Sinding: Frühlingsrauschen (Rustle of Spring), Op. 32 No 3

None of us can deny that they have fallen prey to the lure of a junk shop or of the chaotic mysteries of an attic, and sometimes purchasers of an old wardrobe or chest of drawers find there a bundle of treasure left behind … well, the spirit of ‘What have we here?’ permeates the adventures captured on this album. Salon music had its heyday on record in the era of 78s, since the length of a side suited it so well, and for that reason some titles— such as Rubinstein’s Melody in F and Paderewski’s Minuet in G—may be familiar, but there are ‘finds’ to be had in any such compilation. This is music on which most aspiring pianists have cut their teeth, giving them as it does both the satisfaction of mastering a complete piece without straining their technique (well, mostly) as well as the backbone of a repertoire that makes for a welcome family evening around the piano; alas for us all that we cannot offer renderings of such sympathetic finesse and lyrical elegance as are here set down by Philip Martin ‘at home’ and off-duty from his award-winning complete Gottschalk recordings on Hyperion.

IRENE SCHARRER, though perhaps the least remembered of the major Matthay pupils, was the earliest to record, beginning in 1909 at the age of 21.That in itself is a credit to her early fame, which she established through an extrovert, but always musical, virtuosity.

She excelled in such works as the Chopin Etudes, nine of which she recorded, and in other brilliant pieces such as those here by Scarlatti and Liszt, but the poise and refinement of her Chopin nocture or the slow movement of the Mozart sonata reveal another side to her playing that is sadly underrepresented on disc. Her final recording, of the Litolff Scherzo, was also her most famous; in its day it was a best seller and was responsible for putting that work on the musical map. This set reissues for the first time all Scharrer’s electrical recordings and also an example of every work she recorded in the acoustic era (pre 1925) that was not later remade as an electrical recording. For completeness, a discography of all her other acoustic recordings is also included.

Formerly issued by Arabesque, Bridge is pleased to be bringing this recital back into the catalog in Adam Abeshouse's newly re-mastered update. Of particular interest is the rarely performed Sonata, a work of considerable beauty.

Norwegian violinist Henning Kraggerud is one of Scandinavia’s most sought after artists; Christian Ihle Hadland one of Norway’s most exciting young pianists. Together they comprise a formidable partnership, as their release of Sinding’s Violin and Piano Music Vol. 1 (8572254) has shown.

Volume 2 presents several of the Norwegian composer’s finely crafted salon pieces, whose charming character, sweet melodic lines and lively harmonies are Sinding’s hallmarks.

The Sonata in Olden Style, while richly Romantic, includes an innovative movement whose time signatures 5/4 and 7/4 perhaps look forward rather than back.

One of the most notable musicians in post-war Norway, Eva Knardahl was a vibrant and spirited figure in the musical life of the nation, performing, participating in public debate, and involving herself in various boards and committees. She was justly referred to as a breath of fresh air, both with regard to the richness of her musical expressivity, and to the manner in which she ardently defended her views.

Eva Knardahl gave her official debut recital at the age of eleven and immediately came to the attention of the Norwegian public. At her debut concert she performed no less than three piano concertos, and it was soon clear that hers was a unique gift. Following studies with, amongst others, Mary Barratt Due, in 1947 at the age of 27 she moved to the USA. In 1952 she took up the post of pianist with the Minnesota Symphony Orchestra, and soon became recognised as the foremost artist on the instrument in that area of the United States. In 1965 she was encouraged to return to her native Norway by the conductor Karsten Andersen, and the next period of her life can be divided into two sections, the first being from 1965 to 1984 when she performed as a soloist, and the second from 1984 to1994 when she held the post of professor of chamber music at the Norwegian Academy of Music. Although her repertoire as a pianist included the concertos of Brahms, Beethoven and Mozart, as a result of her time in the States, the modern American piano tradition was very much in her veins, and she was a great champion of works like Leonard Bernstein’s 2nd Symphony, “The Age of Anxiety”. Her recordings of the complete works solo piano by Grieg for BIS in the 70’s are still considered to be amongst the best.