Stefan WOLPE (1902-1972)
Music of Stefan Wolpe - Volume 6
Four Studies on Basic Rows (1935-36) [30:24]
Three Pieces for Youngsters (1950) [2:03]
Lied, Anrede, Hymnus, Strophe zarteste Bewegung (1939) [1:13]
Two Pieces for Piano (1941) [4:14]
Toccata in Three Parts (1941) [10:57]
Studies for Piano, Part 1, Displaced Spaces (1946-48) [5:12]
Studies for Piano, Part 2 (1948) [4:10]
Two Dances for Piano (1926) [5:09]
Palestinian Notebook (1939) [6:40]
Songs Without Words (1959) [3:08]
David Holzman (piano)
rec. 11-12 July, 2008; 2-4 November, 2009; 10 July 2010, Rogers Center for
the Arts, Merrimack College, North Andover, Massachusetts, USA. DDD
BRIDGE 9344 [73:21]
This excellent series of music by Stefan Wolpe, whose life spanned the first
three quarters of the last century, continues both to perplex and to delight.
To perplex because the musical character of German exile to Palestine Wolpe
was so complex, enigmatic and diverse. To delight because of the very high
quality both of that intriguing music and its playing.
Indeed, David Holzman's first CD in the series (BRIDGE 9116) in 2003 was nominated
for 'Best Solo Instrumental Performance' in that year's Grammys and did in
fact go on to win AFIM's INDIE award as 'Best Classical CD'. The current recital
has all the vigour, perception and delicacy of his earlier success. The music
played here was written between 1926 - before Wolpe and Irma Schoenberg (1902-1984)
emigrated to Palestine, in 1934 - and 1959 only just over a decade before
his death.
Particularly noteworthy is the first complete recording of Wolpe's huge Four
Studies on Basic Rows (1935-36). It occupies almost half this CD and includes
the composer's most frequently-recorded piano piece, the 'Passacaglia' [tr.4],
which is in turn the longest single movement here at getting on for a quarter
of an hour.
Music representing Wolpe's time in Germany, Palestine and America is included.
It varies in complexity and scope from the experimental to music written for
his students. So you're getting a mixture, a taster, of Wolpe's output for
the instrument. You're also getting it played by undeniably the greatest interpreter
of Wolpe's keyboard music alive today.
In his essay for the CD's liner notes, Holzman describes how he has come to
know Wolpe so intimately that he can detect the composer's most minutely expressed
moods and feelings in his music. Although this is evident from Holzman's control
of tempi, phrasing and timbral nuance, the pianist is never permissive to
the exclusion of the true musical essence which he's gently intent on conveying.
It's insight and interpretation first, and any hint of special understanding
second. The playing of the 'Passacaglia', for instance, is approached with
great confidence and all the necessary familiarity; Holzman unshowily brings
to the performance his ability to anticipate and to pace the music yet is
as fresh and full of surprises as can be.
Holzman reveals and commends the depth and breadth as well as the engaging
beauty of these works: Wolpe's fascination with the colours (literally) of
intervals was never mechanical, forced or self-indulgently indecisive. Holzman
quietly and effectively communicates with great conviction and confidence
the gentle and at times understated loveliness in music whose titles sound
as though they were mere exercises. They're not. Their range and originality
are impossible to miss thanks to Holzman's perception and dedication.
His playing is alert and alive. It continually presents new delights. Listen
to the juxtaposition of the 'Pastorale' then 'Con fuoco' of the Two Pieces
for Piano from 1941 [trs. 9, 10]. It's not that they could be by different
composers (Berg then Webern perhaps); nor that the same composer is as versatile
as he clearly is. The playing succeeds because it's conversant with the wealth
of resources on which Wolpe draws at any one time. These include moods, light,
invention, ties to other formats, references and original topoi in
which Wolpe is so evidently at home. As a result, what does emerge in contrasts
and parallels somehow has its own logic.
Technically Holzman is flawless. The piano is recorded nicely forward yet
with enough space to allow full air to the many timbres and palettes it's
required to evoke. The notes, which are nicely informative - especially for
someone new to Wolpe's world - explain the somewhat relaxed circumstances
under which this recital was prepared and executed. Indeed, there's a spontaneity
and lack of deliberateness to the playing, to the order in which the pieces
are heard and consequently to the listener's overall delight in this slice
of a very intriguing composer. But this is a freedom which not for a minute
even hints at sacrificing the rigour necessary for music as demanding as this.
The result: an hour and a quarter's sheer enjoyment and inspiration.
This sixth volume in Bridge's series fulfils the promise of the others released
so far. It's a great introduction to Wolpe's piano music for those unfamiliar
with it. Since most of the pieces here presented are not available elsewhere,
Holzman's recital will also satisfy collectors of Wolpe. Don't hesitate.
Mark Sealey
A special and splendid collection of the piano music of Stefan Wolpe played
to perfection by the leading living interpreter of his keyboard music.