A handsome new double CD, the first in a continuing series, presents 1950s recordings by the late Richard Farrell.
Killed in a car accident 50 years ago, at the age of 31, the New Zealand pianist has assumed legendary status over the years. While I might not goso far as to sanction apostrophes to the great goddess Immortality, as Laurence Jenkins does in his occasionally over-heated booklet essay, Farrell certainly made his mark on the international circuit. Not every Kiwi managed to work alongside Beecham, Boult and Barbirolli, the three Bs of the conducting world.
And perhaps Brian Brake's glamorous portrait noir on the CD cover hints at mysteries still to be revealed, secrets which certainly remained unspoken in David Jillett's gushing 1985 biography. But, in the end, maybe the music says all that needs to be said, which these recordings do eloquently, thanks to Wayne Laird's exemplary mastering.
Two Concertos - the ever-popular Grieg and Liszt E-flat major - are delivered with a nobility that complements Brake's portrait. Grieg's Finale might seem a little sedate, but rewards lie in the pianist's finely articulated fingerwork.
Although he can dash off fireworks when required - and both Concertos offer him ample opportunities - Farrell's natural reserve, particularly in the slow movements, shows up the sometimes brusque accompaniment from George Weldon and the Halle Orchestra.
On the solo side, Brahms' Four Ballades are miracles of observation, above all in matters of touch, dynamics and pedalling which can truly beguile.
The same composer's Waltzes are treated with a rare playfulness and spontaneity.
Even if Farrell's idea of "capriccioso" might not be everyone's, Grieg's Ballade is a beautifully sustained journey, free from any sentimental self-indulgence. The inclusion of shorter works, including nine of Grieg's Lyric Pieces, was adventurous programming at a time when these delightful miniatures were more often heard in the parlour than the concert platform.
