Theodor Kullak (1818-1882)
Grand Sonata in F sharp minor Op.7 (c.1842)
Symphonie for piano Op.27 (publ. c.1848)
Ballade Op.54 (publ. c.1849)
Scherzo in G minor Op.96 (publ. 1856)
Impromptu-Caprice in E flat major Op.97 (publ. 1856)
Roman Fediurko (piano)
rec. 2024, Peter Kaiser Konzertsaal, Academy of Music, Liechtenstein
Romantic Piano series vol. 7
Naxos 8.574673 [72]
Having recently enjoyed the Józef Wieniawski release in Naxos’ Romantic piano collection (review) I am glad to welcome this release which focuses on a composer born some two decades earlier, Theodor Kullak. He is perhaps only remembered nowadays for his pedagogical works, notably his School of Octave Playing which is still occasionally used – I have a copy in my collection though admittedly my octaves would be better if I pulled it off the shelf every once in a while. With very few exceptions his reasonably large output, reaching op.126 as well as several without opus, is for piano solo. Tucked among these is a piano trio and a piano concerto, the latter recorded in Hyperion’s Romantic Piano Concerto series (CDA67086) but no orchestral or stage works and only a small handful of songs. Kullak seems to have attracted wealthy and aristocratic sponsors from an early age; Prince Anton Radziwill noticed the talent of the eight year old Kullak and was his patron until he reached the age of thirteen. Although he was left high and dry after this for a short while other patrons followed, Count von Ingenheim, Gräfin von der Schulenberg and Frederick William IV among them. Along with a steady stream of wealthy pupils Kullak was able to live comfortably and died leaving a considerable fortune. Along the way he formed two music schools, the Berliner Musikschule with Julius Stern and Adolf Bernhard Marx in 1850 and his own Neue Akademie der Tonkunst in 1855.
His music pushes no boundaries but he was a competent writer and clearly had a keen virtuoso sense of style at the keyboard. The opening of the early F sharp minor is certainly gripping with its scurrying rising figuration and if its themes are relatively straightforward Kullak makes full use of them and there is a certain charm to the pastoral second theme. The adagio opens with a broad song without words, its stately melody weaving around a repeated chordal accompaniment. The chordal style continues though it is joined by more agitated dotted note motifs that increase the dramatic tension before the opening melody returns. The finale is a turbulent affair with a chordal second theme that the booklet suggests hints at the finale of Beethoven’s moonlight sonata; this can certainly be felt in the wild spirit of this whirlwind movement. If one thinks Alkan when seeing Symphony for piano on the menu then prepared to be disappointed. Subtitle Grand Sonata in four parts it is once more competently written but lacks the originality of Alkan’s Symphony. That said it contains some impressive music and doesn’t deserve its neglect. The first movement combines an urgent theme in compound time with a simple two bar second theme/motif. The writing does not want for splendour and has some very grand climaxes that Fediurko evidently enjoys immensely. The second movement is an engaging march, full of humour, little Schubertian touches in its melody and as the booklet points out, kinship with the operatic scenes of Italian opera – one can almost hear the troop of bandits or footpads going about their stealthy shenanigans. The scherzo follows the style of Beethoven’s symphonic scherzos, a brusque, energetic dance with a contrasting calm trio; a remark by a critic of the time was that the work was too much like a piano transcription of an orchestral work and it is here and in the finale that I feel that most though I don’t count it a drawback. The finale is quite classical in style with something of a Schubert movement about it and Kullak makes great use of the distinctive call to arms with its trill that opens the movement in its large development section. Comparing this work with the op.7 sonata its designation as symphony first and foremost rather than sonata is fitting and the writing is vibrant and imaginative enough that this is a skilful homage to symphonic writing rather than a dry, academic imitation.
The Ballade looks back a little to Chopin’s writing rather than the Ballades of Liszt or Brahms, contrasted though they are, though there is little of Chopin’s sense of narrative. An impish lilting theme opens the piece while bravura passagework leads to a passionate second section with its dramatically rising octave theme and while both these sections are revisited the work ends with a rather uninspired couple of bars seemingly unrelated to the rest of this otherwise rather enjoyable work. The scherzo of the piano symphony might hark back to classical models but the scherzo op.96, from its riveting Brahms-like opening through to its bravura ending, is a full bloodied romantic work with imaginative use of harmony and a more personal style for all it hints at Schumann and Chopin. Fediurko completes this recital with the impromptu-caprice that was published at the same time as the scherzo. Its several contrasting sections range from a very improvisatory and extended song without words, reminiscent of Mendelssohn, to a skulking little left hand melody that keeps trying to break out of its minor key. It flows happily between these different sections with capricious ease and again shows a more individual side of Kullak’s very accomplished writing.
I have been impressed by Roman Fediurko before and I note that he won first prize in the 2026 Takamatsu Competition just a couple of weeks ago. He clearly revels in this music and brings great character and a rich vein of passion while negotiating its technical hurdles with bold, musical consideration and consummate ease. Hopefully this will spark more interest in Kullak’s piano works; it bodes well for future releases in this adventurous series.
Rob Challinor
Buying this recording via the link below generates revenue for MWI, which helps the site remain free
