This CD is unashamedly
a sampler. In fact Stephen Hough says
as much in the introduction to the minimalist
programme notes. It is not designed
for the Hough aficionado, but for the
neophyte who is approaching the maestro
for the first time. Hough claims that
there is a piece from every published
solo album (on Hyperion) plus two works
that have never been issued or heard
anywhere else.
For those of us who
have followed his career (and purchased
his CDs) there is little reason to buy
this disc – unless we have the train-spotting
mentality of wishing to collect everything
in his discography. I am not sure that
I would fork out even for a budget CD
for the 2 minutes 38 seconds of Pining
for the Spring Breeze – attractive
as it is. There is something of the
Henry Cowell about this work. Apparently
it is a popular song in Taiwan – I wonder
if ‘popular’ is in the sense of the
Beatles or By yon Bonny Banks and
Braes. Who knows?
The other ‘not previously
issued’ work is the pianist’s own Suite
Osmanthus. Now I am not sure I can
quite work out what is going on here.
The work, apparently, is based on the
‘musical’ letters of the name of their
dedicatee – Dennis Chang. The construction
of this work is not explained. Although
it sounds rather good - especially the
middle section – but I am not sure whether
it is a masterpiece. I am not convinced
that I particularly enjoy this ‘chinoiserie.’
Better programme notes would have helped
enormously.
But what else in on
this ‘retrospective’ CD?
A brief perusal of
the Hyperion discography reveals Stephen
Hough having produced some eighteen
discs. Seven of these are for piano
and orchestra, cello or tenor solo.
These have not been sampled. The repertoire
is wide-ranging and shows the pianist’s
superb ability at playing a variety
of styles – from classical rondos to
12-tone works via Liszt and César
Franck.
Each work in the programme
notes is introduced by the pianist with
a witty, pertinent or pithy comment.
The opening work, Chopin’s
Ballade No.3 in Ab major is a
result of Hough being accused of only
playing obscure music. This Ballade
is rightly one of Chopin’s most popular
pieces and is played to perfection on
this recording.
Hough tells us that
he knew the works of Federico Mompou
before he had come to terms with Bach
and Brahms. In fact Mompou's piano music
was on the very first LP that Hough
owned. The Paisajes (Landscapes)
are beautiful in a way that transcends
the Spanish background to these pieces.
The present La fuente y la campana
(The Fountain and the Bell) is described
by Hough as possessing an ‘ecstatic
calm and intimacy.’
The work by Ben Weber
(Fantasia (Variations)) is derived
from 12 tone techniques. It is obviously
quite an introverted work – although
there are a number of passionate outbursts.
Like many 12 note composers Weber does
not eschew tonality – but creates an
interesting and finally successful synthesis.
Hough could not have
picked a better movement from Johannes
Brahms Piano Sonata for this
disc. The 3rd Sonata
is a large five movement work that has
been described as the greatest love
music since Tristan. Whether
this is a fair judgment or not I will
leaved the listener to decide. However
the ‘scherzo’ has been described as
‘signifying a sense of the muscular
swing and release of pent-up energy.’
It is certainly an impressive extract
under Hough’s fingers.
My favourite piece
on this CD is the seductive and extremely
beautiful, if somewhat restrained Berceuse
by York Bowen. Bowen is one of those
very few composers whose every work
appeals to me. I have never heard a
piece of his that I did not fall in
love with immediately. And as an aside,
do not forget to check out the Bowen/Forsyth
coupling of the Viola Concertos on Hyperion!)
The ‘finale’ from the
Piano Sonata in C major D613
by Franz Schubert is unfinished – but
let’s hear what Hough writes:-
‘This is an unfinished
movement of an unfinished sonata by
this composer with an unfinished creative
life. It is extremely awkward to play
and I wonder if Schubert gave up mid
stream because his fingers, rather than
his musical ideas, were getting tied
up in knots!’
As one may already
have guessed Hough handles this movement
with skill and aplomb. It is rather
a lovely piece actually.
Johann Hummel is one
of those composers who are actually
much more competent than the press he
receives would suggest. Although perhaps
not quite matching Beethoven and Schubert
for genius, he surely deserves a greater
role in the pantheon of composers. This
work, the ‘vivace’ from the Piano
Sonata in F# minor Op.81 is, to
quote Hough, ‘finger-busting’ and full
of the ‘confidence of a monkey flying
through the trees.’ As a personal note
I have always found I actually enjoy
Hummel’s Sonatas more than Ludwig
Van B’s!
Tchaikovsky’s Pas
de Quatre as transcribed by Earl
Wild is one of those short pieces that
ought to be in the ‘encore’ list of
any pianist. Nothing really special
but a nice witty way of rounding out
a recital. The piece originally comes
from Sleeping Beauty.
What can one say about
Stephen Reynolds’ Chanson d’automne?
Well I will say just this: it is surely
one of the loveliest pieces of piano
music in the repertoire. I would just
have to have it on my desert island.
The text does not say when it was composed,
but apparently it was circa 1980. Ok,
call it retro if you will, but to me
it is the perfect evocation of an autumn
evening – and that is all that matters.
The Liszt Second
Polonaise is one of works that make
aspiring pianist (or long-term amateurs)
think about giving up. ‘Fireworks’ is
the most obvious word to describe this
lively piece. Of course the ‘Polonaise’
part of it bears little resemblance
to those similarly named works of Chopin
that I recall trying to pick my way
through (the easier ones!) but Liszt
preserves the name and the rhythm. It
is definitely a work that is in your
face – a show-stopper.
The last piece is well
known to students of the organ loft.
César Franck is one of the great
masters for that instrument. But many
people forget that he composed much
for the piano. In fact his piano concerto
is probably about the least known of
the great romantic works. This transcription
of the Third Chorale is a masterpiece.
I was not sure how I would feel about
hearing this work in a guise that was
complete new to me. As it happens this
work sits extremely well for the piano
although I know that Stephen Hough did
struggle to get the balance right. This
is and always has been a deeply felt
and moving work – this transcription
sheds new light on what is rightly a
masterpiece.
This is a fine introduction
to the piano playing of one of the great
talents of the present age. He is a
fine complement to Hyperion’s catalogue.
My only complaint is that the CD liner
notes do not give much help on the individual
pieces. Perhaps they assume that if
the listener is really interested they
will buy the source CD! And one other
thing: I know that Hough was born in
1961, but I could find no reference
in this CD or on the net to where he
was born!
John France
Stephen Hough, piano 
