Composer: Sigfrid Karg-Elert (1877-1933)
Works: Piano Works Vol. 2:
Performer: Ernst Breidenbach (pianoforte)
Recorded: Akademie für Tonkunst Darmstadt, 9-13.10.2000
Label: CPO 999 711-2
Duration: 79:56
In the realm of early 20th-century piano music, Sigfrid Karg-Elert occupies a rather peculiar niche, straddling the boundaries of late Romanticism and nascent modernism. His second volume of piano works, as performed by Ernst Breidenbach, offers an intriguing glimpse into the composer’s evolution and stylistic diversity. This recording, while containing moments of undeniable charm, also reveals the challenges inherent in interpreting Karg-Elert’s intricate harmonic language and often eccentric forms.
From the outset, it is apparent that Breidenbach possesses a clean technique, yet his interpretative choices raise questions about the emotional depth he brings to these works. The opening “Walzerszenen” presents a stark contrast between the first two pieces, which, while attempting to evoke Schumann’s lyrical fantasy, fall short under Breidenbach’s slightly heavy-handed touch. The charming third waltz, with its Dvořákian lilt, showcases a more effective melodic interpretation, though Breidenbach’s adherence to a somewhat rigid articulation diminishes the potential for the melody to sing independently from the harmonic accompaniment.
Karg-Elert’s “Patina,” composed in 1924, is perhaps the most compelling work on this album. The “Solfeggio” and its finale are executed with a commendable clarity, though one cannot help but wonder if a lighter touch might have enhanced the ethereal quality of these pieces. Breidenbach’s rhythmic precision offers a glimpse of the interpretative flair one hopes for throughout the disc, but it is often mired in an overall lack of tonal variety and voice separation that one might expect from a more seasoned interpreter.
The “4 Klavierstücke” of op. 23, particularly the opening “Erotik,” demand a higher degree of emotional engagement—something the booklet-note aptly notes but fails to deliver through Breidenbach’s performance. The following “Valse Mignonne” emerges as a rather vapid piece, lacking the requisite charm and character that Karg-Elert’s more engaging works possess. Breidenbach’s interpretative shortcomings become more pronounced in these moments, revealing a disconnect between the music’s inherent qualities and the performer’s ability to bring them to life.
Historically, Karg-Elert’s output is often overshadowed by his contemporaries. His training as a pianist informs the piano works under discussion, showcasing a composer who understood the instrument’s capabilities and limitations. The earlier “Reisebilder” of 1895 encapsulates a fuller-blooded Romanticism that resonates with melodic invention, and Breidenbach’s performance here is notably more engaging, revealing the composer’s knack for weaving intricate textures with emotional depth.
Recording quality is commendable, with a finely tuned piano that allows each note to blossom without the dissonance of misalignment—a detail that, while not the focal point of a review, enhances the overall listening experience. The production captures the resonant qualities of the piano, allowing the listener to appreciate the subtleties of Karg-Elert’s harmonic language.
Reflecting on the broader implications of this recording, one is left pondering the merits of releasing complete works, particularly when faced with such uneven musical quality. The documentary value is undeniable, yet the listener might have benefitted from a more curated selection that highlights Karg-Elert’s strengths while providing a more coherent narrative arc. This approach might better serve both the composer’s legacy and the listener’s engagement.
In conclusion, while Ernst Breidenbach’s performances in “Piano Works Vol. 2” reveal a commendable technical facility, they often lack the interpretative depth necessary to fully realize Karg-Elert’s potential. The recording stands as an interesting, if mixed, contribution to the exploration of this underappreciated composer—an invitation for listeners to discover both the beauty and the challenges of Karg-Elert’s piano works. Thus, while this volume is not without its merits, it is ultimately a call for greater interpretative insight, one that may inspire future recordings to delve deeper into the emotional and harmonic intricacies of Karg-Elert’s unique musical voice.
