Album insights
John Field's short cycle of variations on a Russian folk song provides insight into the extraordinary life of this artist. He was an Irish native who created the genre of the Nocturne and heightened the Russian affection for the piano. Growing up in London as a prodigy, he amazed audiences by playing Haydn at the tender age of eleven. His travels across Europe showcased his talent on pianos crafted by his teacher, Muzio Clementi, where Field also acted as a sales representative. Upon arriving in St. Petersburg in 1802 with Clementi, he felt a deep connection to the city and decided to pursue his fortune there. Living as a bohemian, his skills led him to the salons of the nobility, where he gained wealthy students. This exposure led to larger concert engagements, driving demand for his own compositions. Field led a busy, albeit disorderly life, teaching students while lounging in his cluttered room, smoking cigars, and drinking wine, surrounded by gifts from admirers. In moments when he wasn't performing, he worked late into the early morning on his latest manuscripts for his publisher.
The variations published in 1818 are based on the well-known Russian folk song "In the Garden" ("Vo sadu li, v ogorode"), included in the first printed collection of Russian folk songs in 1790, arranged by Nikolai Lvov and Ivan Prach. Field presents the melody, originally a lively dance tune, as a tender and melancholic song more suited to the elegant salons of high society. Unlike typical melodies, this one lacks a proper conclusion, simply repeating itself. Field maintained this unique feature, allowing for a seamless transition from one variation to the next, creating a continuous and imaginative piece. Descriptions of Field's famous improvisations mention a gentle start, a brilliant climax, and a whispering end—attributes mirrored in these variations. To modern listeners, Field appears as a bridge between Mozart and Chopin, particularly through his adoption and adaptation of Rossini's and Donizetti's operatic coloratura style, a defining characteristic in Chopin's piano style. Mikhail Glinka described Field's distinctive playing as "pearls on velvet," reminiscent of Chopin's famous "pearly touch."
Piotr Tchaikovsky's Six Pieces on a Theme, Op. 21 from 1873 form a sequence of variations when played together; however, the open title allows for individual performances as well. Dedicated to Anton Rubinstein, Tchaikovsky's composition teacher and a notable pianist, these pieces were a source of yearning for the composer until Rubinstein finally performed them in 1883, at which point Tchaikovsky expressed his satisfaction. Some movements were retained by Rubinstein for his international tours.
It's evident that Tchaikovsky wanted to impress his former teacher with the sophistication of his composition. Despite a recurring theme throughout the pieces, Tchaikovsky manages to give each variation a distinct character, noticeable mainly to attentive listeners. Furthermore, Tchaikovsky acknowledged the parallel between Rubinsteins's love of Schumann's "Carnaval" and his thematic composition. The "Prelude" and "Fugue" incorporate elements of Russian folk tunes alongside a serious contrapuntal style reminiscent of Bach. The "Impromptu" masterfully mimics Schumann's whimsical and light style.
The enigmatic theme explored by Alexander Glazunov in his Theme and Variations, Op. 72 (1900) showcases virtuosity and extensive treatment. Originally titled "Variations on a Finnish Folk Song," the piece's cover discreetly omitted the reference, reflecting political tensions with Finland, then part of the Russian empire. The unusual seven-bar theme indicates its existing origins; however, the subsequent variations adhere to standard eight-bar phrases. Glazunov revisited this theme in his Finnish fantasy for orchestra in 1909, although the song source remained unverified, hinting at a lost folk melody he may have come across.
Romantic variation series generally feature an easily recognizable theme in initial variations, allowing composers to explore freely as the piece evolves. Glazunov adheres to this structure, harmonizing the theme in a manner reminiscent of Russian folk melodies, giving it a seemingly familiar Russian sound. The piece progresses through different styles, transitioning from Russian melodies in the first variations to a more Germanic choral style in the third. Variations four and five delve into a lyrical tone, while variations six and seven return to a baroque setting with polyphonic textures, reminiscent of an organ fantasy and a contrapuntal choral prelude.
The second part of Glazunov's piece expands into more varied moods, with longer variations expanding the theme's exploration. Bright and lively variations in A major contrast with previous sections and finally return to the original key at the conclusion. The optimistic tone in these variations reflects a departure from the somber early variations, providing a refreshing contrast. The final variation stands out as a grand Polonaise, ending the piece on a brilliant and monumental note.
Glazunov's variations were first performed by Alexander Siloti in 1903, a renowned virtuoso and mentor to Sergei Rachmaninoff. Rachmaninoff, influenced by Glazunov's work, later composed a challenging variation cycle in 1906. Siloti's role as a link between the two composers explains the substantial influence Glazunov's work had, already published three years before Rachmaninoff's venture. In constructing complex piano layers within some variations, Glazunov inadvertently spurred Rachmaninoff to further develop these techniques in his virtuosic compositions.
Rachmaninoff's work, the Variations on a Theme of Chopin, Op. 22, emerged during a prolific creative period following his Second Piano Concerto. Stylistically, Rachmaninoff's distinctive voice resonates throughout, although using Chopin's famous Prelude in C minor, Op. 28, as the foundation. This ambitious fusion presented a challenge: how to transform Chopin's themes into Rachmaninoff's unique style, incorporating unexpected twists and historical musical references. The trajectory from mourning and death in Chopin's piece to the elation and triumph in Rachmaninoff's variations highlight a journey of transformation. Additionally, this marked Rachmaninoff's first major solo piano work, pushing the boundaries of pianistic difficulty to its limit, fittingly dedicated to the renowned virtuoso and mentor Theodor Leschetizky.
Chopin's Prelude, a funeral march, is stark and restrained, with a melody emerging from the relentless chords. Rachmaninoff retains the structure in two phrases as intended by Chopin, respecting the publisher's inclusion of the second phrase repetition. The vast array of 22 variations unfolds in three distinct phases: Nos. 1-10, Nos. 11-18, and Nos. 19-22.
The initial phase reveals a mix of stringent and modern styles with baroque influences in some variations. Baroque figurations set the tone in the early variations, gradually shifting to a more modern Schumann or Chopin style. Variations 7 and 8 bridge the baroque and more contemporary variations within the cycle. Certain variations underscore Rachmaninoff's distinctive voice, particularly No. 4 with its mournful cries and the sublime No. 6—a breathtaking moment in the series where a counter-melody emerges, giving the impression of a third hand at play.
The middle phase transitions gently to a major key in Variation 11 before returning to a minor key in Variation 12, deftly moving toward Rachmaninoff's personal style and foreshadowing his symphonic scope. Theme-centric brooding defines Variation 13, while Variation 14 plays with haunting spatial effects, suggesting a duet of four hands. Variation 15, a Schumann-styled Scherzo interwoven with the Dies irae theme—a motif recurring in Rachmaninoff's essential works—culminates in a powerful, tragic climax. Variation 16, acting as a serene Nocturne, offers brief reprieve, leading to the mournful reappearance of the Dies irae theme in Variation 17—a deeply poignant moment punctuating the emotional journey. No. 18, remaining in B minor, shifts towards narrative storytelling, offering a respite from the previous intense emotional depths.
The final section undergoes a complete transformation, transitioning suddenly to bright A major, reminiscent of a festive celebration under the open sky, complete with bells tolling. A fleeting waltz in Chopin's style is succeeded by a "love scene," reminiscent of Rachmaninoff's lyrical variations in his Rhapsody on a Theme of Paganini. The delicate surface of this variation conceals an intricate canon between middle and upper voices. The grand finale, Variation 22, assumes monumental proportions befitting its role, culminating in a triumphant Polonaise as a nod to Chopin but also showcasing the influences of Tchaikovsky and Glazunov. This grandiose peak subsides, accompanied by a brief, sparkling coda, bringing the piece to its conclusion.
Rachmaninoff's premiere performance of the Chopin Variations in 1903 garnered more enthusiasm for his Preludes, Op. 23, performed in the same concert program. Subsequent hesitation among fellow pianists to include the work in their repertoire derived from its demanding endurance, complexity, and technical challenges. However, experiencing the Chopin Variations in their entirety—as showcased in this interpretation—unveils their inventiveness and emotional power, inviting wonder and admiration for Rachmaninoff's artistry.
Marina Frolova-Walker ©