Twenty-four Preludes for piano, Op. 34; Piano Sonata No. 1, Op. 12; Piano Sonata No. 2 in B minor, Op. 61; Prelude and Fugue in D minor, No. 24, from Op. 87.
Raymond Clarke (piano).
Athene ATH CD18. DDD. TT 75:44.
Recorded Djanogly Recital Hall, Nottingham University, U.K., 6-7 January, 9-10 July & 7 September 1998.

Raymond Clarke may be best known to DSCH readers for his recording of Ronald Stevenson's Passacaglia on DSCH for piano (Marco Polo 8.223545, 1994). His reputation as a performer of the works of Shostakovich himself, however, is well-established in British music circles. The release of Clarke's new all-Shostakovich recording is the product of his long-term commitment to the promotion of these works in the piano repertoire.

These pieces on this CD span the years 1926 to 1951, the period during which Shostakovich composed his most important contributions to the solo piano repertoire. Whilst a single CD cannot provide a comprehensive survey of the Shostakovich output for the piano, this disc provides a very solid sample of the composer's best.

The disc commences with the Twenty-four Preludes. The absence of technical difficulty in the opening C Major Prelude leaves the performer entirely free to capture its pure and beautiful simplicity. Not such a simple task it would seem. Clarke's performance of this opening item does not entirely convince the listener. Further numbers in the set similarly disappoint. Why? In the pieces requiring greater technical facility, Clarke handles the difficulties with ease, yet throughout the set he too often pays insufficient attention to melodic and expressive detail. Indeed, it would seem he almost pointedly ignores the composer's liberal requests (present in fifteen of the twenty-four pieces!) for espressivo playing. A notable exception is his sensitive treatment of No.10 in C# minor. Generally Clarke seems much more at home in the quirkier pieces, particularly No.24. Overall, however, this is a very 'straight' interpretation of a set of pieces that provides plentiful opportunities for marked contrasts and characterisation. It is a very competent performance, but one that leaves the impression of a somewhat academic approach.

The First Sonata is the obvious showpiece of the disc. Clarke leaves no doubt that he possesses the dual requirements of a formidable technique and an attendant stamina to perform this work. Obvious adjectives to describe this work are: fast, loud, percussive and dissonant. All of these are demonstrated decisively in this performance, yet the contrasting ppp sections and the achievement of a sinister ghostliness are equally well-realised. Atmosphere is paramount in this work and Clarke's interpretation is completely successful. Throughout the piece, and despite the precariousness of its very nature, there is never any doubt that the performer is in command. Neither is there any doubt about the amount of thought that has gone into Clarke's interpretation. Tempo and its modifications are well-chosen throughout. Some of the accelerando passages are quite hair-raising in their intensity. This work should be experienced on the edge of your seat, a state usually only achieved in the presence of a live performance. It is no mean feat that Clarke has succeeded in making this possible for the home listener.

Ironically, Clarke's mastery of the First Sonata highlights the deficiencies of his Op.34. Is it possible to hear from this recording that the first two Preludes of Op.34 encompass the same dynamic range as the First Sonata? The answer is a most definite "no". To what extent this can be attributed to the recording process is a question for the technical expert. Purely from a listening point of view, however, it is very disappointing.

The Second Sonata perhaps provides the most pleasant surprise on the disc. Considered by many to be overshadowed by its flashy predecessor, this work has a history of being disregarded as a worthy performance item. Whilst not possessing the technical hurdles of the First Sonata, the work does present the performer with a considerable interpretational challenge, not the least of which is its length.

Clarke chooses a fast but well-controlled tempo for the opening of the first movement. The melody is immediately in evidence in contrast to the semiquaver figuration. A surprise comes in the second subject when Clarke maintains a similar tempo (rather than the standard più mosso), thus setting his interpretation apart from all known previous recordings. Musically this works well, though it is not known if this is what Shostakovich intended. Clarke pre-empts criticism on this point with the philosophical observation in his notes that whilst the pursuit of authenticity in performance is a worthy one, its achievement is always illusory. Whilst Clarke is disdainful in his notes about the musical worthiness of this section, the choice of a slower tempo reveals lyrical qualities which almost all previous recordings have failed to uncover. There are a few rough corners between sections in this movement - largely a result of Clarke disallowing himself any "time" during the transitional passages, but overall the movement is handled admirably.

Prelude No.17, Op.34, in which the second movement of the Second Sonata surely has its roots, should prepare the listener for the fact that expressive playing is not Clarke's strong point. As with the Preludes, performance of this movement is fairly square. Molto rubato is the opening instruction for this movement and additional tempo modifications of ritenuto and accelerando are scattered throughout. Unfortunately, these are largely disregarded; much opportunity for expressiveness is therefore lost. The ppp requirement of the central meno mosso section is not achieved in this recording, the accompanying chords unfortunately sounding more prominent than the melody. Clarke's interpretation of this movement is drier than that heard on earlier recordings, a choice that could have worked well if the other details had not been ignored.

Like so many of Shostakovich's large-scale works, the primary performance challenge of the Second Sonata is the divulgence of its overall dramatic form. In the third movement Clarke redeems any earlier shortcomings as he rises to this challenge. Careful consideration has obviously been given to each of the variations that comprise the long finale. This movement (in fact, the entire work) has no real climax. Rather, it waxes and wanes through its variations until it simply subsides sublimely into the key of B Major. Clarke sets himself apart from other performers in his appreciation of this important architectural fact. Central to this understanding are the tempo choices throughout. Clarke's interpretation differs most markedly from previous recordings in the very slow tempo he adopts for the dramatic Adagio variation. This is crucial to the success of both the movement and the overall work. It is difficult to comprehend why more performers have not appreciated this fact. Clarke's understanding is sustained right until the end of the mesmeric coda. So often the final bars are tossed off as though they constitute a mere afterthought. Clarke, however, accords the coda its rightful significance and the overall shape of the work is thus revealed as making perfect musical sense.

Quite a fast tempo is chosen for the Prelude of Op.87, No. 24. Not too fast, but maximally fast. Again, Clarke covers himself on this point with the comment in his notes that weighty tempi in this Prelude and Fugue should be reserved for when the piece is played at the end of a performance of the entire Op.87 cycle. This is a very personal opinion and definitely a point for debate. Does No. 24 not assume equal profundity as a concert finale, or, as in this case, the culmination of a 76 minute recording? Regardless of its performance context, it can never be ignored that these are the final significant notes and bars composed by Shostakovich for solo piano. Whilst this point seemingly has little relevance to discussion of this recording, perhaps it is relevant to the fact that this performance of No. 24 fails to arouse the emotions normally associated with this work. The exact reason is difficult to pinpoint. Clarke's energy never flags and the music builds inexorably toward its climactic ending. Furthermore, the recording is devoid of the split or wrong notes often heard in performance of this work. Clarke's performance, however, seems to be lacking in passion. Whereas in the Second Sonata control is a key factor in the successful realisation of the work, in this Prelude and Fugue there comes a point where control should be thrown to the wind and pure passion given its head. Perhaps relocation to the concert hall might bring this final vital dimension to Clarke's performance.

The notes written by Raymond Clarke which accompany this CD provide both interesting background for the newcomer to Shostakovich study and some original insights for the aficionado. In either case they reinforce what is already evident from the recording - that Clarke himself has a profound interest in Shostakovich and a highly developed understanding of his music. This CD is a worthy item for Shostakovich collectors and piano enthusiasts alike.

Rosemary Cordy
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DSCH No. 11.
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