By Women: Piano Works by Armenian Women Composers

Some may think this album's program is way too niche. Not me. I think it's highly focused, and that focus is what makes it successful. Pianist Sahan Arzruni has recorded an album of classical music by Armenians. More specifically, Armenian women. Listening to the wide variety of styles made me want to hear more. 

This very narrow slice of Armenian classical music is incredibly diverse. It makes me wonder how many other gems await in the entire corpus of Armenian classical music. 

The album opens with a sonata and prelude by Geghuni Chitchyan. Chitchyan is something of an icon in Armenian classical music. These works date from the 1950s. They remind me a little of Bartok -- if Bartok had a mischievous attitude. 

At the other end of the spectrum is Mary Kouyoumdjian. She's an Armenian-American composer and teaches at Columbia University. "I Haven't the Words" is her reaction to the George Floyd shooting. Kouyoumdjian writes in a cosmopolitan style, with occasional traces of Armenian folk rhythms. 

Gayane Chebotaryan is represented with a set of six preludes. She's a major figure in her country and deserves an audience outside it. Her preludes were written in 1948. They're tonal and seem to drift from one idea to the next. The harmonies are subtly complex. 

There are other composers represented here, and every one worthy of further exploration. Sahan Arzruni is both the producer and performer for this recording. This is his project and his emotional investment shows. His goal is to give these works their best possible performances, and he succeeds. 

Only an Armenian could phrase the melodies just so to convey the composers' intentions. I knew virtually nothing about Armenian classical music before listening to this album. I now know a little -- and want to know more.

By Women: Piano Works by Armenian Women Composers
Sahan Arzruni, piano
AGBU

Jouni Somero premieres more Selim Palmgren gems

Selim Palmgren was a virtuoso pianist and a prolific composer -- particularly for his instrument. His catalog includes over 400 published works. 

Jouni Somero's goal is to record all Palmgren's solo piano works. This includes quite a few unpublished pieces. Not surprisingly, each volume of this series has several world premiere recordings. As does this volume.

The program on volume six is a cross-section of Palmgren's short piano works. It has his first published pieces from 1898 through his mid-career works of the 1940s. 

As with the other volumes, Palmgren demonstrates his mastery of the miniature. Many of these pieces are less than two minutes in length. And yet each is a fully-developed idea. 

For me, one of the real standouts was "Youth," published in 1908. This suite of six movements has a cohesive feel to it. And that's no mean feat. The suite includes a Debussy-like Impressionist movement, as well as several based on Finnish folk songs. But it all works together. 

Jouni Somero continues to impress me with his phenomenal technique. Palmgren was a great pianist -- and a good deal of his music was written for performers at his level. Somero is equal to the task. 

Plus, he gives the smaller, slighter pieces equal attention. Simple though some may be, Somero's playing adds a bit of emotional weight.

Selim Palmgren: Complete Piano Works 6
Jouni Somero, piano
Grand Piano

Alessandra Pompili delivers more Hovhaness gems

Most folks know Alan Hovanhess' music -- if they know it at all -- only know through his Second Symphony. As beautiful as "Mysterious Mountain" is, there's much more to this composer's catalog.

Hovhaness wrote over 500 works (including 67 symphonies). Among them are about seventy works for piano. Alesanda Pompili is committed to recording all of them.

This release is the second in the series. It includes three major piano compositions, plus three shorter pieces. The works cover about three decades and are remarkably consistent.

Komanchi, Op. 249 was inspired by the legendary Japanese poetess of the same name, and by nature. This seven-movement piece has a simple delicacy. The texture is very thin - often just a single-line melody. Hovhaness manages to capture the essence of Asian music while still writing in his own voice.

Greek Rhapsody No. 1, Op. 63 is an early work. Hovhaness completed it in 1944 when he completely reinvented his style. The melody sounds Grecian and is given a mostly monophonic treatment. This free-flowing rhapsody that entices with its improvisatory beauty.

Hovhaness' 1981 Piano Sonata, Op. 354 is a major work and is over twenty minutes in length. But don't expect a traditional sonata-allegro four-movement structure. The subtitle "Journey to Arcturus" provides the context. This is about moving from one destination to another. As the work does over the course of its six movements. 

Hovhaness was a pianist, but one with a unique idea of what piano music should be. Alesandra Pompili gives us Hovhaness' vision in her performances. Her playing is expressive and fluid. An excellent recording. Highly recommended for anyone wanting a fuller understanding of Alan Hovhaness' music.

Alan Hovanhess: Piano Works, Vol. 2
Alessandra Pompili, piano
Dynamic CDS7946

Xiaoya Liu Delivers with Carl Vine Sonatas

This release presents all four of Carl Vine's piano sonatas. And they're all world premiere recordings. I've enjoyed every album of Vine's music I've heard. And I'm surprised there aren't more than a dozen or so available. 

Vine's had a long and distinguished career in Australia. He started as a pianist and composer for theater and dance. He then transitioned into film and television. 

Vine was the artistic director for a major chamber music festival organization. And he wrote music for the Olympics. And all the while Vine composed "legit" classical music - like these sonatas.

Vine understands classical form and aesthetics. His sonatas begin with simple motifs. These gradually build in complexity, and other themes are added. Eventually, all the material comes together, giving the listener a satisfying intellectual finish. 

But Vine also brings in musical ideas from his other endeavors. There are sections with strong, syncopated pulses, sometimes reminiscent of pop. Although Vine doesn't write hummable tunes, his music is listener-friendly. 

Motifs are easy to recognize when they return. Vine's harmonic language is post-tonal but often uses simple three- or four-note chords.

Xiaoya Liu plays these works with authority and enthusiasm. Her touch is sure, and her phrasing nuanced. I highly recommend this recording -- both for the music and the performances.

Vine is a pianist. These sonatas aren't simple, but they're not impossible to play. And what Vine demands of the performer are doable. 

Carl Vine: Complete Piano Sonatas
Xiaoya Liu, piano
Dynamic

HyeJin Kim beautifully performs early Clementi

Consider this the origin story. Muzio Clementi had a long and (mostly) successful musical career. He was a pianist, composer, publisher, and piano manufacturer. His popularity at times rivaled that of Haydn and Beethoven, both as a performer and composer. 

There is no shortage of Clementi piano sonata recordings. Most focus on his mid-to-late period works. I've always been curious about what his earliest sonatas sounded like. Where did he start from as a composer?

This release presents some of Clementi's Opus 1 sonatas, published in 1771. They might not be the very first pieces he wrote, but they were the first published. Close enough for this origin story.

By 1771, the fortepiano had almost supplanted the harpsichord. The Galante style was all the rage. And Clementi's Opus 1 sonatas fill the bill. His melodies are simple and tuneful -- like Johann Christian Bach's. The voicing is light, often just two notes at a time -- like Franz Joseph Haydn's.

HyeJin Kim plays these sonatas with a light touch. Her phrasing shapes the music beautifully. Simple scales and arpeggiated chords become meaningful. Subtle changes in volume and attacks add depth.

Also included are sonatas from Clementi's Opus 10 and Opus 12 sets, published in 1783 and 1784. The Classical Era by well underway by this time. Mozart had published his 12th piano sonata. 

Clementi's sonatas acknowledge the bar Mozart raised. These are much more complex pieces, with more fully-developed themes. 

Clementi was still composing with the amateur market in mind. But these works require a higher degree of skill than the beginner. 

Kim shines in these later works. With more substantial material to work with, her innate musicality takes wing. Clementi isn't Beethoven. Even at their most dramatic, these sonatas require a little restraint. Kim manages that, without blunting the impact of double-forte crescendos. 

A nice addition to Naxos' library of Clementi sonatas.  

Muzio Clementi: Keyboard Sonatas
Op. 1, Nos. 1, 2, 4, and 5; Op. 10, Nos. 20 and 3; Op. 12, Nos. 2 and 3
HyeJin Kim, piano
Naxos 8.574171

Jouni Somero presents Selim Palmgren miniatures

This volume of Selim Palmgren's piano music shows the Finnish composer's skill as a miniaturist. The works span almost three decades, and none of them longer than four minutes in length (many under a minute). 

Palmgren studied piano with Ferruccio Busoni and had phenomenal technique. That knowledge of the instrument is apparent in these works.

The earliest work, Deux contrasts, dates from 1899. Even here there's a lot going on. Palmgren emphasizes the dramatic points of his melodies with towering chords and cascading runs. 

Some of the pieces, such as the Waltz in a Western Finnish Style are quick and to the point. With a playing time of 58 seconds, it could take as long to introduce the piece as to play it. Yet even here, Palmgren develops his melodies in an effective manner. 

Included is Kevätauerta (‘Spring Haze’), one of Palmgren's best-known works. It's a piano instruction staple in Northern Europe. 

Most impressive, I think, are the 24 Preludes from 1907. Palmgren uses all 12 major and minor keys. Each prelude has its own character. 

Some are programmatic, such as Dream Picture (#11), The Round Dance (#15), and The Sea (#12). Others are abstract, given simply tempo markings. Palmgren seems equally at home with both types. 

Pianist Jouni Somero gives us some insightful readings. These may be miniatures, but they're not trifles. Somero performs with superb expression and confidence. 

A worthy companion to Volume 1 

Selim Palmgren: Complete Piano Works 2
Jouni Somero, piano
Grand Piano GP868

Tobias Borsboom Delivers with Vítězslav Novák Tone Poem

I think there's a general assumption that orchestration makes music better. Consider the popularity of Mussorgsky's "Pictures at an Exhibition." The orchestrated versions are much more commonly performed (and recorded) than the original piano version. 

But is the piano version of a work just a black and white image compared to the technicolor brilliance of the orchestral counterpart?

Not necessarily. 

Vítězslav Novák composed his massive tone poem "Pan" originally for piano. And as this new recording demonstrates, it compares quite favorably to his orchestrated version. 

Novák wrote the work in 1910, giving free rein to his imagination. The poem presents four aspects of nature: mountains, sea, forest, and woman. The work is cyclic, with themes returning in various forms throughout. The harmonies are rich and exotic. 

To my ears, this version reminded me of Scriabin, with some Debussy and Janacek blended in. And while the orchestral version has its merits, this version's strength is its unity of expression. 

One performer, one mind, one interpretation. Tobias Borsboom does just that. He easily executes the Lisztian complexities of the score. He deftly shapes the sound, bringing out melodies buried in the midst of chords. 

And he maintains his artistic vision for a solid hour of playing. Throughout the entire work, I had a sense of purpose and direction. All of this was leading somewhere, and that somewhere was the final movement. Borsboom's lovingly crafted phrasing brings out the beauty of the score and the beauty of its emotional core. 

Highly recommended.

Vítězslav Novák: Pan - A Tone Poem for Piano
Tobias Borsboom, piano
Piano Classics PC10219

Friedrich Gernsheim Piano Music Volume 2 delivers

Jens Barnieck continues his survey of Friedrich Gernsheim's piano music. This volume includes Gernsheim's first piano sonata and several smaller works -- all receive their world recording premieres with this release. 

Barnieck's performances are just as satisfying as they were with volume one of this series. Gernsheim began composing around the time of Mendelssohn and continued through the era of Richard Strauss and Gustav Mahler. Barnieck adjusts his playing accordingly. 

The Piano Sonata No. 1 was composed in 1853 when Gernsheim was fourteen. Barnieck plays the work with a light touch, showing the influence of Mendelssohn on the young composer. The 1872 Fantasie, Op. 27 receives a different treatment. 

Gernsheim wrote the work for Hans von Bülow. This is bigger, brawnier music. Von Bülow was a champion of Brahms, and Gernsheim seems to move in that direction. Barneick's powerful expressiveness reinforces the similarities. 

Gernsheim composed for the piano throughout his career. The shorter works on this release attest to his abilities, which are considerable. While he was influenced by the major composers of German classical music, he didn't simply imitate them. 

There's plenty of original material here to satisfy the listener. Well, at least this listener. I'm looking forward to auditioning volume three.

Friedrich Gernsheim: Piano Music, Volume Two
Piano Sonata No. 1 in D minor; Vier Klavierstucke; Capriccio in E minor; Gerschwind-Marsch; Romanze, Op. 15; Fantasie, Op. 27
Jens Barnieck, piano
Toccata Classics TOC 0594

The Stylish Pastiches of Muzio Clementi

This is an interesting collection of music by Muzio Clementi. It includes three sets of variations, a canon, and a set of style pastiches.

The program opens with Five Variations on a Minuet by Mr. Collick. This six-minute charmer increases in complexity with each variation, but not excessively so. These variations could well be (and were probably intended for) the gifted amateur.

Not so "The Black Joke" with 21 variations. Clementi puts this little tune through some amazing changes. While the melody is always present, the accompanying figures become a virtual catalog of piano technique.

While enjoyable, I found the Musical Characteristics far more entertaining on several levels. Here Clementi presents a little three-part piece in the style of different composers. Each set includes an opening prelude, a cadenza, and a closing prelude.

Clementi ably mimics Franz Joseph Haydn and Wolfgang Amadeus Mozart. He also includes imitations of Leopold Kozeluch, Austrian Court composer, as well as famed pianist/composers Johann Franz Xaver Sterkel and Johann Baptist Vanhal.

The more familiar you are with these early Classical Era composers, the more fun this music is to listen to. And I think, it also shows the skill of pianist Nicholas Rimmer. Because his performances make Clementi's stylistic imitations clearer.

Clementi's Mozart sounds like Mozart, his Haydn like Haydn, and so on. And Rimmer delivers fine performances of Clementi's other works, too. 

Rimmer plays on an original instrument from Clementi's workshop. That statement comes with several caveats, though. This 1806 piano was restored in the 1970s (the liner notes are vague as to how much was done and how well it was done). Then the instrument was worked on again in 2016.

So yes, it is a pianoforte that Clementi knew, but it might not necessarily sound -- or play -- exactly as he might expect. To my ears, the sound seemed a little tight. There was very little decay, giving the instrument a dry quality. On the plus side, the action was pleasingly silent.

Muzio Clementi: Piano Music
5 Variations on a Minuet by Mr Collick; The Black Joke; Musical Characteristics
Nicholas Rimmer, fortepiano
Naxos

Soyeon Kate Lee plays Clementi with crystalline precision

Naxos has released a lot of Clementi piano sonatas, with a variety of performers. This latest release features Soyeon Kate Lee, who delivers some delightful performances. Clementi's music pushed the limits of the then-developing fortepiano. But on a modern instrument, they can sound a little constrained and reserved.

Lee has a feathery touch that makes her hands seem to just glide across the keyboard with crystalline precision. She's also sparing in her use of the pedal, which keeps the music sounding clean and transparent. Clementi's music benefits from what I heard as good-natured, spirited performances.

The works themselves span almost two decades. Four of the sonatas come from Clementi's Op. 1 publication of 1771. These are simple, two-movement works. Lee turns these modest works into charming miniatures.

The Sonata in F major, Op. 24, No. 1 was written over a decade later. The range of the pianoforte had expanded, and the action becomes more robust. Lee performs with authority, letting the strong dramatic contrasts set the tone.

Even more involved in the 1791 Sonata in F major, Op. 26. This sonata was published around the same time as Haydn's and Mozart's late sonatas -- and just four years before Beethoven's first set. The texture is much thicker, and what I would call more pianistic. The early sonatas were written for keyboard and lay equally well on a harpsichord or fortepiano. This work is strictly for the latter.

Muzio Clementi: Keyboard Sonatas
Op. 1, No. 6; Op. 1a – Nos. 1, 4 and 5; Op. 13, No. 4; Op. 24, No. 1; Op. 26
Soyeon Kate Lee, piano
Naxos 8.573922

Katarzyna Drogosz bring Franz Xaver Mozart out of father's shadow

In his lifetime Franz Xaver Wolfgang Mozart was better known as a virtuoso pianist than a composer. And for good reason. As a performer, he was judged on the merits of his own talent. As a composer, he was always compared to his father, Wolfgang Amadeus.

As a result, F.X. Mozart virtually ceased composing in his thirties. Only now is his music being evaluated on its own merits. This release presents Mozart's piano sonata and an assortment of shorter piano works.

The Piano Sonata in G major, Op. 10 is a major work with a playing time of about 25 minutes. To my ears, this four-movement sonata strongly resembles those of Clementi. The texture is light, with scales and arpeggiated chords being the primary building blocks.

And yet there's a difference. Some of the phrasings are deliberately irregular, playing on the listener's expectations. Mozart was only 16 when he wrote the sonata, and there's a youthful lighthearted feel to it.

Mozart spent time in Poland and published four collections of polonaises. The Polonaises mélancoliques Op. 22 were composed when Mozart was in his thirties. The writing is much more sophisticated and, I think, more interesting. Each of the polonaises adheres to the traditional 3/4 pattern of the dance. And yet each is very different in character.

Mozart uses thick harmonies to color his melodies, effectively shifting their emotional content. Are they as good as Chopin's? Not quite -- but they do point the way.

Katarzyna Drogosz performs admirably, subtly phrasing and shaping the music in interesting ways. I'm especially impressed as she's playing on an 1800 fortepiano, an instrument with markedly less responsiveness than a modern piano. Nevertheless, Drogosz plays with elegance and executing runs and trills with a delicate touch.

A well-executed program of music by a composer overshadowed by his heritage.

Franz Xaver Wolfgang Mozart: Rondos, Sonata, Polonaises, Variations
Katarzyna Drogosz; fortepiano
Accord ACD260