Muza Rubackyte’s recital, entitled ‘Parcours Satanique’, runs into direct competition with Earl Wild’s legendary Vanguard disc, ‘The Daemonic Liszt’ (2/92). Their programmes are not identical but the intention – to show the other side of Liszt’s spiritual coin – is unmistakable. Alas, Rubackyte, though a characterful and lively pianist, cannot compete in, say, the Robert le diable Fantasy or Mephisto Polka with Wild’s ruthlessly focused virtuosity, implacable rhythm or hair-raising sense of Liszt’s diablerie. Over-anxious to project the music’s ideas, her playing lacks a sufficient sense of continuity or impetus. Her dynamic range is limited, particularly in the Dante Sonata’s outsize rhetoric, and the great B minor Sonata – truly a landmark in the history of music – quickly loses impetus and authority. Again, in the central and storming climax of the Andante sostenuto you sense her struggle to produce a ringing, full-blooded forte, fortissimo and triple forte.
The catalogue is bursting with distinguished B minor Sonatas, ranging from Horowitz’s famous 1938 discs to other more recent versions by the likes of Richter, Argerich, Brendel and Zimerman, to say nothing of Geza Anda’s stylish and de luxe pianism on a Testament reissue (10/95). Lyrinx’s sound is bright and clear even when it cruelly exposes you to Rubackyte’s limitations. Enjoyable at one level, this is hardly competitive at another