My earliest introduction to Franz
Reizenstein was in Harrods in Knightsbridge, London. In 1974, that iconic store
had an excellent record department. Amongst the browsers, I found two Lyrita
albums of piano music: one by William Wordsworth and the other by the present
composer (RCS13 & RCS19). I had already begun collecting this wonderful
record label, but these two discs were the first of the old ‘mono’ albums that
I had come across. Reizenstein’s piano
music had been issued as far back as 1959, so I am assuming that what Harrods
had was ‘old stock’. Nevertheless, it
was difficult to possess my soul with patience until I got back to Glasgow and was
able to listen to these two LPs. I recall being impressed, if a little disappointed:
I guess I thought that this music would sound more like Bax or Ireland. Since
then, I have followed the trickle of works released on vinyl and CD from both
of these composers. At present there are some 20 works by Reizenstein on 9
albums currently listed on the Arkiv Website. (Wordsworth has 5 works on 2
discs)
Around the same time, I bought a
collection of ‘educational’ albums for piano – Five by Ten published by Lengnick. These were ‘modern’ pieces
especially written for the collection by ten composers including William Alywn,
Elizabeth Maconchy, Malcolm Arnold and Reizenstein. Unfortunately Reizenstein’s
contribution to this series has not been included in the CD collection. They
may not be the most profound of works, but they are neat, well written and
designed to trap the unwary or over confident (as I found out).
There is a good, if brief, biography of
Reizenstein on the excellent website dedicated to the
composer’s life and achievement, which I recommend to all listeners of these
discs. A few notes may be of interest to readers. Franz Reizenstein can be
classified as an honorary English composer. Along with Hans Gal, Egon Wellesz
and Mátyás Seiber, he escaped Nazi Germany before the Second World War and
began a new life in Britain. All these composers surely fall into the category
of ‘unjustly neglected masters.’
Reizenstein was born in Nuremberg, Germany
in 1911. Following study with Paul Hindemith in Berlin (1930-4) he settled in
London. During this period he was a pupil of Ralph Vaughan Williams at the
Royal College of Music (1934-6). After the war, during which he was interned
until RVW pleaded on his behalf, he taught piano at the Royal Academy of Music
and also at the Royal Manchester College of Music (now the Royal Northern College of Music). He regularly played
piano in chamber music groups.
His
catalogue of compositions is not extensive, but includes a radio opera, Anna Kraus, a large-scale oratorio Genesis, concertos for piano (2), violin
and cello. He wrote a deal of chamber music as well as a number of works for
piano solo. He is best recalled for his two ‘important’ contributions to the
Hoffnung Festivals – Let’s Fake an Opera
and the ‘Concerto popolare’.
Grove’s Dictionary outlines three creative
periods of Reizenstein’s music. The first, from 1936-1945 often displays vigorous
energy, fugato textures counterpoised to an ‘eloquent lyricism’. The second
period, 1947-1959, saw the composer reach his mature style There is a deeper ‘elegiac,
expressive power’ in this music: he makes frequent use of chords of the 4th
and semitones. His textures involve an exploration of modality (not in an
archaic sense) and polytonality. Bartok and Hindemith are his models here. His final
period included film music which was more romantic than his earlier works. He was
master of pastiche as the contributions to Hoffnung suggest. Franz Reizenstein
died in London in 1968, aged 57.
The recording history of Franz
Reizenstein’s music is not extensive. At present the only real competition to
this Lyrita release is the composer’s own album noted above. This is still
available in mono in REAM2105. Philip Martin issued a fine selection of
Reizenstein’ music on Continuum (Continuum CCD1007): this is now only available
on download. I note that Kolja Lessing released an album (EDA Edition Abseits
EDA20) including the violin and viola sonatas as well as the Sonata No.1 for
piano. As a soloist playing both violin and piano she ‘double tracked’ the two
former works. I have not heard this disc.
A great place to start this three disc set
is with the Variations on ‘The Lambeth Walk’ (c.1958). This piece points up
Reizenstein’s undoubted skill as a master of parody. The theme is the
well-known tune from the revue Me and My
Girl which is presented in the then-contemporary ‘Cockney’ sing-a-long
style. A number of famous composers
feature in these variations: Chopin, Verdi, Beethoven, Mozart, Schubert, Wagner
and Liszt. There are snatches of those composers’ music quoted as well as their
‘take’ on ‘The Lambeth Walk’. The work was
originally an improvisation made by the composer at a party. There was never a
published score, only a recording (on a long deleted Parlophone record) and a
few written notes – a batting list for Reizenstein’s personal use. This is
definitely the case of a ‘serious’ composer letting his hair down. It would
make a great encore at any recital.
The presentation of the piano music on
these three discs is largely chronological which allows the listener to explore
the ‘periods’ outlined above.
Reizenstein’s first published work was his
Suite for piano, op.6 (1936) which written whilst he was a student at the Royal
College of Music. It is dedicated to his teacher there, Vaughan Williams.
Listening to this work reveals a kind of musical dichotomy. The faster, more
robust movements of this suite owe much to Paul Hindemith, whereas the
reflective sections nod to RVW. There is also an occasional ‘Prokofivean’
swagger. The Suite is in seven contrasting, but unified, movements. I enjoyed
this work, especially the delicious ‘aria’ (2) and the final ‘tarantella’ (7).
Three years later Reizenstein issued his
Impromptu, op.14. This is an easy-going piece that seems on face value to belong
fairly and squarely in the English style as exemplified by Ireland. It is a
beautiful work.
The Scherzo in A: Concert Piece for piano op.21
(1947) is powerful music that is largely staccato throughout with the exception
of the lento section where the composer presents the two principal themes
simultaneously. The work closes with a blistering coda. This Scherzo was
dedicated to ‘William Montagu-Pollock in friendship.’ Pollock was a politician,
an ambassador and was deeply interested in the promotion of modern music during
the 1930s at the London Contemporary Music Centre.
The short Intermezzo was written in 1941:
it is an attractive work that uses the minimum of musical material. The opening
and closing of this piece are elusive, with a little more drama in the central
section.
The Sonata in B, op.19 (1944) was
dedicated to William Walton. My first hearing of this work back in 1974 in the
composer’s recording on Lyrita caught my imagination.
Contemporary reviewers were quick to
criticise the work for its use of ‘unassimilated styles’ -it was felt that the
fingerprints of Hindemith and Rawsthorne (little Walton, though) were prominent
in this work. This Sonata is neo-romantic rather than ‘modern’ in spite of some
biting harmonies. The entire work covers a considerable range of emotion and
displays an impressive grasp of form and exploits the piano’s technical
capabilities. The opening movement is intense, tempestuous
and rhythmically diverse with syncopation and driving rhythms. The second is a
huge contrast. This is typically quiet, reflective music that is lyrical and
largely untroubled. Here and there an underlying passion does come to the
surface. The finale is in the form of a rondo. The theme is both powerful and
memorable. A number of the episodes use ‘fugato’ which was a fingerprint of
Reizenstein’s style at this period. A fast, dynamic coda brings this hugely
impressive sonata to a splendid conclusion.
The Legend, op.24 (1949) does not appear
to have a ‘programme’ attached to it. Yet this is a delicious work that comes
closer to the ‘English’ element of the composer’s style. It is a moody piece
that has considerable harmonic variety without losing its innocence and
freshness. The central section of the Legend is more unsettled, before the
return of the main theme.
Eric Wetherall has suggested that the Scherzo
Fantastique op.26 (1950) has a ‘bizarre almost diabolic atmosphere’. Certainly,
this does seem to be the prevailing mood, with one or two moments of
comparative relaxation. This long, complex piece makes huge demands on the
pianist. In some ways the shadow of Chopin hangs over this work – not so much
in the sound as in the formal construction and the pianistic figuration. Reizenstein
did not use serialism in his music; the work does lean heavily towards an
atonal mood rather than any obvious key.
Apart from the two sonatas, the most
important work in this collection is the Twelve Preludes and Fugues, op.32
(1953/4). They were first performed on 8 December 1956 at an Arts Council
concert with the composer as soloist.
The cycle was dedicated to Paul Hindemith. The key order of these 12
prelude and fugues derives from Hindemith’s ‘Series I’ which was published in
his Craft of Musical Composition (1937). An interesting formal procedure is that
the subject of each fugue is stated in its respective prelude. This is clearly
cerebral music: not every one of the twelve numbers has an immediate impact. As
a cycle (and I believe that they must be listened to as such) it is impressive
and masterly. The composer displays a great understanding of counterpoint,
polytonality (simultaneous combination of two or more keys) and the use of
‘transparent textures.’ For some idea as
to what they ‘sound like’ I believe that Reger, Hindemith and Bach with a hint
of Mendelssohn fits the bill. Paul Conway provides a detailed analysis in the
liner notes of all twelve preludes and fugues.
The Sonata No.2 in A flat op.40 (1964) is
a masterpiece. However, it has been criticised as being derivative, for example
J.N. writing in The Gramophone
(October 1960) suggested that some of Reizenstein’s music sounds as if someone
‘has been trying to warm Hindemith up with a shot of Rachmaninov.’ This can be
argued for this present work but it does not alter the huge achievement of this
music. Written some 20 years after the
first Sonata it can be regarded as the composer’s instrumental masterpiece.
Certainly he reaches a ‘mature fulfilment’ in this work that is striking. It
balances an almost blatant romanticism with a strong constructive principle
utilising the tried and tested motto theme B-A-C-H. The second movement is elegiac and commemorates
the poet and librettist Christopher Hassall who had died in 1963. Hassall had
provided the texts for a number of Reizenstein’s works including his opera, Anna Kraus. There are some lovely heart-rending
moments in this music. The finale is
straightforward: it has been described as a ‘perpetuum mobile’ and
‘toccata-like’. Look out for a reiteration of the motto theme at the
conclusion.
The Zodiac piano suite, op.47 was composed
in 1965. It is made up of twelve short pieces which were published in three
sets of four. Each symbolises one of the astrological signs. They would appear
to be ‘graded’ pieces and become more difficult as the sequence progresses. The
Suite is defined by humour, lucidity and conciseness.
In 1960 Reizenstein produced his Five Modern Pieces designed for the
Associated Board examination schedules. There is nothing trivial or pedantic
about these attractive little numbers. The titles of the pieces include ‘Secret
Story’, ‘Victory’ and ‘Toccatina.’
There are a number of other educational
works that are available in digital download from Lyrita (web address given in
liner notes). These include Five Imaginative Pieces (c.1938), Seven Children’s
Piano Pieces (1952), Study in Irregular Rhythms (c.1960), Three Pieces (c.1960)
and Three Short Stories (c.1960). As noted above the pieces included in the
albums Five by Ten are not recorded.
Finally, what can one say about Franz
Reizenstein’s stunning arrangement for piano duet of Malcolm Arnold’s equally
stunning English Dances Set 1 & 2?
I have heard the second set performed on the quixotic Arnold CD Bright Jewels: Music from the 1940s and
1950s (MSV0214CD) so I was well-prepared to be impressed by Martin Jones’ and
Adrian Farmer’s version on Lyrita. This is transcription at its very best.
Every nuance and witty touch of the original orchestral score is retained in this
version. Paul Conway has pointed out the allusions to the St Trinian’s music in
the second and fourth Dances from Set 2. In some respects, the clarity of this
music is enhanced by hearing the more focused sound of piano duet. This is
great stuff. A perfect arrangement of one of my favourite Arnold scores.
This is one of the best of recent
productions from Lyrita. I cannot fault anything about it. The liner notes by
Paul Conway are absolutely essential reading for a good understanding of this
outstanding piano music. Conway has provided a major essay on the composer as
well as detailed analysis of each of the works.
Martin Jones has taken Franz Reizenstein
to heart. He presents this music with deep understanding and clear enthusiasm. The sound recording is superb as to be
expected from anything produced by Lyrita.
There is no competition here. For anyone
wanting the complete (nearly) piano works of Franz Reizenstein, this is the
definitive edition. I do not imagine that there will be another competing
version of this music in my lifetime.
Track Listing:
Franz REIZENSTEIN (1911-1968)
Disc One
Suite
Op.6 (1936)
Impromptu
Op.14 (1939)
Scherzo
in A – Concert Piece for piano Op.20 (1947)
Intermezzo
Op.17 (1941)
Sonata
No.1 in B Op.19 (1944)
Legend
Op.24 (1949)
Scherzo
Fantastique Op.26 (1950)
Disc Two
Twelve
Preludes & Fugues Op.32 (1953/54)
Variations
on ‘The Lambeth Walk’ (c.1958)
Disc Three
Zodiac
– piano suite Op.41 (1964)
Five
Modern Pieces for Piano (1960)
Sonata
No.2 in A flat Op.40 (1964)
Malcolm ARNOLD ‘English Dances’
Sets 1 & Set 2 (1950/1) arr. for piano duet (c. 1958)
Martin
Jones (piano); Adrian Farmer (piano, Arnold Dances)
LYRITA SRCD.2342
With thanks to MusicWeb International where this review was first published.