Ronald Stevenson: Piano Works

The recital opens with Ronald Stevenson’s important Peter Grimes Fantasy on themes from Benjamin Britten's opera for piano solo, written in 1971 for the pianist Graham Johnson. The opera, set in a small English fishing village, follows the tragic tale of a fisherman who faces societal ostracism and personal turmoil. The composer has stated that “Peter Grimes is the living conflict. His pride, ambition, and urge for independence fight with his need for love: his self-love battles against his self-hate…” Stevenson has made a conscious contrast of these ideas. The loathing of the villagers is seen in the storm music, whilst the Dawn Interlude refers to the drowning of Grimes. The technical resources required to “bring off” this Fantasy are tremendous. All the pianistic devices of Liszt are present.

I guess that I would never have heard of Ignacy Jan Paderewski’s (1860–1941) only opera Manru, (1901) if it had not been for the present arrangement of extracts made by Ronald Stevenson in 1961. I came across it four years ago on Christopher Guild’s performance on TOCC0555, reviewed here. The story of the opera revolves around a village girl named Ulana and chronicles her love for the gypsy Manru. The liner notes explain that the opera “was regarded as the first significant Polish music drama, it is a powerful work, masterfully written and orchestrated, with the best traditions of nineteenth-century operatic writing.” The composer has condensed the score into four short movements: “Introduction and Gypsy March, a soulful Gypsy Song, a lyrical Lullaby, and a feisty Cracovienne.” This latter is a Polish national dance, which comes complete with simulated bagpipe drones.

Stevenson’s realisation of the slow movement Romance from Mozart’s Concerto in D minor, K466, was completed in 2002. It is a combination of the solo piano and the orchestral parts. There are a few “elegant flourishes [and] luscious chords,” but this is a straightforward transcription.

The first of four premiere performances is the dreamily exquisite Quintet from Die Meistersinger, 'elaborated for left hand alone' (1980). This is an adaptation of a transcription made by the pianist Paul Wittgenstein. It is scored for left hand only.

The Ostinato Macabro on the name Leopold Godowsky, (c.1980) is also for left hand only. It is truly short, lasting for about a minute. It is certainly a sinister, creepy piece, which gives one the shivers. Another premiere recording.

The liner notes explain that Etudette d'apres Korsakov et Chopin (Spectre d'Alkan) is a short work that “poses endless technical challenges.” The nod to Rimsky is based on left-hand-only figurations from The Flight of the Bumble Bee whilst the latter part incorporates Chopin’s Étude in A minor, op. 10 no. 2 (Chromatic) in the right-hand part. All in under two minutes. I am not sure where the “Ghost of Alkan” fits in.

Leopold Godowsky’s 53 Studies Based on Chopin Etudes profoundly influenced Ronald Stevenson "as both a composer and pianist." The Pensées sur des Préludes de Chopin are dark and introspective, with each ‘Thought’ introduced by a quotation from the French philosopher, Blaise Pascal. Stevenson adeptly selects, combines, and transforms elements of Chopin’s music, creating a profound work that seems to transcend the original. While I found this adaptation enjoyable, if not entirely satisfying, some listeners might prefer that he had not tinkered with what many consider original masterpieces.

Little Jazz Variations on Purcell’s “New Scotch Tune” is based on a jazz-inspired transformation of Purcell’s melody. This is a moody, smoky little number that captures our attention. Stevenson wrote this in 1964 but has toyed with it over the years adding a few more variations. The theme is taken from, Playford’s Music’s Handmaid Part II (London, 1689).

Lots of composers have been fascinated by Niccolò Paganini’s Caprice no.24 for solo violin. These include Brahms, Liszt, Rachmaninov, and Andrew Lloyd Webber. Stevenson’s take, Piccolo Niccolò Paganinesco (1986) is wittily dedicated “To Laurenzio Guantaio,” who was the pianist and teacher Lawrence Glover. It is quite an acerbic piece, with no big romantic theme, but full of vitality and hints of jazz. It is good to hear this recorded for the first time.

The final premiere recording is the Preludette on the name George Gershwin. This is a delightful miniature which is a million miles away from the massive Passacaglia on DSCH. Unlike this composition which lasts for one and half hours, the Preludette is only 53 seconds long. Written in 1981, and dedicated “For my dear friend Harry [Winstanley] on his 50th birthday.” Winstanley authored a book about George Gershwin, which was printed by Toccata Press. Stevenson has used the scale-letters in GG’s name (including B for H) and has creatively added the rest. It hovers between jazz and impressionism.

The previous year, Stevenson had transcribed the once well-loved Richard Tauber song, My Heart and I. I guess that this ballad may have passed from the common ken, but it is of its time and has been re-imagined with love, romance, and tenderness. It would make a great encore at any recital.

Peter Jablonski, born in 1971 in Lyckeby, Sweden, is an internationally admired concert pianist. He began his career at the Malmö Conservatory, studying both percussion and piano. By the age of nine, he was performing as a drummer at New York's Village Vanguard jazz club. His debut as a pianist came at twelve with Mozart's Concerto No.17 in G major, K. 453. Jablonski moved to the UK in 1989 to study at the Royal College of Music in London. Signed by Decca Records in 1991, he has since collaborated with leading orchestras and conductors worldwide, including Vladimir Ashkenazy and Valery Gergiev. His recordings include works by composers such as Chopin, Prokofiev, and Bacewicz, earning him numerous awards.

This is a fantastic disc of arrangements, elaborations, and original works, which are brilliantly and sympathetically played by Peter Jablonski. The recording is excellent.

The liner notes by Anastasia Belina are detailed; they include an introductory essay about the composer’s life and music, as well as helpful notes on each piece.

This disc is a valuable addition to the growing collection of recordings dedicated to Ronald Stevenson. Other contributors include Murray McLachan, Kenneth Hamilton, and an ongoing cycle by Christopher Guild. And then there are several CDs performed by the composer himself. Is Peter Jablonski is going to record further volumes of Stevenson’s music? I do hope so.

Ronald Stevenson (1928-2015)
Peter Grimes Fantasy on themes from Benjamin Britten's opera for piano solo (1971)
Suite for piano from Paderewski's opera Manru (1961): Introduction and Gypsy March, Gypsy Song, Lullaby, Cracovienne
Romance from Concerto in D minor, Mozart K466, realised by Ronald Stevenson (2002)
Quintet from Die Meistersinger, 'elaborated for left hand alone', Wagner-Wittgenstein (1980)
Ostinato Macabro on the name Godowski (1980)
Etudette d'après Korsakov et Chopin (Spectre d'Alkan) (1987)
6 Pensées sur des Préludes de Chopin (1959)
Little Jazz Variations on Purcell's New Scotch Tune (1964/75)
Piccolo Niccolò Paganinesco (1986)
Preludette on the name George Gershwin (1981)
Tauberiana (Song My Heart and I) (1980)
Peter Jablonski (piano)
rec. July 2024, Palladium, Malmö, Sweden
Ondine ODE 1453-2

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