Rikke Sandberg, one the toasts of
the Danish music scene, gets her premiere Danacord CD off to a superlative
start. Brahms’s c.1877 transcription of Bach’s Chaconne from the Partita in D
minor for violin solo BWV 1004 is certainly not a work to be approached
lightly. Brahms wrote that this Chaconne was one ‘of the most wondrous,
unfathomable pieces of music ever written. On a single musical stave, writing
for a small instrument, this man [Bach] creates a whole world of the most
profound thoughts, and the most powerful emotions.’ Many listeners will know
Busoni’s magisterial reworking of this piece: the Italian composer brought all
the resources of a modern concert grand, high romantic piano technique and
quasi-orchestral colourings. Brahms adopted a more restricted approach by
limiting himself to the virtually the music that Bach wrote, reworked for the
left-hand only. There is a depth and sincerity in this music that come close to
surpassing Bach’s own intent. Rikke Sandberg introduces a strong rhythmic
strength as well as clarity of line and a clear understanding of the work’s
massive formal structure. It would be educational to hear what Sandberg made of
Busoni’s transcription.
I have not consciously listened
to the Variations on a Hungarian Song, op.21 no.2 in D major. Brahms wrote this
work around 1854. The theme was given to him by his friend and associate Eduard
Reményi. These 13 variations plus a finale are very short, lasting just over
eight minutes. The first eight feature alternating waltz and common time signatures.
There is a great deal of interest in
this rather lop-sided, but enjoyable, piece. Each variation is over in a flash,
with the much longer finale, working through several keys bringing the work to
an exuberant conclusion. I was especially impressed by Rikke Sandberg’s playing
of the more intimate middle variations of this piece.
Most listeners will have heard
some or all of Brahms’ Hungarian Dances
in their orchestral or their piano duet versions. What amazes me with
Sandberg’s account of the 1st and the 4th dances in their
solo piano arrangement is the impression that there are four hands playing and
not just two! It is a remarkable
performance. Look out for the ‘indescribable mixture of clicking and banging,
whirling and whistling, gurgling and half singing effects’ in the F# Dance.
Brahms Eight Piano Pieces (Klavierstücke),
op. 76 were written over a seven-year period, when he was interested in writing
what are classified as character pieces. This was some 15 years after his last
piano piece, the Paganini Variations. The only problem was that he was
seemingly stymied in choosing ‘characteristic’ titles. Hence, in this group we
have four capriccios and four intermezzos. It is also a moot point as to
whether these eight pieces should be played as a group. The designation of
Capriccio is not an outgoing piece, but one that simply follows the composer’s
whims, whilst being written with a strict formal structure. The Intermezzos are typically slower and more
restrained in their performance, whilst the Capriccios are faster paced and
often display considerable dynamism. There
is certainly a balance of mood between the pieces that reflects Brahms growing
introversion. They are beautifully played by Rikke Sandberg who manages to
capture the feeling of regret that haunts all these pieces, whatever the tempo.
The recital closes with the
Intermezzo from the Seven Fantasias (Fantasien) op.116. This a quiet,
reflective piece that successfully explores the depths of sadness without ever
sinking into self-pity. The heart of the work is the ‘ethereal’ mood of the
middle section. This is music that surely brings calm and resignation to the
soul. It is perfectly contrived on this recording.
I was a little disappointed with
the liner notes. It would appear to constitute the soloist’s thoughts on the programme.
There is no descriptive or historical analysis of this music. Even the dates of
each piece are not included. There is a biographical note about Rikke Sandberg.
I enjoyed this exploration of
Brahms’s music and was delighted that some of the works included are less-well-known.
The highlight for me was the first and the last tracks: the superb realisation
of one of Bach’s masterpieces and the deeply felt sorrow of this Intermezzo.
Track Listing:
Johannes Brahms (1833-97)
Chaconne from the Partita in D minor for violin solo by
Johann Sebastian Bach BWV 1004 (arrangement for piano: left hand only) (c.1877)
Variations on a Hungarian Song, op.21 no.2 in D major
(1853-56)
Two Hungarian Dances (arranged for piano solo) no.1 G minor
& no.4 F# minor (1869)
Eight Piano Pieces, op. 76 (1871/78)
Intermezzo op.116, no.2 in A minor (1892)
Rikke Sandberg (piano)
Rec. Nødebo Kro 25-28 June 2018
DANACORD DACOCD
835
No comments:
Post a Comment