 "24 Préludes", on songe tout de suite à Chopin. Pas Felix Blumenfeld, qui compose ce cycle en le scindant en quatre cahiers de chacun six feuillets d’album. Vite l’ombre de Scriabine parait : l’Andante du premier cahier pourrait-être de la main du compositeur de Prometheus, c’est la limite même de l’art de Blumenfeld, qui ne suffit pourtant pas à en faire un épigone. Sa science pianistique l’en garde bien, à mesure que l’on progresse dans le cycle les ambigüités harmoniques changent la donne, rappelant que Blumenfeld était un intime du cercle de Karol Szymanowski (et accessoirement le fils de sa sœur), sensible aux héritages polonais et ukrainiens, à l’écoute également des novations de Grieg ou de Debussy. Tout cela, Mark Viner l’entend admirablement, délaissant pour un temps sa série Alkan afin de révéler ce somptueux cahier versicolore, enfin enregistré en son intégralité. Il y ajoute deux splendides Etudes, celle pour la main gauche, transporté dans le medium et l’aigu du clavier est une pure merveille trop peu courue. (Discophilia - Artalinna.com) (Jean-Charles Hoffelé) Felix Blumenfeld (1863-1931) was a virtuoso pianist, conductor and teacher whose class comprised the likes of Simon Barere, Maria Grinberg and Vladimir Horowitz. But he was also a composer of an oeuvre of breathtaking beauty, originality and sophistication. Blumenfeld was himself taught as a child by his sister’s husband Gustav Neuhaus, father of the de facto founder of the modern Russian piano school, Heinrich Neuhaus. However, it was Rimsky-Korsakov who exercised the most formative influence on the young Blumenfeld, introducing him to fellow Silver-Age composers and to the influential publisher Belaieff, who recognised the young pianist’s talent and then issued many of his works. Even in his mid 20s Blumenfeld began teaching at the St Petersburg Conservatoire but resigned in protest at Rimsky-Korsakov’s dismissal following the senior composer’s support of the protestors killed in the Bloody Sunday massacre of 1905. At length he returned to his post but left for Kyiv on the outbreak of the Russian revolution, and became rector of the conservatoire founded by Mykola Lysenko (where he taught Horowitz). Chopin, Wagner and other Romantic-era masters all make their presence felt in the surging melodies and passionate harmonies of Blumenfeld’s own music. Published in 1892 by Belaieff and dedicated to Rimsky-Korsakov’s wife, the Op.17 form a quintessential work of Slavic late Romanticism. They are structured in four books of six preludes, touched with the solemnity of Orthodox chant at points and often aspiring to a grand and tragic idiom despite their relative brevity and tending towards melancholy even in the major-key pieces. The Op.17 Preludes are complemented in this new recording by Blumenfeld’s study for the left hand Op.36 – relatively familiar as an example of the technique and widely promoted by the likes of Godowsky and Lewenthal. The Op.24 Etude de Concert is a dazzling accumulation of piano sonority requiring the deftest of hands and care over voicing to bring its towering chords to life. A string of Mark Viner’s albums for Piano Classics have won critical superlatives. Among the latest of them was a collection of Cécile Chaminade (PCL10164) – ‘among the finest yet,’ according to Gramophone, ‘showing the range and ambition of Chaminade in short works, played with an innate charm and understanding of the genre.’
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