The British pianist Kathleen Long (1896-1968) made a good number of recordings for Decca in the 1940s and 1950s, most of which have not been officially available in the digital era. APR now makes amends with the first integral reissue of her 1941-45 Decca 78s.
Eight Scarlatti sonatas showcase Long’s tasteful musicality and poised fingerwork, most notably in the G major K. 235’s gorgeously turned runs and ornaments. The C minor Fantasia BWV 906 is a strong example of “old school” Bach pianism, although Albert Lévêque’s transcription of Sheep May Safely Graze comes off a bit heavy and square.
Long’s recordings of Schubert’s A minor D. 537 and E-flat D. 568 sonatas may have been recorded premieres. She rushes through the former’s opening Allegro ma non troppo to hectic effect, yet serves up lyrical eloquence to die for in the latter’s central Andante molto. Eight Grieg Lyric Pieces stand out for Long’s fluid facility and sensitivity, if not much else.
Of Long’s three Fauré selections, I prefer her unified, well contrasted, and harmonically aware reading of the Theme and Variations Op. 71. I’m less convinced by her rather matter-of-fact Barcarolle No. 2. Long tends to telegraph the Sixth Nocturne’s climaxes and push through other louder moments; I miss the inner calm and patient contrapuntal unfolding that distinguishes Wilhelm Kempff’s well-known 1945 German Radio recording.
I would have expected a pianist of Long’s cultivation to wring more color, tonal shadings, and pure magic out of Debussy’s Preludes Book II; much of her fast and forthright pianism falls flat when measured alongside the shellac era’s classic Walter Gieseking and Robert Casadesus Book IIs.
Andrew Halifax’s transfers are as good as you’ll get, while Jonathan Summers brings customary deep research to his superb annotations. I hope APR will explore Long’s later Decca output, highlighted by her 1948 Bach Partita No. 1 and a superb 1956 all-Haydn LP.
