Things Lived and Dreamt (CD Review)

 by Karl Nehring

Leoš Janáček (1828-1854): Sonata 1.X.1905 – Předtucha (Lepressentiment/ The Presentiment) Con moto; Smrt (La mort / The Death) Adagio; Josef Suk (1874–1935): Jaro (Printemps / Spring), Op. 22a, No.5 Vroztoužení (Ledésir/Longing) Allegro non troppo; Antonín Dvořák (1841–1904) Humoresques, Op. 101 (1894) -- No. 4, Poco andante, fa majeur/F Major; No.7, Poco lento e grazioso–sol bémol majeur/G-Flat Major; No.8, Poco andante–si bémol mineur/B-Flat Minor; Suk: Životem a snem (Things Lived and Dreamt), Op. 30 -- I Allegretto moderato – S humorem a ironií, místy rozdurděně (With humour and irony, agitated in places); II Allegro vivo – Neklidně a nesměle, bez silnějšího výrazu (Restless and somewhat timid, without strongly marked expression); III Andante sostenuto–Tajemně a velmi vzdušně (Mysterious and light and airy); IV Poco allegretto – Zamyšleně, později stále výbojněji (Contemplative, then increasingly resolute in mood); V Adagio – K uzdraveni mého syna (For my son’s recuperation) – Klidně, shlubokým citem (Calm, with deep feeling); VI Moderato quasi allegretto – S výrazem tiché, bezstarostné veselosti (With quiet, carefree cheer); VII Adagio non tanto – Jednoduše, později s výrazem drtivé moci (Forthright, later with the expression of overpowering force); VIII Vivace – Jemně, švitorně (Delicate, warbling); IX Poco Andante – Šepotavě a tajemně (Whispering and mysterious); X Adagio – Zapomenutým rovům v koutku hřbitova křečovického (Dedicated to forgotten graves in the Křečovice cemetary – Snivě (Dreamy); Vítězslava Kaprálová (1915–1940): Dubnová Preludia (Préludes d’avril / April Preludes), Op. 13 -- I Allegro ma non troppo; II Andante; III Andante semplice; IV Vivo; Bedřich Smetana (1824–1884): Czech Dances 1, JB 1: 107 – Polka No.2 en la mineur/in A Minor – Moderato. Francine Kay, piano. Analekta AN 2 9004

 

The Canadian pianist Francine Kay is currently on the faculty at Princeton University, plus she also does some teaching in at an institute in France. On this new album, however, her focus is on music by Czech composers. The album opens with music by Janáček, who the liner notes point out was the most widely performed Czech opera composer. His composition for piano on this album, Sonata 1.X.1905, was inspired by a tragic event of which the composer was an eyewitness, the killing of an unarmed demonstrator by a German soldier. The sonata was originally in three movements, but the composer discarded the third before the work was premiered. The remaining two as played here give off an underlying sense of uneasiness, yet with an undeniable lyrical appeal that Kay illuminates with a deft touch. Next up is the first of two compositions on the program by Josef Suk, who not only was a student of the famed Czech composer but was also in fact his son-in-law. Longing is a brief selection lasting just under four minutes, but it packs  plenty of lyricism into that brief span, sounding much like one of the more romantic pieces of Liszt. It is music imbued with tender emotion, this piece that was inspired by the birth of Suk’s son.

 

We next hear some of the most familiar music of all the piano music literature as Kay presents for us three Humoresques from Suk’s father-in-law, Antonín Dvořák, who despite being the best-known and well-loved Czech composer here in the USA, still sadly seems to be too little recognized (at least here) for composing much beyond his Symphony No. 9 and maybe his Cello Concerto – although I will admit that the opening measures of Humoresque No. 7will be familiar to many, even though they may have no idea that Dvořák was the composer. Following the three short, lighthearted Dvořák miniatures, Kay then turns her attention back to the music of Dvořák’s son-in-law, Suk. Please bear in mind that the previous Suk selection on this album, Longing, was a lyrical outpouring inspired by the birth of his son as you contemplate the following liner note introduction to the next composition, which happens to be the album’s title piece and central focus: “After his beloved wife, Otilie, died in 1905, Suk began to embrace contemporary European impulses in his work. His most demanding piano cycle, Things Lived and Dreamt), Op. 30 (1909)… can be described as a kind of artist’s diary. It is inspired by a variety of experiences and impressions and sings with a rich expressiveness… Surprising movements of voices and harmonies, impressionistic elements, unusual accents (e,g., in No. 1, an ironic caricature of a polka), free treatment of construction, and vibrant colours are among the inventive means employed by Suk.” The 10 movements with their wide variety of moods, tempi, and styles offer Kay the opportunity to demonstrate the depth of her ability to play with subtlety as well as power.

Then once again we get that rare treat of encountering music from a composer that most of us have most likely never heard of before. Vítězslava Kaprálová first studied with Vítězslav Novák in Prague, then went to Paris to further her music studies under the tutelage of the Czech composer Bohuslav Martinů (who himself had gone to Paris to study under Albert Roussel). Her brief but entertaining April Preludes, written when she was only 22, testify of her talent; sadly, however, she died a mere three years later from an acute illness in Montpelier, France, while fleeing the Nazi occupation. Kay then ends her program with what feels like an encore, an energetic and cheerful little polka by Smetana to bring this generously filled (74+ minutes) CD to its conclusion.