Daniel Barenboim: Encores (CD review)

Music of Albeniz, Chopin, Debussy, Liszt, Schubert, and Schumann. Daniel Barenboim, piano. DG 486 0932.

By John J. Puccio

By now, Daniel Barenboim’s name is undoubtedly familiar to almost every classical music fan far and wide. He came to my attention in the late 1960’s when I was becoming ever more serious about listening to and collecting classical music. He was among a handful of pianists whom I admired, among them Maurizo Pollini, Van Cliburn, Vladimir Ashkenazy, and Martha Argerich, which was pretty heady company.

Barenboim (b. 1942) is, of course, both a pianist and a conductor; a citizen of Argentina, Israel, Spain, and Palestine; the current Music Director of the Berlin State Opera and the Staatskapelle Berlin; and the former conductor of the Chicago Symphony Orchestra, the Orchestre de Paris, and La Scala. With his numerous recordings as both a pianist and conductor, it’s no wonder his name is so well known.

For the present solo piano album, he offers us a bit of respite from the hectic world in which we all live, some “encores” as he calls them. They are charming, well-known piano miniatures from some of the most well-known composers of the classical world, pieces he has often used as encores in his stage recitals. Here’s a rundown of the program:

Schubert: Impromptu in G flat
Schubert: Moment musical in F minor
Schumann: Traumerei
Schumann: Fantasiestucke, Op. 12
Schumann: Aufschwung. Warum? Traumes Wirren
Liszt: Consolation No. 3 in D flat
Chopin: Nocturne in F sharp major
Chopin: 3 Etudes, Op. 25, Nos. 1, 2 and 7
Chopin: 3 Etudes, Op. 10, Nos. 4, 6 and 8
Debussy: Clair de lune
Albeniz: Tango from Espana

As Barenboim remarks, these miniatures may be brief, but they are long on significance. They are packed with emotion, feeling, and atmosphere. The first two of the selections are from Franz Schubert, who practically invented the use of “songs without words.” It’s good to see that Barenboim hasn’t lost his touch when it comes to projecting a comfortably relaxed interpretation. This is especially true, too, of Robert Schumann’s lovely Traumerei (“Dreaming,” the seventh of Schumann’s thirteen Scenes from Childhood). Barenboim maintains the music’s serenity without giving in to sentimentality.

And so it goes with all of the selections. Each displays Barenboim’s subtlety and grace, his assured manner, and sensitive technique. Liszt’s Consolation No. 3 evokes a stillness and comfort; Chopin’s Nocturne No. 3 a dreamy ease; the Etudes a sweet, gentle purity contrasted with a lively spirit. Debussy’s Clair de lune comes in the penultimate spot, fitting for a major little masterpiece.  Needless to say,  Barenboim plays it with all due respect, a glowing, towering little gem. Then the pianist ends the show with one of my favorite tangos, No. 2 from Espana. It provides a fitting conclusion to an album of refinement, eloquence, and intellect.

Producer Friedemann Engelbrecht and engineer Julian Schwenkner recorded the music at Pierre Boulez Saal, Berlin in April 2020 and Teldex Studio Berlin in 2017. DG always do a good job recording piano music, and this is no exception. The piano tone is warmer and mellower than usual, but it’s still realistic, reminiscent of a piano playing in a large room, with plenty of rich resonance. Transparency is fine, and the instrument appears to be rather closely miked, so that adds to the detailing.

JJP