Lili Kraus - The Complete Parlophone, Ducretet-Thomson & Discophiles Francais Recordings - Box Set 31 CDs

Label : Erato
Format : Flac (image + cue)
Cover : Full

Announcements about Erato’s boxed set devoted to the great pianist Lili Kraus (1903-1986) generated understandable anticipation among piano mavens, and now that it’s arrived, let us be thankful for this complete, systematic, and newly remastered survey of Kraus’ recordings for the Ducretet-Thomson, Les Discophiles Français, and Parlophone labels.

The repertoire reflects Kraus’ focus on the Austro-German classics, although a handful of short pieces by Chopin and Kraus’ countryman Bartók sneak in for good measure. Certain items may be more familiar than others, such as the vibrant 1954/55 solo Mozart cycle that includes all of the sonatas except for K. 533/494, plus numerous short pieces. Kraus’ Mozart abounds with dramatic intensity, angular rather than rounded phrasing, and raw-nerve attention to dynamics and harmonic felicities. Warner/Erato’s transfers are less bass-heavy and brighter on top than in those reissued on Music and Arts some years ago.

Save for the E-flat Sonata No. 59’s overly fast Minuetto finale, five Haydn sonatas are scarcely less special, but Kraus’ hearty, line-oriented approach to a selection of Brahms’ short pieces and the Op. 9 Variations on a Theme by Schumann proves more revelatory. Compared to her teacher Artur Schnabel’s fiery Beethoven “Tempest” sonata, Kraus is relatively small of scale. However, in the “Waldstein” first movement, the pointed crescendos and jagged development-section phrase groupings directly evoke Schnabel’s influence.

Kraus’ Beethoven sonata and Mozart duo and trio collaborations with violinist Willi Boskovsky remain paradigms of style, taste, insight, and ensemble balance. Tempos generally are lively but allow plenty of room for emphatic accents and subtle harmonic surprises to register. The Boskovsky-led Mozart K. 271 and K. 466 concertos foreshadow the best aspects of today’s historically informed performances in regard to their attention to woodwind detail, clear and crisp rhythms, and brisker than usual tempos for the time, together with Kraus’ enlivening inflections of pulse and superbly articulated embellishments. And their uplifting collaborations in the three Schubert Sonatinas makes us regret that they did not record the same composer’s A major Duo or C major Fantasy.

Between Kraus and Homero de Magalhäes, we’re not told who is playing primo or secondo in Schubert’s Divertissement à la hongroise, B-flat Variations, and three of the D. 824 Polonaises for piano duet, except that the pianist at the bottom often holds back, deferring to the treble.

The collection’s final eight discs comprise material from the 78 rpm era, including Kraus’ classic Mozart and Beethoven sonatas with violinist Szymon Goldberg. Some listeners may prefer Goldberg’s more robust and varied tonal palette to Boskovsky’s gaunter yet no less focused sonority and Kraus’ more impetuous interplay. Despite the violin’s prominence in the recorded balance, you immediately pick up on how naturally the pair alternate between soloist and accompanist roles.

The solo Mozart shellac selections do not substantially differ from their aforementioned mono LP remakes, but the later Beethoven Eroica Variations seems a bit cleaner and more controlled, abetted by slightly slower tempos. Much as I love Kraus’ expressive and tightly structured Vanguard stereo recording of the Schubert A minor D. 845 sonata, her 1948 version’s looser yet more lyrically inflected second-movement variations and boomingly resonant big chords in the Scherzo ultimately win me over. So does her cogent textural unraveling of the A minor D. 784’s toccata-like finale.

Kraus’ 1937 recording of the Twelve Valses Nobles D. 969 totally enchants. The gentle lilt of the droning left-hand octaves and fifths in Nos. 3 and 4, the sense of lift to No. 8’s rolled chords, No. 9’s earthy thrust, and No. 10’s disarming legato touch are but a few of many magical details that add up to one of the most lovable Schubert interpretations I’ve ever heard. In addition to fine notes by Frédéric Gaussin, producer Philippe Morin provides a useful and thoroughly informative overview of Kraus’ recording career, while the individual sleeves replicate original LP jackets and 78 rpm labels. What a treasure trove of inspired music making!

Complete tracklist : Lili Kraus - The Complete Parlophone, Ducretet-Thomson & Discophiles Francais Recordings