Erik Chisholm - Music for Piano, Vol. 5
Product Code: DDV24140

Erik Chisholm (1904-1965)
Following on from Volume 4 in this series, the compositional and technical virtuosity of Chisholm’s writing for piano are again displayed in a variety of idioms ranging from...
Price: £12.00   Type: CD  

ERIK CHISHOIM - Music for piano, volume 5
Piobaireachd for solo piano [24.29]
1. No. 14: Cluig Pheairt — The Bells of Perth [4.10]
2. No. 16: untitled [1.32]
3. No. 17: Cumha Righ Seorais Ill — Lament for King George the Third [13.10]
4. No. 19: untitled . [1.39]
5. No. 20: Is Fada Mar so tha SInn — Too Long in this Condition [5.45]
6. No. 21: Cumha Craobh nan Teud — A Lament for the Harp Tree [3.35]
7. No. 22: Lasan Phadruig Chaoig Mhlc Cruimein — Squinting Patrick’s Flame of Wrath [2.17]
8. No. 23: Cumha na Cloinne — The Lament for the Children [2.21]
Sonatina no. 5 [6.07]
9. Menuet [1.46]
10. Berceuse [3.07]
11. Theiew’sDance [1.14]
Sonatina no. 6 [6.54]
12. Basse Dance [2.03]
13. Aria [3.32]
14. Burlesque [1.19]
Cameos [10.01]
15. The Sunken Garden [0.51]
16. Untitled [0.54]
17. UnfinIshed (1.16]
18. The Spring Lamb [0.40]
19. The Blighted Tulip [1.01]
20. The Seven Delicate Sisters [1.02]
21. Moonlit Apples [0.42]
22. Cargoes [0.49]
23. Tall Poplars [0.40]
24. The Wagoner [0.27]
25. Seumas Beg [0.56]
26. The Rainbow [10.51]
Sonatine Ecossaise
27. Allegro con energia [4.23]
28. Lento[2.16]

29. Allegretto [4.12]
30. Harris Dance [3.36]
31. Tango [3.04]
32. Sonata ‘Elektra’ [4.35]
33. Dance Bacchanal [4.42]

Total playing time: [74.37]

Erik Chisholm (1904-1965)
Following on from Volume 4 in this series, the compositional and technical virtuosity of Chisholm’s writing for piano are again displayed in a variety of idioms ranging from Renaissance to Scottish.

With the Scottish works, Chisholm was doing for his own country what Bartok, in particular, was doing for Hungarian music. Chisholm has occasionally been dubbed 'MacBartôk' with the implication that he was following on the master’s heels. He certainly knew Bartok’s music at an early stage, performing the Bartók First Piano Concerto in Glasgow in the late 19205. But Chisholm’s involvement with the traditional music of his own country began in 1914, when he was ten years old and presented with a copy of Patrick MacDonald’s 'A Collection of Highland Vocal Airs of 1784'. By 1929 he had composed the Sonatine Ecossaise and by the time Bartok came to give two recitals of his music, staying with the Chisholms in Glasgow in 1932 and 1933, the first version of Chisholm’s Piobaireachd Concerto was already complete. Here is how Chisholm’s wife, Diana, described Bartok’s interest in Chisholm’s own researches into traditional music:
"Scottish folk music, and especially Piobaireachd happened to be my husband’s pet subject and particular
study at that time. For years he had been doing considerable research in this line, so of course, he brought out various collections of folk music and gramophone records, and Bartók listened and studied these for hours. The result of this conversation was that the next day Bartôk went to a well-known shop in town which supplied all Highland requisites, and came home with a tartan rug, a chanter, all the piobaireachd music he could lay his hands on, and told us that the manager of the firm had arranged with one of our most noted Pipe-Majors to come next day to the Grand Hotel to play the bagpipes to him (this was one thing my husband hadn’t been able to do!). Bartok was enchanted."

Here, then, were two men with parallel enthusiasms and pianistic skills, sharing their knowledge on equal terms. To describe Chisholm as 'MacBartok' is, of course, no insult - indeed it can be construed as a compliment: but it is misleading. The techniques which Chlsholm applies to both the general form and the specific detail of his Scottish works is very substantially derived from the techniques that Scottish music, and piobaireachd in particular, have uniquely and very recognisably developed. In exploiting these techniques in the context of the piano (and the orchestra), Chisholm had no precedents from outside Scotland, and few from within. It is no wonder Bartok was intrigued.

On this CD, the Piobaireachdfor solo piano, the Sonatine Ecossaise and the Harris Dance are all outstanding examples of the depth of his understanding of Scottish and, in particular, Highland Scottish traditional music. Their variety of texture and rhythm is astonishing, but equalled by the variety of contrapuntal and harmonic treatment in the two Sonatinas based upon late mediaeval and Renaissance melodies. Chisholm’s skills as a miniaturist are also evident in the dozen Cameos which, though of early date and little more than fragments, somehow capture a mood with immediacy and even intensity. The CD is rounded off with an alluring Tango, and two pieces of demanding virtusoity, the single-movement Sonata Elektra and a Dance Bacchanal which is certainly not for the faint-hearted.

Total 9 result(s).
Listen to Track Piobaireachd for Solo Piano - The Balls of Perth
Listen to Track Sonatina no 5 - Menuet
Listen to Track Sonatina no 6 - Basse Dance
Listen to Track Cameos - The Sunken Garden
Listen to Track Sonatine Ecossaise - Allegro con energico
Listen to Track Harris Dance
Listen to Track Tango
Listen to Track Sonata 'Elektra'
Listen to Track Dance Bacchanal