Schwarwenka Piano Works, Volume 4
View record and artist detailsRecord and Artist Details
Composer or Director: (Franz) Xaver Scharwenka
Label: Collins Classics
Magazine Review Date: 8/1996
Media Format: CD or Download
Media Runtime: 72
Mastering:
DDD
Catalogue Number: 1474-2
Tracks:
| Composition | Artist Credit |
|---|---|
| (4) Polish Dances |
(Franz) Xaver Scharwenka, Composer
(Franz) Xaver Scharwenka, Composer Seta Tanyel, Piano |
| Menuet |
(Franz) Xaver Scharwenka, Composer
(Franz) Xaver Scharwenka, Composer Seta Tanyel, Piano |
| Scherzo |
(Franz) Xaver Scharwenka, Composer
(Franz) Xaver Scharwenka, Composer Seta Tanyel, Piano |
| (6) Waltzes |
(Franz) Xaver Scharwenka, Composer
(Franz) Xaver Scharwenka, Composer Seta Tanyel, Piano |
| Variations on a Theme by C. H. |
(Franz) Xaver Scharwenka, Composer
(Franz) Xaver Scharwenka, Composer Seta Tanyel, Piano |
| (3) Klavierstücke |
(Franz) Xaver Scharwenka, Composer
(Franz) Xaver Scharwenka, Composer Seta Tanyel, Piano |
| Erzählungen am Klavier (Legends) |
(Franz) Xaver Scharwenka, Composer
(Franz) Xaver Scharwenka, Composer Seta Tanyel, Piano |
Author: Bryce Morrison
Volume 4 continues Seta Tanyel’s delightful odyssey through the piano works (including concertos and chamber music) of Xaver Scharwenka, as always an intriguing mix of the conventional and exploratory. Chopin’s spirit may hover over the Polish Dances (all four are mazurkas), Brahms over the Waltzes and Schumann over large sections of Opp. 5, 57 and 86, with terms such as langsam-innig or langsam und zart telling their own affectionate tale. Yet by the time Scharwenka reached his Drei Klavierstucke, Op. 86 he felt increasingly free of the past; able to venture into a greater harmonic subtlety, modulatory ease and cunning. The “Nocturne” is more impressionistic than Chopinesque and, after the sprightly “Serenade”, “Marchen” blossoms into considerable expressive richness. The Variations on a Theme by C. H., too, increase in interest and although Vars. 9 and 11 are haunted by Schumann’s Faschingsschwank aus Wien and Davidsbundlertanze respectively, they transform their bias into music of a special distinction and freshness. So, far from scraping the barrel there is much here to surprise and enliven, even if there is nothing as immediately attractive as the Eglantine Waltz and Valse-Caprice (Vol. 1, 9/92); both sufficiently charming to entice even the least susceptible dancer on to the ballroom floor.
Once again Seta Tanyel’s performances are beyond reproach. Strong, sensitive and stylish (her rubato is elegant and subtle rather than heavily personalized or affected) she is warmly sympathetic to treasures and trifles alike. And now I would dearly love to hear her in other, more mainstream repertoire. The recordings, while closer than before, are excellent.'
Once again Seta Tanyel’s performances are beyond reproach. Strong, sensitive and stylish (her rubato is elegant and subtle rather than heavily personalized or affected) she is warmly sympathetic to treasures and trifles alike. And now I would dearly love to hear her in other, more mainstream repertoire. The recordings, while closer than before, are excellent.'
Schwarwenka Piano Works, Volume 4
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