Notes on the music What are Brahms? This amusing gaffe may be But whatever your view you will surely see them, familiar but it ironically suggests a plurality and, in the words of the poet William Ritter, as ‘like in the case of the piano music, a panorama of the lustre of golden parks in autumn and the infinite richness and range. At the age of twenty austere black and white of winter walks’: a fitting Brahms introduced himself to Robert and Clara conclusion to an autobiographical journey of Schumann playing his piano and leaving exultant and reflective glory. them awed and enchanted by the sheer size and grandeur of his talent. For them he was But enough of generality. David Wilde’s richly already ‘fully armed’ and for Clara, in particular, a comprehensive programme opens with a young eagle had spread the wings of his genius. dramatic curtain-raiser – the two Rhapsodies The sonatas are, indeed, heroic utterances, Op 79, a notable return to Brahms’ Sturm und remembering Beethoven yet leaping into new Drang Romanticism. Here the terse opening realms of expression and an altogether novel of the B minor Rhapsody and its pleading, Romantic rhetoric. Such youthful outpouring was, Schumannesque second subject give us Brahms’ however, short-lived; Brahms turned gratefully old rhetorical sense of contrast, with an additional to variation form, finding the genre congenial to surprise in the form of a final dark-hued reworking his ever-growing mastery and imagination. of the central molto dolce expressivo’s chiming, bell-like counterpoints. The G minor Rhapsody is Throughout his life there would be temporary dominated by a powerful, arching melody and a returns to his early boldness, a memory no sombre triplet figure deployed with great ingenuity. doubt of his first confidence and bravura both Brahms may have dismissed his opus 79 as ‘trash’, as composer and . Yet the primary mood but the Rhapsodies’ popularity testifies to his of ‘late’ Brahms is one of a deep introspection return to his early heady ambition with all of his and bittersweet lyricism that form a unique and first ardour and assurance resurrected. elusive part of the keyboard repertoire. How significant, for example, that the Fantasy Pieces The Variations on an Original Theme are the Op 116 should contain three consecutive slow first of two sets of variations published as intermezzi placed beneath more turbulent Brahms’ Op 21. Surprisingly neglected, and capriccios. It is customary to consider those final given short critical shrift even by such committed masterpieces, with their startling resurgences Brahmsians as the late Denis Matthews, they of energy (a case of Dylan Thomas’s ‘Do not go are admittedly uneven. But, like Rachmaninov’s gentle into that good night, / Old age should burn similarly uneven Variations on a theme of and rave at close of day; / Rage, rage against the Chopin, they contain music of a beauty rare dying of the light’), the truest essence of Brahms. even in Brahms. The theme itself is of a haunting breadth and beauty, the immediately lead to a profusion of ideas, developing one following variations of polyphonic and canonic from another with masterful ease and cunning. interest while Variation 6 shows an increase Yet despite such manifest invention the theme’s in momentum before the near-pointillist simple harmonic and periodic structure is wide leaping intervals of Variation 7. There is scrupulously preserved. Although the eight-bar full-blooded Brahmsian virtuoso chording in scheme is held intact throughout the twenty- Variation 8 but it is Variation 11 with its chains of five variations immense variety is provided, trills (a memory of Beethoven’s Op 111 ?) paradoxically, by the theme’s seeming limitations. that leads us to a coda glowing with human Few works balance so perfectly a strict adherence warmth, a musical sunset that has surely been to the rules with such luxuriant artistic freedom. underestimated down the ages. As on his previous Delphian disc of music by Liszt Turning from early to late Brahms we come and Busoni, David Wilde’s power and individuality to the three Intermezzi Op 117. The first is make a separation between creator and re-creator prefaced by some lines from a Scottish lullaby, unrealistic. Generous in a truly Brahmsian spirit, and its principal melody is subtly entwined with with all repeats he finds ample opportunity to re- a varied bell-like accompaniment and a gently align voicing and texture, rejecting a more familiar rocking left-hand rhythm, with deeper reflection carbon-copy approach. Again, he sees the simple reserved for the più adagio. The arabesques grace and lyricism favoured by many as of the second piece suggest a variation on a an evasion of a deeper poetic truth, and if he melody as yet unheard. And its gentle regret gives us all of Brahms’ strength in the fugue from collapses into an altogether bleaker mood in the the ‘Handel’ Variations (making nonsense of Hugo third which confirms a disconsolate moment in Wolf’s claim, ‘Brahms cannot exult’), he is no less octaves in the first. Later, a gently cascading responsive to darker nights of the soul (Op 117). contrast shifts from major to minor, clouding Always there is an open invitation to re-appraise the music’s graceful momentum with disquiet. Brahms’ genius, not by a radical reinterpretation, by the determinedly ‘different’ way of, say, Gould Finally, an undisputed masterpiece: the or Pogorelich, but by a probing and enquiring look Variations and Fugue on a theme by Handel. beneath the music’s surface life. David Wilde may Composed in 1861 and first performed by Clara be true to the composer, but he is a pianist to Schumann, the Variations take their theme from make you think again. three ‘lessons’ for the harpsichord which Handel © 2009 Bryce Morrison wrote for the children of his Royal patron, the Bryce Morrison is an internationally famous teacher, critic, Prince of Wales. Neat and dapper beginnings broadcaster and pianist, and is considered among the world’s leading authorities on piano performance. David Wilde ‘Superb performer, Wilde is a passionate teacher, and his pupils magnificent musician’ include Jack Gibbons, Christopher Oakden, – Thomas Hell and Irina Georgieva. Wilde taught at the Hochschule für Musik und Theater in Pianist and composer David Hannover from 1981 to 2000, and was made Wilde was born in a Professor Emeritus of the State of Lower in 1935. A busy wartime Saxony in 1983. He has given many lectures career as ‘boy pianist’ brought in both English and German, including his him to the attention of the paper on psychology and the meaning of legendary pianist , who arranged for music, ‘Listening to the Shadows’. His analysis Wilde to study with his pupil and assistant Franz of Liszt’s B minor Sonata, which he read and Reizenstein. Later, from 1949, Wilde studied illustrated at London’s Analytical Psychology composition with Professor Richard Hall at the Club (of which he is an elected life member), Royal Manchester College of Music (precursor was originally written as a contribution to the of the Royal Northern College of Music), of book Analectia Lisztiana, ed. Michael Saffle which he was elected a Fellow in 1953, the (publ. Virginia Tech). same year he was awarded the prestigious Walter Dayas Gold Medal. During the 1990s, having travelled to besieged to support his heroic colleagues there, In 1961 Wilde won a first prize at the Liszt- Wilde composed several works protesting Bartók competition in . The legendary against human rights abuses in our time, Nadia Boulanger was a jury member, and notably The Cellist of Sarajevo (1992), the Suite invited him to visit her in Paris at any suitable for Violin and Piano, Cry ‘Bosnia Herzegovina’, time, so when in the same year Wilde was the String Quartet (of which the last movement awarded a senior scholarship by the Caird is a ‘Threnody for the Unknown Victim of War Foundation of Dundee he wrote to accept and Oppression’), and the opera London Under her invitation and ask if he might work with Siege, after an idea by Bosnian poet Goran her on a more regular basis. She responded Simic. The Cellist of Sarajevo, dedicated to most encouragingly, and Wilde joined her in Vedran Smailovic, is played the world over and Paris and at the Conservatoire Americain in was recorded by Yo-Yo Ma for Sony Classical, Fontainebleau (of which Boulanger was then and the opera London under Siege was Musical Director) in 1963, and again in 1964 produced by the State Theatre of Lower Saxony and 1968, remaining in close touch with in 1998. The then Governor of Sarajevo travelled ‘Mademoiselle’ for the rest of her long life. to Germany to attend the first performance. Wilde was twice honoured by the Bosnians: recording of his concerto, wrote simply: ‘David in 2003 he was awarded a diploma by the Wilde was first class.’ International Peace Committee of Sarajevo ‘for services to human rights in Bosnia-Herzegovina More recently, Wilde has commissioned a and throughout Europe’, and in 2005 he was sonata from Gabriel Jackson with funds from presented with the ‘Symbol of the Open Door’, the Scottish Arts Council, the Britten-Pears representing honorary Bosnian Citizenship. Trust and the Trust, and premiered it at the Queen’s Hall, Wilde has given many concert tours of the UK in 2007. He gave the European premiere of and played frequently with all the major London this work during a recital in Braunschweig, , all the BBC orchestras, and the Germany in October 2008. Royal Liverpool Philharmonic, Bournemouth Symphony, City of Birmingham Symphony, In 2007 EMI reissued Wilde’s 1968 HMV Royal Scottish National and Hallé Orchestras. Liszt recital, coupled with Liszt recordings by He appeared regularly at the Henry Wood Earl Wild. Wilde now records exclusively for Proms with conductors such as Horenstein, Delphian Records: a Chopin recital (DCD34010), Boulez and Downes. He has toured New the complete piano works of Luigi Dallapiccola Zealand and played and taught in India, together with his Songs of Machado with Australia, Bulgaria, Russia, Canada, the USA, soprano Susan Hamilton (DCD34020), and the most countries of Western Europe and, of seven Elegies of Busoni coupled with the Liszt course, Hungary. His recordings include all of Sonata (DCD34030) are already available, and Beethoven’s sonatas for violin and piano and a Schumann recital is in preparation, scheduled the sonata by Reizenstein with Erich Gruenberg, for release in July 2009. Alan Bush’s Variations, Nocturne and Finale on an English Sea Song (in a version for piano and Wilde has two children by his first marriage, which Wilde had premiered at the and since retirement from his position in Cheltenham Festival), and concertos by Thomas Hannover in 2000 lives with his second wife, Wilson (especially composed for Wilde) and by writer and historian Jane Mary Wilde, in Sir Lennox Berkeley. In his recently published Bathgate, near Edinburgh. diaries Berkeley, who was present at the David Wilde on Delphian

Liszt: Sonata in B minor / Busoni: Elegies David Wilde piano (DCD34030) Bryce Morrison writes: ‘I first heard David play the Busoni Elegies at London’s Queen Elizabeth Hall. I also heard his earlier recording of the Liszt Sonata. These performances, as cogent as they were lucid and powerful, have long stayed in my memory, yet they are far excelled by Delphian’s present offering. Here, surely, is blazing confirmation of what Sir Michael Tippett once called “the immense effort of interpretation”, by means of a rare communicative vividness and force. In a time of increasing musical homogeneity David Wilde’s Liszt and Busoni stand out for their very special drama and integrity.’ ‘Wilde lives up to his name in Liszt’s B minor Sonata … a performance heaving with free-flowing passion, power and zeal’ – The Scotsman, August 2007

Luigi Dallapiccola: a portrait David Wilde piano, Susan Hamilton soprano, Nicola Stonehouse mezzo- soprano, Robert Irvine cello (DCD34020) Luigi Dallapiccola is one of the most celebrated Italian composers of the twentieth century. This disc features chamber music and songs alongside his complete works for solo piano. Whether drawing on the music of the past to nourish the contrapuntal organisation of his own, or concentrating on the opportunities for gentle lyricism afforded by bell-like vocal and instrumental sonorities, Dallapiccola’s commitment to traditional expressive nuance has been seen by critics as a powerful aspect of his Italian insistence upon cantabilità – songfulness. ‘a marriage of discipline and imagination of which Wilde is fully aware … [Nicola Stonehouse] is eloquence itself in the Goethe-Lieder’ – Gramophone, April 2007