Pyotr Ilyich TCHAIKOVSKY (1840-1893)
Russian Impressions
Claudia Schellenberger (piano)
rec. 2019, Immanuelskirche, Wuppertal, Germany
HÄNSSLER CLASSIC HC19007 [58:23]
On Hänssler Classic this new album of Tchaikovsky piano works titled ‘Russian Impressions’ is performed by German soloist Claudia Schellenberger. From a young age Tchaikovsky had piano lessons but by no means did he develop sufficiently to be regarded as a virtuoso pianist. He wrote solo piano pieces right from the start of his career through to the final months of his life. Given that his Piano Concerto No. 1 in B♭ minor is one of the most admired of the genre it’s inexplicable that his other solo piano works have never enjoyed great popularity. In my view the majority of Tchaikovsky’s piano scores are all too often unfairly dismissed as inconsequential salon pieces. Of his solo piano works I’ve always enjoyed hearing his Grand Sonata No. 3 in G major, Op.37 and his collection of twelve short pieces known as ‘The Seasons’, Op.37a. My only encounter with Tchaikovsky’s solo piano works in the concert hall was a few months ago at the Dresdner Musikfestspiele 2019. In front of a large audience at the Lichthof, Albertinum, Russian soloist Nikolai Tokarev gave a compelling performance of ‘The Seasons’, Op. 37a, a set of twelve short characteristic scenes written around the mid-1870s.
Schellenberger has chosen here a collection of thirteen piano works which are presented in
chronological order. The earliest works are two of the three pieces from his first cycle Souvenir de Hapsal, Op.2 written in 1862 when Tchaikovsky was in his early twenties through to two of the eighteen Morceaux for piano, Op.72 from 1892 the year before his sad and untimely death.
Standing out for me is the Romance in F Minor, Op.5 from 1868 an unashamedly affectionate, aria-like score with a martial sounding central section.
From the set of six pieces, Op.19 three works are included, all of which are worthy of attention. The Rêverie du soir is an evocative and wistful piece and the following Nocturne is another hauntingly atmospheric score. Most notable of all is the Thème original et variations which at twelve minutes is the longest work on the album. The glorious writing is full of swiftly changing moods from a sense of calm contemplation and melancholy to one of carefree ebullience.
The second longest work included at eight and a half minutes is the Dumka, Op. 59 picturesquely subtitled ‘Russian Rustic Scene’. Written in 1886 this Andantino cantabile movement contains an aching sense of reflection with vibrant, dance-like central section.
Enduring throughout this collection is the feeling that the assured Claudia Schellenberger is entirely inside the spirit of the music. Standing out for me is her impeccable timing and production of such a colourful tonal palette. Entirely unmannered, Schellenberger’s playing seems to let Tchaikovsky’s music speak for itself. Recorded at Immanuelskirche, Wuppertal praise is due to the engineering team for producing such satisfying sound quality. Teresa Pieschacón Raphael is the author of the booklet essay which contains most of the essential information. Certainly ‘Russian Impressions’ is a captivating album that should have significant appeal to Tchaikovskians and admirers of Russian music.
Michael Cookson
Contents
1. No. 1, Ruines d'un château, from Souvenir de Hapsal, Op.2 [5:24]
2. No. 3, Chant sans paroles, from Souvenir de Hapsal, Op.2 [2:46]
3. Romance in F Minor, Op.5 [5:04]
4. No. 2, Polka de salon, from 3 Pieces, Op.9 [2:46]
5. No. 1, Rêverie du soir, from 6 Pieces, Op.19 [5:04]
6. No. 4, Nocturne, from 6 Pieces, Op.19 [2:40]
7-20. No. 6, Thème original et variations, from 6 Pieces, Op.19 [11.54]
21. No. 3, Impromptu, from 6 Pieces, Op.21 [2:11]
22. No. 6, Chant sans paroles, from 12 Pieces, Op.40 [2:32]
23. No. 6, Valse sentimentale, from 6 Pieces, Op.51 [4:01]
24. Dumka, Op.59 [8:30]
25. No. 3, Tendres reproches, from 18 Pieces, Op.72 [2:39]
26. No. 15, Un poco di Chopin, from 18 Pieces, Op.72 [2:37]
