"The piano writing of Weber is self-dependent, self-sufficie
Hexameron | 05/12/2007
(5 out of 5 stars)
"Such was the belief of Wilhelm von Lenz, who favored Weber's piano music at a time when Weber was virtually known only for his operas. Lenz also stated that Weber's piano music "opened the door to the New School - to the treatment of the instrument by Liszt and Chopin." After traversing the previous volumes and this present recording on the Naxos label, I can well believe it. Although Weber is associated with the Classical era, he is really a proto-Romantic, especially when considering Der Freischutz and Euryanthe. While his piano music doesn't pick up where Beethoven or Schubert left off, it is extraordinarily ahead of its time.
Of Weber's four Sonatas, No. 3 in D minor is the only one that is not in four movements. Weber seems to regress back to Beethoven's three movement structure instead of forward with Schubert's. The content and aesthetic of this music, however, is quite prophetic of Liszt. This third Sonata has received the epithet "Demoniac" for a reason. The first movement is stormy and of the virtuosic kind. Although the second theme is pastoral, the first is a dramatic and sinister one which takes over in the development section. Alexander Paley gives a clean but wildly ferocious performance. Oddly, the second movement is less wicked than the first; it's more like the beautiful slow movements of Schubert. Weber's propensity for virtuosic passagework returns, though, in the brilliant Rondo. This movement takes full advantage of the piano's sonorities and was known as a concert encore under the title "Allegro di bravura." That this Sonata was conceived in 1816 is incredible. That Weber, of all composers, unveiled the new path for piano virtuosity (after Beethoven, of course) is even more remarkable.
Naxos pays much attention to Weber's early sets of Variations; indeed, the Op. 5, 7 and 9 Variations are recorded here back-to-back. While these shouldn't invite as many repeated listenings as Weber's Sonatas, they are still unique tapestries. Weber's Eight Variations on an air from Vogler's "Castore e Polluce" is lightweight stuff. Although some darker and more tense emotions do occur, Weber's treatments of this theme are Mozartean. But how pleasant the result! Weber's Seven Variations on Bianchi's air "Vien qua, Dorina bella" is much more interesting, with its rapidfire moments and original but wholly Classical ornamentation. Weber's Seven Variations on an Original Theme is probably the most noteworthy, though. The writer of the liner notes suggests it is Weber's "most ambitious" set of Variations. I was surprised how similar the theme sounds to the child's tune "If you're happy and you know it, clap your hands." Nevertheless, Weber makes effective Variations, ranging from beautiful cantabile moods to tempestuous fanfares.
The last piece featured here, Weber's "Momento capriccioso" Op. 12 is a short (3 minute) and difficult work due to its impishly fast-paced "A" sections. The writer of the liner notes has some fascinating insight about this short piano work: "Staccato chords at such speed were an unheard of boldness for the time and as a result it became a popular encore piece in the nineteenth-century on programmes of virtuosos like Franz Liszt, Hans von Bulow, Carl Tausig, and Clara Schumann." Alexander Paley chooses not to go overboard with it. Instead, he focuses on the music, which I think reflects his own virtuosity: he makes the insane flurries of notes sound like a delicate breeze whistling over blades of grass. Less capable performers might inadvertently sound like a hurricane over gravel.
Bottom line: Weber continues to prove his worth as a piano composer. Although other recordings can be found of his Sonatas, you will be hard-pressed to find these Variations anywhere else. Moreover, Paley is a tremendous champion of Weber's piano music and brings much clarity and gusto to these works."
Track Listings (7) - Disc #1