TCHAIKOVSKY Tchaikovsky’s contemporaries tell us that he for his ardent expression of emotion, which led was good enough to become a concert pianist, him to avoid superficial virtuosity. Schumann’s SOLO PIANO WORKS if he had chosen to follow that path. But he piano music was often very challenging to preferred to focus on composition, and rarely play, but it was personal and intimate even performed in public concerts. His interest in the so: the difficulties emerged from the spirit piano is mainly to be found in his many pieces of the piece, and not from any external desire for the instrument, and since most of these to impress the ladies (a charge levelled at CD1 CD2 were suitable for amateurs with solid skills, Liszt, rather uncharitably). Tchaikovsky adhered Two Pieces Op. 1 they sold well and played an important role closely to Schumann’s intimate approach 1 Scherzo à la Russe in Bb Major Op. 1 No. 1 [6.24] 1 Aveu Passionné, Op. Posth. [3.01] in building up his fame. Writing for concert outside the occasional showy flourish. 2 Impromptu in E-Flat Minor, Op. 1 No. 2 [6.08] soloists was a more difficult task, and even Sonata No. 2 in G Major, Op. 37 Tchaikovsky’s most sympathetic critic, Hermann But this is not to say that Tchaikovsky’s piano 3 Capriccio in G-Flat Major, Op. 8 [5.25] 2 I. Moderato e risoluto [11.56] Laroche, while praising the melodic beauty music was derivative, since he developed 3 II. Andante non troppo quasi Moderato [8.50] of the piano music, suspected that the his own unmistakable style, with boundless Six Pieces on a Single Theme, Op. 21 4 III. Scherzo. Allegro giocoso [3.20] composer could not manage without “the melodic invention and a clarity of textural 4 I. Prelude. Allegro moderato [2.03] 5 IV. Finale. Allegro vivace [6.55] varied and luxuriant colours of the modern layers that bring to mind his orchestral 5 II. Fugue in 4 voices. Andante [3.06] orchestra and the great expanse of symphonic sonorities. There are, if you listen closely, 6 III. Impromptu. Allegro molto [1.53] 6 Humoresque, Op. 10 No. 2 [2.48] form; only there … does he feel at home, but “woodwind” passages (as in one of the 7 IV. Funeral March. Moderato. [5.42] where his palette is more restricted, he sounds episodes in the final rondo of the G-major Tempo di Marcia 7 Dumka, Op. 59 [8.20] relatively impoverished”. To be fair, this was Sonata) or climaxes of roaring brass (as in 8 V. Mazurka. Allegro moderato [4.11] written in 1873, before Tchaikovsky finally the first movement of the same work). 9 VI. Scherzo. Allegro vivace [4.50] Total timings: [84.56] turned his hand to the composition of more Konstantin Igumnov, a passionate advocate ambitious piano works. of Tchaikovsky’s piano (music, and one of the first to record the Sonata), claimed that Tchaikovsky had the greatest respect for the the piano pieces do not “play themselves”, music of Robert Schumann, whose influence and do not offer sonorities of self-evident on his piano music is obvious. Alongside beauty, in the manner of Chopin or Liszt: PETER DONOHOE his Russian colleagues, Tchaikovsky prized pianists need to discover how to convey them Schumann for his innovative spirit, but also effectively, as they must do with Beethoven, www.signumrecords.com - 3 - or indeed, with Schumann. As Igumnov put Two Pieces Op. 1 Impromptu in E-Flat Minor, Op. 1 No. 2 (1864) perhaps, which would be quite at home in a it, “Tchaikovsky’s piano music is difficult to Scherzo à la Russe in Bb Major, Op. 1 No. 1 (1867) Tchaikovsky ballet. The piece was dedicated perform, but not impossible”. The Impromptu was only paired with the to Karl Klindworth, a student of Liszt’s, a Here Tchaikovsky used a folk tune that he Scherzo by accident. The publisher Jurgenson friend of Wagner’s, and also Tchaikovsky’s Peter Donohoe disagrees, insisting that all himself had recorded while vacationing on a discovered it written next to the Scherzo in colleague at the Moscow Conservatoire. music requires performers to find the right Ukrainian estate (as often happens in such Tchaikovsky’s manuscript and saw no problem approach, so he does not see Tchaikovsky as cases, no one has been able to pinpoint the in printing both. Tchaikovsky discovered the Six Pieces on a Single Theme, Op. 21 (1873) any kind of exception. He writes: original song). The inspiration for a “Russian mistake too late, and was not at all pleased, scherzo” comes from Glinka’s highly influential since he saw the Impromptu as a student piece. Tchaikovsky dedicated these six pieces to his “It is inexplicable to me that Tchaikovsky’s solo orchestral fantasy Kamarinskaya, which But listeners may well thank Jurgenson for former composition professor Anton Rubinstein, piano music should remain so infrequently subjects a tiny scrap of folk melody to endless preserving this fascinating piece, which who was also an internationally renowned performed, containing as it does all of the variation with great energy and ingenuity. presents a typical Romantic contrast between pianist, hoping that Rubinstein would soon composer’s characteristic harmony, his wonderful Tchaikovsky’s Russian style is not at all purist: the turbulent reality consuming the protagonist include them in his vast repertoire. Frustratingly, melodic gift, his capacity for majestic gesture, it never intends to imitate folk music or (in the tarantella-style outer sections) and a Rubinstein left them untouched for ten years, magically beautiful moments, immense set it in a museum frame, but instead is beautiful dream – a serene Italianate melody until he finally brought them before the public sadness, and passages of extreme excitement. full of spooky chromaticism and a sweet with harp-like accompaniment, before harsh in 1883. Tchaikovsky, consoled, said that His piano writing is often orchestral in texture, lyrical sensibility that was often frowned reality returns. The design prefigures Tchaikovsky’s “they could not be played better than this”. but also demonstrates the direct but very upon by his peers. His little folk tune is only great symphonic fantasia Francesca da Rimini. Several of the pieces became staple items in diverse pianistic influences of Liszt and the beginning of an exciting journey full of Rubinstein’s repertoire for his tours abroad. Schumann, and incorporates in an almost twists and turns before the glorious virtuosic Capriccio in G-Flat Major, Op. 8 (1870) naive way folk-style dance rhythms and coda. The piece was premiered by Nikolai It is clear that Tchaikovsky wished to impress melodies from Russia. This treasure trove is Rubinstein, Tchaikovsky’s mentor and friend, The Capriccio presents a similar Romantic his former teacher with his compositional immensely rewarding to play, whether it be and composer decided it was good enough to contrast, now between the bustling life of the sophistication, choosing as his vehicle a deft a small-scale salon piece such as the be published as his “Opus 1”. outside world and the quiet intimacy of the demonstration of his ability to use the same Humoresque Op. 10 No 2, or large in scale, inner life. The intricate orchestral textures theme six times in pieces of such different such as is the gigantic Grand Sonata in of the outer sections whimsically displace character that only the most attentive listeners G Major.” the beats, in the manner of Schumann. The will discern the common thread. Tchaikovsky middle section is a sweet melody, a dreamy knew that one of Rubinstein’s concert favourites, recollection of a waltz once heard at a ball, Schumann’s Carnaval, took the same approach

- 4 - - 5 - to its thematic material. In the Prelude and Aveu Passionné, Op. Posth. (1891?), publ. 1949 performance managed to allay his fears. It is large scale, it is an escapist flight from the the Fugue, the theme hints at its roots in accepted today as the pinnacle of Tchaikovsky’s serious questions posed in the previous Russian folk song, but also shows that it After a disappointing premiere of his music for solo piano, and is written on a truly movements. The finale rushes past with a can ably support the earnest contrapuntal symphonic ballad Vovyevoda in 1891, Tchaikovsky symphonic scale, rivalling some of Tchaikovsky’s kaleidoscopic sequence of themes, each one treatment in the manner of Bach. The Impromptu destroyed the score (although it was later symphonies in richness and intensity. following breathlessly upon the other. One is the most overtly Schumannesque, ever reconstructed), but he based this piano piece theme stands out as a powerful lyrical utterance, capricious and submerging the theme inside its on some of the music from the abandoned Tchaikovsky began writing the Sonata on the and the listener can imagine it worked up fleet figuration. work. While the piano version is entitled “a shores of Lake Geneva in the spring of 1878, into a triumphant apotheosis at the close, but passionate avowal (of love)”, the music of after abandoning his wife and fleeing Russia. Tchaikovsky rejects this move in favour of a The Funeral March does its best to conceal Vovyevoda at this point actually represents a He completed it over the following months more ambiguous ending. The meaning of the any semblance of a walking pulse so that it bitter reproach. The story behind Vovyevoda, while staying on his sister’s Ukrainian country movement can be found in the composer’s can convey a more personal grief. Its middle which comes from a ballad by the great estate, still away from society. Like the own comments on the Finale of his Fourth section is a passionate outburst that culminates Polish poet Mickiewicz, was known to Fourth Symphony which preceded it, the Sonata Symphony: “If you cannot find happiness in a quotation of the Dies Irae chant from the Tchaikovsky through Pushkin’s translation, represents a protagonist through its lyrical within yourself, look to others. Get out and Catholic requiem mass, which had become a and in this scene, a young lover is bitterly music, contrasted to the hostile clamour of the mingle. Look at the good time they are much-used symbol of death in the hands of reproaching his beloved for having married world outside. The brilliant march-like theme having, simply by surrendering themselves to Romantic composers. The Mazurka takes off an older man for his money. Aveu inherits that opens and closes the first movement has joy. Life is bearable after all”. from where the Funeral March had stopped, the cello register of the Vovyevoda theme, and an air of forced triumph, and Tchaikovsky inheriting some gloom, but eventually its dark and brooding atmosphere. underlines his ironic intent by introducing the Humoresque, Op. 10 No. 2 (1872) brightens up. The final Scherzo is built around Dies irae motif, at first lyrically. The tragic Tchaikovsky’s favourite device of alternating Sonata No. 2 in G Major, Op. 37 (1878) meaning of the movement is revealed in the One wonders if this piece stirred in Stravinsky’s between two and three beats (6/8 and 3/4), shattering central climax. memory as he was writing his ballet and hovers between pure playfulness and the “I was at Nikolai Rubinstein’s, where he asked Petrushka: a plaintive, angular motif is set desire for a lyrical utterance, which has a me to listen to him play my sonata. He played The second movement is an expression of grief, alongside a joyful and simple-hearted dance chance to break through in the more placid it superbly... I was simply astounded by the introverted and tongue-tied, conveyed through of the sort played on the accordion by street middle section. artistry and energy he summoned to play this a melody that is fixated on two notes, unable musicians in every Russian city – the rather dry and complicated piece”. These words to take flight. The Scherzo third movement is aristocratic Tchaikovsky had a keen ear for of Tchaikovsky’s show that he was uncertain highly attractive in itself with its capricious street music. Here, he draws much humour from about the quality of this sonata, but Rubinstein’s rhythms and agile figurations, but on the the two repeated notes in a middle voice.

- 6 - - 7 - The contrasting middle section is loosely based to be swept away by a dramatic wave that South Korea, Russia, and USA. Other past and on a French folk song “La fille aux oranges”, leads to the climax. The return of the doleful future engagements include performances of which Tchaikovsky heard in Nice just before he theme brings the narrative frame to a close. all three MacMillian piano concertos with the started to write the piece. BBC Scottish Symphony Orchestra; a ‘marathon’ Notes by Professor Marina Frolova-Walker FBA recital of Scriabin’s complete piano sonatas Dumka, Op. 59 (1886) at Milton Court; an all-Mozart series at Perth PETER DONOHOE Concert Hall; concertos with the Moscow State This piece was written to a commission from Philharmonic Orchestra, St Petersburg Symphony the Parisian music publisher Félix Mackar, Peter Donohoe was born in Manchester in 1953. Orchestra and the London Philharmonic Orchestra who evidently sought a substantial virtuosic He studied at Chetham’s School of Music for at Royal Festival Hall; and a residency at the piece. The title “Dumka” (meaning “thought” seven years, graduated in music at Leeds Buxton International Festival. or “rumination”) points to an Eastern-European University, and went on to study at the Royal genre of improvised song with instrumental Northern College of Music with Derek Wyndham Donohoe is also in high demand as a jury accompaniment, which Tchaikovsky had and then in Paris with Olivier Messiaen and member for international competitions. He most likely encountered in Ukraine. Switching Yvonne Loriod. He is acclaimed as one of the has recently served on the juries at the between slow and fast folk-inspired music, foremost pianists of our time, for his musicianship, International Tchaikovsky Piano Competition in the Dumka is a cousin of Liszt’s Hungarian stylistic versatility and commanding technique. Moscow (2011 and 2015), Busoni International Rhapsodies, and Tchaikovsky originally gave Competition in Bolzano, Italy (2012), Queen the piece the working title of “rhapsody”. But In recent seasons Donohoe has appeared Elisabeth Competition in Brussels (2016), Georges there is more to the design: it is a rustic with Dresden Philharmonic Orchestra, BBC Enescu Competition in Bucharest (2016), Hong scene with a hint of dramatic action, possibly Philharmonic and Concert Orchestra, Cape Kong International Piano Competition (2016), © Sussie Ahlburg even with a tragic outcome, as in many a Town Philharmonic Orchestra, St Petersburg Harbin Competition (2017 and 2018), Artur Romantic ballade. The doleful improvisatory Philharmonia, RTÉ National Symphony Orchestra, Rubenstein Piano Master Competition (2017), Donohoe’s recent releases include two volumes beginning is like a preamble to the telling of a Belarusian State Symphony Orchestra, and Lev Vlassenko Piano Competition and Festival of Mozart Piano Sonatas with SOMM Records. legend. The fast section suggests a folk dance, City of Birmingham Symphony Orchestra. He (2017), Alaska International e-Competition Disc 1 was BBC Music Magazine’s ‘Recording which quickly turns raucous. The merriment is has undertaken a UK tour with the Russian (2018), Concours de Geneve Competition (2018) of the Month’ in April 2019; and disc 2 has interrupted by a lyrical variation on the same State Philharmonic Orchestra, as well as and Ricardo Viñes International Competition in received high praise from Gramophone Magazine, material – as if the spotlight falls on a new giving concerts in many South American Lleida, Spain, along with many national Classical Ear and Musical Opinion. Other character. The dance then resumes, but only and European countries, China, Hong Kong, competitions both within the UK and abroad. recent discs include Stravinsky: Music for Solo

- 8 - - 9 - Piano and Piano and Orchestra with the Hong of John Field with the Royal Scottish collaborations with artists such as Raphael of excellent conductors: Gustavo Dudamel, Robin Kong Philharmonic (SOMM); a new recording of National Orchestra and Martin Yates (also Wallfisch, Elizabeth Watts and Noriko Ogawa. Ticciati and Daniel Harding. Shostakovich’s Piano Concertos and Sonatas Dutton), for which BBC Music Magazine with the Orchestra of the Swan, and a disc of described him as an ‘excellent soloist’, and Donohoe has worked with many of the world’s Peter Donohoe is an honorary doctor of music Shostakovich’s 24 Preludes and Fugues (both Gramophone stated that it ‘compelled from greatest conductors: Christoph Eschenbach, at seven UK universities, and was awarded a Signum Records), which was described as start to finish’. Neeme Jarvi, Lorin Maazel, Kurt Masur, Andrew CBE for services to classical music in the ‘thoughtful and poignant’ by The Guardian; a Davis and Yevgeny Svetlanov. More recently he 2010 New Year’s Honours List. disc of Scriabin Piano Sonatas (SOMM) which Donohoe has performed with all the major has appeared as soloist with the next generation was called ‘magnificent’ by the Sunday London orchestras, as well as orchestras from Times; a recording of Witold Maliszewski’s across the world: the Royal Concertgebouw, Piano Concerto in B flat minor with the Royal Leipzig Gewandhaus, Munich Philharmonic, Scottish National Orchestra conducted by Swedish Radio, Orchestre Philharmonique de Martin Yates (Dutton Vocalion); and three Radio France, Vienna Symphony and Czech discs of Prokofiev piano sonatas for SOMM, Philharmonic Orchestras. He has also played Recorded in the Britten Studio, Snape Maltings, Saxmundham, Suffolk, UK from 15th to 17th October 2018. the third of which was released at the end with the Berliner Philharmoniker in Sir Simon Producer and Editor – Nick Parker of April 2016. The first Prokofiev disc was Rattle’s opening concerts as Music Director. Recording Engineer – Mike Hatch described by Gramophone as ‘devastatingly He made his twenty-second appearance at the effective’, declaring Donohoe to be ‘in his BBC Proms in 2012 and has appeared at many Cover Image – © Shutterstock Design and Artwork – Woven Design www.wovendesign.co.uk element’, and a review in Classical Notes other festivals including six consecutive visits identified Donohoe’s ‘remarkably sensitive to the Edinburgh Festival, La Roque d’Anthéron P 2019 The copyright in this sound recording is owned by Signum Records Ltd approach to even the most virtuosic of in France, and at the Ruhr and Schleswig © 2019 The copyright in this CD booklet, notes and design is owned by Signum Records Ltd repertoire’. His second Prokofiev disc was given Holstein Festivals in Germany. In the United Any unauthorised broadcasting, public performance, copying or re-recording of Signum Compact Discs constitutes an infringement of copyright and will render the infringer liable to an action by law. 5 stars by BBC Music Magazine, and the States, his appearances have included the Licences for public performances or broadcasting may be obtained from Phonographic Performance Ltd. All rights reserved. No part of this booklet may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without prior permission from Signum Records Ltd. third disc was highly praised by The Times, Los Angeles Philharmonic, Boston, Chicago, Birmingham Post, and Jessica Duchen. Pittsburgh, Cleveland and Detroit Symphony SignumClassics, Signum Records Ltd., Suite 14, 21 Wadsworth Road, Perivale, Middlesex, UB6 7LQ, UK. Other recordings include Cyril Scott’s Orchestras. Peter Donohoe also performs +44 (0) 20 8997 4000 E-mail: [email protected] www.signumrecords.com Piano Concerto with the BBC Concert numerous recitals internationally and continues Orchestra and Martin Yates (Dutton Vocalion), working with his long-standing duo partner and Malcolm Arnold’s Fantasy on a Theme Martin Roscoe, as well as more recent

- 10 - - 11 - ALSO AVAILABLE on signumclassics

Shostakovich: Piano Concertos & Sonatas Ravel, Mussorgsky, Messiaen: ‘Pictures’ Peter Donohoe piano Peter Donohoe piano Orchestra of the Swan SIGCD566 David Curtis conductor SIGCD493 “His promenader marches purposefully forward, while the pictures themselves are firmly delineated … Messiaen’s “Donohoe delivers a highly charged and compelling account exotic-experimental Cantéyodjayâ is a perfect musical of the angry modernist First Sonata. But it’s the weighty and realisation of an abstract mosaic, not least in Donohoe’s brightly complex Second that emerges as the true masterpiece in a faceted interpretation” mesmerising performance that makes one wonder why it doesn’t Gramophone feature far more often in recital programmes” BBC Music Magazine

Available through most record stores and at www.signumrecords.com For more information call +44 (0) 20 8997 4000 - 20 - CTP Template: CD_INL1 COLOURS Compact Disc Back Inlay CYAN Customer SignumClassics MAGENTA YELLOW Catalogue No.SIGCD594 BLACK Job Title: Solo Piano SIGNUM CLASSICS SIGCD594

TCHAIKOVSKY

SOLO PIANO WORKS TCHAIKOVSKY: SOLO PIANO WORKS PETER DONOHOE

CD1

1 - 2 Two Pieces Op. 1 [12.32] 3 Capriccio in G-Flat Major, Op. 8 [5.25] 4 - 9 Six Pieces on a Single Theme, Op. 21 [21.45]

CD2

1 Aveu Passionné, Op. Posth. [3.01] 2 - 5 Sonata No. 2 in G Major, Op. 37 [31.01] 6 Humoresque, Op. 10 No. 2 [2.48] 7 Dumka, Op. 59 [8.20]

Total timings: [84.56]

PETER DONOHOE DONOHOE TCHAIKOVSKY: SOLO PIANO WORKS PETER PETER DONOHOE

LC15723

Signum Records Ltd, Suite 14, 21 Wadsworth Road, Perivale, Middlesex UB6 7LQ, United Kingdom. P 2019 Signum Records DDD SIGCD594 SIGCD594 © 2019 Signum Records www.signumrecords.com 24 bit digital recording 6 35212 05942 5 SIGNUM CLASSICS