Emil von Sauer - Piano Sonata No. 2; Serenatas (Oleg Marshev)

Information

Composer: Emil von Sauer

1. Courante und Trio in D major
2. Gavotte et Musette in F flat minor
3. Le Luth (2éme sérénade) in E flat minor
4. Sérénade francaise in G major
5. Barcarolle in F major
6. Scherzo pastoral in D major
7. Serenata veneziana in A major
8. Sempre scherzando in C major
9. Piano Sonata No. 2 in E flat major: I. Allegro moderato
10. Piano Sonata No. 2 in E flat major: II. Nocturno. Lento
11. Piano Sonata No. 2 in E flat major: III. Scherzo. Molto vivace
12. Piano Sonata No. 2 in E flat major: IV. Rondo. Allegro

Oleg Marshev, piano

Date: 1999

Label: Danacord

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Review

Von Sauer wrote two fine piano sonatas within a year of each other. No.1 in D major was composed in 1903 and No. 2 in Eb major in 1904. Two years previously he had composed the two piano concertos. One of these No.1 in E minor is available on Hyperion (CDA66790) and is well worth exploring. So Von Sauer was no stranger to large-scale works. The programme notes rightly point out that at that time it was the practice for pianist/composers to produce ‘salon’ music for use at their concerts; perhaps as encores. However some of the great pianist of the time went on to compose concerti and sonatas. We mentioned Eugen d’Albert earlier. Then there was Paderewski and Scharwenka. The greatest of them all was Rachmaninov. Of course the last named master is regarded as primarily a composer nowadays; yet many of his piano performances are available on CD from old recordings or piano rolls. Yet Rachmaninov is the one of the above named composers who has managed to establish a piano sonata in the standard repertoire –his 2nd. However, even this was made famous in a cut down version firstly by the composer and then by Horowitz. It is only recently that the ‘uncut’ version has become the ‘norm.’ His 1st Sonata is virtually unknown to any save ‘specialists.’

Naturally it would be invidious to compare Von Sauer and Rachmaninov. The works by and large inhabit a different sound world. However there are often overlaps of style and form. Both were accomplished pianists who brought their outstanding keyboard techniques to the manuscript paper.

Von Sauer’s 1st Sonata is cast in four movements. It is actually quite a lengthy piece, lasting over half an hour. The first movement is in sonata form. It opens quietly with a lovely meditative section that is tonally unstable- however the pace increases and the tension builds up. This music is a long way away from some of his lighter pieces. There is much greater contrast of themes and material. Much use I made of triplets that were apparently Von Sauer’s favourite pianistic device. Some of the pianistic writing is reminiscent of Rachmaninov. Already we have the ‘Hollywood’ romanticisms that were to become such a feature of the cinema in years to come. There is struggle in the pages of this first movement. This not easy music –either technically or emotionally. Yet neither is it disturbing. Actually it is very good. All the hallmarks of romantic pianism of this period are present. It is a gift to those of us who love the bitter sweet, slightly sentimental sound of the Grand Piano in full flight. It is fair to say that the first movement of this unjustly neglected work is its key and core. The remaining movements are attractive; yet they do not add anything in the way of new revelation. The Scherzo, which has considerable rhythmic vitality, is followed by the Intermezzo that seems at times to sound like ‘A Nightingale Sang in Berkley Square’ as played by Felix Mendelssohn. That is no facetious comment – it is actually truly beautiful. The last movement, Tempo Giusto is an excellent Theme with Variations; it could certainly stand on its own if it were to be excerpted.

The 2nd Piano Sonata is in some ways similar to the first essay. It is a large-scale piece lasting just under half an hour. It uses the same sonata-allegro form for its first movement. Yet this second sonata is much richer in its romanticism. It is more reminiscent of Rachmaninov and Scharwenka. Once more all the pianistic devices of the composer are pressed into service. Von Sauer loves the use of triplets and their juxtaposition against quavers and semi-quavers. There is some very interesting contrapuntal writing in this opening movement – which perhaps is more in the style of Busoni than the Russian or Polish masters. Often there are abrupt key signature changes and these do not necessarily follow changes in tempo or in mood. There is an extremely attractive ‘second’ theme. It is architecturally a fascinating exercise of the composer’s art. There is so much of interest in these pages. It is played here with a mastery that never ceases to amaze.

The slow movement has considerable charm of its own. It is a ‘nocturne,’ very much in the style of Chopin. It is progressive in its development. Each ‘repetition’ of the theme is accompanied by a more and more intricate weave of piano figuration. At first it sounds quite easy. By the end of the movement it must stretch the players skill to the limit in controlling the ‘pianissimo’.

The Scherzo lifts the long shadows of the previous movement. This is a moderately good example of the ‘minuet and trio’ form. The ‘trio’ itself can only be described as wistful, although I feel the scherzo part leaves a little to be desired.

The last movement is billed as a ‘rondo’ – yet the programme notes suggest it is more like a sonata allegro form without the usual ‘development’ section. This is a lovely movement; nothing barnstorming here. It is well written, and calling for all the technique the pianist can provide. There are a number of interesting modulations that give this piece an unsettled feel to it. Once again, in some of the contrasting sections of the ‘rondo’ the more ‘romantic’ pianism is to the fore. This is a fine conclusion to an unfairly neglected masterwork by this underrated composer. It should get the occasional airing in the recital rooms.

-- John France, MusicWeb International

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Emil von Sauer (8 October 1862 – 27 April 1942) was a notable German composer, pianist, score editor, and music (piano) teacher. He studied with Nikolai Rubinstein at the Moscow Conservatory between 1879 and 1881, then went on to study with Franz Liszt for two years. From 1882, Sauer made frequent and successful tours as a virtuoso pianist; his performing career lasted until 1940. Along with editing the complete piano works of Johannes Brahms and a number of academic works by Pischna, Plaidy and Kullak, Sauer wrote piano concertos, piano sonatas, concert études, piano pieces, and lieder.

https://en.wikipedia.org/wiki/Emil_von_Sauer

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Oleg Marshev (born 1961 in Baku, Azerbaijan) is a Soviet and Russian pianist and now a resident of Italy. He studied at the Moscow Conservatory with Mikhail Voskresensky, graduating in 1988 with a Performance Doctorate. Marshev's first recording project was the complete original works for solo piano by Prokofiev (5 CDs) for Danacord Records. He has since recorded over 30 CDs for the same label, featuring works by Schubert, Brahms, Strauss, Rubinstein, Rachmaninov and others. Marshev became the first pianist to perform the entirety of Emil von Sauer’s piano music, making up 6 volumes.

https://en.wikipedia.org/wiki/Oleg_Marshev

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