Composer: Rarities
Works:
1. Franz Liszt – Ferruccio Busoni: Fantasia and Fugue on the Chorale “Ad nos, ad salutarem undam”
2. Alexander Siloti: Complainte
3. Nikolaj Medtner: Prelude (Hymne) from “Romantische Skizzen für die Jugend” op. 54
4. Michael Glinka: Barcarolle
5. Nikolaj Rimsky-Korsakov:
– Novellette op. 11 No. 2
– Kleines Lied in Dorisch auf ‘e’ (1901)
– Romanze A flat major op. 15 No. 2
6. Issai Dobrowen:
– Prelude
– Mazurka-Caprice from “Sieben Klavierstücke op. 13”
7. Ignace Strasfogel: Rondo
8. Cyril Scott: Lotus Land op. 47 No. 1
9. Eduard Erdmann:
– Fox Trot (1924)
– “Prptilpus” – Eine Fuge, op. 16 No. 5 (1915)
Performers:
Hamish Milne (piano), Alexej Ljubimov (piano), Boris Bloch (piano), Kolja Lessing (piano), Donna Amato (piano), Sontraud Speidel (piano)
Recording: Recorded at Husum, 17th-24th August 1991
Label: DANACORD DACOCD 389
The third volume of rare piano music from the Husum Festival offers a striking examination of lesser-known works that span the late Romantic to the early twentieth century, showcasing the extensive range of the piano repertoire. The collection begins with Ferruccio Busoni’s formidable transcription of Liszt’s “Fantasia and Fugue on the Chorale ‘Ad nos, ad salutarem undam’.” Busoni’s treatment of this organ work transforms it into a titanic piano piece that, under Hamish Milne’s fingers, emerges both grand and intimate. Milne’s interpretation deftly navigates the intricate figurations and dynamic demands, making choices that highlight the architecture of Busoni’s reimagining; he employs a wide dynamic palette that imbues the fugue with a sense of unfolding drama, reminiscent of symphonic writing.
Following this monumental opening, Alexander Siloti’s “Complainte” serves as a delicate counterpoint to the Liszt-Busoni work. Siloti, a lesser-known figure, is enriched by Milne’s sensitive touch, revealing the reflective qualities of the piece. The elegance of Milne’s phrasing pulls the listener into the music’s emotional core, illustrating Siloti’s ability to weave Tchaikovskian themes into a personal meditation. This performance emphasizes the lyrical qualities that define Siloti’s contributions to the piano repertoire.
The recording also presents Nikolaj Medtner’s Prelude (Hymne), a miniature that resonates with youthful optimism while showcasing Medtner’s intricate harmonic language. Milne’s expertise as a Medtner specialist shines through, delivering the piece with the necessary balance of clarity and expressivity. The recording quality captures the nuances of Milne’s touch, allowing the listener to appreciate the subtleties of the piece’s lyrical lines.
Alexej Ljubimov brings a nocturnal quality to Glinka’s “Barcarolle,” a piece that carries the weight of its Romantic heritage while evoking a sense of timelessness. Ljubimov’s interpretation is characterized by a gentle rubato that enhances the music’s flowing character, with each phrase delivered as if it were a sigh. The engineering of the recording supports this nuance, placing the piano in a resonant yet intimate space that complements the work’s lyrical nature.
Rimsky-Korsakov’s contributions, particularly the “Romanze in A flat major,” are presented with a level of craftsmanship that belies the composer’s more familiar orchestral works. Boris Bloch’s playing captures the charm of these pieces, successfully highlighting their melodic appeal while acknowledging their stylistic roots in the Schumann tradition. The recording does justice to the clarity of Bloch’s articulation, ensuring that the listener is not lost in the chromatic complexities.
The inclusion of works by Issai Dobrowen introduces audiences to a composer whose music deserves greater recognition. Kolja Lessing’s interpretations of Dobrowen’s “Prelude” and “Mazurka-Caprice” exude a fervent spirit, echoing the influences of Scriabin. These performances are marked by an exploratory vigor, revealing Dobrowen’s rich harmonic palette, while the recording quality enhances the clarity of Lessing’s expressive delivery.
Cyril Scott’s “Lotus Land,” performed by Donna Amato, is a highlight of the collection. Amato’s interpretation captures the piece’s elusive beauty, allowing the impressionistic textures to bloom. The sound engineering supports this ethereal quality, enveloping the listener in Scott’s evocative world. Finally, Eduard Erdmann’s lighter pieces, including the whimsical “Foxtrot,” bring the recording to a playful conclusion, with Sontraud Speidel’s performance embodying the spirit of lightheartedness that characterizes these works.
This compilation, rich in both historical context and interpretive depth, offers a compelling argument for the revival of these neglected gems. Each performer brings an individual voice to the collection, ensuring that the listener is not only entertained but also educated about the broader spectrum of piano literature. The recording stands as a testament to the variety and richness of the repertoire, encouraging further exploration of these composers who contributed to the evolution of piano music.
