It was more than 30 years ago that I first heard the music of Sergei Bortkiewicz,
played by Moritz Rosenthal. It was the Etude, Op. 15, No. 8 and it
absolutely enthralled me with its sweeping melody and great climaxes. I wanted
to search out more of his gorgeous music, to play it myself. It was then
than I realized that this was no easy task. Sergei Bortkiewicz was a composer
relegated to the obscure back rooms of music's Hall of Fame and his major
piano scores were no longer in print. In fact it took me more than 20 years
to acquire most of his compositions for solo piano.
Such a situation really intrigued me. How was it that a composer born in
the 19th century, a contemporary of Scriabin, Rachmaninov, Glazounov and
others, who outlived all of them and died in 1952, should be forgotten so
completely? He lived into the age of stereo recording and yet not a single
example of his piano playing is available. He was a Russian, and no mention
is made of him in books on music published in Russia.
It was only after I got a copy of his autobiographical sketches, "Erinerrungen"
(Recollections), published in 1971 that I was able to understand partially,
Bortkiewicz's character and Weltanschauung. These recollections, at times
whimsical and amusing but never dull, also explain to a certain extent the
oblivion into which he has been relegated.
Sergei Eduardovich Bortkiewicz, was born in Kharkov in 1877 in a wealthy
family of land-owners. He spent a happy childhood in the family estate of
Artiomowka, about 24 kilometers from Kharkov, and showed an early interest
in music. At the insistence of his father, after finishing his schooling,
he left for St. Petersburg and enrolled in the Faculty of Law, as well as
the Imperial Conservatory of Music.
The Petersburg Conservatory at that time was held in high regard and counted
professors such as Rimsky-Korsakov, Liadov, Glazounov, and Blumenfeld on
its teaching staff. It was there that Bortkiewicz received his musical training,
while at the same time trying to study law.
For three years he dutifully undertook his law examinations, but never completed
his fourth year and decided to leave the University so as to proceed abroad
for further musical studies. But before that he had to complete one year
of compulsory military service so that the authorities would issue him a
passport to travel abroad.
Indeed, it was one of his great desires from early youth. He especially wanted
to go to Germany, the land of Goethe and Wagner, where he thought he could
discover wider horizons, and get a more thorough education.
So in the fall of 1899 he started his military service in St. Petersburg,
but soon developed a lung inflammation due to the rigorous military life
and was discharged from military service because of poor health. Early next
year he left Petersburg for good and travelled to Leipzig, where he became
a student of Alfred Reisenauer, who had been one of the favored students
of the legendary Liszt. Bortkiewicz, in turn, was one of the favorites of
Reisenauer, and it is to him that he dedicated his splendid set of Etudes,
Op. 15. It is with reluctance that he describes Reisenauer's alcoholism and
his early death due to a heart attack at the age of 43, brought about by
alcohol addiction.
After his first year of musical studies, Bortkiewicz spent the summer in
Italy, learning Italian and giving concerts. He returned to Leipzig, studying
assiduously, attending many concerts and was much impressed by the conducting
of Arthur Nikisch. Years later, the conductor was enthusiastic about
Bortkiewicz's Piano Concerto, No. 1, Op. 16 and strongly recommended its
publication.
In July 1902, Bortkiewicz completed his studies at the Leipzig Conservatory,
and was awarded the Schumann Prize. That summer he returned to Russia and
to the family estate of Artiomowka where he met his future wife, Elisabeth
Geraklitowa.
He gave concerts in Kharkov and also played with the symphony orchestra of
the city. In July 1904, he married Elisabeth and traveled back to Germany,
where he settled down in Berlin. It was only after marriage that he started
composing seriously. His first publisher was Daniel Rahter of Leipzig, who
unfortunately died early; the firm was subsequently taken over by A.S. Benjamin.
From 1904 till 1914, Bortkiewicz lived in Berlin, spending his summers in
Russia, or traveling over Europe. For a year he also taught at the
Klindworth-Scharwenka Conservatory, but left it after some unpleasant
experiences. He then took to concertizing not only in Germany, but also in
Vienna, Budapest, Italy, Paris and Russia. However, the career of a virtuoso
did not appeal to him and he concentrated instead on composition and teaching.
His Etudes, Op. 15 had just been published by D. Rahter when he was in Berlin,
and it was there that he found a lifelong friend in Hugo van Dalen, the Dutch
pianist and composer (1888-1967). Dalen told him that it was through his
playing of the Etude Op. 15, No. 8 that he had met his wife. She liked the
piece so much that she came up to van Dalen to ask the composer's name. This
acquaintance led to their marriage, as a result of which Bortkiewicz unofficially
named this etude the "Verlobungsetude" (Betrothal etude).
The outbreak of the war in 1914 shattered Bortkiewicz's life. Being a Russian
alien in Germany he was suspected of being a spy and placed under house arrest.
After 6 weeks he was allowed to leave for Russia through Sweden and Finland.
He established himself in Kharkov as a music teacher, at the same time giving
concerts in Orel and Moscow, where he met Scriabin, whose music he much admired.
He describes Scriabin as a slightly built man, with an upturned moustache.
"Just imagine Chopin or Raphael with a moustache à la Wilhelm II!"
he writes mischievously.
The situation took a turn for the worse in 1917 with the collapse of the
Russian army. There was chaos in southern Russia till the German army occupied
Kharkov in March 1918 and some order was restored by the German soldiers.
However, after the German withdrawal in November, there was a complete social
breakdown. Food, electricity and heating oil was scarce. Bortkiewicz describes
how his piano students had to sit at the piano in furs and hats, with
frost-bitten fingers, continuously drinking tea to keep warm.
The Bolsheviks did not spare Bortkiewicz and plundered his family estate
at Artiomowka. In the summer of 1919 he moved on to Crimea with his wife,
where he lived in two furnished rooms in Sevastopol with a view of the harbor
of Yalta. He rented a piano and composed his haunting Nocturne Op. 24, No.
1, subtitled Diana, during a wonderful moonlit night.
He had decided to leave Russia and waited till November of 1920 till he found
place on a crowded steamer bound for Constantinople, now Istanbul, arriving
with only 20 dollars in his pocket. His 1.5 million roubles were totally
worthless! But his fame had preceded him and soon he was able to attract
a cosmopolitan group of students from the well-to-do families in the city.
He taught them in French and English.
"Knowing the strict morals of Orientals," he writes, "I had to put up with
the presence of mamas or aunts who did not want to leave me alone with young
ladies, and read a book during my lessons, while casting suspicious glances
at my hands; and even with the presence of a husband who suddenly appeared
in the room and looked at my posture jealously." Bortkiewicz did have a sense
of humor!
In almost two years he had earned enough money from piano lessons and concerts
to think of emigrating to Europe. He had established his old business contact
with his publisher D. Rahter and set his goal as Vienna. He did not regret
his decision to move on; within a couple of months after his departure,
Kemal-Pascha had taken over Istanbul and the Sultan had abdicated. The majority
of his students, Greeks and Armenians, had to leave the city.
A new chapter in his life began. He passed through Sofia to Belgrade where
he had to wait for quite some time till he obtained an Austrian visa. Finally,
he and his wife boarded a Danube steamer and arrived in Vienna on 22 July,
1922.
In 1928 he went to Paris for half a year and then to Berlin, a city which
he loved; but again he had to leave because, being a Russian, he was persecuted
by the Nazis and his name was deleted from all musical programs. He returned
to Vienna in 1935 where he found a suitable residence in Blechturmgasse.
He remained in this city till his death in 1952.
The war years 1939-1945 was a terrible time for Bortkiewicz and his wife.
Three times, as he recounts in his letters to van Dalen, he was close to
death as the Allied bombs rained down on Vienna and the Russians advanced
on the city. A postcard from December 1945 reveals how he lived. "I am writing
to you from my bathroom," he writes there, "where we have crept in, because
it is small and can be warmed now and then by a gas flame... I don't believe
in happiness anymore, rather that I am a dead man." To add to his woes, his
wife's mental condition had deteriorated due to the hardships of the war
and he had to look after her continuously.
All of his music scores were destroyed during the bombardment of Leipzig
and his financial situation was desperate. His friend van Dalen, too, seemed
to have deserted him in the post-war years, adding to his growing melancholia.
He had been suffering from a stomach ailment for quite some, most probably
cancer, and on the advice of his physician, he decided to undergo an operation
in October 1952. He never recovered and passed away on the 25th of October,
1952. His wife, who was childless, died 8 years later in 1960 in Vienna.
It seems Bortkiewicz was on the wrong side of the fence wherever he went.
Though he spoke German fluently and even wrote his "Erinnerungen" in this
language, he was not looked upon too kindly in Austria, perhaps because of
his Russian origin and the behavior of Soviet troops when they occupied Vienna.
In 1977, twenty five years after his death, the Viennese civic authorities
levelled his grave in the city cemetery.
The autographs of his unpublished works, which were in van Dalen's possession
were bequeathed by van Dalen to the Gemeentemuseum in the Hague. It took
me quite an effort to locate Bortkiewicz's Sonata No.2, Op. 60 in this museum
and publish it in 1996. Very recently, Malcolm Ballan of Southampton, England,
finally found the autographs of his 2 Symphonies in the Fisher Collection
in Philadelphia, where Bortkiewicz had sent them for safe keeping just before
his death.
It interesting to speculate why Bortkiewicz never recorded his own music,
though he lived into the age of high fidelity. Why, one can even hear Scriabin
or Saint-Saens playing their works, thanks to the reproducing piano. A clue
to his "old-fashioned" attitude is to be found in the remarks he makes in
the Erinnerungen. "It is certain, at least for me, that the Mechanization
of Art nowadays is a big backward step. The cinema is the greatest enemy
of theatre, the radio - of music at home and of concerts." I guess he stuck
to his beliefs and refused to record his music "mechanically" for posterity,
though during the war years he performed his works in various radio stations.
In 1995 I decided to record all of Bortkiewicz's music that I had in my
possession, including all orchestral works. So far I have made 11 CDs of
his music including the two great Symphonies, in the hope that the magnificent
music of this last great romantic will not be forgotten. © Bhagwan
N. Thadani
FURTHER READING
"Recollections, Letters and Documents" Translated from German
and annotated by B.N. Thadani. Cantext Publications, Winnipeg, Canada. 1997.
ISBN 0-921267-26-6
"Discovering the music of Sergei Bortkiewicz," Clavier, Jan.
1996.
List of works
I have always been passionately fond of the piano, having played it for more
than 50 years, and lately have taken to publishing rare piano scores and
recording the music on CD's. My interest is in the Russian composers of the
late 19th, early 20th centuries, specially the music of Sergei Bortkiewicz
(1877-1952) Felix Blumenfeld (1863-1931), Constantin Antipov (1859 - ?),
Cesar Cui (1835-1918), and the French composer, Benjamin Godard (1849-1895).
I discovered Bortkiewicz's Second Sonata #2, Op. 60 in a museum in the
Netherlands and published it in 1995. Since then I have published the following
music scores under the Cantext Publications imprint.
Sonata #2, Op. 60, Sergei Bortkiewicz, 1995 - $10
Selected Works, Bortkiewicz, 1996 - $10
Sonate-Fantaise, Blumenfeld, 1996 - $10
Selected Works, Blumenfeld, - $10
Russian Rhapsody, Bortkiewicz - $10 from an autograph discovered in a museum
in the Netherlands
Recollections, Letters and Documents" by Bortkiewicz, which I translated
from the German, and which, with my annotations, is the definitieve biography
of the composer,1997 - $15
Concerto #2, Op. 28, Bortkiewicz for the left hand, arranged for solo piano
by me. - $14
All prices are in US $ and include postage
My article on Sergei Bortkiewicz appeared in the Jan. 1996 number of the
music magazine Clavier. Please contact me if you are interested in
any of these publications.
Recordings
So far I have made 19 CDs of the works of my favorite composers listed below.
Most of these recordings are world premier recordings; in fact, it may be
the first time they have been played after almost 6 decades. A synthesizer
was used for the orchestral accompaniment for the concertos.
Each CD costs $17 US or the equivalent in local currency. You are entitled
to a 20 % discount if you order more than one CD, and can pay me by personal
cheque made out to me. Allow 10 days for delivery
CD-1 Felix Blumenfeld - Piano Works
Preludes, Op. 17 (1 to 24); Sonate-Fantaisie, Op. 46; Preludes, Op. 12
(1 to 4)
Deux Morceaux, Op. 37; Deux Fragments, Op. 33
CD-2 Sergei Bortkiewicz - Piano Works Vol. 1
Etudes, Op. 15 (1 to 10); Etudes, Op. 29 (1 to 12); Trois Morceaux Op.
6 (1 to 3)
CD-3 Sergei Bortkiewicz - Piano Works, Vol. 2 Piano Concerto No.
2, Op. 28 for the left hand alone; Piano Concerto No. 3, Op. 32 "Per aspera
ad astra"; Russian Rhapsody, Op. 46
CD-4 Sergei Bortkiewicz - Works, Vol. 3 "Othello", Op. 19;
Oesterreichische Suite, Op. 51; Trois morceaux pour violoncello et piano,
Op. 25; Trois morceaux, Op. 6
CD-5 Sergei Bortkiewicz - Piano Works Vol. 4 Sonata No. 2, Op.
60; Quatre Morceaux pour piano, Op. 3 Impressions. Sept Morceaux pour piano,
Op. 4; Minuit: Deux Morceaux, Op. 5
CD-6 Sergei Bortkiewicz - Piano Works, Vol. 5 Ein Roman für
Klavier, Op. 35; Deux morceaux, Op. 7; Esquisses de Crimée, Op. 8;
Six Preludes, Op. 13; Trois Morceaux, Op. 24
CD-7 Sergei Bortkiewicz - Works, Vol. 6 Cello Concerto, Op. 20;
Trois morceaux pour piano, Op. 12; Trois morceaux, Op. 24; Im 3/4 Takt, Op.
48
CD-8 Sergei Bortkiewicz - Works, Vol. 7 Violin Concerto, Op. 22;
Sonate pour violon et piano, Op. 26; Marionettes, Op. 54
CD-9 Felix Blumenfeld - Works, Vol. 2 Deux Nocturnes, Op. 6; Valse
Impromptu, Op. 16; Nocturne Fantaisie, Op. 20 Trois Morceaux, Op. 21; Impromptu,
Op. 26; Dix Moments Lyriques, Op. 27 Près de l'eau, Op. 38; Deux
Impromptus, Op. 45; Allegro de concert pour piano et orchestre, Op. 7
CD-10 Sergei Bortkiewicz - Piano Works, Vol. 8 Sonata No. 1, Op.
9; Lamentations et Consolations, Op. 17; Pensées Lyriques, Op. 11
CD-11 Sergei Bortkiewicz - Piano Works, Vol. 9 Elégie, Op.
46; Dix Preludes, Op. 33; Sieben Preluden für Klavier, Op. 40; Trois
Valses, Op. 27; Lyrica Nova, Op. 59; Der kleine Wanderer, Op. 21
CD-12 Sergei Bortkiewicz - Piano Works, Vol. 10 Tausend und eine
Nacht, Op. 37; Aus meiner Kindheit, Op. 14; Ballade, Op. 42
CD-13 C. Antipov and C. Cui - Piano Works Antipov: 5 Morceaux,
Op. 5; Preludes, Op. 8, 10; Miniatures, Op. 9 Valse et Etude, Op. 11; Nocturne,
Op. 12 Cui: Trois Valses, Op. 31; Cinq Morceaux, Op. 52; Esquisse;
Intermezzo; Impromptu; Scherzino
CD-14 Felix Blumenfeld - Piano Works, Vol. 3 Quatre Morceaux, Op.
2; Deux Morceaux, Op. 22; Suite Lyrique, Op. 32; Ballade, Op. 34; Cloches
- Suite, Op. 40; 2 Fragments Lyriques, Op. 47; Trois Nocturnes, Op. 51; Episodes
de la vie d'une danseuse, Op. 52 Vier Klavierstücke, Op. 53
CD-15 Benjamin Godard - Piano Works Sonate Fantastique, Op. 63;
Deuxième Sonate, Op. 94; Chemin faisant, Op. 53 (1, 6); Au matin,
Op. 83; Etude, Op. 149-II, No. 4 Etude, Op. 149-IV, No. 1; Fourth Barcarolle;
Valse chromatique, Op. 88 Chopin, Op. 66, No. 2
CD-16 C. Antipov and C. Cui - Works, Vol. 2 Antipov: Trois
Etudes pour piano, Op. 1; Variations, Op. 3; Quatre Morceaux, Op. 6; Allegro
symphonique pour orchestre, Op. 7; Impromptu et Valse, Op. 13
Cui: Trois mouvements de Valse, Op. 41; Vier Klavierstücke,
Op. 22; Tenèbres et Lueurs
CD-17 Benjamin Godard - Works, Vol. 2 Etudes Artistiques (1 to
12), Op. 42; Musset; Kermesse, Op. 51; Renouveau, Op. 82; Tziganka, Op. 134;
Fantaisie Persane for piano and orchestra, Op. 152.
CD-18 Benjamin Godard - Works, Vol. 3 Etudes artistiques (13 to
24), Op. 107; Barcarolle, Op. 77; Piano Concerto No. 2, Op. 148; Barcarolle,
Op. 105
CD-19 Benjamin Godard - Works, Vol. 4 Impressions de Campagne (1
to 16), Op. 123; Lanterne Magique, Op. 55 (1, 3, 6); Les Hirondelles, Op.
14; Introduction et Allegro pour Piano et Orchestre, Op. 49
Available from:
Bhagwan Thadani
19 Laval Drive
WINNIPEG
CANADA R3T 2X8
bthad@hotmail.com
REVIEWS
Sergei Eduardovich BORTKIEWICZ
(1877-1952) Vol. 2: Three works for piano and
orchestra
Piano Concerto No. 2 (1922) 25 mins
Piano Concerto No. 3 Per Aspera ad Astra (1927) 28 mins
Russian Rhapsody (1930) 13 mins
 Bhagwan Thadani
(piano) 'orchestra directed' by Daniel Oke
Note: the
orchestral sound is produced using computer generation to synthesise the
orchestral canvas. BHAGWAN THADANI private recording CD3 [66.38] |
Bhagwan Thadani (a pianist now living in Winnipeg, Canada) has made the tracing,
performance and recording of the works of Bortkiewicz a life's mission. His
achievement is staggering, prompting comparisons with the LP/cassette era
legacy of Grant Johanessen's complete Liszt and Busoni cycles. Years have
been spent in tracing, reprinting, performing and recording the works. There
are currently ten volumes of CDs published by Mr Thadani and another ten
or so recording the neglected piano works of Antipov, Blumenfeld and Godard.
This achievement seems to have been studiously ignored by the usual review
channels perhaps because Mr Thadani has had to use a computer synthetic to
record the sound of the orchestral part of the concertos.
This present disc acts as a nice complement to the Hyperion CD of the First
Piano Concerto with two single movement concertos each playing five or minutes
under half an hour and prompting comparisons and contrasts with the Medtner
Ballade Piano Concerto (No. 3). The second concerto and the rhapsody
were both written for the left hand alone and, unsurprisingly, were commissioned
by Paul Wittgenstein, the dedicatee of the more famous Ravel, Schmidt, Strauss
and Korngold concertante works for piano left-hand.
Second Piano Concerto
This launches in an atmosphere of vehement hyper-romantic turbulence sustained
for most of its compact length. It is more a child of tempest than anything
in Rachmaninov and the soloist's part follows a similar style. Along the
way there are Tchaikovskian episodes and the big theme has more than a little
in sympathy with Rachmaninov's piano concerto No. 2. This work however seems
more modern than the Tchaikovsky. It has more in common with Rachmaninov
and Medtner. The big theme from the latter's second piano concerto is also
hinted at. It has more gravity than the Saint-Saens concertos or the Palmgrens,
enjoyable though they are. It has the bounce and élan of the more
exuberant moments from the Delius piano concerto. The orchestral impression
is one of urgency and no little excitement. A carefree tone and humming bright
eagerness reaches out to us in the closing pages of the first movement suggesting
momentary inspiration from Borodin's Polovtsian Dances. The themes
and treatment are more openly accessible than the ochre-toned subtlety of
the Medtner concertos. If you appreciate the Tchaikovsky second piano concerto,
the Rachmaninovs, the Arensky and the Scriabin concertos you will like this
... and like it very much. This is a comprehensively enjoyable romantic concerto
which stands out from amongst the crowd.
The synthesised accompaniment will not fool you into thinking this is a real
orchestra but that was not the intention. What you get is a mind's ear
approximation of the orchestral sound and for the most part the ear
psychologically 'reconstructs' an orchestral sound quite successfully 'on
the fly'. The violin and percussion instrument sounds are not successful
although they are less of a problem in orchestral numbers than in solo. The
cello solo in the cello concerto is very believable as also is the horn solo
towards 19.40 in the first movement of the second concerto. At all times
an indulgent and kindly ear is necessary but then why make obstacles for
yourself. Until orchestras and record companies take up these works we can
enjoy Mr Thadani's precious CDs as pathfinders.
As for the solo part Mr Thadani probably knows these concertos better than
any man alive. Bonfires of notes, clouds of sparks, sheet lightning and
thunderous display are all there in abundance. His technique seems fully
equal to the challenges both in bravura and in reflection.
Third Piano Concerto
While the second concerto is hardly ever out of wind-blown flight and romantic
torment the third occupies a subtle and more varied landscape although delivering
far from short measure in the late-romantic upheaval stakes. The soloist
nicely catches the variations in tempo and the orchestra (as with
the second concerto) is comfortably integrated with the solo piano picture.
The exertion and intensity is grand in scale and well worth your time. Listen
to the nicely conjured horns at 10.25 accompanying the piano. Once again
there is an infusion of Rachmaninov's grand and faintly lachrymose heroism;
at all times dignified and grandly clangorous like a landscape of noisy bell
towers in icily sonorous counterpoint. Little details stand out: e.g. the
harp, totally believable, at 15.50 and 18.21 in partnership with the solo
piano. A stunning change of gear and a great relaxation comes at 16.30 where
pulse slows. The work is never boring and always mobile with crystalline
incident at times evocative of the Grieg concerto. The peroration from 26.17
is grandly leonine and frankly totally enjoyable. Not once does display,
of which there is a lot, suffocate musical ideas. Display and poetry, fireworks
and dramatic moment are in equipoise.
Russian Rhapsody for Left Hand alone
This starts with galloping theme in a nocturnal journey. In sympathy with
the other two concertos this has a franker melodic debt to Russian folk song
(yes - The Volga Boat Song! - 09.02) and the Kuchka's brand of nationalism.
This drifts Bortkiewicz into the mildly corny in the manner of Chopin's
Krakowiak during the central dance episode. Good fun nonetheless.
Now I do hope that Mr Thadani will look at one of Rachmaninov's British
exponents: Richard Sacheverell Coke whose six piano concertos and extensive
piano solo catalogue made a brief éclat in the UK during the
1920 and 1930s and was then utterly forgotten.
Of the three discs I have heard so far this is the one to get if you must
limit yourself to one purchase.
Reviewer
Rob Barnett
(special category computer synthesised orchestral and solo cello sound)
Each CD costs $17 US or the equivalent in local currency. You are entitled
to a 20 % discount if you order more than one CD, and can pay me by personal
cheque made out to me. Allow 10 days for delivery
As early as Vol. 2 of his momentous Bortkiewicz series Bhagwan Thadani decided
to include works with orchestra. It would cost far too much to hire a real
orchestra so he opted for a synthesiser to give an approximation of the
orchestral partner. While the piano concertos present a real sound (Mr Thadani's
piano) alongside the synthesis the violin concerto is totally synthetic in
this recording with both solo and orchestra emulated by the synthesiser.
The light-stepping long-limbed theme of the first movement rolls out with
tireless stamina - a tribute to the composer's fertility of invention. However
enjoyment requires far more suspension of disbelief or psycho-acoustic
re-creation than the disc of the two piano concertos. The obstacle is that
the sound of the violin solo must be a less successful approximation than
the results achieved for the cello. It sometimes comes perilously close to
sounding like a Dutch theatre organ - miniaturised. The keyboard origins
of the synthesis are difficult to mask and the undulating legato of the bowed
instrument can be difficult to emulate. You can see where it is going and
how the violin would sound but a greater leap of faith is required.
Putting this aside, athletic lyricism is there in full but the temperature
is far less than the super-heated romantic furnace of the piano concertos.
The ambition is linked to the same horizons as the Saint-Saens violin concertos
rather than say the Elgar or the Tchaikovsky or the Brahms. The
central Poème is stronger in drama with touches of Tchaikovsky's
Pathétique final movement. The final movement has an infusion of
squeeze-box jollity, Rimskian Easter festivals and the air of the Glazunov
violin concerto. The work is naively engaging, somewhat conventional and
not as impressive as the taut and high pressure piano concertos or cello
concerto. Still it is fully worthy to take its place in Hyperion's romantic
violin concerto series with the Arensky, de Boeck, Pfitzner, Reger, Freitas
Branco, the splendid Mieczyslaw Karlowicz and from a later era but still
consummately on-song the Janis Ivanovs concerto.
The Sonata takes us back to the natural sound of Mr Thadani's piano but leaves
exposed the challengingly Hammond-accented sound of the solo violin. The
relaxation and diversion of the concerto is here contrasted with a much more
grown up and Tchaikovskian passion. This might very easily arrange as a violin
concerto. The main theme of the first movement is insistently shadowy and
impassioned. Thankfully the piano part is not at all the subjugated and purely
accompanimental 'along for the ride' role we might have feared. The middle
andante is charmingly done and clearly a movement of some gentle melodic
confidence. A darting allegro vivace rounds out the sonata in humming
bird brio and flouncing dervish fantasy. Do I detect a touch of the Istanbul
where the composer spent the years 1919-1922. By the way the violin sound
is much more successful in the more percussive staccato moments.
The Marionettes is a sequence of nine skilful salon charmers - pert little
character pieces designed for the piano stool commercial market and with
titles such as The Cossack, The Gipsy and Teddy Bear.
These are nicely despatched by Mr Thadani being more abrasively interesting
and emotionally developed than a Macdowell sequence. The Chinese and
Teddy Bear are more challenging, stylistically speaking, with the
former linking into the enthusiasm for 1920s (and earlier) chinoiseries e.g.
the Bethge translations of Li Tai Po for Mahler's Das Lied and the
Chinese songs of Schierbeck, Bliss, Lambert and Van Dieren.
Reviewer
Rob Barnett
(special category computer synthesised orchestral and solo cello sound)
Brahms first symphony is sometimes spoken of as Beethoven's tenth. Well,
Bortkiewicz's cello concerto plays like the Cello Concerto Tchaikovsky (or
for that matter Rachmaninov) never wrote. It is in two movements, the first
of which is torrentially melodic with suggestions of the last movement of
Tchaikovsky's Pathétique and of Rachmaninov and towards its
end a Mozartian airiness carried by the dialogue of flute and cello (15.12).
The surging and receding passion takes us once again into the world of
Rachmaninov's second piano concerto.
The second movement buzzes and hums with a melting pot of rumba, tarantella
and havanaise. Although of greater emotional breadth it reminded me of Glazunov's
and Frank Bridge's brief character pieces for cello and orchestra but the
lights and darks are deeper. This is an exciting and dashing romantic concerto
which should immediately be taken up by the world's inspirational young cellists
otherwise trapped in a repertory limited by the standard concert 'draws'
of Elgar, Dvorak and Saint-Saens.
The whole listening experience is greatly aided by the fact that the cello
sound is a more credible synthesis than the sound of the solo in the violin
concerto. Listen for example to the section of cello sound at 2.16 in the
first movement.
The rest of the disc takes us back to the natural sound of Mr Thadani's piano
and his dedicated pianism.
The 1910 trilogy of three dances (Morceaux) floats past us in procession:
a dignified Mazurka, a Gavotte of sparkling velocity and a
stormy Polonaise somewhat predictive of the tumult of the second and
third piano concertos.
The trio of piano pieces from twelve years later starts strongly with the
Nocturne-Diana, inspired by a wonderful moonlit night in Yalta in
which the shades of Chopin and Rachmaninov drifted in nostalgic ease. The
Valse Grotesque (Satyre) is of quasi-Bartókian
percussiveness which carries over into the final panel (Eros) and
from which emerges music paralleling by Rachmaninov's Preludes.
The waltz sequence of six miniatures are light on the listener and so
undemandingly entertaining that they can be overheard. The final allegro
robusto is memorably tense.
I can hardly wait to hear Bortkiewicz 's two symphonies. Going by Grove V
they should date from circa 1935 and 1939 respectively. After many years
these were finally tracked down in the Philadelphia Free Library. Mr Thadani
is now busy producing a recording of these symphonies using the now accustomed
computer synthesis. We can hope that these and other works will be taken
up by adventurous recording companies and orchestras. Perhaps someone will
now start to take up this same approach to other composers including Josef
Holbrooke and Frederic Cliffe. Perhaps Mr Thadani will also turn his attention
to the Op. 53 Overture and the Yugoslav Suite both circa 1938.
As usual, succinctly informative notes are provided by Mr Thadani on 'plain
jane' paper inserts - nicely designed.
Reviewer
Rob Barnett
(special category computer synthesised orchestral and solo cello sound)
Each CD costs $17 US or the equivalent in local currency. You are entitled
to a 20 % discount if you order more than one CD, and can pay me by personal
cheque made out to me. Allow 10 days for delivery
Bhagwan Thadani
19 Laval Drive
WINNIPEG
CANADA R3T 2X8
bthad@hotmail.com
MR THADANI's website is at
http://www.geocities.com/bthad.geo or
http://www.geocities.com/Vienna/Strasse/7136/
