Composer: Various
Works: Scriabin: Polonaise op. 21; Clementi: Lento e patetico (from Sonata op. 25 No. 5); Liszt: Rigoletto-Paraphrase; Liszt: Aux cyprès de la Villa d’Este II; Schubert-Godowsky: Morgengruß (from “Die schöne Müllerin”); Chopin-Godowsky: Study No. 34 “Mazurka” (after op. 25 No. 5); Prokofiev: Sarcasm op. 17 No. 1; Janáček: Sonata “1. X. 1905”; Mankell: Intermezzo op. 12 No. 2; Medtner: Stimmungsbild op. 1 No. 4; Godowsky: The Musical Clock (from “Triakontameron”); Albeniz-Godowsky: “Triana” (from “Iberia”)
Performers: Igor Shukow (piano), Claudius Tanski (piano), Janice Weber (piano), Benedikt Koehlen (piano), Bengt Forsberg (piano), Marc-André Hamelin (piano), Geoffrey Douglas Madge (piano), Abbey Simon (piano)
Recording: Live at Schloss vor Husum, August 18-25, 1990
Label: Danacord
The recording “Rarities of Piano Music at ‘Schloss vor Husum’ from the 1990 Festival” offers a fascinating glimpse into the world of lesser-known piano compositions, showcasing a rich tapestry of styles and historical contexts. The collection features works from composers such as Scriabin, Liszt, and Janáček, all of whom contributed to the evolution of piano music during their respective periods. The festival itself serves as a platform for reviving these hidden gems, emphasizing the eclectic nature of the piano repertoire beyond the mainstream canon.
Igor Shukow opens the album with Scriabin’s Polonaise in B minor, Op. 21, a piece that undeniably bears the influence of Chopin. Shukow navigates its contrasting elements with remarkable agility, bringing forth its lyrical passages alongside the more aggressive sections. His interpretation is both passionate and technically proficient, highlighting the work’s inherent complexity. The presence of difficult octaves does not deter him; rather, it serves to enhance the piece’s emotional landscape, setting the stage for a collection brimming with interpretive diversity.
Claudius Tanski’s performance of Clementi’s Lento e patetico reveals the composer’s ability to straddle the line between the Baroque and Classical styles. Tanski’s nuanced touch allows the work’s lyrical qualities to emerge, particularly in its delicate phrasing, while also respecting the structural integrity of Clementi’s composition. This piece, once favored by Beethoven, benefits from Tanski’s careful articulation, bringing much-needed attention to a figure overshadowed by his own technical exercises.
The Liszt selections, particularly Tanski’s Rigoletto-Paraphrase, showcase the pianist’s command over the operatic idiom. The transcription, a formidable challenge, is executed with both flair and precision, capturing the essence of Verdi’s masterpiece while illustrating Liszt’s interpretive brilliance. Janice Weber’s performance of Liszt’s Aux cyprès de la Villa d’Este II further exemplifies the reflective qualities of Liszt’s later works, where Weber’s sensitive interpretations evoke the serenity of the gardens that inspired the composition. Her ability to blend depth of expression with technical clarity renders this performance particularly memorable.
The contributions from Marc-André Hamelin, particularly his interpretation of Prokofiev’s Sarcasm, Op. 17 No. 1, are equally noteworthy. Hamelin masterfully contrasts the piece’s aggressive marcato with softer introspective passages, creating a compelling dialogue within the work. This duality highlights Prokofiev’s unique voice and serves as a reminder of the rich emotional spectrum that exists within the 20th-century piano repertoire.
Benedikt Koehlen’s rendition of Janáček’s Sonata “1. X. 1905” is a standout moment on the album. This sonata, born out of a historical protest, is steeped in emotional resonance. Koehlen’s interpretation captures its dark lyricism and underlying tension, reflecting the sociopolitical turmoil that inspired Janáček. The contrast between the lyrical and the dissonant is handled with clarity, allowing the listener to grasp the profound depth of the work.
The recording quality, typical of live performances, is commendable, with each piano’s voice clearly delineated in the mix. This clarity is particularly important given the diversity of styles and the technical demands placed on the pianists. The engineering successfully conveys the resonance of the venue, adding an atmospheric quality to the listening experience, further immersing the audience in the festival’s spirit.
This collection serves not only to illuminate the lesser-known works of the piano repertoire but also to celebrate the extraordinary talent of its interpreters. The diverse programming and high caliber of performances make this album an essential acquisition for any serious piano enthusiast. The careful selection of pieces, accompanied by insightful interpretations, underscores the richness of the piano literature, inviting listeners to explore beyond the familiar and embrace the multitude of voices that have shaped the instrument’s history.
