Exactly this same programme was recorded by British pianist,
Charles Owen, for Somm (SOMMCD028) in 2002. This review will
use that earlier recording as a comparator.
Janáček’s description for his 1905 Piano Sonata
- Street Scene 1.X 1905 - refers to the killing of a workman
during a citizens’ clash, in Brno on October 1st 1905,
over a proposal to build a university. It clearly had a profound
effect on Janáček for the composer prefaced the score
with a short poem that included the lines, ‘... He came
only to plead for a university ... And was killed by cruel murderers.’ Both
Owen and Pĕchočová realise the alternating anger
and tenderness and the closing wistfulness of the opening ‘Presentiments’.
The second movement, ‘The Death’, with the same material
given to the two hands and moving in one or two octaves apart,
utters shocked numbing repetitions. This is so revealing: communicating
bitterness and almost uncontrollable anger. On balance Owen seems
to get to the heart of the tragedy of this Sonata that much more
effectively.
The pieces that comprise Book 1 of On an Overgrown Path have
descriptive titles (their meaning sometimes ambiguous) but the
five that comprise Book 2 have only music markings. A clue to
the music comes from some commentators whose view of the work
is ‘a reminiscence of Janáček’s daughter,
Olga, who, his only child to survive infancy, had fallen ill
and died just short of her 21st birthday. Pĕchočová’s
reading of the opening ‘Our Evenings’ lacks Owen’s
contrast of mood and colour. Her interpretation did not move
me so much; perhaps her fingering was just that bit too heavy
for such a title - tenderness was lacking. Yet her ‘A Leaf
Gone with the Wind’ haunted even if the pauses seemed a
little long. But then Pĕchočová’s ‘Come
With Us’ seemed colourless, lacking in any form of expression
in comparison to Owen whereas her ‘The Madonna of Frýdek’ was
beautifully realised. ‘They Chattered Like Swallows’ was
a nice vision, jolly and childlike. After a sombre beginning, ‘Words
Fail’, alternated a lovely lilting with strong forceful
chords while ‘Good night’ hesitates, suggesting pent-up
anxiety, then relief. In ‘Unutterable Anguish’ Pĕchočová demonstrates
this anguish only too well. ‘In Tears’ we are left
wondering: are these tears of joy or sorrow; we are left guessing
because of the varying rhythms and moods. Finally, alternate
fortissimo flourishes and quiet gentleness inform ‘The
Little Owl Has Not (YET?) Flown Away’.
The Andante and Allegretto the two opening movements
of Book 2 On an Overgrown Path are similar in style, reflective,
anxious and angry in turn. The Paralipomenas are all so similar
too. There is often evidence of thematic linking and frequently
Moravian folk-dance rhythms. The little Reminiscences are quite
charming and lyrical. Pĕchočová’s reveries
are beguiling enough.
Finally the four-segment In the Mists mixes secular and
liturgical influences. There is evidence of Janáček’s
fondness for native speech-rhythms as well as more fragile images
suggesting, perhaps, Vespers heard in distant, evening twilight.
Pĕchočová rises well to the challenges of this
often complex music. It displays frequent mood-changes from lyrical
and thoughtful and gentle and tender to anger and confusion.
As much as I enjoyed this new recording I felt that Pĕchočová’s
readings lacked the conviction, colour and expression Charles
Owen brought to these lovely works.
Grace Lace
Full tracklist
Piano Sonata in E flat minor 1:x:1905 ‘From
the Street’ (1905) [13:30]
‘
Presentiment’ [5:55] and ‘The Death’ [7:28]
On An Overgrown Path Cycle of piano pieces 91901-08)
Book 1 [29:47]: ‘Our evenings’ [3:22]; ‘A
Leaf Gone with the Wind’ [3:05], ‘Come With Us’ [1:16]; ‘The
Holy Virgin of Frýdek’ [3:37]; ‘They Chattered
Like Little Swallows’ [2:22]; ‘Words Fail!’ [1:58]; ‘Good
Night!’ [3:00]; Unutterable Anguish [3:36]; ‘In tears’ [3:17]; ‘The
Little Owl Has Flown Away’ [3:33].
Book 2 [16:49]: Andante [3:00]; Allegro [3:40];
Paralipomenas (i) più mosso [2:25]; (ii) vivo [2:38];
(iii) allegro [5:03]
Reminiscence (1928) [1:08]
In the Mist four piano pieces: (1912) [15:42]:
Andante [3:31]; Molto adagio [4:48]; Andantino [2:38]; presto
[4:27]
Slávka Pĕchočová (piano) 
[77:33] 
