Dohnanyi, "Widmung", Op. 13, No. 1 from Winterreigen

[rachfan]

“Widmung”, the opening composition of Ernst von Dohnanyi’s Winterreigen, was published in 1905. The composer himself premiered Winterreigen in 1906. In the opening measures there is a motif similar to Schumann’s “Papillons”. The term Winterreignen was taken from a poem of Viktor Heindl wherein the poet rues the wintery and sad memories of nostalgic times. As for “Widmung” (usually thought of as “A Dedication”), Dohnanyi created a lyrical cantilena with a flowing, arpeggiated accompaniment which I found quite challenging—probably the next closest thing to a left-hand etude. Dohnanyi, a piano student of Istvan Thoman and Eugen D’Albert, was a powerful force in both the music world and the Hungarian school of piano which originated with Liszt. I hope you’ll enjoy hearing this piece.

Comments welcome.

David

Piano: Baldwin Model L Artist Grand (6’3”) with lid fully open.
Recorder: Roland R-44-E
Mics: Matched pair of Earthworks TC-20 small diaphragm, omni-directional condenser mics in A-B configuration

[gvans]

Beautifully done, David.

Those flowing left-hand patterns are devilish, especially when they are so disconnected rhythmically from the right hand melodic configurations. What is especially difficult is keeping that notey left hand in the lower (and louder) register at bay and allowing the melody to sing. One might consider playing it with the mind set that those leftie notes should just be a murmur, several dynamic levels below the right. Of course, the score may reflect otherwise.

In any case, a fine introduction to an unusual piece far from the well-trodden path.

[j_menz]

Great job, but when are we getting 2-9? 

[rachfan]

Hi gvans,

Yes, that left hand is a killer.  I agree with your assessment that ideally it ought to be more in the background.  The only barrier to that is the resulting "ghost notes", especially with a firm action like the Baldwin's.  Plus the harmonies and polyphonic nature of the LH add much of the charm to the piece. Another example of being more liberal with the LH polyphony are  the piano works of Liadov. There again, you have to allow the LH to get a little more of the limelight than the norm.    

Thanks for listening, and it's always a pleasure playing lesser known pieces of high merit.

David

[rachfan]

Hi j,

Thanks for your kind comment on my playing!

Hmmm, 2-9.  In the repertoire guides under Dohnanyi I can find "Four Clavierstucke", Op. 2, so there are not 9 pieces in that opus.  Can you perhaps help me out a little more on that one?

Thanks.

David  

[j_menz]

I meant you've done this one from Winterreigen (13/1) and the Postludium (13/10), that leaves 2-9 of the Opus.

[rachfan]

Hi j,

OK, thanks for that clarification. Well,the good news is that I've provided renditions for the two "bookend" pieces of Op. 13.  So maybe other pianists will want to fill in the pieces in between.  I specialize in Late Romanticism, as you know (including Dohnanyi). If a piece is truly achingly beautiful, I'll learn and record it. But if a piece leaves me cold, I won't put time into it. There have been occasions when I have done complete sets, such as the three sets I did for Catoire's music (all are in the Index to Audition Room).  To me his music is extraordinary. I felt it was a great honor to play it, as only three people were playing it at the time that we knew of: Marc-Andre Hamelin, Koji Attwood and me. So I was able to play a helping role in recreating the lost performance practices. More often than not, I avoid complete sets because the piano literature is so vast and a lifetime is too short! At my age I'm keenly aware of that. I am flattered that you would want to hear me play the 2-9.  But probably others could do better justice to those pieces.

David   

[j_menz]

Understood. I guess I'll have to put up with my own playing from the score your Postludium convinced me to buy.

** rushes off to search for the Catoire......

[rachfan]

Hi j,

Once you hear Catoire's music, you won't be able to shake it off--ever.

David 

[j_menz]

Yet again, you've sold me, and just from the Morceaux!

Embarrassed to say I've had a pile of pdfs of his stuff hanging around to print and play for ages, but time (and a bad habit of buying more new  stuff by the gross) have delayed me. Must set some aside!

[emill]

Hello David,

It has been a while....
Let me just say that a pleasant experience is easily transformed to an enjoyable one
with the quality of your play and recordings .... the omnidirectional small condenser mics
in A-B configuration (?) .... very real-like recording indeed!

Thanks for expanding my music horizon.

[rachfan]

Hi j,

Those sets are all so different.  The Morceaux you started with has that gorgeous Nocturne and the Etude-fantastique.  Great music!  The Preludes are so beautiful too.  And the Chants du crepuscule set is astonishing in that Catoire seems to take elements of impressionism and expressionism and fuses them together for an altogether different sound.  Doesn't get any better than that!

That's great that you have some pdfs there.  You'd enjoy playing these pieces, I'm sure.

David

[rachfan]

Hi emill,

I'm glad you enjoyed my recording.  That piece is more difficult than it sounds.

I love my Earthworks TC-20 microphones.  They have a lot of "headroom" in them, meaning that the highs and lows don't get cut off by the recorder.  Those mics were expensive but worth every penny.  They've given me a lot of enjoyment that I've been able to share with my listeners here.  My new Roland R-44 recorder (as with other good recorders) comes with a couple of features connected with what I've said here about the danger of "clipping".  When recording I can comfortably leave both the "low cut" and the "limiter" switched off.  I know that I can safely leave those matters to the microphones.  They've never once let me down in those respects.

David

[goldentone]

Hi David,

This opening to Winterreigen I enjoyed a lot.  Yes, I think the left hand is a bit on the loud side, but you compensate by bringing out the melody.  You played the difficult, counterhythmic left hand very well.  Is there more Dohnanyi to come, or are you ready to sail to new waters?  

[rachfan]

Hi goldentone,

I was OK allowing the left hand accompaniment being louder than usual given its gorgeous polyphony, but I did keep the melody predominant as you noted.  Dohnanyi's mastery in writinge those accompaniments remind me of Liadov who also had remarkable talent in that department.  A very long time ago I played Dohnanyi's "Rhapsody", Op. 11, No. 3 in C.  Talk about a virtuosic piece!  I will keep an eye open though. Unfortunately, I think Dohnanyi has become somehow forgotten over the decades.  For that reason alone I was glad to contribute a couple of his pieces here to raise awareness.

Thanks for listening and commenting!
David