberant and take some adjusting to on the part of the listener, but once this is accomplished, one finds many wonderful things in this important body of work from Perlemuter. Two chamber music recordings were made for Nimbus: Beethoven’s Quintet for piano and wind in E flat Op. 16 and Mozart’s Quintet for piano and wind in E flat K. 452.

Vlado Perlemuter gave his final concerts at the age of 89, with a valedictory all-Ravel recital at the Victoria hall in Geneva, the very town where he had given his first solo piano recital at the age of 15. He died in 2002 at the age of 98. Fondly remembered as a subtle interpreter of Chopin and an important link to Ravel, Perlemuter remains a fine, sensitive artist with a tonal palette surpassing that of many other French-trained pianists.

Tracklisting

01. Schumann:Kreisleriana Op.16 - I Auserst bewegt / 2:58
02. II Sehr innig und nicht zu rasch / 1:56
03. Intermezzo 1 - Sehr lebhaft / 1:30
04. Intermezzo II - Etwas bewegter / 4:39
05. III Sehr aufgeregt / 3:43
06. IV Sehr langsam / 3:18
07. V Sehr lebhaft / 3:14
08. VI Sehr langsam / 3:27
09. VII Sehr rasch / 2:28
10. VIII Schnell und speilend / 3:36
11. Schumann:Etudes Symphoniques Op.13 Thema - Andante / 1:25
12. Study 1 (Variation 1) Un poco piu vivo / 0:53
13. Variation 1 (posthumous) / 1:01
14. Study II (Variation II) / 1:47
15. Study III - Vivace / 1:08
16. Study IV (Variation III) / 1:00
17. Study V (Variation IV) - Vivacissimo / 1:05
18. Variation IV (posthumous) / 2:00
19. Study VI (Variation V) Agitato / 0:51
20. Study VII (Variation VI) Allegro multo / 0:55
21. Variation II (posthumous) / 2:15
22. Variation V (posthumous) / 1:26
23. Study VIII (Variation VII) Andante / 1:38
24. Study IX - Presto possibile / 0:45
25. Variation III (posthumous) / 1:29
26. Study X (Variation VIII) Allegro / 0:45
27. Study XI (Variation IX) Andante / 2:07
28. Study XII (Finale) Allegro brilliante / 6:14

Date of Recording: 12/1985, 06/1982, Nimbus Studios, Wyastone Leys, Monmouth



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