Composer: Emil von Sauer
Works: Piano Works in Four Volumes (Etudes de Concert, Piano Sonatas Nos. 1 & 2, various salon pieces)
Performers: Oleg Marshev – Piano
Recording: Recorded at Mantzlos Garden, Birkerød, Denmark; Vol. 1 – Jan 1988, Vol. 2 – October 1998, Vols. 3 & 4 – September 1999
Label: Danacord
Emil von Sauer occupies a rather peculiar niche in the annals of Romantic piano music. A prodigious talent whose career flourished under the shadows of Liszt and Rachmaninov, his works often languished in obscurity despite their inherent charm and technical brilliance. This four-volume collection of piano works, performed with authority by Oleg Marshev, serves as a welcome revival of Sauer’s art, showcasing a composer who, while not a genius in the conventional sense, merits more than mere acknowledgment for his contributions to the repertoire of light yet engaging piano music.
Marshev’s interpretations reveal a deep understanding of Sauer’s stylistic nuances. From the outset, the Etudes de Concert invite scrutiny, each piece a study in technical prowess and musical imagery. The sheer variety of textures and moods within these etudes, such as the evocative “Vogelstimmen” and the lively “Tarantelle Fantastique,” are rendered with both precision and flair. However, it is the interpretive choices that elevate Marshev’s performance beyond mere technical execution. For instance, in “Murmure du Vent,” he deftly balances the lyrical lines with a delicate touch, allowing the subtleties of Sauer’s harmonic palette to emerge without overshadowing the melodic intent. Such careful attention to dynamics and phrasing enhances the evocative nature of these pieces, which often flirt with the edges of sentimentality without fully succumbing to it.
The recording quality is commendable, capturing Marshev’s nuanced touch and the piano’s resonance in a warm, intimate setting. The engineering reflects a sensitivity to both the instrument and the environment, allowing the listener to experience the full spectrum of Sauer’s intricate writing. Each note is distinct, yet the overall balance maintains a cohesive sound that draws one into the world of Sauer’s music. This clarity is particularly vital in the more complex passages of the Piano Sonatas — the contrasts of light and shadow in the first movement of Sonata No. 1 in D Major are illuminated by the crispness of the recording, allowing the listener to appreciate the thematic development and pianistic challenges that characterize the work.
Sauer’s two sonatas stand out as significant contributions to the piano repertoire, and Marshev’s interpretations breathe life into these works that have been neglected for far too long. The first sonata, with its expansive first movement, employs a rich harmonic language and thematic interplay that echoes the romantic idioms of his contemporaries while maintaining a unique voice. Marshev captures this essence beautifully; his phrasing is both lyrical and dramatic, ensuring that the listener feels the weight of the emotional journey. The second sonata, while structurally similar, displays a greater depth of romanticism, with a slow movement that recalls the nocturnes of Chopin. Here, Marshev’s control over dynamics and voicing is particularly noteworthy, revealing layers of complexity in Sauer’s writing that may otherwise be overlooked.
While some of the lighter salon pieces may not carry the same weight as the sonatas, they offer a delightful diversion, showcasing Sauer’s lighter touch and penchant for melodic charm. Pieces such as “Le Retour” and “Echo de Vienne” shine in Marshev’s hands, their playful spirit and technical demands navigated with ease. However, these are best approached in moderation to avoid the inevitable dilution of their impact; selecting a few at a time allows their individual qualities to resonate more profoundly.
Oleg Marshev’s commitment to bringing Emil von Sauer’s music back into the light is commendable. The four volumes not only bridge a significant gap in the repertoire but also serve as a testament to the beauty and intricacy of Sauer’s compositions. Each piece is delivered with a blend of technical mastery and interpretive insight, making this collection a significant acquisition for both enthusiasts of Romantic piano music and those seeking to explore the lesser-known corners of the piano repertoire. This cycle stands as a robust endorsement of Sauer’s artistry and a call to recognize the value of music that, while perhaps not revolutionary, offers beauty and technical challenge in equal measure.
