Alexandre TANSMAN (1897-1986)
Concertino for piano and orchestra (1931) [15:26]
Stele, in memoriam Igor Stravinsky (1972) [13:58]
Pièce Concertante, for piano left hand and orchestra
(1941) [15:44]
Élégie, to the memory of Darius Milhaud (1975)
[10:25]
Christian Seibert (piano)
Brandenburg State Orchestra, Frankfurt/Howard Griffiths
rec. January 2009, CPE Bach Concert Hall, Frankfurt-Oder
CPO 777 449-2 [53:22]
It’s often the case that one reads something along the lines
of; ‘times have never been better on disc for the admirer of...’
with the name of a once obscure, or possibly still obscure composer to
follow. I should know: I’ve written things like that often enough.
Yet, faced with the flood of Tansman releases in the last few years, and
I’ve also done my fair share of reviews, what else can one say?
Thanks, certainly, to the various record companies involved which provide
opportunities to explore more deeply his vivid work list.
The pieces here span forty years. The Concertino was written
in 1931 for José Iturbi. Right from the off this bangs along nicely,
the piano’s striking toccata-like dynamism proving consistently
exciting. Fortunately there are some droll syncopations to keep mere
mechanism at bay, and his love of Gershwin - whom he knew well - is
certainly audible. So if you like Parisian modernism crossed with early
Martinů, this will suit you fine. The Chopinesque delicacy in the
central movement is flavoured with more Gershwin moods, before the giocoso
high jinks of the finale are unleashed: Rhapsody in Blue meets La
Revue de cuisine.
Tansman collectors will find that this first ever recording of the
Pièce Concertante, for piano left hand and orchestra
(1941) is, in fact, also its first ever performance. It was left as a piano
score, written for Paul Wittgenstein, and Piotr Moss - whose music I have
reviewed and admired - has orchestrated it. It’s a fascinating
mélange of influences, primarily Ravel - with whom Tansman studied -
and Gershwin once more. It’s a demanding piece for the pianist, but
there are evocative moments in the slow movement and high spirits in the
finale which seems infatuated with Ravel’s Piano Concerto.
By contrast Stele, in memoriam Igor Stravinsky which was
written in 1972 presents a serious elegy with some Stravinskian quotations
embedded, and plenty of terse driving writing too. The conjunction of
rhythmic vitality and rapt stillness is compelling. Then there is another
memorial piece, Élégie, to the memory of Darius Milhaud
which also, albeit briefly, quotes from Milhaud (La Création du
Monde). It’s necessarily melancholy but there are some fine
baroque-styled brass interjections in the finale to keep things acutely
interesting for the listener.
The lighter and heavier side of Tansman are presented here; two
biggish concertante piano works and two memorial pieces. Fine performances
and recordings ensure considerable pleasure.
Jonathan Woolf
Fine performances and recordings ensure considerable pleasure.