Mischa Levitzki (1898-1941) was one of the most popular American pianists of his era. He made quite a few recordings prior to his sudden death from a heart attack at age 42, and the first installment of Naxos’ three-disc Levitzki series encompasses the pianist’s complete acoustic discs for Columbia, his two electrical sides for the label, and six titles from his (relatively) extensive HMV output. Among the acoustic selections, the Chopin G-flat and E minor Waltzes are charmingly stylish (and so is the latter in a previously unpublished, early electrical test pressing) in contrast to Levitzki’s heavy-handed treatment of the same composer’s “Black Key” and “Aeolian Harp” Etudes. Though Moskowski’s Jongleuse and the Gluck-Brahms Gavotte are well-played, discerning consumers in the 1920s would have been better off with Josef Hofmann’s versions, or Ignaz Friedman’s more lusciously contoured Gluck-Brahms.
The 1925 Columbia Liszt La Campanella is a bit lumpy and pedestrian next to Levitzki’s two HMV remakes (stay tuned for further volumes). On the other hand, I prefer this elegant and polished acoustic Liszt Sixth Rhapsody over Levitzki’s better-known HMV electrical version, mainly for its broader and weightier introduction. Both the acoustic and electrical Schubert Tausig Marche Militaire recordings are here. The earlier version (originally spread out over two 10-inch sides) observes all the repeats, whereas the remake omits a few, no doubt in order to squeeze the whole work onto a single 12-inch side.
From a 1927 session, the Bach-Liszt A minor Prelude and Fugue BWV 462 reveals Levitzki’s art at its most tonally polished and poised, complementing the more dynamic and vigorous recording Percy Grainger made four years later. Marston’s clean and careful transfers uphold his usual high standard, although Bryan Crimp’s quiter restorations of the HMV material (reissued on APR) seem to have slightly more amplitude and presence. Then again, APR costs more than Naxos. I look forward to volumes two and three.
