Johann Sebastian BACH (1685-1750)
English Suite No.2 A
minor, BWV807 (c.1725) [21:23]
Robert SCHUMANN (1810-1856)
Faschingsschwank aus Wien
(1839-40) [23:30]
Sergei PROKOFIEV (1891-1953)
Piano Sonata No.6, A
major op.82 (1940) [30:14]
Elisabeth Nielsen (piano)
rec. no date supplied, Bartok Studio, Milan, Italy
DANACORD DACOCD761 [75:00]
I was delighted to receive this CD of piano music played by the young and
exceptionally talented Danish pianist Elisabeth Nielsen. She could not have
chosen a better programme to suit my taste than if I had devised it myself.
She begins with my favourite English Suite by Bach, continues with a highly
romantic offering from Schumann and concludes with the ‘War ’Sonata No.6 by
Prokofiev - a challenging work for both pianist and listener
J.S. Bach wrote a set of six English Suites (BWV 806-11) for harpsichord.
It is hard now to understand why they were titled ‘English’ however one
suggestion from Bach’s early biographer Forkel is that they were composed
for an English nobleman. Certainly, they bear little resemblance to
contemporary Suites written at that time in England. Another view is that
they nod in the direction of the French composer Charles Dieupart’s keyboard
suites which opened with an overture rather than a prelude. Dieupart was
working in Britain at that time.
The A minor Suite (BWV 807) is the second of the series and has seven
movements including two ‘bourées’. Elisabeth Nielsen played this Suite with
considerable skill, understanding and flair. I particularly enjoyed the
tarantella-like ‘gigue’ and the deeply moving and thoughtfully played
‘sarabande’.
The suite for piano Faschingsschwank aus Wien, op.26 was composed
by Robert Schumann in 1839. It was inspired by a visit he had made to Vienna
the previous year. The English translation of the title is ‘Carnival Jest
from Vienna’. The work is presented in five sections which are played
without a break. The opening ‘allegro’ has a folk-song feel to it and surely
represents the excited visitors arriving at the festival. Schumann has
introduced a quotation from ‘La Marseillaise’ into this movement. This tune
was banned in Austria at this time: it is most likely that this allusion is
the ‘joke’ of the title. The second section is a beautiful ‘romanza’ which
is short, sad and enigmatic. The Scherzino is vibrant and vivacious with
substantial virtuosic moments. I love the ‘Intermezzo’ which is probably the
most accomplished of the five movements. It is hugely romantic, fervent and
has a soaring melody. This piece is often heard performed divorced from the
rest of the suite. The finale is pure joy: any sadness has been banished and
Schumann brings the work to a close with a ‘longing for love, humour and
celebration of life’. Nielsen provides a superb rendition of this
delightful, but technically demanding piece.
Prokofiev’s Piano Sonata No.6 is one of a trilogy of works composed during
the Second World War. They have been designated the ‘War Sonatas’. These are
challenging works and present the composer successfully balancing emotions
of aggression, pessimism and confidence. This present sonata is the longest
of the series, lasting for more than thirty minutes.
The first movement is hostile. Acerbic harmonies and ‘driving’ rhythms’
make this unsettling music. It seems to lack both warmth and compassion. I
am never sure what to make of the scherzo, ‘allegretto’. This is in
considerable contrast to the preceding ‘warlike’ music of the opening
movement, yet there is a sarcastic edge to this rather distorted march that
is quite scary. The ‘trio’ section is a little more restful. The third
movement is in considerable contrast to much that has gone before. This is
much calmer, and more reflective. It is written as a long, slow waltz in 9/8
time. The concluding ‘vivace’ is designed as a ‘rondo’ with vibrant and
vastly contrasting themes. There are some backward glances to the opening
movement, yet the work concludes with considerable optimism, bearing in mind
when it was composed. This Sonata requires a massive technique which Nielsen
is perfectly able to supply.
The CD insert is attractively designed and includes childhood drawings by
the pianist. Elisabeth Nielsen was born in Sorø, Denmark in 1993. She began
to play the piano aged seven with the Ukrainian, Professor Milena
Zelenetskaja. Nielsen studied at the Royal Danish Academy of Music between
2008 and the present taking both her Bachelor’s degree in classical piano
performance and latterly her Master’s Diploma. She has been successful in a
number of piano competitions and has given recitals in many European
countries.
The liner-notes are a personal reflection by the pianist on these three
works. It would have been good to have included the composers’ dates in the
track-listings, as well as the date of composition of each work. No
recording date given - or at least none that I could find.
All in all, this is an excellent debut album from Danacord. I am sure that
we shall be hearing more of the remarkable Elisabeth Nielsen in the near
future.
John France
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