Johannes BRAHMS (1833-1897)
Sonata No. 1, Op 1 (1852-53) [28:58]
Intermezzo, Op. 117 No. 3 in C sharp minor (1892) [5:25]
Intermezzo, Op. 119 No. 2 in E minor (1893) [4:37]
Variations on a Theme by Robert Schumann, Op. 9 (1854) [16:18]
Capriccio, Op. 76, No 1 in F-sharp minor (1876) [3:26]
Capriccio, Op. 76, No 2 in B minor (1876) [3:21]
Intermezzo, Op. 76 No. 6 in A major (1876) [3:29]
Ballade, Op. 10, No 1 ‘Edward’ in D minor (1854) [4:43]
Variations on a Theme by Niccolo Paganini, Op. 35, Book 1 (1862-63) [13:01]
Barry Douglas (piano)
rec. West Road Concert Hall, Cambridge, 2014
CHANDOS CHAN10857 [82:57]
This is Volume Four of Barry Douglas’s survey of the
solo piano music of Brahms. I have reviewed, and been impressed by, the previous
releases (Volume
1 ~ Volume
2 ~ Volume
3). This volume was recorded in the same venue as the others though I
notice that this time a different Steinway was used; this one is owned by
Jesus College, Cambridge.
In his excellent notes Nicholas Marston tells us that when Robert Schumann
was making interest with the firm of Breitkopf & Härtel to get some of
his young friend’s works published Brahms was insistent that he wanted
his C major Sonata designated as his Opus 1. That was a bold statement for
an up-and-coming composer to make but I think that the quality of the music
justifies his confidence; this sonata is a fine way to announce oneself and
with which to start a catalogue of published works. The first movement excitingly
mixes heroism and lyricism and Barry Douglas is equally adept with both facets
of Brahms’s inspiration. The variation form was to be an important element
in Brahms’s compositional armoury over the years and the slow movement
of this sonata offers the earliest published example. He takes an old German
folk song as his theme for some gentle, ruminative variations. Barry Douglas
does them beautifully. There’s drive in the way he plays the scherzo
material in the third movement and then he gives an excellent account of the
energetic and spirited finale. This is a fine reading of the sonata.
As has been his wont throughout this series, Douglas gives us a selection
of shorter pieces from the various collections that Brahms published over
the years. Op. 117/3 comes from the other end of Brahms’s career so
it’s a good choice to follow the early sonata. Its melancholy beauty
offers a pleasing contrast to the youthful vigour of the sonata. Here Douglas
displays a lovely touch. He’s similarly excellent in Op. 119/2 where
his use of rubato is as pleasing as it seems natural. I enjoyed the other
short pieces too, not least the fine liquidity of his playing in Op. 76/1
and the delicate, pointed staccato playing in Op. 76/2. Incidentally, Nicholas
Marston points out the similarity between that piece and Variation V of the
Schumann Variations. As Chandos have very helpfully put each of the variations
in this work and in the Paganini Variations on separate tracks I was able
to flick between the respective tracks (track 25 and track 12) and I can confirm
that Mr Marston is spot-on.
The Schumann Variations were based on a theme from Schumann’s Bunte
Blätter, op 99. Brahms dedicated the work to Clara; was this the first
piece he inscribed to her? The variations are compressed: the theme and 16
variations take just over sixteen minutes in this performance and quite a
few of the variants play for less than a minute. But, to coin a phrase, length
isn’t everything and these are resourceful and often subtle variations.
Brahms is inspired by the theme but never fettered by it. Instead he uses
Schumann’s theme as an imaginative springboard, for example in Variations
V and XII. Barry Douglas offers a very fine performance. Among many ear-catching
examples I would single out his expertly pointed delivery of Variation XIII
and the beautifully poised renditions of Variations XIV and XV.
Book I of the Paganini Variations also fares extremely well at his hands.
Once again Brahms inspires admiration for his concision: here we have a theme,
fourteen variations and a coda in the space of thirteen minutes; not a note
is wasted. The theme is so well known nowadays – though perhaps rather
less so in 1862 – and I like the point that Nicholas Marston makes in
saying that here the theme functions “as an implicit harmonic scheme
which it is the task of the variations to articulate and vary as they proceed.”
Barry Douglas gives a terrific performance, bringing each variation, no matter
how short, to life. Once more Brahms proves himself inventive in the matter
of composing variations and there’s remarkable variety. I love the limpid
delivery of Variation XII in this performance and also the capricious “tinkling”
in Variation XIII. The tumultuous cascade of notes in the following variation
impresses greatly but that’s no real surprise given the strength with
which this pianist had already despatched the seventh and eighth variations.
This is an altogether splendid performance and I hope that Book II will feature
in the next volume in this series.
As has been the case with previous issues in this Brahms cycle Chandos have
produced a very fine recording which shows off the sound of the Steinway and
the many facets of Barry Douglas’s pianism to excellent effect. The
documentation is up to the usual high standards of the house.
I’m enjoying following Barry Douglas’s traversal of Brahms’s
piano music. This is another fine instalment and I look forward keenly to
Volume 5.
John
Quinn
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