...plus the Variations and Fugue on an Original Theme, Op.91, forthcoming from Etcetera:
https://www.etcetera-records.com/album/671/piano-solo-pieces (https://www.etcetera-records.com/album/671/piano-solo-pieces)
I usually translate that German phrase as "original theme".
Good on Etcetera, they've done very well by this fine composer (but more labels should :) !)
(Both works are in score @ IMSLP, the variations from a Sibley source, the piano sonata from Munich/D-Mbs.)
You're right, of course. It was on the tip of my tongue, but wouldn't come. Duly amended, with many thanks.
Berger's Piano Sonata in B major, Op.76 (1899) will probably never be popular: it's unflashy, serious and classical-sounding. Stylistically it stands in almost complete contrast to the virtually contemporary and much more adventurous 2nd Symphony. In fact, by comparison it's almost austere. I'd also say that it's very difficult to play.
By the way: be careful trying to extract the booklet from the CD case if you buy this release - it's rather a tight fit.
Playing and recording are top-notch as far as I can judge.
I was underwhelmed by this release I must say, and that's a disappointment as I was very much looking forward to hearing major new works from Wilhelm Berger, a fine composer indeed. It's difficult to say at first hearing but I don't think that the fault lies in the music, and certainly not in the exemplary recording, but in Mitsuko Saruwatari's interpretation. Both pieces are the antithesis of Lisztian bravura of course, so one doesn't expect brilliant pianistic showcases, but to my ears at least Saruwatari is so reserved, so self-effacing and uninvolved that she does the music a disservice. Her mainly moderate tempi don't allow much light and shade into the music, never mind the promised fuoco in the Sonata's opening Allegro con fuoco, for example. There's more life to the Theme & Variations, possibly because the music itself is more episodic, but it's still a flat performance. Maybe the music will start to shine through with repeated hearings. I certainly hope so.
On further listening, I am sure that Mark is right about the performance of the Sonata. The tempo adopted in I is certainly not Allegro con fuoco (I hadn't previously spotted the marking) - in fact it's barely Allegro, let alone con fuoco! Conversely, Miss Saruwatari surely plays II (Adagio!) too quickly - the result of which is to flatten out the contrast between the movements. This is late romantic music, after all! So, while Miss Saruwatari certainly plays the notes, we really need someone like Hamelin to bring this (wonderful) music alive.
Has anyone else invested in this release?
MusicWeb review here:
http://www.musicweb-international.com/classrev/2018/May/Berger_piano_KTC1599.htm (http://www.musicweb-international.com/classrev/2018/May/Berger_piano_KTC1599.htm)
Hmmm, probably a fair enough review of the music itself, but maybe Dominy Clements listened to a different performance?
Like me, I don't think he was paying attention to the tempo markings...