Stephen Coombs, Jerzy Maksymiuk - The Romantic Piano Concerto Vol. 4: Arensky & Bortkiewicz: Piano Concertos (1993)

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Stephen Coombs, Jerzy Maksymiuk - The Romantic Piano Concerto Vol. 4: Arensky & Bortkiewicz: Piano Concertos (1993)

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Anton Stepanovich Arensky and Sergei Eduardovich Bortkiewicz are hardly household names. Arensky’s delicious Piano Trio in D minor continues to keep its place on the fringes of the chamber repertoire, and the Waltz movement from his Suite for two pianos receives an occasional outing; otherwise nothing. Who has even heard of Bortkiewicz other than aficionados of the piano’s dustier repertoire?
Arensky was born in 1861 in Novgorod, a birthplace shared with Balakirev whose influence on the course of his country’s music during the second part of the nineteenth century was more profound than any other. Arensky, born a generation later and without the same musical genius and aggressive nationalism, fell under the spell of the post-Chopin/Liszt school (both composers revered by Balakirev and his nationalist ‘Free School’ of music). He was not going to extend the piano’s expressive potential as the mightier talents of Scriabin, Medtner and Rachmaninov were later to do.
Arensky’s Opus 2 is unmistakably indebted to Chopin and Tchaikovsky, with the melodic grace of Mendelssohn and some of the more virtuosic passages of Liszt thrown in for good measure. (The last movement threatens to break into the opening of Grieg’s Piano Concerto!) Indeed, after hearing the work for the very first time, the listener somehow feels that he knows it intimately, like an old friend … undemanding, and for whom one has to make no special effort.
It’s a cosy piece, full of hummable tunes. As one would expect of a composition pupil of Rimsky-Korsakov, it is expertly crafted and the piano part is distinctive and beautifully laid out. The most daring departure from convention is in the use of a 5/4 time signature in the Finale. It was a quirk of Arensky’s that he enjoyed unusual metres. (Tchaikovsky even reproached him for doing so.)
Like Arensky, Bortkiewicz was Russian (he was born in Kharkov, 16 February 1877) and studied at the St Petersburg Conservatory—in his spare time at first, for his father insisted that he study law. ‘I inherited my mother’s pleasure in music-making’, he wrote. ‘And what a blessing it was that we made much music when I was young. My mother played the piano very well and I was passionately fond of music.’
Unlike some of his Russian contemporaries (Rachmaninov, Medtner, Scriabin) Bortkiewicz was not a sufficiently gifted pianist to make a career as a soloist, though after his debut (Munich, 1902) he made several European tours. He made no records or piano rolls and while one critic felt he produced a ‘harsh, jarring sound’ others give the impression of him being only a capable player, at his best in his own works. His strengths, he eventually decided, were teaching and composition. He taught at the Klindworth-Scharwenka Conservatory in Berlin from 1904 until the outbreak of the First World War when he was forced to return to Russia. After the Revolution he left his native land, like so many never to return again, and after a peripatetic existence, including a two-year stay in (then) Constantinople, Bortkiewicz finally settled in Vienna in 1922, dying there in October 1952.
Bortkiewicz’s compositions are dominated by those for his instrument and many are well worth investigating (Lamentations and Consolations, Op 17, for example, and some of the Preludes from Opp 13, 15, 33 and 40, Lyrica Nova Op 59 from 1940, and the 1907 Piano Sonata No 1 in B major, Op 9). Perhaps, like the present Concerto (he wrote two others), they lack profundity and originality in the widest sense. But does the only music we appreciate have to be by the great composers who overturned systems, struck out for the unknown, and challenged their muse? One hopes not. There must always be a place for those like Arensky and Bortkiewicz who reflect so elegantly and expertly on what has gone before, rather than shake us by the ears and grab us (sometimes screaming) into the future.

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Stephen Coombs, Jerzy Maksymiuk - The Romantic Piano Concerto Vol. 4: Arensky & Bortkiewicz: Piano Concertos (1993)

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