Julius RÖNTGEN (1855-1932)
Variations on a theme by César Franck (1903) [15:37]
Carl REINECKE (1824-1910)
Variations on a theme by J.S. Bach, (1849), Op.24 [12:43]
Julius RÖNTGEN
Variations on a theme by Beethoven (1917) [12:55]
Carl REINECKE
Andante and Variations, Op.6 (c.1844) [12:16]
Johannes BRAHMS (1833-1897)
Variations on a theme by Haydn (St. Antoni chorale) (1873), Op.56b [17:50]
Mark Anderson (piano), Michelle Mares (piano)
rec. 11-12 July 2019, Wyastone Leys, Monmouth, UK
Röntgen: Piano Music Vol. 5 - Music for 2 Pianos
NIMBUS NI5996 [71:00]
I have very much enjoyed the first four volumes in Mark Anderson's series introducing the solo piano music of Julius Röntgen (Nimbus NI5918 Review, NI5937 Review, NI5966 Review, NI5975 Review). In the latest volume of this fascinating series Mark Anderson and Nimbus Records have taken a slight detour to explore the music for two pianos, bringing pianist Michelle Mares into the fold. They have chosen to contrast two of his variation sets with two piano repertoire by Carl Reinecke and Johannes Brahms that, to be fair, is in a similar vein. I can see the appeal and it is good to hear the Reinecke in fine performances (and the Brahms for that matter) but there are other two piano works by Röntgen; the Scherzo op.33, the Passacaglia and fugue and the Passacaglia on a theme by Donald Francis Tovey to name just three. Perhaps scores for these were not available or perhaps they will appear on a later volume. Scores, of course, are not always easy to come by and it is worth noting that Nimbus have published the scores of both of the Röntgen variation sets that appear on this disc.
The disc opens with the almost heart-rending strains of the theme by César Franck...except it isn't by Franck. The theme, Chant de la Creuse, is a folksong that art critic Paul Poujard, who came from the Creuse region of France, introduced to Franck in 1888 and who then turned it into the second of his 18 Pièces brèves for harmonium. Röntgen is masterful in his treatment of this theme. Several variations maintain the simple lyricism of the melody while others divide the outlines of the theme between the two pianists. The first two variations envelop the theme in a rich accompaniment while later ones, variations 10 and 11 for instance, move to the major key and change the texture so that we hear echoes of a music box in the light higher reaches of the piano. The unusual time structure of the theme – interspersing triple time bars amongst the mostly duple time melody – gives rise to other metrical variety. Variation three contrasts not only articulation, smooth and lyrical superimposed with short and detached, but also places two beats against three. In the energetic fourth variation this triple time contrast is highlighted by almost pugilistic elements popping out of the texture. I am impressed with the range of texture and articulation that Röntgen brings to this piece, whether it is chorale like chords or a kind of ghostly scherzo – I fancy I hear a faint echo of Brahms' Hungarian Dance no.1 in this variation. His Variations on a theme by Beethoven written some 14 years later feature much the same ingenuity in the writing. The theme, the A flat melody from the finale of the String quartet op.130, does not immediately appear. First there is a sombre, brooding opening, punctuated by sforzando notes. The first two notes suggest the opening of Chopin's B flat minor sonata but this is quickly dispelled - there is no sense of key here but there is a keen sense of loss and despair; I can present no evidence but perhaps the date that this work appeared and the state of the world has something to do with this? The theme begins to emerge out of this mist and variations, seven in total, are otherwise wreathed in warm autumnal colours. In the first variation the theme is heard against itself, in its original quavers and a counterpoint in slower crotchets whilst the second has the pianists delicately trading short motifs from the theme. The third breaks down the theme in a novel rhythmic fashion and the fourth grows more impassioned. Variation 5 is an energetic romp in which dotted rhythms abound as does a triple/duple time mix. Rather than head straight into the last two variations Röntgen reprises the dark introduction which segues into the open bars of the quartet that the variation theme is taken from. Variation 6 grows out of this, and the coda, marked as variation 7, follows. Unlike the dramatic conclusion to the Franck variations this is a gentle unfolding of the theme that leads to a tranquil ending. It is fair to say that the spirit of Brahms hovers above much of this music but that is not to detract from the genuine appeal of these works. They are wonderful to listen to and full of inventive and rich piano writing.
If we sense the spirit of Brahms at times in Röntgen's music then it is the spirit of Robert Schumann that infuses the Andante and variations by Carl Reinecke. This appears to have been written the year after Schumann's Andante and variations op.46 although I have seen conflicting dates for both works. Both works are beautiful and if Reinecke was indeed concerned that he is just reproducing old models, as Schumann's comments quoted in the booklet would suggest, then I feel he need not have worried. This may be an early work but it is wonderfully constructed with a lovely, lyrical theme that I imagine Schumann would have been proud of. There is also creative use of the medium; the interplay in the early variations, playfully passed triplet figures between the pianos or the heroic chords of the following variation. We have a madly galloping allegretto and a delicious presto waltz that suddenly takes a detour into baroque inspired counterpoint full of treacherous octaves, handled fearlessly by the team of Anderson and Mares. This is the finale and it suggests a grand conclusion is just around the corner but instead Reinecke chooses to recapitulate the heart warming andante and bring the work to a satisfyingly calm close.
Move on 5 years and we have Reinecke's Variations on a Sarabande by J. S. Bach. The theme is the Sarabande from the French Suite no.1 in D minor and this is stated by each pianist in turn before additional counterpoint is added to it. A distinctive rhythmic feature starting as a low growling in the second piano soon opens out into an urgent minuet-like variation. I love the next variation, with its high octave melody dramatically soaring over a sweeping semiquaver underlay and sounding like some grand transcription of an organ work. The next variation is a song without words, lyrical and emotional. The mood is quickly dispelled by a declamatory dotted-rhythm canon. Another canon follows but this is far more light-hearted, dancing in a jaunty 6/8 with snatches of the theme, firmly in 2/4, burrowing into the texture. Dotted rhythms seem to be the order of the day and the next variation sweeps ahead energetically in this manner before losing impetus and giving way to an introspective mood, with hints of Schumann again in its dialogue between the pianists. The finale is a vigorous triple time dance with lots of quasi-baroque features recast in grand virtuoso style.
The final work on the disc needs no introduction or description from me. Quite apart from the fact that Brahms' Variations on a theme by Joseph Haydn are famously not on a theme by Haydn in the same way that Röntgen's Variations on a theme by César Franck aren't on a theme by Franck this work fits very well into the programme alongside the heavily Brahms-influenced variations by Röntgen. I am impressed with the performances throughout and delighted to be introduced to these wonderfully crafted and appealing works. The Röntgen are first recordings as, I believe, are the Reinecke Sarabande variations. His Andante and variations has appeared before in a 1993 recording by Thomas Hitzlberger and Georg Schütz (CPO999106-2 not reviewed) with other two-piano works by Reinecke as well as works by Joachim Raff and Joseph Rheinberger – certainly worth a listen – but this new recording, in excellent sound, is well worth exploring. I look forward to further volumes in this enterprising series – perhaps we will get to hear the Passacaglia on a theme by Donald Francis Tovey before too long?
Rob Challinor
Previous review: Jonathan Welsh
