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Frédéric Meinders plays Songs by Schubert, Schumann, Brahms and Mahler – the Frédéric Meinders Transcriptions
Franz SCHUBERT (1797-1828)
Heidenröslein D257 [1:51]
Ständchen (for left hand) No 4 from Schwanengesang D957 [4:21]
Im Frühling D882 [2:30]
Du bist die Ruh D776 [3:23]
Lachen und Weinen D777 [1:39]
Robert SCHUMANN (1810-1856)
Hochländisches Wiegenlied No 14 from Myrthen Op 25 [1:22]
Volksliedschen No 2 from Lieder und Gesänge II Op 51 [1:10]
Schöne Fremde No 6 from Liederkreis Op 39 [1:32]
Helft mir, ihr Schwestern No 5 from Frauenliebe und -leben Op 42 [1:26]
Du Ring an meinem Finger No 4 from Frauenliebe und -leben Op 42 [2:25]
Die Lotusblume No 7 from Myrthen Op 25 [2:57]
Johannes BRAHMS (1833-1897)
Feldeinsamkeit Op 86 No 3 [2:46]
Sandmännchen No 4 from Volks-Kinderlieder [1:49]
Wiegenlied Op 46 No 4 [2:45]
Mein Mädel hat einen Rosenmund No 25 from Deutsche Volkslieder [1:45]
Sapphische Ode Op 94 No 4 [2:21]
Meine Liebe is grün Op 63 No 5 [1:15]
Da unten im Tale No 6 from Deutsche Volkslieder [1:57]
Wir wandelten Op 96 No 2 [3:14]
Botschaft Op 47 No 1 [1:42]
Wie Melodien zieht es mir Op 105 No 1 [1:25]
Gustav MAHLER (1860-1911)
Ich ging mit Lust durch einen grünen Wald No 7 from Lieder und Gesänge (1889-90) [3:41]
Rheinlegendchen No 7 from "Des Knaben Wunderhorn" [2:54]
Ich bin der Welt abhanden gekommen No 4 from Rückert-Lieder [5:01]
Wer hat dies Liedlein erdacht? No 4 from "Des Knaben Wunderhorn" [1:53]
Zu Strassburg auf der Schanz No 10 from Lieder und Gesänge (1889-90) [4:55]
Revelge No 13 from "Des Knaben Wunderhorn"[6:04]
Frédéric Meinders (piano)
rec. Musis Sacrum, Arnhem, Netherlands, August 2008 


Experience Classicsonline

A number of outstanding contemporary pianists have produced transcriptions – one need only think of Pletnev, Hamelin and Katsaris though there are plenty of others. In their midst stands, or sits, the figure of Frédéric Meinders, born in 1946, who has been transcribing for many years inspired by the examples of Rachmaninoff and Godowsky; the latter in particular. This disc consists of an entire recital of his transcriptions, of songs close to his heart. The complexity of the transcription varies from piece to piece; some are straight transcriptions whilst others are more complex. The effect, to use a lukewarm word that fails to convey how enjoyable the recital proves to be, is ‘pleasing’.

The Schubert selection is principally of well-known works, transcribed with sensitivity and sure judgement. Heidenröslein offers an especially delightful entrée whilst Ständchen – for left hand – perhaps conjures up the spirit, at least, of Godowsky, if not inevitably the pianistic terror. Meinders invariably manages to elaborate cogently and warmly even when not excessively - which is for the most part.  The majority of these transcriptions are slow and lyrical as befits the source material. 

Helft mir, ihr Schwestern from Frauenliebe und –leben is a deft example of his capacities in this respect. He reserves an honoured place for Brahms and it’s instructive to hear the voice leading in his transcription of Sandmännchen or – no less, and a rarity among the selection of twenty-seven songs – the ardent and declamatory Meine Liebe is grün. 

When he turns to Mahler we find simplicity and fidelity to the fore. Ich bin der Welt abhanden gekommen therefore sounds pliant and luminous rather than wrenching and though the recital ends energetically with Revelge from Des Knaben Wunderhorn it’s certainly not typical of the performances as a whole.

These are sensitively shaped performances but I think best enjoyed composer by composer. The sound is fully up to Danacord’s best tradition – very full and warm.

Jonathan Woolf




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