Disc of the Year? (Or, Herbert Schuch's debut recording)
Posted by: Todd A on 22 June 2009
Herbert Schuch’s debut recording from 2005 is an amazing disc. Schuch was in his mid-20s when he recorded this, and the artistry he displays is something one might expect from someone a bit older. Except in one regard: Schuch imposes his personality on the music right from the start. These are not straight readings of the score. This isn’t surprising given that he states in the liner notes that it’s impossible to know the composer’s intentions and instead focuses on what a piece means to him. For those wanting a just-the-facts recording, this will not do.
For those who like a bit more adventurous playing, Schuch’s playing offers much. First of all there’s the seemingly effortless playing. Schuch seems able to play everything in both Kreisleriana and Miroirs with more that ease. The most complex passages seem a breeze for him. Second, there’s Schuch’s incredible tone. His palette seems unlimited; his shadings have shadings. Third, there are his innumerable little touches throughout, playing with tempi and dynamics in a sometimes subtle, sometimes more obvious, but always, always intriguing ways. Schumann’s opus is both romantic and modern, with slow playing of immense beauty and fast playing of passion and insight. The Ravel is probably even more captivating. Schuch’s playing is dazzling at times, with speed and control that even some great Ravelians don’t seem to muster. His freedom with the piece reminds me of Abbey Simon’s, but Schuch may be even freer (and better) yet. Each movement is superb, but the swelling, undulating playing in Une barque sur l’ocean and the rhythmic shifts of Alborada del gracioso are utterly captivating.
Throw in sound quality that is generally outstanding, lacking just a bit of lower-register heft, and this is a disc of not a little merit. One of my purchases of the year, no doubt. I’ve already got another of Schuch’s recordings on the way.
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Over the last month or so, I’ve been busily listening, re-listening, and re-listening yet again to all three solo discs by Herbert Schuch. I already covered the Schumann / Ravel disc in greater detail above, and further hearings have cemented it as one of the best discs of the year for me. His other two discs are pretty much as good.
The disc of two Schubert sonatas and music by Helmut Lachenmann has one of the best recordings of the great G Major sonata I’ve heard. Schuch takes the opening movement slowly, yet there’s a nervous energy and intensity that makes it seem to move along quickly. Apparently he worked with Alfred Brendel a bit on his approach to Schubert, and there’s a certain analytical feel to some of the playing, but it’s married to a tonal refinement and dynamic shading that the older pianist could never match. Start to finish it is nearly mesmerizing. The D537 is also superb, but here his approach is just perhaps a little too serious, a little too heavy. It’s nonetheless superb stuff. The two works by Lachenmann are not quite as good. The Five Variations on a theme by Schubert makes for a okay if perhaps somewhat forgettable listen, but Schuch’s playing makes me wonder how he would fare in Schoenberg. Incredibly, I think. Guero isn’t even music, with Schuch strumming the piano strings. It shouldn’t have been included to mar the disc. Still, the Schubert is amazingly good.
His newest disc is themed, focusing on “night” music. Generally, I’m not into themed discs, and this doesn’t make me change my mind, but the individual works are more than worth hearing. Schumann’s Op 23 Nachtstücke starts off the disc, and once again Schuch displays an affinity for the composer’s music, with tonal and dynamic flexibility that suits the pieces perfectly. Heinz Holliger’s Elis – Drei Nachtstücke is another modernist piece that once again makes me want to hear Schuch play some Schoenberg. Fortunately, the music is better than Lachenmann’s. Next up is Scriabin’s 9th Sonata, and here there’s much to admire. Large dynamic swings; gorgeous, almost infinitely variegated tone; ample intensity: this is an extremely fine recording. I still ultimately prefer the near frenzy of John Ogdon, but I welcome this take with open arms, or ears. Next is Gaspard de la nuit, and it’s another blockbuster reading. Schuch displays absolute keyboard command, but he never plays in an empty, flashy manner. Everything sounds easy. His fast playing is effortless and clear. His slow playing in Le Gibet, is beautiful and haunting. And his Scarbo is a tour de force of pianism. Pogorelich is possibly still my favorite version here, but who knows if that will last. The disc closes with Mozart’s KV 540 Adagio, and Schuch turns out to be a fine Mozartian, though of a more vigorous sort.
It’s a rare pianist whose first three recordings are all of this level, at least in my listening experience. I can only hope that he continues to record at this level, and that he performs locally. I’ve got to hear this guy in recital.
(And Oehms seems to find good pianists: the company also records Michael Endres, he of the great Mozart and Weber and Schubert, though recordings of this last composer were for Capriccio. Perhaps it’s time I investigate Micheal Korstick’s Beethoven.)
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