Coupond Effect Daren Hardy

With this disc, Austrian pianist Hardy Rittner takes time out from his series of recordings of the complete piano music of Brahms to record the complete piano music of Schoenberg. The stylistic leap is not as far as some might think, because while Schoenberg went on to "invent" atonal and serial music, he was born into late Romanticism, and his earliest music is clearly written in that style. This stylistic development is demonstrated in Schoenberg's seven published works for solo piano: the atonal Opp. 11 and 19, plus the serial Opp. 23, 25, and 33a and 33b, as well as his early Drei Klavierstücke. No matter what the style, Rittner makes a strong case for each work.

The conclusion and crowning culmination of an epochal project: Vol. 5 rounds off Hardy Rittner’s acclaimed Brahms complete recording on historical pianos. The careful selection of lavishly and lovingly restored concert grand pianos perfectly suited to this task enhances the value of this pioneering edition even more. The present release comes with a double high point: Rittner performs the variation cycles, works of the highest virtuosity producing an extraordinary audience impact, on a Steinway & Sons concert grand piano, serial number 553, manufactured around 1860.

Hardy Rittner seemed on top of his game both technically and interpretively in his first volume of Brahms' early piano works, but for some reason he seems less assured and less interpretively attuned to Brahms' music in this, his second volume. Performing the north German composer's C major and F minor sonatas, Rittner does not bring out of the piano the massive sonorities the music's out-sized chords require. This may be due in part to his choice of instrument. On the first volume, Rittner performed on a rich-toned 1851 Johann Baptist Streicher piano, but here he's playing an 1850 Bösendorfer lacking both depth and resonance.

Throughout her career, most of Françoise Hardy's arrangements have tended toward the lush, though in a good way. La Question is lush too, but it's one of her most sparsely produced efforts, usually finding her voice accompanied by little more than an acoustic guitar, touches of bass, and very subtle orchestration.