Joining the celebrations of the 250th anniversary of Wolfgang Amadeus Mozart (1756-1791), BIS is reissuing a landmark in the past ten years of Mozart recordings. Originally released as single discs are gathered, for the first time, all ten CDs of Ronald Brautigam's complete cycle of Mozart's music for solo piano, performed on the fortepiano. Six discs of the 18 sonatas are accompanied by four discs with the composer's many sets of variations as well as occasional pieces. Together they form a panorama, seen through his own preferred instrument, of the great master's progress: from the 8 Variations (KV 24), written around Mozart's 10th birthday, to his last piano work, the Variations in F major (KV 613), composed some months before his death. At the time of their original release, these discs were greeted with the highest acclaim: 'I have no hesitation in recommending this extremely musical and imaginative series of performances' (Gramophone, August 1997) and 'Brautigam explores these 15 sets [of variations] with jubilation and a sense of wonder in each single instant' (Diapason; December 2001) are only two examples of the opinions voiced. Highly advantageous terms - 10 CDs for the price of 4 - makes this an opportunity not to be missed!
Hummel: Sonata In E Flat Major, Sonata In F Major / Alexander-Max
Chandos
CD
$21.99Nov 17, 2009
HUMMEL Piano Sonatas: No. 2 in E?; No. 3 in f. Bagatelle in A?, “La contemplazione” • Susan Alexander-Max (fp) (period instrument) • CHANDOS 765 (67:11)
Johann Nepomuk Hummel (1778–1837) is an important transitional composer, especially from a pianistic viewpoint, between the late-18th and early-19th centuries; he is, unfortunately, also a composer who is underrepresented in the recording catalog. Among currently available recordings, Stephen Hough seems to be the only figure of international standing performing today to have devoted any effort to him. Two recordings that I think have stood out in the last 20 years have been the aforementioned one by Stephen Hough of three sonatas for Hyperion (67390), recorded back in 2003, and Dana Protopopescu’s album for Koch Discover (920237) of three sonatas, recorded in 1995. They both bring a virtuoso technique and a good musical sensibility.
Though I am no fan of the fortepiano, Alexander-Max is a good advocate for both the instrument and the repertoire. Her playing has sensitivity and a good attention to articulation and detail. Sometimes though, it is her attention to these small elements that hampers the overall flow of the music. Her tempos in the fast movements tend to be on the slow side: this provides her ample opportunity to bring out many details, but also tends to make the rapid scale and arpeggio patterns sound a bit sluggish. In comparing just the timings of the final movement of the F-Minor Sonata’s finale, marked Presto, Alexander-Max clocks in at 5:22 to Hough’s 3:59! There is no repeat in this movement, so the temporal difference is not reflected in the omission of any material. Even Protopopescu, who does not play this movement nearly as fast as Hough, clocks in around 5: 01—still over 20 seconds faster than Alexander-Max.
Tempo is not the only factor that makes the fast movements seem sluggish though; it is also the lack of intensity brought to many of the figurational patterns that lead to important beats. The focus for example in the E? Sonata’s finale, this time marked Allegro con spirito, seems to be more on the clarity of notes than on the constant surging motion. In the passage from 00:20 to 00:24, Hummel marks a crescendo moving from piano to forte in the span of two measures. In this performance, though a small crescendo does exist, the kind that Hummel requires does not. The tension and release inherent in the sudden dynamic buildup and rest, held with a fermata that follows this passage, is lost. Though the passagework is clean and articulate, the musical excitement is absent. There is a lack of drama.
There are many good aspects to this album as well. My favorite piece that the pianist plays here is the Bagatelle in A?. Marked Larghetto, it is a fantasy in which much of the beginning material comes back with added figuration. Here, Alexander-Max chooses not only a good tempo, one that flows and allows the movement to progress naturally, but also brings all of her interpretative skills to the fore. She maintains an acute sense of articulation and voicing, and a quality of freedom, almost improvisatory at times—all essential for a fantasy. Her ending pianissimo is as delicate and beautiful as any I’ve heard.
This is a fine addition to the recorded discography of Hummel’s music. I would especially recommend it for period-instrument enthusiasts, though the two previously mentioned recordings, by Hough and Protopopescu—both on modern grand pianos—provide good, in some cases excellent, readings of this much-neglected repertoire.
Admired by Beethoven, Friedrich Kuhlau (1786-1832) made the four-hand piano genre his own. From the buoyant early Sonata in F major, Op. 8b, to the Beethovenian struggle of the late Allegro pathetique, Op. 123, this is melodically rich music, formally adventurous, and by turns convivial and dramatic. Marie-Luise Bodendorff and Xenia Kandel Frederiksen present the complete works, including several world premiere recordings, which together form a cornerstone of the Danish four-hand piano repertoire.
This first volume of Joseph Marx's chamber music charts a period of 30 years from the cello works of 1913-14 to the Violin Sonata No. 2, written in 1944, shortly before he ceased all composition. The Pastorale is characteristically subtle with impressionistic devices harnessed to ever-changing variations. The Suite in F major, for which the Pastorale was originally intended, balances a rural idyll with more sombre elements, informed by a noble Classical design. Violin Sonata No. 2, subtitled Fruhlingssonate ('Spring Sonata'), consciously re-uses material from earlier works to form a lyrical dance-like work irradiated by ingenious harmonic twists.
Schubert: Fantasie in F minor - Sonata in C major / Farmer, Callaghan
Nimbus
CD
$20.99Jan 07, 2022
The late eighteenth century witnessed an explosion in the number of works written for multiple pianists, most of them for two players using one instrument. The majority were predestined for the domestic market, social gatherings or for pedagogical purposes, but some, including the two works featured on this album, were intended for performance beyond the salon and ventured into the realms of virtuosity. The genre was to blossom further as a pedagogical tool by which generations of pianists became acquainted with the larger-scale, mainstream repertoire via transcriptions and arrangements of symphonies and other orchestral works, operas and chamber music.
