fikusny

The Czech pianist Rudolph Firkušny is one whom it is rather difficult to find a lot of information about. In the Czech Republic he was, obviously, very famous, and held in some considerable regard. He lived for some time in the United States, but throughout his career, was a strong and enthusiastic champion of Czech Music, although his repertoire did expand into other music also.

Firkušny and the Composer Martinu were both blacklisted by the Nazis during the War, and it was around that time the Firkušny escaped to America. At the Prague Spring Festival after the war, he was to be the chief soloist - and what a welcome home he received. In her autobiography, Moura Lympany writes of his 'lovely soft tone and touch' and that in conversation she found him 'simple and natural'. At the concert, Firkušny played one encore after another, attendants started turning out the lights, but still the audience would not let him go; there was an attempt to close the piano lid, but the audience would not allow it, and in the end, at least 8 encores were performed. suffice to say that Firkušny was held in enormous affection by the Czechs!

Firkušny recorded the Piano Concerto of Dvořák at least three times, and each version is slightly different. This is because the concerto itself exists in two different forms. Dvořák was not really a pianist; his instrument, as far as I can gather, was the violin. He wrote his piano concerto at op.33, which makes it a relatively early work. His writing for the instrument has been something of a bone of contention amongst pianists, for one thing it is said to be awkward, and for another it doesn't work from a stylistic point of view amidst the orchestra - at least that was a widely held view at one time.

Given this, the Czech musician Professor Vilelm Kurz re-wrote the piano part of the concerto in so as to change the style or at least the texture of the piece, but always he maintains the same music as the composer wrote - it is not a different piano part, but rather the same piano part with a fresh, although often heavier, texture.

In the score, both versions run alongside each other, the composer's above and Kurz's beneath. Whether a pianist chooses one or the other, or a melange of the two is up to the artist themselves.

For many years it was custom that only the Kurz version was used, and in the late 70s or early 80s, Sviatoslav Richter made the first recording of the work using the composer's piano part in its entirety.

In his earliest recording of the work with George Szell, Firkušny opts for the Kurtz version almost entirely, later with Somogyi he uses a melange with more of Dvořák's own, and with Neumann the melange does become slightly more Dvořák although Kurtz is still strongly in the equation. Of all the performers of the work, Firkušny really has been the champion (with the exception of Richter's famously authentic rendition), and it is thanks to Firkušny that this often neglected concerto has remained in the repertoire and has attained at least a modest popularity.

The concerto is a big work, and like the first concerto of Brahms, has a very symphonic style with a long orchestral introduction. In both versions the piano part is decidedly demanding; and given the popularity of the Cello concerto, it has always been something of a poor relation.

The other recordings which Firkušny has been most noted for are the concertos of Martinu. He made a live recording of the 2nd with Belohlavek and recorded the 2nd 3rd and 4th with Pesek, and these are really the standard by which others are judged. He also made recordings of works by Janacek and also standard Debussy and Chopin, and one of my favourite recordings of the Symphonic Variations of Cesar Franck.

There has always been a strong tradition of Czech piano playing, but Firkušny really has been one of the greatest of his country.