Still, the finale is enjoyable, sprightly, sports another tricky cadenza and ends well. The work is as complete an example as I know of Schumann’s pervasive influence on another composer. The smaller pieces are splendidly written for the instrument, which surely won’t come as a surprise. The Elegie is a warm and effusive opus in the style of Tchaikovsky. The Capriccio’s more propulsive and finger-busting tendencies are relieved by a lyric "B" section – and it also opens like a snippet of The Barber of Seville. The very Slavic Gavotte takes the player up very high and tests his bowing arm into the bargain to a considerable degree. Fitzenhagen must have had excellent intonation. The Impromptu cleaves more to the Schumann-Mendelssohn axis and there are two versions of Ave Maria – one with piano and the other harmonium. The former, predictably, is warm whilst the latter is slightly pious. There is also an extensive Dämonenfantasie, after motifs from the Anton Rubinstein’s opera Dämon. The piano part is demanding and sometimes portentous, the cello writing lyric and equally tough. The piece itself is a kind of dual tribute to Rubinstein and Tchaikovsky – and it includes a variation theme based on the Rocco Variations. Performances are generous and attractive; Jens Peter Maintz is a fine player and an imaginative one as well. The booklet notes have some excellently reproduced period photographs of the heavily bearded Fitzenhagen and the disc is a worthy and worthwhile salute to his memory.
Jonathan Woolf (source/font: aquí)
Gaudiu i compartiu!
PRESTOCLASSICAL: FITZENHAGEN, W. - Cello Music