Customer Reviews

Bruckner: Piano Works

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One of the many freakish things about Bruckner--(who but he would have a Symphony No. 0 ?!)--is that, though he was a keyboardist who played piano, organ, and harmonium, he left posterity almost ZERO keyboard music! What a shame; of course, those huge symphonies and masses took a long time to score, etc.

Anyway, here we have a real rarity: Bruckner at the piano, played on an original Bosendorfer fortepiano c. 1830. One must appreciate the evolutionary transitional character of the instrument: half-way between harpsichord and modern piano: this instrument has leather covered hammers. When viewed in its own right, the instrument has a charming timbre. Also it has cute trick of a waxed paper pedal which can give it the curious buzzing sound of a paper & comb!

The pieces themselves consist of Biedermeier chamber dances (quadrilles) and 4-handed pieces for the daughters of the new bourgeoisie.

On the other hand, there are four pieces--though early--which suggest Bruckner's later ethos. The Sonata Movement in g runs over 7mins., and suggests a parallel with the symphonic Overture in g.

There is a lovely piece entitled, "Quiet Contemplation on an Autumn Evening" ["Stille Betrachtung an einem Herbstabend"] which suggests the later grand adagios of his symphonies.

There is a Fantasy piece which is contemporaneous with the mighty Mass in f.

Lastly, there is a piece called "Memory" ["Erinnerung"], also contemporaneous with the 3rd Mass.

Glenn Gould once said he had created a "playing version" of Bruckner's Eighth Symphony for piano, but heaven knows that'll never see the light of day; so, this disc is the best we've got.

Look, I love me some Bruckner, but these works for two- and four-hands on a piano are of little to no interest for all but the most dedicated Brucknerians. Most are simple dance movements from Bruckner's long apprenticeship, and even the latest of the mature pieces only date from 1868, about the time of the F minor mass. They tend to sound more like second-rate Schubert or Mendelssohn than Bruckner, aside from the second theme of the Fantasy (starting around 1:26) where the melodic contour and harmonization approaches what I associate with "real" Bruckner. This modest 47 minute album is recommended only for Bruckner completists, or those curious about the sound of an 1830s Bösendorfer.

This disc is more than a mere novelty:the dance pieces are pretty ordinary/crude but the Fantasia (1868)begins with the most deeply affecting of melodies and there's an air of Eric satie about the opening of 'stille betrachtung an....'
The sonata movement sounds a bit heavy going on this period instrument and the Errinnerung screams out for a concert grand.
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