Julius RÖNTGEN (1855-1932)
Variations on a theme by César Franck (1903) [15:37]
Carl REINECKE (1824-1910)
Variations on a theme by J.S. Bach, (1849), Op.24 [12:43]
Julius RÖNTGEN
Variations on a theme by Beethoven (1917) [12:55]
Carl REINECKE
Andante and Variations, Op.6 (c.1844) [12:16]
Johannes BRAHMS (1833-1897)
Variations on a theme by Haydn (St. Antoni chorale) (1873), Op.56b [17:50]
Mark Anderson, Michelle Mares (piano)
rec. 11-12 July 2019, Wyastone Leys, Monmouth, UK
Röntgen: Piano Music Vol. 5 - Music for 2 Pianos
NIMBUS NI5996 [71:00]
As I said in my previous (review) of volume 4 in this series, there is an awful lot of music by Röntgen and almost all of it is unknown. CPO are gradually working their way through the symphonies and assorted other things and Mark Anderson’s piano music series on Nimbus will hopefully help shine a brighter spotlight onto this neglected figure. The pianist Mark Anderson (who recorded the four previous volumes) is here joined by Michelle Mares to perform music for two pianos. In addition to the two works by Röntgen, we have works by another neglected composer, Carl Reinecke and, to finish off, the famous St. Anthony variations by Brahms.
First, are Röntgen’s 1903 variations on a theme by Franck. There has been some debate on line as to where this theme comes from, but it transpires that it is from the "Chant de la Creuse" used in the second of Franck's 18 Pièces brèves for organ and is actually quoted from a folk song. Anyway, the opening theme is rather peaceful and slightly mournful in character. The following variation is rather lovely and builds on the melody found in the main theme with some splendid added harmonies. The speed and complexity of the variations increase as the work proceeds so variation 3 is more capricious and bounces around nicely before the virtuosity of variation 4, which is replete with lots of scales and some clever counterpoint. Variation 5 sounds very Brahms like and variation 6 is almost a fragmentation of the main theme with lots of complex harmonies high up in the treble. The following variation is very strange with some almost spectral accompaniment to the main theme. Variation 8 is a very powerful and strangely stressed-out sounding variation whereas the middle refrain section is calmer and more relaxed. Much of the work is actually firmly in minor keys (it starts out in D minor) but as it progresses, culminating in variations 9 and 10, the mood and key change to D major and B flat, providing some very beautiful and clever writing for both pianists. Variation 11 acts as a continuation to this while the finale (variation 12) is peaceful and in D major and is absolutely wonderful in both writing and playing. There is a little postlude which provides a very apt and harmonically clever ending to the work.
Reinecke’s Op.24 variations follow, using Bach’s Sarabande from the First French Suite as a basis for seven variations and a finale. I think this is a magnificent work and here it is played superbly. The opening is played with due reverence for the source material and the florid variation 2 follows which contains some fantastic writing for both pianists and some evocative playing from both participants. Variation 3 is more peaceful and contains what the notes call “Schumannesque” rhythms and I do not disagree. The following variation is more powerful and more of a march with lots of octaves and virtuosity. Reinecke found plenty of excuses to use dotted rhythms in this work and these are very prevalent in both variations 5 and 6. The penultimate variant is an inverted version of the theme and includes some very emotional music. It is really rather touching and puts me in mind of a series of questions and answers with one pianist answering the other’s inquiries. The finale begins after a break (at 8’48’’), beginning with some complex figurations for one of the pianists with descending dotted motifs. These persist until at about 9’35’’ where the work dissolves into a very clever Bachian cadenza which sounds very appropriate for this piece and this builds to a Romantic conclusion which is more in keeping with the source material and then, quite unexpectedly, a final restatement of the main theme and a touching but at the same time witty concluding last minute or so. This is another superb piece and is given a great performance.
Track 3 is Röntgen’s Variations on a theme by Beethoven, with the theme from the finale of Beethoven’s string quartet no.13, Op.130. This starts in a very dark place, full of menacing rhythms and strange harmonies in a minor key but resolves itself to the major key theme at about 1’30’’ and it sounds utterly charming. The following seven variations and coda build upon this, the opening variation being relaxed and rather beautiful. The work continues with some very clever and harmonically interesting variations on this, both pianists being given ample opportunity to demonstrate their abilities which they do splendidly. I particularly like the clever interplay about five minutes in, which is part of variation 3. Variation 4 is more of a Romantic treatment of the theme and is marked ‘con moto’ with lots of dotted rhythms. Variation 5 (marked ‘Vivace’) is very clever with bouncy rhythms and some powerful writing before the composer cleverly fragments the theme into a series of tiny phrases which are bounced from one pianist to the other before settling to something smoother. The notes give a detailed breakdown of the structure of the closing variations of the work in which Röntgen quotes part of the opening movement of the quartet, there is also a restatement of the dark music from the opening of the work before the variations continue toward their conclusion. This work is hard to get your head around and takes many listenings to understand but is certainly worth the effort, as it contains some very clever use of harmonies and the structure is very clever indeed. The playing of both pianists is exemplary throughout.
Carl Reinecke’s early Op.6 variations follow. These are based on an original theme by the composer and are in A flat major. The opening theme is rather odd and almost baroque in feel. It’s also angular and rather brooding. There are many clever pieces of writing here; for example, the abrupt change from fast to slow at 4’14’’ is marvellously handled, coming as quite a surprise, and the proceeding bouncy variation is brilliant. This then morphs into a much more restrained but faintly sinister and mysterious variation with some grumbling in the bass and some energetic leaping about by piano I. There are some more Schumannesque hints at about 7’30’’ but, overall, Reinecke’s voice is very much his own. The last few moments are a delightful baroque-inspired, virtuoso showpiece for both pianists and is splendidly played. The ending is suitably florid and complex writing with plenty of virtuoso flourishes. Overall, these variations are oddly constructed, the individual variants being interspersed with continuations of the theme which are not really variation-like, so the work is could almost be described as ‘Variations-Fantasie’ rather than plain ‘variations’. Whatever you call them, this is a superb work and it is magnificently played throughout. It’s another piece which has taken a while to get my head around as, despite the terribly useful detail in the notes, it’s quite hard to follow the variations.
The longest work on the disc is Brahms’ marvellous Variations on a Theme of (not actually by) Haydn. Here, the tempo is swift but not too swift and the interplay between the soloists is absolutely magnificent. The opening ‘Andante’ is perfectly judged and the proceeding variations are marvellously played so that they gradually build intelligently towards the finale. All of the variations are excellently played but Variation 1, with its splendid interplay between the pianists, is particularly marvellous. Variation 3 is very settled and calm and calls from lovely cantabile playing from piano II (I think) and here this works very well. In variation 4, the tune is nicely pointed out throughout with some very lovely playing by one of the pianists. The ‘Poco presto’ variation 5 is especially cheerful here and is bound to make you smile. Likewise, variation 6 bounces along happily and is brilliantly played, making for a super contrast with the 7th ‘Grazioso’ (graceful) variation which hints at darker ideas in the bass which are amplified in another ‘Poco presto’ variation which somehow seems spectral in nature and then serves as a clever lead into the finale. This Finale is more of a crazy amplification of the theme with plenty of florid excursions along the way with ample opportunity for both pianists to show their pianistic abilities. The final statement of the theme, with all its added octave runs, is celebratory in feel and is brilliant. I have several recordings of this work in this version and I have to say that this is my new favourite of them all.
This is another superb addition to the series - the playing is excellent throughout and the two pianists clearly work extremely well together. One very tiny quibble: I do wish the variations were individually tracked but that is a personal preference and most listeners probably won’t be bothered about that! I should say that listening on headphones to this is impressive, as you can tell which piano is playing which notes. Added to the fact that four of the works on the CD are in my opinion of a very high quality and had been totally forgotten, this is a marvellous CD all round. The cover notes are well written and provide a lot of detail about the music and some interesting thoughts about the works. I really do hope there will be a volume 6 as, according to online sources, there are several other piano four-hand and piano duet works by Röntgen which have yet to be recorded.
Jonathan Welsh
