This is the first recording of Moravian composer Pavel Zemek
Novák's 24 Preludes and Fugues. The work is divided into four
sections, two Old Testament and two New Testament books, composed
over a period of seventeen years. The last book actually consists
of six Fugues with Postludes, with the final piece a 'Parallel
Fugue and Postlude'.
In an interesting essay on his website entitled Art
of the Fugue, English composer David Matthews notes that
Novák "has a radically unorthodox attitude to fugue: the
first fugue, evoking the creation of heaven and earth, has only
one voice, and no counterpoint; the sixth fugue is built on
a one-note theme and employs only seven notes altogether."
These remarks were written when Novák had still only completed
the two Old Testament books; now that the other, New Testament
is finished, Matthews' enthusiasm for Novák's work is undiminished.
As well as furnishing the booklet notes, he writes in his conclusion:
"I have no doubt that these 24 Preludes and Fugues are
one of the finest piano works of our time."
That leaves Matthews open to polite suggestion that he listen
to more music, and Champs Hill Records to accusations of possibly
counter-productive hype. The title alone, with its strong association
with Bach (and Shostakovich), is surely pressure enough. So
it is surprising, perhaps, to discover music that is anything
but pretentious: non-radical, unostentatious, intangible, arcadian,
limpid, concentrated, extemporised, ethereal.
Matthews likens the Preludes and Fugues to Ligeti's Etudes;
true to a degree, but it is more than Ligeti's atheism that
differentiates them, and such a comparison runs the risk of
making them seem more forbidding than they are. Novák's frequently
bell-like sonorities are mainly diatonic, and there is plenty
of melody and tonal harmony to satisfy most tastes, even if
it is more often fragmented than not. There are musical references
to Scarlatti, Bach, Haydn, Beethoven and others.
The Preludes and Fugues are undeniably devotional - Novák's
own deep religiosity is reflected in the various Biblical subtitles,
not just of the New Testament books, but also in the Old Testament,
where every Prelude and Fugue bears a title, from the opening
'Creation of Heaven and Earth' to the final 'Isaiah (2)'. However,
searchers for spiritual enlightenment may be better off with
Bach - Novák's sometimes atonal idiom is likely just a little
too modern for the old religions, and the overarching mood is
more one of mysticism.
Novák makes considerable and impressive use of rests and pedalling
throughout his work, right from the very first note: the second
is heard a full ten seconds later. The Old Testament pieces
are individually crafted, whereas those of the New Testament
are in the nature of dovetailing parts of a larger whole. The
Preludes/Postludes and Fugues are mutually contrastive, with
any bravura writing generally, though not exclusively, reserved
for the former.
The Preludes and Fugues were written for the underrated but
excellent British pianist William Howard, also known as one
quarter and founder of the Schubert Ensemble, and who gave the
premier performance in 2007. Despite its unassuming superstructure,
the technical base of Novák's music is extremely demanding,
both in terms of sheer stamina and the degree of technical prowess
required. Howard is absolutely equal to it, completing his quasi-pilgrimage
adroitly and poetically.
Sound quality is very good. The CD booklet is slim-line but
informative, and has a nice colour photo of Novák with Howard
during recording. This may or may not be one of the finest contemporary
works for piano - it is probably too early to say. But for sheer
scale of invention at least it must go on the shortlist.
Byzantion
Collected reviews and contact at reviews.gramma.co.uk
Detailed Track-Listing
Book One (Old Testament)
1 Prelude One: The Creation of Heaven and Earth [2:17]
2 Fugue One: The Creation of Man [1:52]
3 Prelude Two: The Age of the Patriarchs [1:37]
4 Fugue Two: Noah [1:41]
5 Prelude Three: The Flood [1:22]
6 Fugue Three: Noah's Ark [2:14]
7 Prelude Four: The Departure of Abraham [0:57]
8 Fugue Four: Abraham and Isaac [0:47]
9 Prelude Five: The Burning Bush [3:02]
10 Fugue Five: Moses [1:04]
11 Prelude Six: Saul and David [1:47]
12 Fugue Six: King David [2:59]
Book Two (Old Testament)
13 Prelude Seven: Job [0:43]
14 Fugue Seven: The Book of Proverbs [1:09]
15 Prelude Eight: The Little Book of Psalms (1) [2:41]
16 Fugue Eight: The Little Book of Psalms (2) [3:59]
17 Prelude Nine: Ecclesiasticus [2:37]
18 Fugue Nine: The Song of Songs [1:01]
19 Prelude Ten: Elijah [4:04]
20 Fugue Ten: Elisha [2:39]
21 Prelude Eleven: The Manetations of Jeremiah [1:21]
22 Fugue Eleven: Jeremiah [1:03]
23 Prelude Twelve: Isaiah (1) [1:57]
24 Fugue Twelve: Isaiah (2) [2:36]
Book Three (New Testament) 'The Word became flesh and dwelt
among us' (Gospel of St. John 1:14)
25 Prelude Thirteen [1:46]
26 Fugue Thirteen [1:19]
27 Prelude Fourteen [2:14]
28 Fugue Fourteen [1:11]
29 Prelude Fifteen [1:15]
30 Fugue Fifteen [1:33]
31 Prelude Sixteen [1:54]
32 Fugue Sixteen [0:30]
33 Prelude Seventeen [0:56]
34 Fugue Seventeen [2:07]
35 Prelude Eighteen: (Aria) The Seven Last Words of Jesus Christ
on the Cross [2:19]
36 Fugue Eighteen [0:42]
Book Four (New Testament) Landscapes of the Lamb
37 Fugue Nineteen [0:52]
38 Postlude Nineteen [0:40]
39 Fugue Twenty [0:50]
40 Postlude Twenty [0:44]
41 Fugue Twenty One [0:50]
42 Postlude Twenty One [0:40]
43 Fugue Twenty Two [0:55]
44 Postlude Twenty Two (Consonance) [0:31]
45 Fugue Twenty Three [0:27]
46 Postlude Twenty Three (Consonance) [0:28]
47 Parallel Fugue and Postlude Twenty Four (Unison) [4:05]
William Howard (piano)
