CD-Kritiken

- Toccata in D minor / d-Moll BWV 565
- Ich ruf zu Dir, Herr
- Wachet auf, ruft uns die Stimme
- Four Elegies
- Sonatina seconda
- Toccata

- Sonata for Piano B flat minor / b-Moll
- Sonata for Organ (94th Psalm) C minor / c-Moll
Martin Sander, organ

- Nonet for Cor anglais, Clarinet, Bassoon, two Violins, Viola, Cello, Double Bass and Piano (1850)
- Grande Sérénade Concertante for piano, clarinet, French horn and cello, op. 126
"MDG are a most adventurous record label and are to be congratulated for making available many pieces from lesser-known composers. This release of two rare and attractive chamber scores from the Vienna-born composer Carl Czerny is one such example. The release is marked volume 1, so more such recordings from Czerny seem likely.
The MDG website carries the following information "The series debuts with the world premiere recordings of two important works by Carl Czerny, pupil of Beethoven and teacher of Liszt. Joining the acclaimed Consortium Classicum ensemble is the young pianist Claudius Tanski, whose MDG recordings have won critical acclaim." From the recording date of 1994 I"m not sure where the recordings have been for eleven years. However there is now another recording of the Grande Sérénade Concertante, Op. 126 available in the catalogue, on the Meridian label CDE 84310.
Czerny"s name, even during his own lifetime, became known to the public more as a pedagogue than as a composer worthy of serious consideration. Little has changed up to the present day as his reputation is associated with dreadful memories of piano lessons even though his value and considerable legacy to piano teaching cannot be overestimated.
A child prodigy on the piano, Czerny as a nine year old, gave his first public performance in Vienna playing Mozart"s Piano Concerto in C minor, K.491. The extremely well connected Czerny met the acquaintance of Hummel, Chopin, Beethoven and Clementi as a young man. In later years he became highly regarded by composers of the stature of Liszt and Beethoven who both played and encouraged him in his compositional endeavours. Beethoven influence was immeasurable. He chose Czerny as his pupil to give the first Vienna performance of the Piano Concerto No. 5 in 1812. Czerny also gave weekly concerts at his home that he devoted exclusively to Beethoven"s piano music. Many of these events were attended by Beethoven himself.
The prolific Czerny composed an astonishing thousand works in almost every sacred and secular genre. In particular his numerous technical studies and exercises, continue to be widely used by piano students around the world. Sadly a very large number of his non-scholastic works have gone out of print or were never published at all and have been largely forgotten by history. Perhaps Czerny"s over-production diluted his creative powers; consequently a host of his lesser quality works have led the high calibre ones into undeserved obscurity.
Housed in the Vienna City Library the Nonet for piano, winds and strings, from 1850 is a work of classical form and expression and is really a concerto for piano and small orchestra. The booklet incorrectly describes the instrumentation as cor anglais clarinet, bassoon, horn, two violins, viola, cello, double bass and piano, which is ten instruments, but there is no horn part. Aside from the predominant piano the instrumentation is related to Schubert"s Octet D.803 and Beethoven"s Septet op. 20 with the exception that Czerny employs a cor anglais instead of the oboe and horn. The piano is almost constantly in action throughout the work and the part is lengthier than that of many a typical piano concerto yet blends in reasonably well with the other eight instruments.
The opening movement allegro maestoso is lengthy at nearly thirteen minutes and is a mixture of concerto and sonata. It is hard to focus on anything other than Claudius Tanski"s extrovert and exciting piano part. The calming and gentle second movement andante is a sort of varied song with a dramatic middle section in which Consortium Classicum provide a lightness of touch with appropriate sensitivity. Harmonically the movement gravitates towards the Romantic style and it is good to hear instruments other than the piano participating so productively to which Consortium Classicum respond admirably.
The players of Consortium Classicum are intense and full-blooded in the dramatic and inventive scherzo with its contrastingly lyrical central trio section. The piano intones a song reminiscent of Schubert"s Trout Quintet and some Viennese elements can be detected, especially in the extended passage for violin. The finale is preceded by an unusual introduction-andante that features the wind-piano and string-piano dialogue. In the allegretto vivace section there is a mixture of the rondo and sonata forms. This ensemble have much to offer in the closing movement that contains considerable technical challenges for the piano in which Claudius Tanski proves more than equal to the task.
The Grande Sérénade Concertante, op. 126 contains the colourful combination of piano, clarinet, horn and cello. This extraordinary and exciting published score was composed in 1827 and the unusual choice of instrumentation demonstrates that Czerny was going his own independent way to obtain original tone effects.
The piano part predominates but is integrated more than in the Nonet. It never swamps the other instruments that are provided with a reasonable share of material. Czerny"s writing ensures that each of the four players is faced with technical demands of the highest order.
Czerny wrote about his ability to play by heart and with complete accuracy everything that Beethoven and many other composers wrote for the piano. In view of this it is not surprising that the Grande Sérénade Concertante contains several reminiscences of Beethoven especially of the Fourth and Fifth Piano Concertos. There is also a reference to Schubert"s Variations for flute and piano op.160.
The demands of the twelve minute long set of theme and variations for each instrument is handled with intelligence and fluency. The players display a subtle control in the peaceful and delightful adagio that provides a short yet welcome respite from what has gone before. The polished playing is beautifully balanced in the allegro vivace con fuoco closing movement. Throughout the score it is difficult not to acknowledge Tanski"s superbly stylish and radiant playing. He makes an outstanding contribution.
This is a well recorded release from MDG Gold that will delight chamber music lovers."

- Fantasy, Variations and Finale op. 46
- Grand Septuor op. 88
- Grand Sextuor op. 35
Claudius Tanski, piano

-
Septet for Piano, Oboe, Clarinet, Horn, Bassoon, Violoncello and Double Bass op. 132
- Quintet for Piano, Clarinet, Horn, Violoncello and Double Bass op. 81
Consortium Classicum

-
Sketches (4) for Piano, B 102/T 68 no 2/Op. 5
no 1, Scherzo-Polka in F sharp major
-
Polkas de salon (3) for Piano, B 94/T 62/Op. 7
no 1 in F sharp major
-
no 2 in F minor
-
no 3 in E major
-
Czech Dances (14) for Piano, T 112
no 2, Polka in A minor
-
no 9, Little Onion
-
no 13, Neighbors Dance
-
no 12, The Astride Dance
-
Rêves (6) for Piano, T 112
no 1, Le bonheur étient
-
no 2, La consolation
-
no 3, En Bohême
-
no 4, Au salon
-
no 5, Près du château
-
no 6, La fête des paysans bohémiens
-
Andante in E flat major, B 97/T 65
-
Am Seegestade in G sharp minor, B 119/T 86/Op. 17
Oberflächlich befriedigen Polkas oder böhmische Tänze den Nationalstolz- aber selbst hier, in gängigen Formen, weitet sich schon das Feld zu markanten Charakter-Stücken in wechselnden Stimmungen und Beleuchtungen, mit eigener, gewissermaßen pianistisch-symphonischer Note. Die große Geste im Kleinen: So spielt das Tanski mit wirbelndem Elan, in nuanciertem "Gesang" oder auftrumpfender, aber nie hohler Gebärde, formgenau und inhaltsreich. Er nimmt forschend jede Phrase ernst und stiftet klaren Zusammenhang, bleibt dabei aber stets "spielerisch" und frei für den eigenen Ton auf dem Steinway von 1901. Und vollends die sechs "Reves" steigert er als Ton- Gedichte in vorausweisender Deutlichkeit zu reichster Bildhaftigkeit. Vorbildlich : der eigene kenntnisreiche Booklet- Kommentar mit Notenbeispielen."

Johannes Brahms (1833-1897):
- Trio for Piano, Violin and Horn E flat major / Es-Dur op. 40
- Trio for Piano, Clarinet and Violoncello A minor / a-Moll op. 114
Sebastian Weigle, horn
Wolf Dieter Streicher, violin
Christoph Henkel, violoncello
Claudius Tanski, piano

- Sonatas for clarinet and piano op. 120, No. 1 and 2
- Vier ernste Gesänge op. 121 (arr. for piano by Max Reger)
Claudius Tanski, piano
Zum Ereignis wird das Ganze noch, wenn man das Duo betrachtet : Klöcker und Tanski spielen praktisch ein großes Instrument.
Nun, Klöcker kennt man in der Szene großer Instrumaentalisten. Der Name Claudius Tanski aber war mir neu. Ist er schon als Begleiter eine Entdeckung, so zeigt er in den "Ernsten Gesängen" erst recht, wozu er fähig ist. Zuerst war ich skeptisch: ausgerechnet diese Lieder ohne Gesang. Und Reger-Bearbeitungen stimmen mich auch nicht immer froh.
Aber ich bin bekehrt.Tanski singt und spielt auf seinem Instrument, daß man die Lieder mühelos "verstehen" kann. Also: wenn bei einem Liederabend der Sänger indisponiert ist, sofort Tanski mit Brahms holen. Ein gutes Publikum wird nichts vermissen."

- Trio op. 24 pour Piano, Violon et Violoncelle A minor / la mineur / a-Moll
-
Deux Nocturnes op. 6
-
Duo op. 14 pour Piano et Cor B minor / si mineur / h-Moll
- Variations de Concert op. 1 pour le Piano sur le motif de l¿Opéra l¿Elisire d¿Amore de Donizetti "Io son ricco e tu sei bella"
Benjamin Schmid, violin (Track 1-4)
Clemens Hagen, violoncello (Track 1-4)
Vincent Lévesque, horn (Track 8)
Schonberg´s comments about Henselt are worth reading, for they reveal a fascinating if tortured personality. His music is much more in the mainstream, however. This is a lovely Piano Trio, skillfully wrought and beautifully played. The Duo for Horn and Piano is likewise a solid, sturdey work. The pieces for solo piano are impressive; if Henselt was able to play these things with ease, he must have been formidable, indeed.
The theme of the Variations de concert is from the Dulcamara-Adina duet " Io son rico, e tu sei bella", which occurs at the beginning of act II of Donizetti´s "L´elisir d´amore". It is the CD´s most substantial solo piece, the Berceuse and the two Nocturnes are far lighter works, but they, too, are nicely constructed and pleasing to hear. Taken all together, it is easy to understand why Schumann and Liszt praised Henselt´s music.
As is its custom, MDG has provided remarkably good sound and a natural ambience for these performances. The pianist has previously recorded for MDG and other companies. This CD is to a large extend his show, and he is dazzling throughout. Viennese violinist Schmid studied for several years at the Curtis Institute of Music. Cellist Hagen has recorded the Brahms Double Concerto with Kremer and Harnoncourt. New York born hornist Lévesque has pursued his carrer largely in Europe.
Each makes outstanding contributions to this release. Notes by Lucian Schiwietz and Stefan Hofmann are a gold mine of informations."

Max Reger (1873-1916)
-
Piano Quartet op. 133 A minor / a-Moll
- 3 Duos (im alten Stil) op. 131b
Claudius Tanski, piano

Max Reger (1873-1916)
-
Piano quartet op. 113 D minor / d-Moll
- Serenade G major / G-Dur op. 141a
Claudius Tanski, piano

- Kreisleriana op. 16
- Widmung op. 25, 1 (arr. by Franz Liszt)
- Fantasy in C D 760 "Wanderer-Fantasie"
- Der Wanderer D 489 (arr. by Franz Liszt)

- Sonate
- Romance Oubliée
- Isolde`s Liebestod
- Lugubre Gondola 2
- Mosonyis Grabgeleit
- Variationen über Weinen, Klagen, Sorgen, Zagen
di Liszt, anche se il Concerto, se ben ricordo, viveva in aura più mendelssohniana, Biedermeier, che non lisztiana.E alunni di Liszt, o comunque gravitanti nella sua orbita, erano Reubke e Smetana, autori che fanno parte della discografia di questo interprete, che per la stessa casa ha registrato varie composizioni solistiche e cameristice del repertorio tedesco: Kalkbrenner,
Czerny, Nicolai, Moscheles,Henselt, Pfitzner, Brahms, Reger e Busoni. Non si può dire che il suo background non gli permetta
di dominare il linguaggio lisztiano. Difatti, il suo disco dedicato a questo autore è quanto di più logico, interessante e stimolante abbiamo ascoltato finora, illustrato da splendide note (" La Sonata in si minore in un contesto di morte e trasfigurazione") di Axel Schröter. Si parte dalla Sonata, illustrazione secondo molti studiosi- Liszt non si pronunziò - del mito di Faust, per approdare alle Variazioni ´Weinen, Klagen,Sorgen, Zagen´terminate da Liszt dopo la morte della figlia Blandine, attraverso alcuni pezzi del periodo tardo legati più o meno all´idea della morte.
Tanski è stato per anni alunno di Alfred Brendel, e si sente. Lo direi addirittura alunno di Claudio Arrau, dopo l´ascolto della Sonata. Al domono della tecnica pianistica, del richiesto virtuosismo in questo pezzo, si aggiunge una logica strutturale , una
naturalezza del discorso, una semplicità della dizione che rendono questo lavoro chiarificato al massimo. Emerge cosi il senso musicale di ogni tema, di ogni passo. Gli elementi di estemporaneità, che prevalgono nell´esecuzione di un interprete di scuola russa (Horowitz, Richter, Berman, etc.), sono ridotti al minimo, e la lettura nel complesso ha qualcosa di classico, direi di beethoveniano, senza perdere gli elementi basilari di una lettura lisztiana.
Anche gli altri pezzi del disco, per quanto poggiati su di una concezione timbrica fascinosa e ben dominata, vivono in un clima meditativo ed austero pieno di risonanze interiori e di suggestioni poetiche. Vanno segnalate almeno le due rarità del disco, la
`Romance oubliée` e `Mosonyis Grabgeleit`, dai sette `Ritratti ungheresi`, brani di rarissimo ascolto.
Commento tecnico: Il pianoforte suona molto naturalmente e con guista dinamica"

- Fantaisie avec Variations brillantes sur Norma op. 25 pour Pianoforte avec Accompagnement du Orchestre
- Symphony D major / ré majeur / D-Dur
Südwestfälische Philharmonie
David Stern, conductor
Joyous Beethovenian bravura from same bloodgroup as the Beethoven"s Choral Fantasy (much under-rated) and the Third and Fourth piano concertos. There is also restraint and tenderness aplenty amidst all the coruscating notes. The dashing piano part is pressed forward and breasted by MDG regular Claudius Tanski - a most convincing performance. The work is restless with excitement and rich in detail.
The Symphony is a lanky tense romantic effort with currents cross-cutting from Schumann (Symphonies 3 and 4) and Beethoven (Symphonies 5 and 7). The Adagio (II) is a steady reflective affair of Mozartian gravity and charm. Schumann is a definite presence in the scherzo (III) and here the nice sense of gradation and contrast evident throughout this production communicates strongly - a joy to hear. The blessed precision and control of the finale, chasseur horns, Coronation splendour and general sense of classic celebration are notable.
Two extremely rewarding and out-of-the-mainstream works done with style in every department and good notes to match."

- Symphony No. 1 op. 12
- Piano Concerto op. 36
Wuppertal Symphony Orchestra
George Hanson
Though prolific, Draeseke is not well represented in current catalogs. So we are indebted to MDG. Both the symphony, completed in 1872, and the piano concerto, composed in 1885-86 for a student of Henselt and Liszt, are well worth knowing. Both speak the rich harmonic language of their time and offer a unique fusion of simplicity, intimacy, and, yes, grandeur. The symphony shows the influence of early Wagner and Mendelssohn and Weber (II--with a hint of Schumann for good measure). The piano concerto is a virtuoso tour de force with two dashing and brilliant outer movements surrounding a central theme and variations rich in ideas and charm. There is much of the Richard Strauss (a composer Draeseke later condemned) of the Burleske in the outer movements. I"d think this to be the work of the young Strauss if I didn"t know otherwise.
The strong effect made by this music is certainly the result of the excellent readings. The American conductor George Hanson, who studied with Franco Ferrara and Seiji Ozawa and was a Bernstein assistant in Vienna, is currently Music Director of both the Tucson Symphony and the excellent Wuppertal Symphony (whose musical associations go back to Brahms, Bruch, and Joachim as well as Klemperer, Kleiber, and Richard Strauss). He offers strongly profiled readings of both works and is most fortunate in his soloist, the estimable Claudius Tanski (whose recent Busoni CD for this label so impressed me). He plays with tremendous panache and is simply ravishing in II, making a strong case for more frequent performances. MDG has supplied full and natural sonics."

- Sonate für Violine und Klavier op. 27
- Trio für Klavier, Violine und Violoncello op. 8
Benjamin Schmid
Clemens Hagen
Mit seinen polemischen Schriften zerschlug er Berge von Porzellan. Bis heute liegen sie der Rezeption seiner Musik im Weg, ebenso wie die widersprüchliche Haltung in der Weimarer Republik und im "Dritten Reich". Doch der Musikbetrieb hat andere Komponisten, die den Nazis williger dienten, weniger geschnitten. Es liegt wohl schon an der Musik selbst, dass sie kaum gespielt wird - das Hauptwerk, die Oper Palestrina, einmal ausgenommen. Pfitzners Kammermusik kennt kein Mensch, Stücke wie die Violinsonate op. 27 oder das Klaviertrio op. 8, die der Geiger Benjamin Schmid, der Cellist Clemens Hagen und Claudius Tanski (Klavier) jetzt neu eingespielt haben (Dabringhaus und Grimm 312 0934). Die drei begreifen, worauf es ankommt: Mit schlanker Tongebung und zügigem musikalischem Fluss suchen sie nicht den "letzten Romantiker", als der Pfitzner galt, ohne es zu sein, auch wenn er vehement eine letztlich romantische Inspirationsästhetik vertrat. Das Trio, formal zerrissen, zwischen strömender Melodik und wütenden Zusammenbrüchen changierend, lässt ahnen, weshalb Pfitzner nach einer Aufführung in Berlin "fürchterlich vermöbelt", ja als "Führer der Sozialdemokratie in der Musik" beschimpft wurde. Und die Violinsonate spielen Tanski und Schmid, eines der echten Geigentalente der jüngeren Generation, mit hinreißendem Elan. Bruno Walter hörte bei Pfitzner Dinge, "die zum Schönsten gehören, was je geschrieben worden ist", vielleicht gerade, weil vieles seltsam spröde klingt und sich den sensualistischen Verführungen verweigert, die Richard Strauss, der erfolgreiche Zeitgenosse, so perfekt beherrschte."

- Goldberg Variationen
- Petrarca-Sonette, Resignazione
- Recueillement
Si, dans un certain nombre des cas, comme le fameux choral "Nun komm, der Heiden Heiland", Busoni se contente de transcrire au plus près l"original pour orgue, ailleurs, il recrée l"oeuvre à sa façon. C"est ainsi qu"en 1914, il élabore une version de concert des Variations Goldberg où son intervention prend plusieurs aspects. D"abord, il supprime carrément neuf des trente variations, peut-être dans le louable souci de rendre compatible avec la durée d"un concert une oeuvre qui, à l"époque, était à peu près inconnue et jamais jouée, peut-être aussi pour renforcer la logique interne du cycle, qui ne dure plus que 37 minutes. Ensuite, il procède à des modifications d"octave dans les parties conçues pour les deux claviers du clavecin, de manière à éviter des chevauchements de voix. Il récrit certains ornements, en supprime d"autres (notamment dans l"Aria) renforce la basse, compose çà et là des voix médianes supplémentaires.
Le reste du programme est consacré à Liszt, avec les Sonnets de Pétrarque, où Liszt transcrivit lui-même ses propres mélodies et Resignazione, brève pièce en forme de choral de la fin de sa vie, où se révèle dans sa nudité franciscaine toute le rigueur de son art, ainsi qu"à Busoni, à travers sa première Elégie, où Tanski réalise un magnifique travail de recherches de sonorités rares.
Le pianiste allemand poursuit ici un travail qui le passionne et qu"il rend intéressant. On lui devait déjà de beaux enregistrements des oeuvres tardives de Liszt comme des transcriptions de Bach par Busoni, ainsi que d"oeuvres de Busoni lui-même. Le style est ample et volontiers grandiose, très romantique (mais pour Bach, on ne s"en offusquera pas puisque c"est précisément l"effet recherché!). On le sent soucieux de rendre lisible la structure polyphonique des textes qu"il défend, mais également de profiter de toutes les ressources du piano pour orchestrer (ou tout au moins registrer) ce qu"il joue, notamment dans les Variations Goldberg. C"est là une perspective busonienne, le compositeur de la Fantasia contrapunttistica ayant toujours pensé que ce n"était pas une trahison que de faire profiter Bach de la technologie moderne et de deux cents ans de progrès musical. On pourra s "épouvanter de cette idée qui n"est plus la nôtre, mais la défendre comme le fait Claudius Tanski peut également permettre de relativiser notre propre regard sur la musique du passé."

Felix Mendelssohn Bartholdy (1809-1847):
- Auf den Flügeln des Gesanges (Heinrich Heine) (arr. for piano solo by Franz Liszt)
- Variations sérieuses op. 54
- Fantasie op. 17
- C major / ut majeur / C-Dur
- Die Loreley (Heinrich Heine) (arr. for piano solo by Franz Liszt)
-
Lieder eines fahrenden Gesellen (transcribed for piano by Claudius Tanski)
- Wenn mein Schatz Hochzeit macht
- Ging heut" morgen über"s Feld
- Ich hab" ein glühend Messer
- Die zwei blauen Augen
Da sind zunächst einmal die beiden einander so entgegen gesetzten Lisztschen Liedbearbeitungen: Jene von Mendelssohns Lied, die auf ideale Weise die Melodiestimme in das Gewebe der Begleitung integriert und zu einem filigranen Ganzen verschmilzt, was Tanski mit klangräumlich differenziertem Spiel im Eindruck von Nähe und Ferne vermittelt, dann aber auch jene von Liszts eigener "Loreley"-Vertonung, die in Gestalt einer dramatischen Szene die Atmosphäre des Nächtlich-Bedrohlichen zeichnet. Diesen miniaturhaften Stimmungsbildern stellt der Pianist zwei Hauptwerke romantischer Klavierkunst gegenüber: Zum einen hört man Mendelssohns "Variations sérieuses" op. 54 in einer dramatisch-zugespitzten Wiedergabe, die jegliche verharmlosende Glätte oder falsche Sentimentalität meidet und ¿ eingebunden in einen logisch auf die finale Variation ausgerichteten Zug ¿ gerade die Rauigkeit und die Brüche der Musik thematisiert. Zum anderen erklingt Robert Schumanns Fantasie C-Dur op. 17, gestaltet als komplexer poetischer Diskurs, der ganz von den vielfältig differenzierten Übergängen zwischen Deklamation und Gesang lebt, die Tanski ihr von Beginn an einschreibt und im mehrsätzigen Verlauf immer wieder abzuwandeln versteht.
Den Abschluss der Produktion bildet eine von Tanski selbst gefertigte Klavierübertragung der "Lieder eines fahrenden Gesellen" von Gustav Mahler. So ungewöhnlich diese Wahl zunächst scheint, so logisch fügt sie sich in das Konzept der Produktion. Denn in musikalischer Hinsicht markiert Mahlers Liederzyklus sowohl einen mit dem Ausdruck des Schmerzes angereicherten Endpunkt der romantischen Welt- und Kunstauffassung, wie er auch ein spätes Beispiel für die Tradition des romantischen Gesangs ist. In seiner Bearbeitung verzichtet Tanski auf oberflächliche pianistischen Effekte und macht aus den Mahlerschen Partituren eine manchmal zarte, manchmal auch kraftvolle, immer aber erstaunlich farbige Klavierkunst, mit der er nahtlos an die Praxis der Lisztschen Liedbearbeitungen anknüpfen kann. Zugleich schlägt er damit aber auch einen Bogen zurück zu Mendelssohn, denn wie bei diesem handelt es sich bei Mahler um ein eindrucksvolles Beispiel für die ¿deutsch-jüdische Symbiose" innerhalb des Komponierens und damit für einen Aspekt, der dem Pianisten gleichfalls am Herzen liegt und seiner spannenden Spurensuche über ihren rein musikalischen Wert hinaus auch eine kulturhistorische Dimension verleiht."
The first selection by Mendelssohn: On Wings of Songs is a simple, unpretentious, unambitious, but lively piano arrangement by Liszt of the eponymous song, delicate and fresh¿a forever mesmerizing song. Tanski"s keyboard technique is superb; he plays for the music rather than for the audience and lets the music sing with a very delicate touch. For example in Mendelssohn"s Variations sérieuses, op. 54 in Track 2 beginning at 5:20 and in a subsequent passage beginning at 8:07 shows him as an accomplished pianist able to convincingly demonstrate that Mendelssohn did not write piano music only for the right hand as many have voiced here and there. Moreover, this right and left hand interplay effect can also be heard at the beginning of Track 4, and in Track 5 beginning at 2:03, with some marvelous delicate keyboard touch and judicious pedal work.
Tanski is able to make the sharps sharper and deep notes deeper; his keyboard technique allows for the left hand not only to produce the expected bass notes but to add as well wonderful syncopation to the right hand melodies with just the right amount to make the songs sing as they should. In general, there is a bit of a playful devil in Tanski with his almost improvisatory approach ¿ just my feeling ¿ which may be derived from his known ability for piano arranging and transcriptions. Tanski is full of energy and optimism in Schumann"s otherwise gloomy three part fantasy (Tracks 3-4-5) ¿ here it sparkles and sways ¿ he lulls us into a realm of rapt spirituality while with Mendelssohn and Mahler he takes us by the hand into poetry evoking luminous awakenings with songs that will soar high, so high that will touch the face of the Gods¿much like a prayer.
Tanski"s own transcription of Mahler"s Lieder eines fahrenden Gesellen (Track 7 to 10) is a wonderful rendition of a crucial work which Mahler experts always have thought to have been conceived originally in 1896 for solo piano and low voice (baritone or mezzo) to reappear in its final full orchestral form in 1897; please take note of the particular marvelous poetic tone in Track 10 beginning at 3:10. I think Tanski had overtly much interest in Schumann and Mahler"s psychology and emotional catharsis but also showed a commitment to display extremes of dynamic range and the deadly accuracy of his keyboard technique. Altogether this disc reveals a pianist of great expressive genius who nonetheless allows the music to speak for itself making music that is always searching for mood and meter."

Franz Liszt (1811-1886):
- Sonata for Piano in B minor, S 178
- Sonata for Piano in C sharp minor, Op. 6 "quasi fantasia"
