Among the existing Beethoven Seventh Symphony piano duet arrangements, Xaver Scharwenka’s arguably takes the cake for extensive interpretive and pedal markings. As a result, according to the English version of MDG’s annotator, “Scharwenka is able to make it possible to lend better contouring to the patriotic character of the Symphony No. 7 and to render its format more clearly imaginable.” If you claim to have any idea what that means, you’re lying. Anyway, four-hand symphonic arrangements usually are more fun to play than to hear–and for the most part the Piano Duo Trenkner/Speidel seems to be allergic to fun.
The symphony’s first-movement introduction is clear and incisive, but the Vivace’s heavy accentuation accumulates to the point where Beethoven’s signature dactylic rhythms slacken. Sensitive interplay and a conservative yet bracing tempo hold promise for the Presto. Alas, the Duo’s heavy hands and crawling pace mark the Trio for death, and when the Presto returns, it’s slightly slower and thicker than before. Would more stringent articulation and wider dynamic contrasts have helped salvage the Duo’s colorless Finale?
Fortunately, the Grosse Fuge goes much better, as both pianists keep the knotty counterpoint alive and in proper perspective. A concert grand eliminates the original version’s formidable intonation challenges, although I miss the nervous energy and harder-hitting qualities typifying the best string quartet performances. In short, another inconsistent CD from the same inconsistent duo that brought you excellent Mahler/Casella, bland Mahler/Walter, superb Mahler/Zemlinsky, and dog-tired Bach/Reger.
