Piano Music of Walter Niemann volume 1
Gartenmusik, op. 117 • Kleine Suite, op. 102 • Kleine Marburger Sonate, op. 162 • Transcription of Handel’s Pastoral Symphony • Two Sonatinas, op. 152 (includes first recordings)
John Kersey, piano
RDR CD111
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Total time: 66 minutes 15 seconds
1. Gartenmusik, after a text by Oscar Wilde, op 117 (14:27)
i. Allegretto moderato ed amabile ii. Andante tenuto e molto tranquillo iii. Moderato e liquido
2. Kleine Suite (Suite miniature), op 102 (15:44)
i. Praeludium ii. Tempo di Minuetto iii. Tempo di Tango iv. Elegia v. Alla Marcia fantastica vi. Basso ostinato vii. Postludium
3. Kleine Marburger Sonate (Piano Sonata no. 12), op 162 (15:45)
i. Allegro amabile ii. Poco adagio notturnale iii. Moderato con moto – Im behaglichen Wanderton
4. George Frederick Handel (1685-1759): Pastoral Symphony from “Messiah” transcribed for piano by Walter Niemann (2:45)
5. Sonatine op 152 no. 1 “Forest Music” (10:04)
i. Moderato espressivo – Easy going and graciously ii. Short Ballad – Andantino mosso iii. Rondino – Allegro non troppo, ma con anima – With good humour
6. Sonatine op 152 no 2 “Country Music” (7:18)
i. Poco allegretto giocoso e rusticale ii. Alla Musette – Allegretto moderato iii. Alla Giga – Vivo e giocoso
Walter Niemann was regarded in 1927 as “the most important living piano composer who knows how to make music from the piano in a subtle and colorful way, although he often enters the field of salon music” (H. Abert, Illustrated Music Lexicon). This most sensitive and introverted master of the piano devoted his life to composition and musical scholarship, also performing his music in concerts and radio broadcasts. Niemann’s vast output for the piano is only now starting to become more widely known. Although his style is generally unashamedly conservative, he was one of the very few German composers to explore Impressionism in music, and this also reflected a fascination with the Far East. Elsewhere, Niemann’s imagination takes us from much Baroque recreation to large-scale epic sonatas, Schumannesque miniatures and even the exploration of early jazz styles. His understanding of the capabilities of the piano was complete, and his works include both collections for young pianists and mature works that exploit the full range of pianistic effect and make significant demands on the performer.
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