Editorial Board
MusicWeb International
Founding Editor Rob Barnett Editor in Chief
John Quinn Contributing Editor Ralph Moore Webmaster
David Barker Postmaster
Jonathan Woolf MusicWeb Founder Len Mullenger
Zoltán Kodály (1882-1967) Piano Works
Nine Piano PiecesOp.3 (1909) [21:10] (Lento [2:22]; Andante poco rubato
[3:21]; Lento [3:00]; Allegretto scherzoso [1:41]; Furioso [0:56]; Moderato triste
[2:38]; Allegro giacoso [1:40]; Allegretto grazioso [2:15]; Allegro commodo,
burlesco[3:13]) Méditation sur un motif de Claude Debussy(1907)
[5:41] Valsette(1905) [1:27]
Seven Piano PiecesOp.11(1910-1918) [21:32] (Lento [1:30]; Transylvanian
Lament [2:12]; “Il pleure dans mon coeur comme il pleut sur la ville” - Allegro
malinconico [1:24]; Epitaph [6:20]; Tranquillo [1:39]; Transylvanian song [2:47];
Rubato [5:36])
Dances of Marosszék(1927)[11:50]
Adrienne Krausz (piano)
rec. 17-21 January 2008, Studio 6 of the Hungarian Radio. DDD
Notes by Anna Dalos BUDAPEST
MUSIC CENTER RECORDS BMCCD143 [61:41]
Piano music may
not be the first genre with which one associates Kodály and
in later life he made some nasty comments about the instrument. But
between 1905 and 1918 Kodály devoted a considerable part
of his compositional energy to the instrument and these works
were crucial both in his absorption of what were then modernist
tendencies and in the establishment of his unique musical
personality.
The Nine Pieces
Op.3 are all heavily influenced by Debussy, whose music Kodály
had become intimately familiar with while studying in Paris
in 1904. Each one sets a different compositional problem:
different uses of dissonance, construction of chords, chromaticism
and so on. Yet several also betray the Hungarian folk element
with which the composer was to become so closely identified.
For me numbers 4 and 9 contain the most beautiful music,
while the experimental elements of numbers 1 and 5 are impressive
in a different way. Number 7 is interesting because of its
use of tonality. In all these pieces Ms. Krausz shows just
the proper touch for this music; her musical discrimination
is admirable.
The composer
actually wrote a tenth piece for Op.3, a Valsette,
but published it separately. Perhaps he felt it did not fit
in with the seriousness of the other pieces in the cycle.
In 1907, before the creation of Op. 3 he wrote the wonderful Méditation
surun motif de Claude Debussy. The motif is a
quote from Debussy’s String Quartet. This is a leaner and
less chordal work than most of Op. 3 and better demonstrates
the transformation of the composer’s esthetic from impressionism
to folklore. Kodaly’s development of the music inherent in
Debussy’s theme and his original use of the whole-tone scale
make this a highlight of his early works.
In the Seven
Pieces Op.11 the composer progresses from the heavy influence
of Debussy to the individuality demonstrated in the famous
Cello Sonatas and other chamber works. The first, a Lento,
has modernistic harmonies combined with a tolling effect
while the Transylvanian Lament is also harmonically
adventurous, but much more folk-like, although Debussy does
sneak in a little. Il pleure dans mon coeurcomme
il pleut sur la ville is obviously more like Debussy,
but the underlying rhythms would not be recognized by him
- Kodály is becoming Kodály. The Epitaph is the largest
piece in the cycle - a profound synthesis of all that has
come before, with a wonderful coda. The following two pieces
are full-fledged Kodály, with the Transylvanian Song having
a waterwheel effect that is almost sinister - very different
from the waterwheels of other composers. Indeed almost all
these pieces have a violent side to them that belies their
titles and which one might not expect from familiarity with
some of the composer’s other works. This aspect Ms. Krausz
also brings out well, some times almost too violently. The
final rubato piece has some of the most beautiful writing
in the cycle and shows that the composer understood the piano
well, regardless of what he may have said later in life.
The Dances of
Marosszék is better known as an orchestral work. Indeed,
there is some doubt whether the composer ever meant it as
an independent piano work. As such the piece has a lusciousness
that the orchestral version does not, although not as much
flow. The use of the lower registers of the piano is very
interesting, an aspect Ms. Krausz especially emphasizes.
She also pays the interludes of the rondo structure very
beautifully.
Adrienne Krausz
graduated from the Liszt Academy in Budapest, and also with
Yvonne Lefébure and Lívia Rév. She was also a protégé of
Solti. On this disc she ably combines the impressionistic
harmonic elements with the more violent, almost orgiastic
ones. She has an excellent sense of how each piece should
sound overall. Unfortunately, only a few recordings from
her vast repertoire are currently available. As to recording,
the miking is very close-up in this recording, which I found
an advantage. The venue occasionally over-emphasized the
percussive aspects of the music, but this was not a major
drawback. For those looking for a modern set of Kodaly’s
piano music rather than one of the classics this is a fine
choice.
Reviews
from previous months Join the mailing list and receive a hyperlinked weekly update on the
discs reviewed. details We welcome feedback on our reviews. Please use the Bulletin
Board
Please paste in the first line of your comments the URL of the review to
which you refer.