Robert Silverman: Live at the Chan Centre

Robert Silverman, piano

Liszt, Schumann, Chopin

Orpheum Masters KSP880

Playing Time: 77:23

Anthony Kershaw

I first heard the marvelous Canadian pianist, Robert Silverman in London over 25 years ago. He was splendid then, and continues to be so. Over the ensuing years, I have followed his career with interest. He has maintained an international performing and recording profile while educating the bright sparks of the music department of the University of British Columbia in Vancouver.

Over the past few years, Orpheum Masters and Stereophile Magazine have kept Silverman busy in the recording studio. A couple of years ago I received his outstanding traversal of the Beethoven 32 Sonatas, recorded by Stereophile Editor, John Atkinson (his recording matching Silverman's brilliance). So rare is a new recording of the mammoth Beethoven series, let alone by a Canadian artist (apologies to Mr. Kuerti), that I jumped the Audiophilia queue to review it! I was not disappointed. Splendid, yet again. So, there was some excitement when I heard the news that a new Orpheum Masters/Silverman CD was on its way to the office.

Silverman never takes baby steps. His Beethoven was a grand gesture, performed not only on the 10 CDs, but in stamina-busting live series in Toronto, Seattle, Vancouver, Winnipeg, and shortly, Washington DC (beg, borrow or steal a ticket, Washingtonians). This new release follows that same philosophy. The CD is a live performance from Vancouver's gorgeous Chan Centre, and was of one of three recitals celebrating Silverman's tenure at UBC and subsequent retirement (30 years on the faculty, 5 years as its Director). Here, he tackles (and sometimes wrestles!) two of the major Romantic works for piano solo - Schumann's Fantasy In C Major, Opus 17, and Liszt's Sonata in B minor, S 178.

To say that Silverman understands the ethos of the Romantic spirit would be an understatement. These huge works demand the ultimate in musicianship and technique. Silverman has both in spades. Whether the pounding octaves of the Liszt Sonata's main theme or the absolute delicacy of Schumann's gentle odes to a hidden Clara, both extremes are thrilling and moving.

Robert Schumann's Fantasy is hugely demanding piece. Written in response to his growing love for future wife Clara (kept from the passionate Robert by her father), it seems difficult to connect the musical dots of its three distinct movements. Silverman handles the difficulties with ease - all is well with the world, and if Clara was listening, she'll get the point.

While the Fantasy is more reflective than passionate (Eusebius wins over Florestan), Liszt pulls out all the emotional stops in his seminal Sonata. The ominous opening sets the stage for Silverman to stake his claim on some of the more difficult technical passages of the piano repertoire. On the whole, he handles them well - the essence of Liszt's greatest piano work is laid clearly before the Chan Centre audience.

The recording, engineered by Don Harder, is typical of Silverman's continuing service to audiophiles. Yes, the music is served with aplomb, but the piano, notoriously difficult to record well, sounds fantastic here. Silverman's Steinway is front and centre, with the odd cough from the quiet audience reverberating beautifully in a well-balanced hall. The bass notes thunder and the upper registers are bell-like in quality. Beautiful.

Many 'Live', 'Special Event' recordings fizzle, the discs banished to the back of the collection. I've got lots of them, each with a thick crust of dust. Not this one! This very special CD will be pride of place for some time. True, the Chopin Nocturne encore (Op.27, No.2) is not served as well as the Schumann and Liszt (I think the incredible power and adrenaline-pumping of the demanding program infused the Nocturne, so much so, that it seems larger than life). The opening Liszt arrangement of Beethoven's song Himm sie hin denn, diese Lieder bodes well for what follows - Silverman's superior musicianship is apparent immediately.

Now that Silverman has relinquished much of his teaching responsibility, will he give more time to the recording studio? The musician and audiophile in me hopes so. This new CD is another very fine achievement. Highly recommended.