Carl Schwarz (1803-1834)
Collected Piano Works, Volume 1
Theme with 9 Variations and Polonaise in E-flat major on Hunter’s Chorus “Wonderful, a Summer-night” from Friedrich Kuhlau’s singspiel Elves Hill, op.19
Six Divertissements en Forme des Walses, op.12
Sonata in F major, op.17
Quatre Rondos agréables, op.23
“Les Charmes de Suède” – Fantasy in C minor on Four Swedish Folk Songs and Dances, op.18
Thomas Trondhjem (piano)
rec. Spring 2025, Concert Hall, Holstebro Music School and Music Academy, Holstebro, Denmark
Danacord DACOCD 1007 [77]
It is a challenge to review this disc of piano music by Danish composer Carl Schwarz. By the writer of the liner notes’ own admission, there is no information about Schwartz. No entry appears in the current Grove Dictionary of Music and Musicians; there is nothing about him in the encyclopaedic German Musik in Geschichte und Gegenwart; and his name is missing from other Danish reference books. Even search online cannot find any information about him.
The booklet explains that he was born in 1803 in Kiel, then the capital of the Danish-owned Duchy of Holstein. He arrived around 1820 in Copenhagen to study with the Danish pianist and composer, Friedrich Kuhlau. It appears that Schwarz was a highly competent pianist, capable of virtuosic performances. Many of his compositions were published by major publishing firms in Copenhagen, Hamburg and Paris – but I noted that none have been uploaded to IMSLP yet.
When I was listening, I was reminded of Kuhlau, Diabelli and Moscheles. There is a suggestion of “Beethoven Lite” in these pages, but not as much drama. The music feels lighter and more elegant than Beethoven’s. Schwarz’s finger technique is always busy: lots of scales, up and down, clear and bright melodies, crisp figurations. The progress of each piece is easy to follow; no formal googlies are thrown at the listener. This does not imply lack of interest, just a rigorous classical balance. As evinced in the final number on this disc, “Les Charmes de Suède”, Schwarz was perfectly happy to use folk tunes when it suited him. He picked up the habit from Kuhlau.
The lengthy Theme with 9 Variations and Polonaise in E-flat major on Hunter’s Chorus “Wonderful, a Summer-night” – a little bit long-winded – features onomatopoeic horn calls.
The Divertissements are pleasant listening without any great challenges, just as they should be. The Quatre Rondos agréables are delightful. “Agréable” suggests that they were meant for the burgeoning amateur market. That said, they certainly do not sound a cinch to play.
The strangest coupling on the programme is a pair of movements with no obvious thematic or stylistic relationship, which the composer called a Sonata. Was this his choice or was it the publisher’s? Whatever the mechanics, it is a charming work.
The Danish pianist Thomas Trondhjem is a prominent advocate for Scandinavian repertoire, especially the piano music of J.P.E. Hartmann and Friedrich Kuhlau. His recordings on Danacord and Rondo Records have been praised for their integrity and technical brilliance. His broader career encompasses concerto performances across Europe and a wide-ranging recital repertoire, with particular focus on the Viennese classics, Romantic masters and early‑modern Danish music. He is also in demand as a chamber musician and as an accompanist for singers.
The liner notes are limited: a brief overview of what is known about the composer, but no analytical details about the repertoire. No dates are given, only opus numbers. There is a short resume of the soloist, as well as the text which underlies “Les Charmes de Suede”. The lovely cover by Martinus Rørbye features his “View from the Artist’s Window”.
Thomas Trondhjem positively campaigns for the obscure Carl Schwarz in this new issue. Despite Schwarz’s vague biography, his virtuosic “Beethoven-lite” works show a graceful Classical balance. They blend technical brilliance with charming Scandinavian folk influences and elegance.
John France
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