Carl David Stegmann (1751-1826) made piano transcriptions of the first 25 Symphonies by Haydn, a common practice in days where few options were available for the public to enjoy full orchestral performances of these pieces. This album, which Chandos claims to be world premiere recordings, contains transcriptions for Symphonies No. 92 (“Oxford”), 75 and 44 (“Trauer”).
The first question that comes to mind is who needs these transcriptions. These days, when most of the recording catalog exists on streaming services, on-demand download or CDs, why should a listener go to arrangements and not pick from the many versions available of the original orchestration, on period and modern instruments? This release, therefore, is mainly of historical interest than of a purely musical one.
If only the arrangements were of a pianistic value, but most movements fail to capture the character and ingenious innovation of the Symphonies. This is especially true to the left hand, which is given a condensed and easy to play representation of the cello and bass lines, and is obviously intended for the amateur player of the time. The most convincing arrangement is of the “Mourning” Symphony (No. 44, tracks 9-12), but even here the tremolos sound awkward and can’t really match the original wildness of the outer movements. Until fairly recently, the Haydn solo piano works fail to be fully incorporated into the regular concert or recording repertoire, sometimes wrongly accused of not being pianistic compared to, say, Mozart or C.P.E. Bach’s efforts. The Stegmann arrangements may make one rethink and appreciate Haydn’s own piano writing.
Get periodic updates about new classical music albums reviews, news and guides.
We respect your privacy.
It can also be a mistake listening to these arrangements right after the Symphonies in their original form, as this listener has done for assessment. The arrangements, naturally, sound much more modest, almost bland, even with the best intentions.
You can’t blame pianist Ivan Ilić for lack of innovation in his program choices. This talented artist has shown impressive abilities, most notably in his performance of the complete Debussy Preludes. More thematic releases followed for the independent Magnatune label, that had some jams in them (Ravel’s Valses Nobles et Sentimentales are particularly fine), but were also problematically recorded. Then there was concentration on left-hand repertoire and, for Chandos, “rediscover” albums of music by Anton Reicha. But always trying to be original can become quite ordinary over time, and so one is left with a feeling of being deprived of hearing great piano music from this pianist. Especially given the lovely recording quality and instrument we have here, caught at Potton Hall.
An odd choice to record and distribute Stegmann’s arrangements then. For historical interest, there may have been more intriguing choices, such as arrangements for piano trio, string quartet or for other ensembles, all quite common in the period from which these transcriptions emerge from. Perhaps an original fortepiano could have been more appropriate.
Haydn – Symphonies No. 44 (“Trauer”), 75, 92 (“Oxford”), transcribed for piano solo by Carl David Stegmann
Ivan Ilić – Piano
Chandos Records, CD CHAN 20142
Follow Us and Comment:
Get our periodic classical music newsletter with our recent reviews, news and beginners guides.
We respect your privacy.
