Schubert+ Volume 4
Can Çakmur (piano)
rec. 2023 Tonstudio Tessmar, Hanover, Germany
BIS BIS-2710 SACD [72]
The declared aim of the series Schubert + is, with few exceptions, to present all of Schubert’s complete major piano works alongside similar works inspired by them as well as those that came before which, in turn, may have exerted an influence of him. In the present recital, we are first presented with two of the six impromptus written by Czech composer Jan Václav Voříšek (1791-1825). Schubert’s were written a couple of years after Voříšek’s and, though it may not be possible to ascertain whether they influenced Schubert’s, it is fascinating is to learn that while the recording was being made, some visitors came to the studio to check out the facilities and the recording team played back a just completed take, after which they asked the group if they could name the composer and the confident reply was ‘Schubert’. Once you listen to them, you can see why the answer was so confidently ventured, for anyone could be forgiven for mistaking them for the great master’s. The opening certainly fooled me and I had to check to ensure I was listening to Voříšek and not Schubert, for I knew the tune which has stayed in my memory from previous hearings, despite the fact that I had forgotten that I had ever heard his impromptus. It is no wonder that Beethoven admired the young composer’s music. The fluid lines and the wonderfully melodic content are features found in common with Schubert and the assertiveness shown is certainly equal to Schubert’s. The tunes are also equally memorable and the two played here give the listener ample reason to want to check out the others by this talented Czech contemporary.
When it comes to Schubert’s own compositions, it is interesting to note that six of the eight impromptus in the D899 and D935 sets were not published in Schubert’s lifetime, since they were considered too difficult for amateurs to play, and the third of the D899 set had to wait an unbelievable 66 years before it was published in its original key (G flat major as opposed to G major, as it appeared in the 1850s). The first in C minor and the second in E flat major were published in his lifetime; in other words, almost immediately, given that they were composed the year before his early death. These two are very well-known and loved, the first magisterial and stately, the second delightfully waltz-like, its dancing rhythms a joy to hear. The third is probably the best-known; it is without doubt one of my favourite works in the entire piano repertoire and I will never tire of hearing it. The main theme is heartbreakingly, indescribably exquisite, and its difficulty is not obvious to the non-pianist, its apparent simplicity being part of its attraction. The fourth begins with notes tumbling down as if describing a gentle little waterfall, the water sparkling in the sun. The mood soon changes, however, and a dark heart is revealed tinged with a feeling of all consuming despair, and relief comes only when the opening tune is repeated, though with a more serious aspect attached. One of Schubert’s undoubted abilities was being able to describe scenes, the notes taking on a value over and above their intrinsically musical one.
It would surely be unfair to compare Schubert with Chopin so perhaps I’ll leave it that I prefer Schubert; his music goes deeper into the soul. Chopin’s, I find, is just that little bit lighter, by which I do not mean lightweight, simply that it doesn’t touch me quite as much. Notwithstanding such an observation, Chopin’s impromptus are brilliant gems which never fail to resonate, and under the hands of pianists of real quality like Can Çakmur, give lasting pleasure. Chopin’s impromptus were written throughout his life, whereas Voříšek’s and Schubert’s were sets. As Çakmur writes in the notes, this gives us an idea how his musical thinking developed. The final one played here was, in fact the first he composed, aged 24, and was never meant to be published but we have his friend Julian Fontana to thank for refusing to burn it. I think it is my favourite. Considering these four, the only impromptus he wrote, as character pieces rather than purely improvisatory may be a further reason why I prefer Schubert’s, which have that sense of coming straight out of Schubert’s imagination as he played them, rather than having involved any planning.
Written in 1895 while he still felt influenced by Chopin, Alexander Scriabin’s second set of two impromptus, op. 12 are certainly musically beholden to Chopin though with Scriabin’s unique flair for marrying ethereal ideas with fiery flamboyance. The influence of the composer who died 46 years before these were composed is strong; I don’t imagine that anyone who had not heard these before would guess that so many years had elapsed since Scriabin’s inspiration had ceased writing. That said, these are brilliant pieces that demonstrate Scriabin’s uniqueness. Anyone who has read anything about Scriabin will know that he had strange ideas about his place in the world, once declaring “I am God!”. The Great Soviet Encyclopaedia says of him, “no composer has had more scorn heaped on him or greater love bestowed”, while Leo Tolstoy described Scriabin’s music as “a sincere expression of genius.” His biographer, meanwhile declared that “No one was more famous during their lifetime, and few were more quickly ignored after death.” When you hear these two impromptus, especially the second, you cannot believe that anyone who could compose such fabulously lush music could be forgotten so quickly; oh, the vagaries of fashion and taste!
It is salutary to note that the four composers showcased here all died well before their time. Scriabin lived longest, though reaching the age of only 43, and it tempts one to speculate as to what other masterpieces we might be enjoying had they lived longer. Can Çakmur, a young, Turkish-born pianist won first prize at the 10th International Hamamatsu International Piano Competition in 2018, as well as the chamber prize and has gone on to build an enviable career and judging by this disc, justifiably so. His playing is luminous and insightful, supple and fluid, bringing out all the drama which is particularly evident in Scriabin’s second impromptu. The sound is crisp and clear, altogether making the disc a really enjoyable experience.
Steve Arloff
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Contents
Jan Václav Voříšek (1791-1825)
Impromptus nos. 4 in A major and 6 in B major (from Six Impromptus, Op.7)
Franz Schubert (1797-1828)
Four Impromptus, D.899
Frederyk Chopin (1810-1849)
Impromptu No.1 in A flat major, Op.29
Impromptu No.2 in F sharp major, Op.36
Impromptu No.3 in G flat major, Op.51
Fantaisie-impromptu in C sharp minor Op.posth.66/WN46
Alexander Scriabin (1872-1915)
Two Impromptus, Op.12
No.1 in F sharp major
No.2 in B flat minor
