Inmost Heart: Bach, Brahms, Busoni, Reger
When I saw Bach and Busoni attached to this recording, I assumed it would include the Bach Chaconne arranged by Ferruccio Busoni, a piece that for me is a wonderful ride. However once I got started, I saw the real influence here was Brahms, the common thread amongst these pieces. My first encounter with the Brahms arrangement of the Bach Chaconne was, interestingly enough, performed by Jean Rondeau on his Imagine album, which of course was performed on the harpsichord. It’s one of the two major pieces on this release from Samson Tsoy, which also includes Brahms’ 25 variations on a theme by Handel. The use of an “Aria” and variations, and capping it with a fugue, is most definitely looking toward not only Handel, but Bach.
The album also includes 5 of the op. 122 Chorale Preludes by Brahms, arranged by Busoni. And finally, the Four Serious Songs op. 121, arranged by Max Reger. The Linn recording was made using a Steinway model D at the Muziekgebouw in Amsterdam. The sound of this recording is dark and quiet, bringing exquisite focus to the piano. Only in its louder moments do we get exposed to the hall’s acoustics, which I think are very complementary. The liner notes, written by Martin Ennis, complete the value proposition of this recording, providing adequate details about the music and its history from composer to arrangers.
Handel Variations, op. 24
The ornaments in the Aria seem overly fussy on a piano. But we leave this imprint of baroque style soon enough as the variations kick-in. These variations are each short, many of them lasting less than a minute. This piece might have become neo-baroque, but I like that Brahms instead was intent on bridging his contemporary style to the original quotation which opens the work. It’s also clearly written for the piano, Brahms exploits the piano’s thunderous volume alongside its quieter dynamics; likewise, he exploits not only the limited gamut of the opening Aria, but the extended range of the piano. Variation VI, for instance, combines the hands far apart, where variation VII brings the hands back together, exploiting a new theme based in a repeated rhythm. Overall, it’s a fun piece, full of invention.
Tsoy is an apt interpreter. In variation X, I really like how he applies strong articulation; the effect changes profoundly in variation XI, showcasing a lighter, quasi legato touch. In variation XIII, Tsoy manages to allow the right hand to speak over the repeated figures in the left hand, which could overwhelm the texture. Variation XIV’s fast tempo provides a challenge with the full voicings given to the right hand. Tsoy shows no sign of fatigue. Instead, he plays with a lot of confidence.
In Variation XX, the demands on the pianist are not as high, but I appreciate how we’re treated to the sound of the instrument. Props to whomever tuned the instrument, it sounds great.
The light touch, bell-like effect in variation XXII is another example of Tsoy’s attention to pianistic color and control. It’s Brahms who is the genius to continually provide contrasts between one variation to the next.
Brahms’ inclusion of a fugue to cap the piece is another nod to the past, of course. While the approach is something we can appreciate, steps outside a purely baroque mold. The piece is ultimately a very pianistic effort. It conjures up a lot of dark and serious moments that are quite distant from the almost trite opening theme, but Brahms stays away from the seriousness that Beethoven seemed to reserve for his displays of counterpoint. I found under Tsoy’s control, I was wearing a broad smile by the track’s end.
Bach Chaconne
Brahms, as the notes tell, arranged the Bach Ciaccona BWV 1004.5 for the left hand for Clara Schumann, in order to contain his too-strong emotions attached to this piece. Unlike the Busoni arrangement, which really adapts the piece to the piano, the Brahms arrangement is more of a quotation to the keyboard. I think Tsoy is correct in not over-extending his technique to blow this piece up into something theatrical. Instead, his approach keeps the music personal. There are moments where I may have wanted to exploit more power from the instrument. His measured approach I think is the way to go.
Tsoy’s technique is laid bare in this piece; luckily we are treated to what we already experienced in the Handel piece, great control over articulation and dynamics. The faster portions are very evenly played. And again, in the quieter portions of this arrangement, I am also in awe of the instrument’s clarity.
Tsoy’s dynamic control in the piece’s last three minutes? Nice. The effect of imitating a violin is conveyed.
Vier ernste Gesäsnge, op. 121
Taken together, the four songs arranaged by Max Reger for piano make up the third major work on this album. I found this write-up as good background on these songs](http://www.kellydeanhansen.com/opus121.html).
The darkness of the first song, Denn es gehet dem Menschen “It is for a person as it is for an animal,” a quotation from the Bible, is an admirable sound. Without listening to the Brahms original, I’m quite content with this piece living as a work for piano. The harmonic language is very approachable, and Tsoy seems aware of how to cultivate a richness from the Steinway he’s playing.
There’s ample drama that comes from the opening harmonic sequence in the third song, O Tod, wie bitter bist du. The second statement of the opening material is delivered more dramatically, and the darkness of sound that this recording delivers makes the breaks and silences all the more dramatic. When the piano stops playing on this album, there’s nothing to hear. Props to Linn’s Philip Hobbs on making such a good sounding recording. As I auditioned this piece I kept thinking “this doesn’t have to sound this good, but it does.” The piano’s sound nearly is transformed into a different instrument in the last 1.5 minutes of the piece, with Tsoy’s careful control of dynamics.
The darkness of the first and third songs, in addition to the second, until things change, is contrasted with the major harmonies that open Wenn ich mit Menschen und mit Engelszungen redete. Credit, I think, go to how some of the harmonies are voiced and how well Tsoy’s instrument renders them.
These four pieces, each between 4-5 minutes each, are miniature masterpieces, which I think are too much to hear back to back. I’d recommend you try them by themselves, or on repeat for a course of time.
Final Thoughts
The music of Brahms, I must admit, is a far departure from my usual listening fodder but I am glad I took the time to explore this album. I not only learned about Brahms and his admiration for the past greats, but appreciated greatly his style. His music spoke to me and part of the value in his music is how he was able to fully exploit the power of the piano. In the Bach, less so, he restrained himself and anyone who performed that piece.
To interpret this music to its fullest potential, I think you need a pianist who has a high technical capacity to alter dynamics, touch and articulation, to know their instrument, and to exploit its strengths as part of their interpretive process.
Or maybe I’m wrong. But that’s what I heard in this recital by Samson Tsoy. I have a high respect for his musical skills and an equally high appreciation for the instrument and recording. Above all else, his approach on this recording centers on consistency. He commands great control and when things get either loud or fast, that earlier restraint paves the way for significant frissons of joy in the listener.
This is my first exposure to pianist Tsoy but think this album should expose him as a master interpreter.
