Derek Lim writes:

>Hi, I would like some recommendations for Liszt's B-minor Sonata

Whilst not disagreeing with the choice of Arrau I would like to draw your
attention to an artist no-one has mentioned..Peter Katin.  I reproduce
David Wrights review of his recording posted on Classical Music on the Web
last month:

   PETER KATIN in recital.  LISZT Piano Sonata; BRAHMS Variations and
   Fugue on a theme by Handel Op 24; LISZT Sonetto 123 del Petrarca
   (Annees de Pelerinage, second year).  Peter Katin (piano) From a
   recital recorded in April 1983 at the University of Western Ontario,
   Canada.  ADD Minerva Athene.  ATH CD9 [67' 45"]

   My admiration for Peter Katin is both well-known and well-founded.
   This may lead a cynic to castigate me as being prejudicial ...  and,
   with this anxiety in mind, I decided to review this CD in a highly
   critical spirit.  I placed the music before me accompanied by a pen
   and notebook to jot down any flaw, mistake or detail that I did not
   like.  Seventy minutes later the notebook was blank and I had
   experienced not only a wonderful feast of quality piano music but
   performed with total accuracy and complete faithfulness to the score.
   It was a rare experience and yielded that inexplicable joy that only
   the greatest music and finest performers can render.

   The use of language creates problems.  There is no doubt that the
   Liszt Sonata is great music, one of the towering masterpieces of the
   piano repertoire.  And then, I hear people talk about some of Schubert's
   piano music being great as well, and while I do not wish to disparage
   the melodious Schubert, one cannot possibly use the same adjective
   fairly for, in so doing, injustice will be levelled at Liszt.

   This Sonata was introduced to me by my professor, Humphrey Searle at
   the RCM.  Humphrey was, and probably remains, the world expert on
   the music of Liszt and we went through it bar by bar several times.

   Katin's performance is exemplary and he observes all the detail in
   the score.  The opening Lento assai is sotto voce and arresting.
   The allegro energico, beginning at bar 8, is exactly that and the
   bass marcato passages are precisely captured and when, in bar 19,
   the composer calls for agitato and, later, a crescendo and piu
   crescendo that is what we get.  Every phrase is beautifully shaped
   and the journeys to the big climaxes are always a natural progression
   of the music.  At bar 23, we truly have sempre forte ed agitato and
   some dazzling finger work.  The range of his staccato is quite amazing.
   At the first of the notorious double octave passages at bar 47 all
   we can do is be overwhelmed by the power and stunning playing and
   feel so humbled realising that we could never play like this, and at
   such a confident speed.  The many distinguished pianists who 'fake'
   this passage with 'slowing downs', and falsely explain this as rubato
   are legion.  To add to the formidable difficulties of the double
   octaves the composer later calls for it to be sempre staccato ed
   energico assai.  And it is ...  here.  At bar 98 we have the 'big
   tune' marked grandioso.  Fortunately, Katin does not vamp it as some
   pianists do, nor does he relegate it to Edwardian pomposity or medieval
   self-importance.  Fifty bars later, at the cantando expressivo passage
   the wonderful warm romantic lyricism is expertly captured and when
   it reappears in octaves and in F sharp minor in the quasi adagio
   section the tenderness has a genuine beauty which is never allowed
   to become mawkish.  There are many important details that listeners
   could pass over.  For example, the long trills are beautifully
   controlled and so well-integrated.  How many times have we heard
   lesser pianists make such an emphasis on trills as if it were a
   theatrical device.

   Not only was Liszt writing in a romantic style but a classical style
   as well, as shown in the D flat major fugal passage marked allegro
   energico.

   Peter Katin observes Liszt's stringendos which precede the fearsome
   double octave passages.  How many 'great' pianists do not?  ...  and
   we know why.  And the presto double octave passage leads to prestissimo
   still in double octaves and many pianists hardly reach an allegretto.

   The recording was made sixteen years ago and I have heard recordings
   with a brighter sound but the sound here is completely acceptable.
   I have heard some more exciting performances but they interpret Liszt
   as if he were a thumping circus performer and such readings are
   seriously flawed.

   This superlative performance is class.

   The Brahms is also faithfully played and with a rugged grandeur and
   infectious swagger.  There is a smart and enviable elegance in another
   committed performance of insight which enhances this very fine work.

   The Sonnet 123 is another performance of distinction and, as often
   with this pianist, it was a thought-provoking performance in its
   extraordinary and fascinating unfolding.

   Reviewer
   David Wright

Len Mullenger
Classical Music on the Web (UK)
http://www.musicweb.force9.co.uk