It's not British, but...Chopin Variations played by Oleg Marshev

This new CD from Danacord opens with the Variations on a Theme of Chopin, op.22. These were begun in 1902 when Rachmaninov had returned to his estate in Ivanovka, Russia, after his three-month honeymoon with Natalia Satina. During this long vacation, he had visited Venice, Lucerne, Vienna, and Bayreuth where he saw The Ring, The Flying Dutchman, and Parsifal. The Variations were completed in February 1903, the same year as the more popular Ten Preludes op.23.

These Variations are often analysed in sonata form in three (my preference) or four movements, with each variation forming part of this structural plan. The theme that Rachmaninov used is Chopin’s Prelude, op.28 no.20 in C minor. This is the “gloomiest and most funereal” of the set.

The first ten Variations are typically short and rapid. These are followed by Nos. 11 to 18 which are slow. The exception is the brisk, dashing, Allegro scherzando. The heart of the entire piece is Variation 16, with its yearning mood. The final “movement” consists of four variations that are longer, faster, and more developed than what has gone before. The last one combines introspection with a final hectic race towards the end.

As can be imagined, these twenty-two variations explore a wide range of emotion. It has been said that Rachmaninov incorporated every pianistic trick that he knew. There are many passages of pyrotechnics, high romanticism and even “Bachian counterpoint” (Variation 12).

There is a possibility that these Variations could become a little long-winded over its 35-minute duration, even a bit unbalanced. So, I guess the technique for best practice performance must be to emphasise the overarching structure, as well as providing a stunning display of the Russian’s romantic brilliance. For me, Marshev achieves this desideratum.

Spanish composer and pianist Federico Mompou was known for his sophisticated piano music. He spent considerable time in Paris, where he gained recognition, but he eventually returned to his native Barcelona. Influenced by French impressionism and Catalan culture, his music often featured short, lyrical numbers that evoke a sense of quiet introspection.

Mompou's Variations sur un thème de Chopin began as a collaborative venture in 1938 with his friend, cellist Gaspar Cassadó. They aimed to create a set of variations for cello and piano based on Chopin's Prelude, op. 28, no. 7 in A major. The project was never fulfilled. In 1955, conductor John Lanchbery requested a score suitable for a ballet, prompting Mompou to revive and complete these variations. According to the liner notes, of the twelve variations, four (Nos. 1-3 and 5) originated from the abandoned venture.

Compared to the Rachmaninov, Mompou’s piece is “ethereal” and “other-worldly.” It is a subtle blend of impressionism and romanticism. He has paid homage to Chopin by using some of the elder composer’s best loved musical forms – the mazurka (Variation 5), the valse (Variation 9) and a Polonaise-ish (Variation 12). I loved the suggestion in the liner notes that “in all these cases, the harmony slips between Chopin’s world and Mompou’s like a person who appears to be in two rooms at once, yet whose mind is always somewhere else.”

There is a definite jazz influence in these pages, at least of the cocktail piano variety. And then there are nods to the ‘big tune’ from the famous fantaisie-impromptu.

Oleg Marshev gives a sense of cohesion throughout these variations. He emphasises the gentler elements of Mompou’s language, creating a sense of intimacy and quiet reflection, but on one occasion, an almost Boogie-woogie vivacity in the Galop y Epilogo.

A few words about Ferruccio Busoni may be of interest. He was an Italian composer, pianist, conductor, editor, author, and educator. Known for his virtuosic piano performances and innovative works, Busoni's music often combined late Romantic elements with more modernist ideas. His notable compositions include the opera Doktor Faust, the Fantasia Contrappuntistica for solo piano, and numerous transcriptions of Johann Sebastian Bach.

The rendering of Busoni's Variations on a Prelude by Chopin, BV 213a played here is a bit of a mishmash. The liner notes refer to it as a “portmanteau” edition. It was originally written in 1884 and consisted of a Theme based on Chopin’s C minor Prelude, eighteen variations and a concluding fugue. This was recomposed in 1922 as Busoni found the original unwieldy. It was cut down to ten variations. The booklet explains that Oleg Marshev has fused two versions: he plays the Introduction and Variation 1 from the 1922 score, which is then followed by Variations 2-8 from 1884, before returning to the revision and playing through Variation 2 until the end. Most listeners who do not have the sheet music may be a bit confused. I followed the 1922 segment in the score, and it is a magnificent exercise in virtuosity. This is especially so in the finale, which is a “Scherzo” of considerable complexity and pace, but into which is interposed a delightful waltz in “Hommage a Chopin.” It is redundant to state that these Variations require technical prowess and a deep understanding of both Chopin's and Busoni's musical languages. This is provided by Oleg Marshev; however, I do wish that he had settled on just one of the editions.

The recording is vibrant and clear and is a perfect complement to the power and range of this music. The liner notes, devised by Peter Quantrill, give a good overview of all three pieces. There are details of Oleg Marshev’s career: more information can be found here. 

I enjoyed this disc (with the caveat about the Busoni). It allowed me to hear three works that honour Frederick Chopin. Two of them (Mompou and Busoni) are new to me. Oleg Marshev gives commanding performances throughout.

Track Listing:
Sergei Rachmaninov (1873-1943)
Variations on a Theme of Chopin, op.22 (1902-03)
Federico Mompou (1893-1987)
Variations sur un thème de Chopin (1938-57)
Ferruccio Busoni (1866-1924)
Variations on a Prelude by Chopin, BV213a (1884/1922)
Oleg Marshev (piano)
rec. August 2024, Cultural Institute, Milan, Italy
Danacord DACOCD 984

With thanks to MusicWeb International where this review was first published.