Romantic Discoveries Recordings

Piano music of Emil Hartmann (1836-98)
John Kersey, piano
RDR CD54

Total time: 77 mins 6 secs

Four Pieces, op 31
1. Elegi (3’55”) 2. Impromptu (3’14”) 3. Canzonetta (3’25”) 4. Etude (3’23”)

Arabesque and Caprice, op 16
5. Arabesque (Theme varié) (5’33”) 6. Caprice (5’47”)

Fra Høilandene – Nordic Tone Pictures for Piano, op 11
7. Moderato (4’15”) 8. Gamle Minder (Old Memories) (1’44”) 9. En Leg (A Game) (2’28”) 10. Paa Fjorden (On the Fjord) (3’06”) 11. Folkedands (2’40”)

Ballscenen – Dances and Arabesques for Piano, op 23
12. Introduction et Valse Gracieuse (3’52”) 13. Polka (3’54”) 14. Menuet (4’58”) 15. Intermezzo I – La Coquette (2’21”) 16. Contredanse (2’22”) 17. Valse (2’52”) 18. Galop Furioso (2’04”) 19. Intermezzo II – Scene d’amour (2’04”) 20. Tyrolienne (2’27”) 21. Valse-Finale (6’37”)

22. Albumleaf (1’44”)

We are grateful to Dr. Denis Waelbroeck for supplying copies of scores for use in this recording.
Cover picture: Johan Laurentz Jensen: Still Life (1827)

Notes on the music
For biographical information, see http://da.wikipedia.org/wiki/Emil_Hartmann (in Danish).

Emil Hartmann’s work was eclipsed in his lifetime by the fame of his father, J.P.E. Hartmann, and his brothers-in-law Niels Gade and August Winding. He composed music before he could talk, and developed into a confident master of the Danish expressive style of the mid-nineteenth-century.

Hartmann worked as a church musician, but this forms only one aspect of his musical output, which is extremely varied. The piano music explores a number of styles ranging from nationalistic folksongs and dances to virtuoso display-pieces such as the Caprice op 16 no 2, and balances an extrovert sensibility with a fine command of melody and expressive shading.

The Ballscenen op 23 suggest some similarities with Schumann’s Carnaval and offer an unified set of strong contrasts and considerable charm. The piano writing is at times demanding and offers a number of exciting effects.

The Nordic Tone Pictures “from Høilandene”, op 11 inevitably draw comparison with Grieg’s nationalistic works. Hartmann handles his original material with some mastery, effectively evoking each scene with economy and avoiding the commonplace.