Piano Music from Leipzig Music from Leipzig composition. Up until this point, tuning a keyboard instrument imposed limitations on 1 J. S. Bach Chromatic Fantasy and 12:15 11 Edvard Grieg Lyric Pieces Op. 38 1:23 Situated on the intersection between two the composer as to the choice of keys that Fugue in D minor Spring Dance major mediæval trade routes, Leipzig became could be used. It is thought that Bach had his one of the most important cultural cities in own method of tuning and so was greatly 2 Felix Mendelssohn Songs Without 3:30 12 Edvard Grieg Lyric Pieces 2:36 Europe, famous for its music and publishing adventurous in writing the 48 Preludes and Words (selection) Op. 19 no. 1 (E major) Op. 38 Elegy houses. Many great composers flourished Fugues, two for EVERY key, including 3 Felix Mendelssohn Songs Without 2:34 13 Edvard Grieg Lyric Pieces 1:04 writing for its churches, publishers and musical the as yet ‘unthought-of’ keys such as E Words Op. 19 no. 3 (A major) Op. 38 Waltz amateurs, and this piano recital illustrates flat minor and C# major. The piano had what a rich diversity of music was born here. already been invented by Christofori in 4 Felix Mendelssohn Songs Without 2:22 14 Edvard Grieg Lyric Pieces 4:57 Florence in 1719 (and Bach did play on Words Op. 19 no. 6 (G minor) Op. 38 Canon Bach 1685-1750 one before his death in 1750); when he 5 Felix Mendelssohn Songs Without 2:37 15 Niels Gade 4 Folk Dances 2:54 Chromatic Fantasy and Fugue in D minor indicated a work for ‘Clavier’, that meant any Words Op. 67 no. 2 (F sharp minor) Op. 31 no. 1 Moderato of the range of keyboard instruments he had Leipzig’s most famous resident settled here in available to him, including clavichord, spinnet, 6 Felix Mendelssohn Songs Without 1:23 16 Niels Gade 4 Folk Dances 1:51 1723 having accepted the job that Telemann harpsichord or organ (he apparently preferred Words Op. 102 no. 5 (A major) Op. 31 no. 2 Allegretto vivo turned down, the Kantor at St. Thomas’ the clavichord for its expressive capabilities). 7 Edvard Grieg Lyric Pieces 2:45 17 Niels Gade 4 Folk Dances Op. 31 1:47 where his duties were to compose music for Op. 38 Berceuse no. 3 Molto vivace the four churches of Leipzig and rehearse The Fantasy opens with a fanfare-like flourish and train the choirboys. The Chromatic in D minor and then after firmly establishing 8 Edvard Grieg Lyric Pieces Op. 38 1:58 18 Niels Gade 4 Folk Dances Op. 31 4:05 Fantasy and Fugue probably dates from 1726 the key with many flourishes and scales, Folk Song no.4 Allegro non troppo and is exceptionally daring and surprising in the middle recitative-like section leads to a 9 Edvard Grieg Lyric Pieces 1:47 19 Johannes Brahms Scherzo 10:26 its use of chromaticism. Evolution was modulation which descends through every Op. 38 Melody Op. 4 in E flat minor afoot, inspired by the progress in keyboard chromatic note of the scale back down instrument production; improvements in to D; then, just for good measure, he does 10 Edvard Grieg Lyric Pieces 0:46 Total Timing 63:01 mechanical mechanisms and structure of it again in the coda - only this time in the Op. 38 Halling keyboards meant new possibilities in musical space of 5 bars. The 3-part Fugue, by contrast,

2 3 doesn’t stray too far from D minor but has He wrote 8 volumes of Songs Without guesses, to avoid being associated with a genre pattern undulating in-between. Op.19 no a satisfying build to the final statement of Words (two of which were published after that may have professionally demeaned him. It 3 opens with a trumpet-like fanfare in the the subject in the bass then in the treble his death) with 6 pieces in each volume, a is a pity because it was evident that he took bright key of A major with dotted rhythms bringing to a conclusion this very grand total of 48 altogether (I wonder if this was a trouble over the crafting of the ‘Songs’ by in 6/8 giving a vivid impression of galloping work. It is an extraordinarily ‘modern’ sounding deliberate nod to Bach’s 48 Preludes and the number of revisions he made and he horses-hooves at a hunt. A flourish and a composition and one that Mendelssohn Fugues?). They are little pieces with ‘singable’ did perform them himself in public too. diminuendo at the very end indicates the frequently performed himself. melodies, however they are nothing at all to Schumann praised his craftsmanship, but any riders galloping into the distance. Op. 19 do with songs. The title caused such confusion favourable press was overshadowed by their no 6 in G minor is intimate in feel - the Mendelssohn 1809-1847 they became a bit of a ‘PR’ embarrassment popularity with the ‘amateur’ association lilting accompaniment-figure like lapping Op.19 no.s 1, 3 and 6, Op. 67 no. 2, Op.102 no. 5 for him. The concept of the genre came about causing him to comment “I won’t publish water while a plaintive Gondola-like song as the result of a game that he used to play any more soon. I would rather write bigger drifts above it. Op. 67 no. 2 in F sharp Mendelssohn was an all-round musician - with his beloved sister Fanny - they were things.’ However, Clara Schumann played minor is more densely textured in its pianist, conductor, composer, educationalist, never conceived to be literal depictions of her part in doing much to popularise them accompaniment over which Mendelssohn philanthropist and even an impressive anything nor to have words put to them. by including them in her concert weaves a duet. The end seems to dissipate watercolourist. An extremely active member programmes early on, so she obviously into thin air just as it seemed to come of the community and a family man, he not He said “Even if, in one or other of them, I had thought highly of them too. They do from nothing. Op. 102 no 5 which only founded and organised funding for a a particular word or words in mind, I would not need defending. They are exquisite was published after his death is just as new conservatoire in Leipzig, but was also not want to tell anyone, because the same word character pieces, clear in form and phrasing, light and effervescent as anything from responsible for spearheading the movement means different things to different people. Only with uncomplicated textures and a modern A Midsummers Night’s Dream. A bell-like that rediscovered the works of Bach, the the songs say the same thing, arouse the same harmonic language. Many are simple and melody skips above a bubbling chordal composer whose music he made it his personal feeling, in everyone - a feeling that can’t be tender requiring a ‘Mozartian-like’ approach accompaniment which also vanishes away mission to revive. His musical achievements expressed in words.” of subtlety, elegance and grace. The at the end. left an enduring mark on the city, as had structure of these pieces is mostly simple those of Bach before him. He directed the They were taken up with zeal by young lady ternary form, with slight variations in the Gewandhaus Orchestra, toured as a brilliant amateurs in the booming domestic piano market return of the A section. Op. 19 no.1 has concert pianist and was of course a child as salon entertainment and Mendelssohn a sweet descending melody in the top and bass prodigy composer. eventually distanced himself from them, one line with a gentle continuous semi-quaver

4 5 Edvard Grieg 1843 - 1907 He wrote 170 songs and 10 books of Lyric Niels Gade 1817-1890 become well established and took over as Lyric Pieces Op.38 Pieces which catered for the domestic Volkstänze Phantasiestücke Op. 31 the principal conductor of the Gewandhaus piano market which was by this time at its orchestra. He wrote that he was “living in There was no art-music in Norway to speak height. He was a supreme miniaturist, Niels Gade was an internationally renowned joy and bliss here in my second home.” of before Grieg and he has been called the capturing the essence of the landscape and composer, violinist, educator and administrator Schumann commented that he was ‘father of Norwegian Music’ for this reason. folk idioms in his charming melodies and, in his day, although today he is barely technically a very strong composer and a Although best known for his Piano Concerto though none are technically demanding, recognised. The piece with which he came youthful Brahms was a great friend whose and Peer Gynt, it is his songs and piano they are exquisite and tender. The Op. 38 to be associated, the “Wedding Waltz” string quartets no.s 1 and 2 were certainly miniatures which are Grieg’s lasting legacy. set, composed in 1883, all share a simple became a nuptial tradition as the first dance influenced by Gade’s string quartet. He Grieg’s formal musical education was at the ABA structure, where the frst section (A) is at Danish weddings, although he himself also knew Joseph Joachim as a child at the Conservatoire in Leipzig where he studied repeated after the second section (B) ends, didn’t rate it and he grew to resent it. He conservatoire at least 5 or 6 years before with Niels Gade whom he greatly admired. either starting cheerfully with a middle started composing in his teens and wrote Brahms met him and he counted Grieg and It was Gade who encouraged him to write section that introduces an element of many chamber works and piano pieces, Carl Nielsen among his composition pupils. his first symphony and who enthused about shadow, or starting with a plaintive minor including his first Symphony which he his first steps in chamber music. Indeed, theme which brightens briefly into the relative sent to Mendelssohn, who was at the time These delightfully lively folk dances are full Liszt praised Grieg’s second Violin Sonata major. Each one is concise and delightfully the conductor of the Leipzig Gewandhaus of wit and character, full of large leaps and when they played it through together on the descriptive besides being very short (the Orchestra. Mendelssohn was so impressed bravura virtuoso passages. Gade’s music piano, admiring its’ ‘national’ folkloristic Halling being the shortest at 46 seconds!). that in 1843 he invited Gade to come to is not, however, overtly dramatic - rather elements. After 400 years of Danish rule, Leipzig to be his assistant conductor and to more intimate and delicate in style. Like Norway had recently gained independence teach at his newly founded conservatoire. the Mendelssohn and Grieg miniatures, and Grieg pledged to express the national He wrote to him “You have won the they are in simple ternary form, ABA, spirit through music. Many of the works in lasting friendship of the entire music-loving where the frst section (A) is repeated after the Lyric Pieces have titles like ‘Folk Song’ audience in Leipzig”. As a result of this the second section (B) ends. The first is a or are based on traditional dance rhythms, invitation Gade received a grant for study Polonaise with a sparkling middle section. such as the Halling (which also makes its from the Danish government and settled In the second, after an introduction, like appearance in his Piano Concerto which into the musical life of the city. After a call to the dance, the theme is a series of brought him international fame). Mendelssohn’s death in 1847, Gade had small flourishes in the right-hand up and

6 7 down the keyboard followed by a middle Liszt sight-read through it in 1853 and Eleanor Meynell section of leaps in the left hand that sound was impressed by the young composer like a dancer jumping in the air then (the compliment was not returned it seems, as Eleanor Meynell won a scholarship to landing. All of these little pieces are Brahms apparently slept through a performance Chetham’s School of Music at the age of remarkably taut and compact in their of Liszt’s B minor sonata!). Although 11 where she studied with Heather Slade- construction with clever new ideas every Brahms spent much of his professional life Lipkin and Ryzsard Bakst. During her time few bars. No. 3 has consecutive four-bar in Vienna, he was introduced to the musical there she was a prize-winner in several phrases that each have a new idea, scene in Leipzig by a friend of Robert national and international competitions and cascading right hand flourishes over left Schumann and began to give piano recitals won Bromsgrove Young Musician of the hand leaps in the bass being a common in the city. Schumann helped promote the Year aged 15. She also was awarded both feature. The fnal one of the set is a young Brahms by writing him a glowing ARCM and LGSM diplomas while still Mazurka in rondo form - the main theme in reference in the press, and so he succeeded at school. the minor alternating with a folk-like in getting his frst piano compositions melody in the tonic major. It ends with a published there. The Scherzo in E flat Eleanor has broadcast as a soloist and combination of both the rondo and minor Op. 4 is structured like a rondo: chamber musician on BBC Radio 3, Classic folk-theme in the major. i.e. the main theme returns three times fM and Radio Belfast, and is currently with Trio 1 and Trio 2 of contrasting moods on the staf at Trinity Laban College of Brahms - 1833-1897 interspersed between them. Music and Goldsmiths College where Scherzo Op. 4 in Eb minor she accompanies and coaches. As well as singing in the Monteverdi Choir, she also Marked ‘Rasch und feurig’ (fast and fiery), plays for auditions and masterclasses for this Scherzo is a ‘joke’ with a sting in the tail. John Eliot Gardiner and is a mentor on It is one of Brahms’ earliest compositions the apprenticeship scheme. She made her when he was still a young man of 18 and Wigmore Hall debut in 2015 playing with we are lucky to have it, because as a several members of the Monteverdi Choir perfectionist he asked for much of his early in music by Schubert and Brahms which work to be destroyed. received critical acclaim in The Times.

8 9 She has recently performed Beethoven 4th husband’s mother and then again in 2013 by and Grieg Piano concertos, and future plans Hilary Martin. include performances with her piano quartet as well as Saint-Saëns’ Carnival of the Julius Feurich started his piano manufacture Animals with the London Mozart Players. company in 1851 in Leipzig. He came She plays for many young aspiring singers from a family of harpsichord and specialist and instrumentalists and recently formed the piano makers building up a huge business St Bart’s Piano Quartet with players empire supplying grand and upright pianos from the LSO with whom she has begun all over Europe and also to Chile and to build a chamber music series where she Brazil. By the 1940’s their position in lives in Sydenham. the market took a downturn, grand pianos simply becoming too expensive to make www.eleanormeynell.com during and after the war.

The Piano Credits: Producer/Engineer: Michael Whight I recorded on a Feurich piano which dates Mastering: Will Brown from 1909 (Nr. 201426) from Leipzig. I Booklet notes by Eleanor Meynell Photography: Sarah Smith GNProductions think it must have come over from Germany Front and back cover sculptures by Everard Meynell during or shortly after the Second World and used with kind permission War as it was bought by Joy Bennett, www.evmeynell.co.uk my late mother-in-law in 1954 at the Design and Artwork by Woven Design suggestion of Harold Craxton, her piano www.wovendesign.co.uk teacher. Perhaps the piano arrived in Hampstead as the instrument of an exiled I’d like to dedicate this recording to my Jewish family? We can only guess. What husband Lawrence Wallington for his love we do know is that it was refurbished and support. in 1954/55 when it was bought by my

10 11 Issued under exclusive licence from Eleanor Meynell p 2018 Music and Media Consulting Limited/MMC Recordings © 2018 Music and Media Consulting Limited/MMC Recordings www.musicandmediaconsulting.com MMC125