Inevitable that Naxos
should get round to Strauss' piano music,
I suppose, and it is good to welcome
this nicely filled disc. Of big name
pianists, only Gould really features
- he recorded the Sonata - although
it is worth bearing in mind that the
very musical Frank Braley made a disc
for Harmonia Mundi: currently out of
the catalogues.
Written during Strauss's
later school years, it should come as
no surprise that the figures of Schumann,
Mendelssohn and Brahms loom large here.
The first offering, the Op. 3, appears
the most derivative. Schumannesque descending
accompaniments pervade the initial Andante
before a similarly Schumannesque hunter
appears on the scene (Allegro vivace
scherzando). A Largo provides the most
extended movement (7'43), tender and
lovely, with a melting middle section.
The gently cascading lines of the fourth
piece (Allegro molto) lead to a final
fugue (Allegro marcatissimo). Veselka
is never less than good throughout,
but it is possibly his expert delineation
of voices that marks this finale as
the finest movement.
The Sonata is apparently
Strauss's third; there are two earlier
essays - from 1877 and 1879. Immediately
we are in more identifiably Straussian
territory, with a sense of Romantic
sweep about it all. Veselka articulates
the music well, delivering an eminently
musical account. The highlight, though,
is the Adagio cantabile - effectively
a Lied ohne Worte - with its
lovingly projected treble line and a
cheeky middle section. The finale again
shows Veselka delivering some fine playing
- in particular the motivic fragmenting
is peculiarly Straussian.
Finally, the Stimmungsbilder
- Naxos give the first published English
title in brackets, 'Moods and Fancies'.
As Keith Anderson in his booklet notes
points out, there is plenty of Schumann
to be found here. There’s also some
Schubert - in the watery second piece,
'An einsamer Quelle'. There is a simply
gorgeous flow to the initial 'Auf stillem
Waldsepfad'. I would be interested if
anyone hears in colours whether they
agree with me that there is a distinct
'yellowness' about it! The Intermezzo
acts as a gentle Scherzo. After Strauss's
essay at a Träumerei (that is the
actual title), a final enigmatic 'Heidebild'
sits between Schumann and Brahms in
expression.
A fascinating disc,
well recorded at Potton Hall by Michael
Ponder who doubles as Producer and Engineer.
Colin Clarke
Stefan Veselka (piano). 
