Romantic Discoveries Recordings

Piano Music of Walter Niemann volume 14
Holstein Idylls, op. 8 • Hans und Grete, op. 36 • Suite, op. 87 • Kocheler Ländler, op. 135 • 3 Nocturnes, op. 28 (includes first recordings)
John Kersey, piano
RDR CD124

Total time: 66 minutes 56 seconds

1. Holsteinische Idyllen, op. 8 (17:21)
i. Early spring ii. In blossom-snow iii. In the deep forest (East Holstein) iv. Evening atmosphere v. North Sea landscape
“And suddenly an idyll lay before him. Over by the pond the stately courtyard with the mighty residential building and the linden-shaded living rooms, the green panelwork of the walls, the bright red of their bricks reflected in the clear water, the bridge rolling and roaring dully under the wheels, the dusting mill wheel and in the background the vast radiant and bursting forest in the spring sun.” – Timm Kröger

2. Hansel and Gretel, op. 36 (14:17)
i. Gretel ii. Hansel iii. A fairground serenade iv. “Suse, Peter Kruse” (from an old Schleswig-Holstein childrens’ song) v. A hard holiday task vi. The nightwatchman’s round vii. In the garden under the lilac viii. On the railway ix. The first great sorrow x. Wicked Friedrich from the village xi. The Woodman and Kitty xii. Uncle Theobald and Aunt Doris – A Gavotte from the good old days xiii. Farewell

3. Suite for piano, op. 87 (13:29)
i. Praeludium – Molto moderato, in modo d’un Preambulo ii. Sarabande – Poco adagio iii. Menuett – Un poco Allegretto amabile iv. Rigaudon – Allegro con spirito

4. Kocheler Ländler, op. 135 (15:29)
i. Lieblich und gemessen ii. Munter und scharf markiert iii. Anmutig wiegend iv. Feurig und scharf markiert v. Mit schelmischer Grazie vi. Heimlich und gedämpft vii. Feurig und rhythmisch markiert (nach altbayrischen Originalmotiven) viii. Träumerisch versonnen und ein wenig gehalten im Tempo ix. Mässig, doch lieblich bewegt x. Unmutig erregt und pathetisch, frei im Tempo xi. Heimlich und versonnen xii. Heiter, doch gemessen im Tempo und scharf markiert (Altbayrischer Schuhplattler)

5. Three Nocturnes, op. 28 (10:58)
i. Alhambra (Granada) ii. Nach glücklichem Tage iii. Ave Maria (Frauenchiernsee)

Our thanks go to Nicolo Figowy and Steffen Herrmann for their generous loan of scores.

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.