Shura Cherkassky

[Mandryka]

Listening today to Shura Cherkassky play Brahms Variations - Handel amd Paganini, all I could think was "listen Mandryka, suspend judgment, relax, and enjoy the inevitable."

By the way, there's nothing cute and camp about Cherkassky's Brahms, though there is certainly quite a twinkle in his eye in the Handel Variations.  But  just listen to the anger in the final three variations of Book 1 of the PVs - I was practically hiding behind the sofa.

Other ideas for GOOD, CUTE or CAMP recordings by SC much appreciated (preferably on CD), as I thought I would lighten up my summer by getting to know him a little bit better.


 

[Verena]

I like his Chopin Preludes on Orfeo. Anyone else heard those?

[Drasko]

The 1982 San Francisco recital on Ivory Classics is excellent.

[Herman]

I like his Chopin Preludes on Orfeo. Anyone else heard those?

Yes. They are fine.

[listener]

I have enjoyed the 4 Nimbus CD's that I have.   They are now in a 6-disc box at  amazon.uk for 25.99
http://www.amazon.co.uk/Piano-Works-Cherkassky-Various-Composers/dp/B0000SZ6W4/ref=sr_1_3?ie=UTF8&s=music&qid=1281042825&sr=1-3

[ccar]

Thanks for this thread Mandryka. Shura Cherkassky was surely one of the most brilliant pianists ever. He struggled all his life as a distinctive voice and personality, following his path as one of the last big "romantics". And he certainly was one of the most creative and individual interpreters I can think of. We may prefer other "style" or interpretations, but his way is always fresh, lively and usually unexpected. When Cherkassky plays it seems like he is revealing the piece by telling us its story and, as I recall his image, always with a mix of childish innocence and trickery.

Cherkassky's repertoire was huge but he was never a big selling name for the recording industry. He left us an extremely varied but relatively small number of records, dispersed through various labels over the years. I collected most of Cherkassky's recordings but it is difficult to comment all their individual character and particular interest. Let me just say that I use them often as a therapeutic balsam after listening to another one of those mainstream "perfect" anodyne players around. 

To taste the artistry of Shura Cherkassky just look the way he uses his unique magic in this Mazurka:
 
          http://www.youtube.com/watch?v=Iit01z84kr8&feature=related

For a more serious exploration BBC Legends issued a number of Cherkassky recordings. They are easily available and can give a broad and rich perspective of his playing in the live recitals. 



For those who want to know more about this fascinating artist I also recommend a very good biography written by Elisabeth Carr (which includes a rare discography compiled by Donald Manildi).

[Dancing Divertimentian]

His first volume in the Philips GPOTC is superb. It's exclusively Chopin, with front-rank renditions of the Preludes (not the same as Orfeo), Etudes (in clean, 50's mono sound), and the third sonata.

Heck, this set would be worth it for his magnetic Barcarolle alone (in better stereo sound).

[Mandryka]

His volume in the Philips GPOTC is superb. It's exclusively Chopin, with front-rank renditions of the Preludes (not the same as Orfeo), Etudes (in clean, 50's mono sound), and the third sonata.

Heck, this set would be worth it for his magnetic Barcarolle alone (in better stereo sound).

The Etudes in the GPOC are very disappointing -- Op 10/11 and Op 25/7 -- slow willful performances. Maybe the only one I really liked was 10/6

The most extraordinary recording I have found so far from him is the BBC one with the Brahms Handel Variations and Chopin Sonata. In that recording, you really can hear why people who saw him live say that he was so special. There's a real sense of joy in the music making, you can hear that the pianist is happy and at ease with the music and with himself, there's a sense of fun and of drama. And he is a master of piano colour. It's an essential, very great, recording, IMO. Real ear candy.

Another good BBC one contains a Chopin recital, with a superbly poignant Op 10/3, and some beautiful, colourful nocturnes.

I haven't tried some of the others listed here. I will do.  -- so thanks.

For those who want to know more about this fascinating artist I also recommend a very good biography written by Elisabeth Carr (which includes a rare discography compiled by Donald Manildi).

I'm curious about that partly because it must have been difficult to have  be out in London at that time. You know, you were open to being blackmailed, arrested etc. I know some gay men who were in London in the 60s and 50s and the stories they tell are bizarre to modern ears.

Does the biography enter into his non musical life much?  Or is it mostly about performances, musical rather than personal friendships etc.

[ccar]

The most extraordinary recording I have found so far from him is the BBC one with the Brahms Handel Variations and Chopin Sonata. In that recording, you really can hear why people who saw him live say that he was so special.

                          "When everything's correct the inspiration goes. You can't lose yourself"    Shura Cherkassky               

For me the live recordings do give a more "real" insight of SC. Shura wasn't made for the studio. He needed the audience to have the spontaneity and the freedom for inspiration - "I don't have the patience to go into a recording studio and wait for a red light and a green light".

That's why I suggested the BBC recordings (now there are at least 9 CDs to choose from). And there are also other live recitals published by Decca (including his magnificent 80th birthday recital at Carnegie Hall), Orfeo, Ivory and Aura/Ermitage (this 1963 recital begins with a delightful reading of the Mendelssohn Rondo capriccioso).       

I'm curious about that partly because it must have been difficult to have  be out in London at that time. You know, you were open to being blackmailed, arrested etc. I know some gay men who were in London in the 60s and 50s and the stories they tell are bizarre to modern ears. Does the biography enter into his non musical life much?  Or is it mostly about performances, musical rather than personal friendships etc.

Elisabeth Carr became a personal friend of Shura Cherkassky for his last 20 years and accompanied him frequently. The biography is detailled, well written, interesting to read, goes much into the person and is completely open about his sexuality, as he was himself. But, as I think he would also prefer, it is never intrusive.   

[George]

That's why I suggested the BBC recordings (now there are at least 9 CDs to choose from). And there are also other live recitals published by Decca (including his magnificent 80th birthday recital at Carnegie Hall), Orfeo, Ivory and Aura/Ermitage (this 1963 recital begins with a delightful reading of the Mendelssohn Rondo capriccioso).       

FWIW, the BBC CD in the OP is not live.

[Dancing Divertimentian]

The Etudes in the GPOC are very disappointing -- Op 10/11 and Op 25/7 -- slow willful performances. Maybe the only one I really liked was 10/6

Well, you asked. And as far as I can tell his Etudes fall under your umbrella of GOOD, CUTE or CAMP. "Willful" certainly applies to CAMP I'd say...

Anyway, in all honesty I don't find the Etudes complete disasters. But I admit it's the rest of the set that most perks my ears. 

In that recording, you really can hear why people who saw him live say that he was so special. There's a real sense of joy in the music making, you can hear that the pianist is happy and at ease with the music and with himself, there's a sense of fun and of drama.

I fail to see your point. Live or studio, if all these qualities you list weren't present in his GPOTC set I wouldn't have recommended it!! (Sans the etudes, I suppose...grudgingly....). BTW, the sonata is a live performance.

Simply put, that Barcarolle performance is a miracle of re-creative art. Period.

[Mandryka]

Well, you asked. And as far as I can tell his Etudes fall under your umbrella of GOOD, CUTE or CAMP. "Willful" certainly applies to CAMP I'd say...

Anyway, in all honesty I don't find the Etudes complete disasters. But I admit it's the rest of the set that most perks my ears. 

I fail to see your point. Live or studio, if all these qualities you list weren't present in his GPOTC set I wouldn't have recommended it!! (Sans the etudes, I suppose...grudgingly....). BTW, the sonata is a live performance.

Simply put, that Barcarolle performance is a miracle of re-creative art. Period.

I didn't mean to imply that the GPE recording (Etudes apart) isn't good. I like it.

I haven't heard enough to comment on the live or studio thing with any confidence.

It does seem to me though that whether he delivers or not is pretty unpredictable.

There are fun records made live (Orfeo PVs); less successful live ones (The San Francisco Chopin Sonata 3 seems less successful than the Studio one for the BBC to me); fun ones which he made young (the BBC Handel Variations); fun ones which he made when he was old (the symphonic Etudes in his 80th birthday concert) and less fun ones made when he was old (the Wigmore Hall recital)

[Drasko]

The San Francisco Chopin Sonata 3 seems less successful than the Studio one for the BBC to me

The San Francisco recital Chopin 3rd Sonata?

[Mandryka]

The San Francisco recital Chopin 3rd Sonata?

This is the one I meant -- I think it's from a SF concert, but I haven't got it to hand to check


It's not a bad recording -- but for me not special.

I haven't heard the Ivory Classics record you mentioned -- but I will do!

[ccar]

The San Francisco recital Chopin 3rd Sonata?

AFAIK there are 3 recordings of the Chopin 3rd Sonata now available:

                                 - studio 15 Dec 1964 - BBC Legends                             
                                 - live 2 Mar 1985 - Decca / Philips GPOC
                                 - studio Jun/Oct 1985 - Nimbus

The live 1985 recording is probably the more interesting for me. To my ears it seems more alive and imaginative.

In Cherkassky's readings of the Sonata you don't get the big "sound" Chopin many are used to nowadays. Nor the wild rubato or dramatic dynamics that you may look for in the more expressionist readings. Cherkassky gives us the ambiance of a detailled but intimate engraving, almost delicate and restrained. But when he gets into it you are carried into a constantly imaginative phrasing and he reveals a world of piano colors, shades and transparencies that makes you wonder. An this is what I feel is more apparent in his live version.

So Cherkassky won't give you the politically correct "modern" architecture of the piece. His colouristic "style" will not be easily accepted in most of our Music schools and most certainly wouldn't win any piano competition. And he will not appeal to the marketing and "flashy" sound engineers that seem to run the recording studios today.  But if you are open to listen to his playing you may at least end up remembering what he once said of himself:     

                                               "Many people like my playing. Others may not.
                                                But I do not believe that anyone can call me boring"   


                                         

[Mandryka]

Interesting post ccar -- I'm not sure that

[Mandryka]

Interesting post ccar.

Have you, or anyone else, heard this recent set of HMV recordings made in the 50s?

http://www.firsthandrecords.com/releases%20Cherkassky.htm

[ccar]

Have you, or anyone else, heard this recent set of HMV recordings made in the 50s?

http://www.firsthandrecords.com/releases%20Cherkassky.htm

Yes. Recordings not easily available elsewhere, impressive pianism, the usual Cherkassky "touch" and in most very good sound and recording atmosphere.

[mjwal]

I would agree with  ccar's comments about Cherkassky's style of playing. I seem to remember that back in the 60s when I still lived in Britain he was quite present on the BBC. Apart from one of those Nimbus issues I have two Ermitage reissues of Decca recordings made in various venues -  one a Chopin disc with the above-mentioned 3rd sonata (RFH  '85), the 2nd (Queen's University Belfast '82), and Op.49, my favourite Chopin in an interpretation rivalling Solomon's in my esteem (BBC Birmingham Studio '73). The Schumann disc has Carnaval (RFH '88), Op.111 (Bath Festival '86) and Op.13 (St.John's, Smith Sq. '84). I don't know whether these performances are still available. I used to have an LP of his Beethoven Op.111, but foolishly lent it to a German student...It was rather eccentric, from the point of view of classical Beethoven interpretation, as I remember, but very beautiful - now if it had had the same hype as Pogorelich's or Michelangeli's versions....

[ccar]

The Chopin and Schumann were all included in the live Decca/BBC CD edition. Some are difficult to get nowadays.
The Beethoven op.111 was a real loss - a World Record/Imperial LP which (AFAIK) was never issued in CD.