Composer: Herman D. Koppel
Works: Piano Sonata in E Minor Op 1, Variations and Fugue for Piano Op 3, Piano Piece Op 7, Ten Piano Pieces Op 20, Suite for Piano Op 21, Sonata No 1 for Piano Op 50, 15 Miniatures Op 97a, Schubert: Piano Sonata in D Major D850, Brahms: Variations on a Theme of Paganini Op 35, Capriccio in B Minor Op 76, Liszt: Au Lac de Vallenstadt, Sonetto 123 del Petrarch
Performers: Herman D. Koppel, piano
Recording: c. 1957-1980
Label: Danacord DACOCD 563-64 [2 CDs 135.36]
Herman D. Koppel’s legacy as a composer and pianist is a fascinating interplay of innovation and tradition, firmly rooted in the 20th-century European landscape. This two-disc set from Danacord offers an extensive survey of Koppel’s own piano compositions alongside notable works by Schubert, Brahms, and Liszt, recorded during the latter part of his life. The juxtaposition of Koppel’s music with that of his revered predecessors provides a rich context for understanding his artistic intentions and stylistic evolution.
The first disc is dedicated to Koppel’s own piano works, encompassing a range of styles and emotional depths. The Piano Sonata in E Minor Op 1, composed in 1928, showcases an early affinity for the dramatic contrasts characteristic of Nielsen and Bartók. The first movement’s stormy opening demonstrates Koppel’s youthful vigor, juxtaposing abrupt, contrasting blocks of sound with moments of lyrical introspection. The adagio reveals a search for melodic coherence amid twisting motifs, while the rondo finale introduces a sprightly march, cleverly subverting expectations with playful fugal elements. Koppel’s performance, recorded when he was 72, captures the essence of his youthful creativity with both incisive assurance and a reflective maturity.
The Variations and Fugue for Piano Op 3, compact yet engaging, presents ten variations that collectively span a mere six minutes. Koppel’s choice to keep each variation succinct allows for a concentrated exploration of thematic material, with Variation 8 standing out as a virtuosic fugue that embodies his playful yet sophisticated style. The Ten Piano Pieces Op 20, written for his young sister, balances humor and poignancy, showcasing Koppel’s ability to craft educational works that do not compromise artistic integrity. The Op 21 Suite, Koppel’s first published major work, is particularly notable for its rhythmic complexities and Hungarian influences, evident in the first movement’s intertwining of vigorous and cantabile writing.
In the later Sonata No 1 for piano Op 50, Koppel’s compositional voice matures into a more dense and sinewy texture. The interplay of expansive expressiveness and agitated writing in the opening movements presents a compelling narrative arc, culminating in a finale that resolves the underlying tensions with decisive clarity. The technical demands of these works are substantial, yet Koppel’s execution is marked by a deep-seated understanding of the music’s emotional landscape, ensuring that intricacies are articulated with precision.
The second disc shifts focus to Koppel’s interpretations of Schubert, Brahms, and Liszt, recorded in radio broadcasts and private sessions. The Schubert Sonata in D Major D850 is particularly striking, with Koppel’s powerful attacks in the first movement juxtaposed against a sense of introspective grandeur in the second. Despite minor tape deterioration affecting sound quality, his interpretation shines through, revealing a nuanced approach to rubato and dynamic shading. Koppel’s readings of Brahms’s Variations on a Theme of Paganini and Liszt’s Au Lac de Vallenstadt further underscore his interpretative prowess, characterized by a blend of precision and expressiveness that is both engaging and insightful.
Sound quality varies across the recordings due to the nature of their origin, yet the engineering does not detract significantly from the musical experience. The warmth of Koppel’s tone and the clarity of his articulation remain evident, allowing listeners to appreciate the subtleties of his interpretation regardless of the occasional limitations in fidelity.
This comprehensive collection not only highlights Koppel’s significant contributions to the piano repertoire but also serves as a testament to his interpretive insights into the works of composers he admired. Each performance is imbued with a sense of purpose and intelligence that invites repeated listening. The richness of Koppel’s compositional voice, as well as his pianistic skill, ultimately renders this collection a compelling addition to the discography of 20th-century piano music, deserving of attention from both enthusiasts and scholars alike.