George ENESCU (1881-1955)
Piano Sonata No. 3 in D major, Op. 24/3 (1934) [21:45]
Leoš JANÁČEK (1854-1928)
On an Overgrown Path JWVIII/17, (Book 1) (1901/1912) [28:13]
Zoltán KODÁLY (1882-1967)
Seven Piano Pieces, Op. 11 (1910-1918) [21:21]
Nicola Meecham (piano)
rec. 2006, Wiltshire Music Centre, Bradford-on-Avon, UK.
SOMM SOMMCD081 [71:03]
Nicola Meecham, the pianist here, writes: “The recording I am most proud of is [this] my first solo disc ... Enescu’s third sonata, in particular, is a tough piece and it was only in hindsight that I realised what I had let myself in for! I did however, receive some very good reviews, so that was very gratifying”. Her second disc (Tchaikovsky), was very favourably reviewed by my colleague Philip R Buttall and includes the Grande Sonate, which I referred to in my recent review of a Barry Douglas disc. The current CD has not yet been reviewed here and I have the fortune to repair that omission. This Somm CD certainly sets out an adventurous recital with only the Janáček on the edge of the standard repertoire.
One of my piano heroes is Dinu Lipatti (1916-1950). Amongst his small recorded legacy is the Third Sonata by his godfather, teacher and fellow Romanian, George Enescu. That recording has been released singly and in a much cherished EMI Icon set (seven CDs), available for around Ł13. I’m not certain that Nicola Meecham has listened to Lipatti but I’d be surprised if she hasn’t. The tempo of the opening Vivace con brio, heavily influenced by Moldavian folk music, is very adjacent to the older recording and the sound is much better although that from 1943 is certainly listenable. The playing throughout the Third Sonata - he never wrote a Second although there is a First - is enchanting as well as proficient. Meecham clearly feels “inside” the music which is far from spiky. There are very few recordings of this piece which seems a shame as it is approachable and enjoyable. After the beautiful slow movement there is a highly vigorous Allegro which is a veritable tour de force. Certainly, it makes a change from another Beethoven or Mozart piano recording and deserves a listen. As is the case for the other works there are informative and highly readable notes by Anthony Burton.
Janáček’s On an Overgrown Path is better known than the Enescu. Originally written for harmonium in 1901 it was adapted for the piano about ten years later. The pieces are quite short, varied and have individual titles. They are played here with both sensitivity and intimacy which connects the listener to the composer’s thoughts. They were inspired by his upbringing in Moravia and are very different from the Janáček that I’ve heard before. I enjoyed hearing these ten brief but complete compositions and I will return to this recording. Standouts for me, were Come with us and the final The barn owl has not flown away which reminded me slightly of late Brahms.
Kodály’s Seven Pieces were completely new to me and were certainly an adventurous choice. There are Impressionist aspects here; after his study of Debussy in Paris during 1907, but all within the Hungarian folk idiom and Liszt. Meecham's playing, as throughout the recital, reflects integrity and a clear understanding of the music. All bar the imposing Epitaph are very short.
Listening to these fairly out-of-the-way works has been very enlightening. The experience illustrates the benefit of having the opportunity to hear fresh, for me, compositions. It is difficult to imagine a finer advocate than Nicola Meecham who has gone on to even greater achievements since, this her début. The recording captures the piano perfectly and has tangible reality.
David R Dunsmore
