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Track(s) taken from CDA67932

Valses nobles

after Schubert; published in 1925 but written several years earlier

Martin Roscoe (piano)
Studio Master FLAC & ALAC downloads available
Studio Master:
Studio Master:
Recording details: December 2011
Potton Hall, Dunwich, Suffolk, United Kingdom
Produced by Jeremy Hayes
Engineered by Ben Connellan
Release date: January 2013
Total duration: 7 minutes 30 seconds

Cover artwork: Autumn by Emil Parrag (b1925)
Private Collection / Bridgeman Art Library, London


'The opening pages of Dohnányi's Op 2 might well have been penned by Brahms in one of his jollier moods … the finale reveals a taste for bravura writing in the great pianist-composer tradition. The Variations may be Brahms-lite, too, but no less appealing, helped not a little by Martin Roscoe's sensitive sculpting and dynamic shading. The subtle changes he rings in the repeat of the theme's initial statement are an indication of the care and imagination he brings to the whole score … Roscoe rounds off this rewarding voyage of discovery with Dohnányi's transcription of nine of Schubert's 12 Valses nobles in performances which surpass the composer's own … and in immeasurably better sound' (Gramophone)

'You can't help but be impressed by Dohnányi's compositional assuredness … all performed with consummate technical mastery and musical insight' (BBC Music Magazine)

'Connoisseurs of late Romanticism and aficionados of early twentieth-century music all owe Martin Roscoe an immense debt of gratitude … it would be difficult to overpraise Roscoe's accomplishment … the music simply flows unimpeded and we are left to bask in Dohnányi, whose music, at its very least, is always subtle, charming, cultivated and immensely communicative. Very warmly recommended' (International Record Review)

'Roscoe's ongoing Hyperion series is cause for celebration … Roscoe yields nothing to the composer as pianist, a testament to his stature in this repertoire … a project of major significance' (International Piano)

'Martin Roscoe is an absolute master when it comes to repertoire such as this and one could well imagine the composer himself looking on as he plays with a smile of approval. This disc is number two in a series of four covering all of Dohnányi’s solo piano music. Together with his recordings of the two piano concertos Roscoe has done this composer a great service in helping him emerge from the success of the aforementioned Variations on a Nursery Tune and show that there was very much more to him than that' (MusicWeb International)
Dohnányi did not publish his transcription of Schubert’s Valses nobles until 1925, but it entered his repertoire several years earlier, most likely as an encore that he improvised onstage. Like the paraphrase on the ‘Valse lente’ from Delibes’ Coppélia, Dohnányi takes the twelve waltzes that comprise Schubert’s Valses nobles merely as a starting point to which he adds clever countermelodies and delightful harmonic twists. While Schubert’s original work is merely a collection of dissimilar waltzes, the young Dohnányi once again demonstrates his talent for crafting expansive forms by omitting the seventh, ninth and eleventh Valses nobles and repeatedly bringing back the first waltz as a refrain. The opening waltz returns again at the very end of the transcription in a flurry of virtuosic passagework that brings the piece to a rousing conclusion.

from notes by James A Grymes © 2013

Dohnányi ne publia pas sa transcription des Valses nobles schubertiennes avant 1925 mais il les avait inscrites à son répertoire bien avant, très probablement sous forme de bis improvisé sur scène. Comme dans sa paraphrase sur la «Valse lente» de Coppélia de Delibes, les douze Valses nobles de Schubert ne sont ici qu’un simple point de départ, que Dohnányi assortit d’habiles contre-thèmes et de charmantes inflexions harmoniques. Alors que Schubert se contente de réunir des valses disparates, le jeune Dohnányi fait une nouvelle fois la démonstration de son talent pour forger des formes expansives: il omet les septième, neuvième et onzième Valses nobles et fait de la première un refrain—elle revient une dernière fois, à la toute fin de la transcription, dans une rafale de passages virtuoses qui font une conclusion vibrante.

extrait des notes rédigées par James A Grymes © 2013
Français: Hypérion

Dohnányi hat seine Transkription von Schuberts Valses nobles erst 1925 veröffentlicht; sie erschien aber schon einige Jahre zuvor in seinem Repertoire, höchstwahrscheinlich als Zugabe, die er auf dem Podium improvisierte. Wie die Paraphrase über die „Valse lente“ aus Delibes’ Coppélia, verwendet Dohnányi Schuberts zwölf Valses nobles bloß als Ausgangspunkt, wobei er raffinierte Gegenmelodien und reizvolle harmonische Wendungen hinzufügt. Während Schuberts Originalwerk nur eine Sammlung verschiedener Walzer ist, erwies der junge Dohnányi wieder sein Talent für die Bildung ausgedehnter Formen, indem er den siebten, neunten und elften der Valses nobles fortläßt und den ersten Walzer mehrfach als Refrain wiederholt. Der Anfangswalzer kehrt ganz am Ende der Transkription in einem virtuosen Passagenwerk wieder, mit dem das Stück schwungvoll endet.

aus dem Begleittext von James A Grymes © 2013
Deutsch: Christiane Frobenius

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