G. Catoire, Prelude, Op. 17, No. 2 in G

[rachfan]

Georges Catoire, in Russian, Georgy Katuar, (1861-1926) was a late romantic Russian-born composer, but of French lineage.  He was also a pianist and professor of composition at the Moscow Conservatory, having studied piano with Karl Klindworth and composition with Otto Tirsch, Philip Rufer, and Anatol Liadov.  Catoire’s music is nearly unknown today for several reasons.  1) He never played or promoted his compositions in public.  2) Catoire had been effectively black-balled in the music world by Nikolai Rimsky-Korsakov and his circle for his advocacy of Richard Wagner and his music.  3) After the Bolshevik Revolution, Catoire’s music was ignored by the Soviet Ministry of Culture, as its late romantic character did nothing to extol socialism; nor were his scores reprinted in Russia again except for a single volume in 1928.  4) Virtually all of his piano music is difficult to play well.  Thus, immediately after his death in 1926, it was as if the composer’s music fell into an abyss, although Alexander Goldenweiser and David Oistrach performed it occasionally.  The traces of influence found in Catoire’s music are from Wagner, early Scriabin, and Faure.  His music is ultra-romantic, sensuous, and fully accessible on first hearing.  His idiom is like no other late romantic that I've yet encountered.

I believe that the Four Preludes, Op. 17 were composed c. 1903.  I’m very pleased to post this forgotten and neglected composer’s music, beginning with the Prelude No. 2.

Piano: Baldwin Model L Artist Grand (6’3”)

Recording: Digital  (Korg MR-1000 DSD)  I posted a more satisfying version.  8 downloads on the earlier post.

Comments welcome.

             

[allthumbs]

It was a very good performance marred by a very out of tune piano.

allthumbs

[rachfan]

Well, I think the piano has slipped a little, but I don't believe it's terribly out of tune. I've heard far worse here on Piano Street.  I just wish I could either control the climate or had a special checkbook to pay the tuner every time I need to make a recording. Thanks for complimenting my playing though!

[allthumbs]

If I were you, I would wait until my piano is tuned and then make a bunch of recordings.

Once a recording is out there, there is no getting it back for a better version. Make the best one you can and then release it, no regrets.

For me anyway, an out of tune piano lessens the enjoyment of a performance.

You have, however, piqued my interest in this composer. I may have a look at the other pieces I have collected of his.

allthumbs

[goldentone]

I enjoyed the prelude.  Your playing is fine as always.  The background info was very interesting.  That is sad that his music "fell into an abyss."  It reminds me of what Ted said, that he didn't want to compose a lot of music that would have a very slim chance of being heard fifty years after--a sobering thought.  The desire to compose is strong within me, so I don't think I have a choice.  But such a fate is quite possible, even if it is great music.

Thanks for introducing this composer to us, and I look forward to hearing more.

[rachfan]

Hi goldentone,

Yes, I included that synopsis on Catoire, as I knew that even many seasoned pianists might never have heard his name.  Or, they might have heard the name, but none of his music.  I'm happy to say that the posting of just this one prelude has stirred interest on the websites, and that it has been well received so far. Although I'm hardly a virtuoso, I give this music my best to help serve the memory of Catoire's music because it is so extraordinary.  I'll be working up another piece shortly.  Thanks for listening!   

[ronde_des_sylphes]

I was peripherally aware of Catoire from a Hamelin disc which I didn't get round to buying (and I think thracozaag may have also played this composer) but this was the first I had heard from him and it's an interesting point to start with. I've got to somewhat agree with allthumbs about the piano; it's really an issue in the treble area adjacent to the G at 0.05 where the note, though not far off pitch, sounds rather ill (the nearby D# and E are also unwell).

That quibble aside, the opening of the piece reminds me very much of a Rachmaninov prelude in F maj (can't remember the opus number, I played it about 25 years ago and I've no idea where my score is). The playing suits the mood of the music and is expressive with nicely controlled dynamics. I definitely look forward to hearing more.

[rachfan]

Hi ronde,

Thanks a lot for listening and also pinpointing those notes for me (I might be immune to them by now.)  I have a tuning hammer here, so can tweak them a bit.

I'm glad you like the Catoire piece.  It seems to be getting a good reception on the websites so far.  I have to say, I'm really taken with his music.  I probably like it as much as Bortkiewicz, although the idiom is different. 

On the Rachmaninoff, you're thinking of the Prelude Op. 32, No. 7 in F.  I recorded that one years ago.  (It might even be posted here, I'd have to look.)  In that case though, I've always pictured the imagery there as horse trotting along drawing a closed hansom cab through a city park.  In the Catoire, it strikes me more as a piano accompaniment to a soprano singing.  But yes, I see what you mean in the figuration.

I'm going to go start another Catoire piece right now, so off and running.