MSR Classics presents a generous four-disc overview of popular American pianist Leonard Pennario’s 1950-1958 recordings for the Capitol label. Newly transferred from the original session tapes, most of this material (I believe) appears for the first time on CD. Sonic and artistic quality markedly varies between selections. A dry, dynamically constricted ambience and dead-sounding instrument reinforce the pianist’s percussive and glib conceptions of Schumann’s C major Fantasy, Liszt’s B minor Sonata, and the Chopin Waltzes. The latter’s B-flat minor Sonata stands out in the Scherzo for Pennario’s rhythmic verve and secure marksmanship in the difficult leaps.
Yet even in an airless studio you can infer Pennario’s sense of long line and sensitively shaded soft playing in the Franck Prelude, Chorale and Fugue. In Mussorgsky’s Pictures at an Exhibition the piano resembles a hybrid barroom upright and harpsichord, with its volume control stuck on mezzo-anything. Still, Pennario delivers a serious, concentrated, fastidiously prepared, and intelligently paced interpretation. The booklet purports this to be the first recording of the uncut text.
Fortunately, a more resonant and congenial pickup is in place for the first complete recording of Prokofiev’s Visions Fugitives. Despite more than a few moments of rushing (No. 5, for example), Pennario taps into the music’s lyrical beauties that sometimes elude other pianists, such as in No. 6’s subdued elegance and No. 12’s carefully delineated textures.
Dry yet energetic, sparkling readings of sonatas by Bartók and Rózsa further reveal Pennario’s affinity for the music of his time. For surface sheen and suave fingerwork alone, Ravel’s Miroirs, Gaspard de la nuit, and the recorded premiere of La Valse in its piano version command respect, although other mono-era Ravel traversals (i.e. Casadesus, Perlemuter, and Meyer) boast greater artistic finesse and tonal magic. Two of the pianist’s compositions round out the collection: his signature encore Midnight on the Cliffs, and an ambitious variation set based on the Kerry Dancers.
To whatever degree Pennario’s early recordings stand the test of time, piano enthusiasts with long memories surely will welcome the opportunity to access them again. MSR’s booklet contains an excellent biographical overview, full discographical documentation, and photos of the original LP jackets.
