Schumann and Liszt on Piano Erard London 1856

Erard pianos have always been highly regarded. The company was founded in Paris in the late 18th century by Sebastian Erard. The instruments were popular with many composers including Liszt, Mendelssohn and Hummel. They were known for their powerful tone, with complex overtones. The present instrument was made in 1856 by Erard London and is currently housed in York University's School of Music Performance. The piano in the present recital is tuned in ‘unequal temperament.’ For the record, ‘Equal temperament’ divides the octave into twelve equal parts, allowing consistent tuning across all keys. ‘Unequal temperament,’ however, varies the tuning, favouring certain keys for richer harmonies. Each has its own unique sound and character, influencing the music's emotional expression and historical development. As for the sound of this piano, it could be summarised as intimate and nuanced, in the quieter moments, but equally capable of making powerful, dramatic statements. And another remarkable facet was the incisive tone in the concluding fugato passage of the Liszt Sonata.

I did wonder if I would enjoy Schumann’s Carnival played on a period instrument. This captivating suite of twenty-one short piano pieces was written in 1834-35 when the composer was 24 years old. The work posits personalities at a masked ball, during the Venetian carnival season. Schumann introduces characters fictional and actual. There are offerings to Chopin, Paganini, and his future wife Clara Wiek. Estrella is Ernestine von Fricken, who at that time was his secretly engaged fiancée. Then there are figures from the commedia dell’arte, such as Arlequin, Pantalon and Colombine, and Pierrot. Of importance are Eusebius and Florestan, who represent Schumann’s alter ego: the former the tempestuous side of his character and the latter, the reflective. And there are the unplayed Sphinxes or cryptograms which provide a “sense of unity amongst the seemingly disparate musical aphorisms.” They “spell out’ Asch, the birthplace of Ernestine. Carnival concludes with the splendid Marche des Davidsbündler contre les Philistins, which represents “the eternal battle between the outmoded and the new.”

Any performance of Carnival must balance whimsy, imagination, and sheer hedonism opposed to introspection. Misgivings about Daniel Grimwood’s use of the Erard London 1856 were misplaced. He has created a satisfying account, and as it unfolds “dizzyingly,” he holds the disparate sections in a cohesive whole.

Whilst residing in Vienna, separated from Clara save by letters, Robert Schumann produced three important works, the Arabesque (or Arabeske), op.18, the Blumenstück, op.19 and the Humoreske, op.20. The first of the three is heard here. The Arabesque is a modified rondo, with a memorable principal theme and two episodes in the minor key. One is stormy and the other is oppressive. Unusually, the piece ends with a quiet ‘epilogue’ which is of “pristine beauty.”

Clara Wieck Schumann Soirées musicales, op.6, no.2 (1836) was one of a set of six written when she was only sixteen or seventeen years old. They were influenced by Schumann as well as Chopin. The second number of the set, Notturno, is quite lovely. A simple tune, with some remarkable decoration and varied accompaniment, at times chordal, typically arpeggiated.

Much has been penned about Liszt’s Sonata in B minor, S178. Most famously, Richard Wagner stated that “The Sonata is beyond all conception, beautifully great, lovely, deep, and noble – sublime.”  Completed in 1853, it was dedicated to Robert Schumann. It is ostensibly presented in a single movement but encompasses the traditional four movements. The unity of the Sonata is derived from a small set of themes that are subject to constant transformation as it develops. Although there is no programme attached to the Sonata, it has been suggested that the Faust legend may have been in Liszt’s mind.

This is a massive work that requires an unbelievable amount of technical skill and stamina. Equally important is the interpretation which covers a massive range: there is drama, power, tenderness, and love. It has been said that there is “virtually every emotion known to humankind in these pages.”

There is an eye watering number of recordings of the Liszt Piano Sonata. Great masters have presented their interpretations to the world: Martha Argerich, Daniel Barenboim, Emil Gilels, Van Cliburn and Vladimir Horowitz. Yet, despite being a little skeptical at first, I cannot fault Daniel Grimwood’s powerful and unified performance on the Erard London piano. It would not be my first choice for listening, but it makes a refreshing change to the modern concert grand.

Franz Liszt completed the second version of his six Consolations in 1850. They remain amongst his most popular piano works. No.3 in D flat is really a Nocturne, which was clearly inspired by Irish composer John Field, much admired by Liszt. The entire piece is gentle and lyrical, with a lovely melody supported by delicate arpeggios and ending with a short cadenza and a ppp close. It sounds well on the Erard London.

In three of these works, the recitalist has adopted the “old practice” of improvising a Prelude before beginning to play the work proper. It is not helpful. The pieces are designed to be standalone or part of a set and do not need any introduction to prepare the mood for the listener.

Daniel Grimwood is noted for his performances of 19th-century virtuosic piano repertoire, particularly the music of the German composer, Adolph von Henselt. He has performed at significant venues worldwide, including the Wigmore Hall, and Symphony Hall, Birmingham, as well as venues in Europe, Egypt, Lebanon, Oman, and Australia. Grimwood is a Research Associate at the University of York, specialising in 19th-century performance practice. For enthusiasts if British music, his recording of Doreen Carwithen and William Alwyn’s piano music (Edition Peters, EPS007, 2019) was well received by The Gramophone and the BBC Music Magazine.

The liner notes are helpful, giving a good introduction to the music, as well as the information about the piano and performance aesthetics. The recording is splendid.

As noted above, historic pianos would not be my preferred choice for listening to this repertoire. Nonetheless, it was a fascinating experience to hear Carnival, and the Liszt Sonata played on an instrument that would have been more or less contemporary with the music.

Track Listing:
Robert Schumann (1810-56)
Carnival, op.9 (1834-35)
Prelude - Arabesque (1839)
Clara Wieck Schumann (1819-96)
Prelude -Soirees musicales, op.6, no.2 (1836)
Franz Liszt (1811-86)
Sonata in B minor, S178 (1852-53)
Prelude - Consolation No.3 in D flat major, S172 (1849-50)
Daniel Grimwood (piano)
rec. 2-3 November 2024, Sir Jack Lyons Concert Hall, York, UK
Danacord DACOCD 986

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