Theodor Kirchner's Little Casino

[Ten thumbs]

Op.26 12 Klavierstücke (1877)
After the preceding opus, these are disappointing, as though Kirchner rushed them off to pay the rent. In effect they are little more than preludes.
1 and 2, both in C – hardly exceptional.
3 and 4, both in A – little to comment on.
5 in A minor – a nice little melody with answering voices and a contrasting middle section. All rounded off with a ghostly chromatic decline. Worthwhile.
6 in A – altogether too semplice.
7 in D – jolly but lacks sparkle.
8 in G – comodo – too much so.
9 in D – Ziemlich bewegt. A dynamic piece with strong rhythms that invite one to play the repeats. Worthwhile.
10 in Db – Nicht zu schnell. A delicate piece with little rapid scales. Also worthwhile.
11 and 12, both in B – The last is a little scherzo that might be useful as an exercise.

[Ten thumbs]

I can now return to Op.17 and this, I must say, was money well spent.

Op.17 Davidsbundlertanze (1872).

The composer here establishes his credentials as a member of Schumann's Davidsbund by producing one of the finest piano cycles of the 19th century. As on critic wrote at the time "the works will not fail to cause a big sensation and should soon become the intellectual property of every cultivated pianist." That this didn't happen one can only put down to blindness to the real aim of music, which lies in content rather than display.

1. Allegro ma non troppo (F). Kirchner begins with a very upbeat number, very much in the spirit of Schumann, note the opening seven bar phrase.
2. Allegro (con dolore) (D min). An often repeated offbeat motif haunts this piece and this same idea is ironed out in the mid-section development, which is in the major.
3. Largo (D min). A very powerful evocation, employing minimum means. I love that bottom A on the piano and the overlapping dissonances in the close.
4. Allegro con spirito (Bb). Another high-spirited piece with strong rhythms. There is a short chromatic mid-section before the repeat.
5. Allegretto vivace (A). The flowing intersection of the hands is reminiscent of Mendelssohn but leads into a more forceful middle section. The added decoration in the return gives a Baroque flavour before the music thins out into repose.
6. Andante con dolore (F#). After a quiet and somewhat dissonant contemplation the ideas develop into an increasingly passionate accelerando that ends in an outburst in the major key, which then subsides into the opening theme although finally the major prevails.
7. Vivo (D). A springy scherzo in 3/4 time moves into an operatic chorus (con grandezza) in 2/2. The scherzo is overlaid on this as the piece moves to an emphatic conclusion – a tour de force.
8. Allegro (D). A 6/8 in which the main idea is tossed between several voices and then developed into more concentrated climax before winding down into a hushed conclusion.
9. Allegro risoluto (E min). A substantial piece of vigorous character and string motifs. After a repeat of the exposition, the music is developed with Wagnerian harmonies and pulsating tremolos until a short lyrical section leads back to a recapulating coda.
10. Vivo (C). The melody runs in the bass whilst the right hand plays a running line through disparate harmonies, giving the whole a rarefied atmosphere.
11. Con moto (F min). This strikes me as being very Russian – both formal and passionate, it has the rhythm of a mazurka, even in its relentlessly driving trio over diminished sevenths  – very powerful.
12. Tempo rubato, con passione (F). A piece full of expression that should be a delight to all pianists who like to play with feeling.

[Ten thumbs]

Op.27 6 Caprices (1877)
Dedicated to Frau Mathilde Schlüter (19 Mai).
Much more interesting.

1. Vivace.  This opens in a very sprightly Schumannesque manner but the descending chromatics become more evident and threatening in the mid-section. Altogether quite pleasing.
2. Moderato cantabile. A very restful piece that slowly unfolds its ideas through changing keys until it sinks into repose.
3. Agitato. A strong piece with just a hint of mystery. A secondary idea maintains the momentum through to a conclusive ending. Recommended.
4. Vivace assai. The apparently light-hearted opening leads into a number of surprising harmonic twists as the material is continually developed through to the end.
5. Ruhiges Walzertempo. This has something of a Schubertian air. The trio too, although Schubert would not recognise its harmonies.
6. Allegro. A typical fiery Kirchner opening with strong rhythms. The mid-section (meno vivo) is also typical of the composer, an outburst of seemingly uncontrolled lyricism in which the melodic lines meander to a dreamy conclusion. The opening returns to provide a powerful conclusion. My favourite in the set.

[Ten thumbs]

Op.28 4 Nocturnes (1877)

It is interesting to observe nocturnes that do not belong to the Chopin tradition. I'm not sure where the German nocturne originated but we do have Fanny Hensel's Notturno (1838) and Schumann's Nachstücke(1839). Kirchner's own Op.25 Nachtbilder belong too but here he uses the standard title.

1. Ruhig, singend. This begins with a gentle serenade in C major. However, the middle section is altogether darker and full of foreboding, so that the apparent simplicityof the opening returns like a breath of fresh air. The hint of darker things before the ending is soon banished.
2. Con sentimento. This magnificent nocturne is one of those pieces in which the predominantly major keys are tinged with immense sadness. The opening Db migrates to F before returning on an undulating pedal (Db/C). It then moves on to a passionate climax in D before subsiding resignedly onto the pedal, which continues to the end. Highly recommended.
3. Moderato. Again in the major, this opens as a night stroll but builds up into a big climax (the opening Bb major becomes A# major here). Repeating triplets are then added, giving further urgency but eventually these transform into a trickling accompaniment that brings the walker home.
4. Molto moderato. This opens with something resembling a night watchmen's song. However, the passionate outburst that follows seems all the huger in contrast. Cast in Eb minor, it employs echoing phrases, reminiscent of Op.25.2. Afterwards, the home guard return to leave us in comfort.

Altogether, this opus is worthy of standing alongside Brahms. It deserves much greater airing.

[Ten thumbs]

Op.29 Aus meinem Skizzenbuche (1877)
I'm a little suspicious of sketchbooks. For one thing, the assemblage is unlikely to form a cycle and, for another, one is likely to find variations in quality. That is what we have here. There are six pieces in all and Kirchner unusually supplies titles.
1. Ungarisch. Kirchner's strong sense of rhythm is put to good use here in supplying the Hungarian flavour. Great fun but obey the 'not too fast' at the beginning, as the tempo becomes faster and faster.
2. Deutcher Walzer. Quite an interesting rendition that can be compared with Brahms, with a mid-section in the minor marked 'sehr markirt'.
3. Humoreske. Pleasant enough but hardly striking, although the agitato section has some content.
4. Frühlingsgesang. A similar remark can be made here – the content sounds a little like April showers.
5. Ständchen. Somewhat sentimental for my taste.
6. Jagdstücken. Quite fun but only a bagatelle.

One or two interesting pieces but nothing outstanding.

[Ten thumbs]

Op.30 Study and recreation (1877)

This is a large undertaking, published in four volumes. I don't quite see it being performed in toto, although it does contain some very good music. Two things to note are the importance of rhythm and dynamics.
Volume 1 – this part is presumably aimed at students.
1. Poco lento. A simple introduction written more or less in block chords but quite pleasant.
2. Lento semplice. A gentle song without words with two interweaving parts.
3. Etwas langsam, klagend. The lament in softened by the ensuing warmth of the major section, which is itself enlivened where the texture is spread with triplets.
4. Allegro vivace. A lively exercise in slightly irregular running scales that becomes in the minor section, a two-part invention.
5. Ruhig. This little example of expressive romantic counterpoint is well worthy of attention, even by experienced pianists.
6. Animato. One of Kirchner's driving three to a bar rhythms – after the initial repeat it develops through to the end (with one awkward bar 4 over 5) where it signs off with a flourish.
7. Allegro moderato. Another rhythmic piece, this one in common time (4/4). More extensive than the last, in ternary form with quite a catchy little idea.

Volume 2 – we have now reached the meat of this opus.
8. Moderato. Another song without words with a chromatic accompaniment. The music becomes more turbulent and amidst the storm, undulating thirds hover pianissimo. The opening is revisited briefly before the thirds return in a lower register, bringing the piece to a close. Worth exploring.
9. Allegro. A magnificent piece with driving energy, although the mid-section hovers ethereally over the continuing offbeat left hand part – tricky in places.
10. Scherzando (Vivace). The opening with its dynamic 6/8 rhythm is followed by a section of pounding triads that thin out to a single reiterated G over which fragments of the opening appear before entering in staggered form to give a dramatic ending. Also recommended.
11. Allegro ma non troppo. A little esquisse of some interest.
12. Allegro. A dashing piece that can be played with some abandon. In spirit it seems almost Scriabinesque. Recommended.
13. Scherzando. A bit of a puzzle. Triplet runs are interspersed with semi-quaver trills through ever changing keys before the music decides that it really is in C.
14. Allegro capriccioso. This may be the answer – the triplet runs continue, beginning in Amin. But here the music is more structured. One is left almost breathless. Recommended.
I not sure about playing this portion as a set because of the preponderance of quick tempos.

Volume 3
15. Moderato. Moody and magnificent best describes this. A background of hushed sixteenth-note broken chords hovers around the theme, which broods with dark foreboding. Towards the end, the pace is slackened through the use of triplet repetition and the music melts into the major key. I like the modulation back to opening material – C E Bb B is such a Fanny Hensel chord!
16. Piu animato. A lively piece with a repeated exposition and development/recap sections followed by a coda.
17. Allegro con passione. By placing this in A major and overlaying that with sharp minor keys, Kirchner creates an atmosphere of ecstatic emotion from which trumpet fanfares (in C and F) attempt to recall one in vain. The final trumpet (in the home key) sounds in joyful abandon. Highly recommended.
18. Vivace. A lyrical piece with a trickling stream of sixteenth-notes over chromatic harmonies and a gentle melody. The whole expands across the keyboard before subsiding into memories. Most beautiful.
19. Nicht zu schnell, aber kräftig. This opens with a dramatic chromatic declamation. After a repeat, a rhapsodic development leads back to the opening theme with added embellishments. Worthy of note.
20. Allegro. This looks most interesting but the free score from IMSLP has a page missing. Therefore, I'll leave it until I've saved enough to buy the full opus. However, it's likely I will – there are snatches here that sound most modern.

Volume 4
21. Un poco allegretto. A through composed lied in F# in a high romantic style. Really most beautiful and the delayed climax is a stroke of genius.
22. Vivace. A racing scherzo in which the principal idea skips between the hands. A trio (meno mosso) smooths out the main idea but gradually moves back into chromatic figuration and a foreshortened version of the opening. Recommended.
23. Allegro vivace. This opens with a rapid eighth note chromatic passage, hands with separate parts. In the answering section, the hands come together but the music is bold and wide ranging. The Eb mid-section is equally bold (con calore) and reaches a climax on a high Dd before returning to the opening material. An original conception.
24. Allegro. This dramatic piece is based around reverberating triplets, at first in consonance but later based on diminished sevenths and chromatic descents. The pace increases into a coda and the accelerando continues into a splendidly affirmative ending. Highly recommended.
25. Poco lento. A serene but irregular melody with answering phrases in other registers floats over a series of block chords whose harmonies twist and turn until arriving at an almost ghostly ending. Very moving.
This last volume contains music of the highest quality.

[Ten thumbs]

Op.32 Aus Trüben Tagen (1878)
This is an excellent cycle all through and deserves the attention of pianists. It's the kind of music that the more one examines it, the more one finds.
1. Widmung. Larghetto. The strong adherence to D minor provides a sense of reverence but it is invested with much dissonance. A major section intervenes (piu lento), which may be the dedication itself with moments of distant expectation.
2. Allegro. D minor continues in what is more or less a sonata movement. It opens with an urgent motif that overlaps itself. A strongly lyrical second subject over a triplet accompaniment leads into the development. In the recapitulation, the second subject is switched from F to D, which becomes the home key through the chromatics of the coda.
3. Allegro giusto. D major but irregular both harmonically and rhythmically, being held together by the thematic material. Rewarding but requires some study.
4. Ruhig, ausdrucksvoll. A major – short but beautifully constructed piece, drawing out a fragment of melody from number 3.
5. Allegro agitato. A minor. A relatively straightforward quick movement with a strange landler at its core (ein wenig ruhiger). This begins with gently rocking warmth  but expands into a series of chromatic undulations before dying away to nothing.
6. Moderato. The key moves back to F with a lovely rich melody that is tossed between the parts. This continues into a return of D minor (con passione) and then to a climax that subsides over a pedal D. A return is briefly made to the melody and then to the same pedal on F. A lovely piece – one of my favourites.
7. Allegro ma non troppo. A short piece that concentrates on its main idea, giving a strong sense of tautness and economy.
8. Lento, con dolore. Again, not a note is wasted and Kirchner makes much use of multiple voices. The switch in the climax from 6/8 to 3/4 is very telling.
9. Poco lento. The seemingly innocent opening is once again laced with counterpoint and soon becomes involved with some wide hand crossing. The development passes through Fb major and the piece slows to very quiet ending.
10. Rückblick. Agitato. A very turbulent chromatic vision interrupted by a somewhat sombre reflection (con molto espressione) that includes a moment of pure Schumann. A fine ending to a very strong set.

Another winner

[Ten thumbs]

Op.33 Ideale (1878)
These pieces are presumably in remembrance of the composers Kirchner took as his models.
1. 8th June [Schumann's birthday] Langsam, zart. A somewhat heady reflection in two repeated halves.
2. 31st January [Schubert's birthday] In gemessenen tempo. The F# minor opening has a Schubertian melancholy, after which a short lyrical passage leads into a restless 6/8 that climaxes on an unexpected high Bb. We are then led back to the opening, slower at first but accelerating to a conclusion.
3. 3rd February [Mendelssohn's birthday] A. Andante (poco lento) – rather homely and undistinguished. B. Animato – reproducing Mendelssohn's racy style quite effectively.
4. ***   Moderato (poco lento). An exquisite little piece, full of touches of Romantic counterpoint with an agitated 12/8 section to provide contrast. Finally, a trickle of chromatic figuration brings repose.

[Ten thumbs]

Op.34 7 Waltzes (1878)
This second set is more ambitious than the first, although with the possible exception of the 5th they are not showy concert pieces.
1. A light-footed waltz in which, as is often the case with Kirchner, one has to watch the offbeat rhythms carefully. The variation of the reprise is welcome and it leads into an exhilarating coda.
2. A graceful dance in a slower tempo (comodo) – note the frequent introduction of hemiolas.
3. A very dramatic ceremonial waltz that borders on the mazurka. It has a powerful climax and triumphant ending. Highly recommended.
4. Another reminder that we are in Vienna rather than Paris. Again marked 'grazioso' but here the foil lies in the two the bar phrases – delightfully understated.
5. This waltz is more in the grand ballroom style of Johann Strauss. The sweeping melodic phrases stick in the mind and are given two contrasting sections – the first a vigorous one in Bb min against the Db home key, the second lyrical in Gb. Orchestrated, this would grace any Viennese evening.
6. Kirchner returns to Bb min for a short but heartfelt moment of despair – note the aborted canonic entries, falling octave by octave.
7. For this bright, chirpy waltz, the composer switches to Bb maj, reserving the minor for a darker mid-section with stepping quavers – a delightful conclusion.

Well worthy of resurrection.

[Ten thumbs]

Op.35 Spielsachen (1878)
These light pieces have no pretensions. Effectively, they are bagatelles and contain an obliqueness that offers some charm. Although small and of little difficulty, they are adult toys.
1. Ziemlich langsam. A small Schubertian melody with chromatic harmonies added.
2. Langsam. Similar but closer to Schumann.
3. Allegretto. A jaunty little piece with an odd hiatus.
4. In Mässiger bewegung. A real bit of fun.
5. Ziemlich langsam. More extended and providing beauty by minimal means.
6. Allegretto. This flutters with an almost religious fervour.
7. Munter. A spritely idea, taken on an adventure.
8. Sehr ruhig. A simple melody is stated and then elaborated.
9. Mässig schnell. A strong, concentrated piece.
10. Moderato. In which A major flirts with B diminished 7ths.
11. Allegretto con moto. A pleasant melody in F that climaxes delightfully in Gb min.
12. Lebhaft. A fleet-footed romp.
13. Drängend. This piece, with its rich harmonies, is a real gem.
14. Ziemlich langsam. Almost chorale-like with a quicker core. Brings the set to a peaceful ending.

They are probably not intended as a cycle but it is worthwhile to put together a selection from them, as Jean Martin has on his recording.

[Ten thumbs]

Op.36 6 Phantasien (1878)
From the key sequence (Eb, Cmin, Ab,Ab, Cmin,Ab) and certain relations between the musical ideas, this is presumable intended as a cycle. On the whole, it is worthy of recovery.
1. Lied - essentially a song without words with two varied repeats and a coda. It contains some fine climaxes and examples of Kirchner's sliding key transpositions. The tune returns through a canon led from an inner part and the piece ends with the hands crossed, another of the composer's trademarks.
2. Burleske. This lively piece is a real delight. It is quite short and best played with all repeats, even though some have no beginnings! The mid-section is more of a development than a contrast.
3. Notturno. A night piece on the German model. The principal melody is enlivend by counterpoint and developed strongly before pulsating triplet thirds draw the music back to the opening.
4. Erzählung (Narrative). A light-hearted tale invested with dissonant wit (opens with the chord A,B in Ab and, in the closing bars, Db repeatedly conflicts with D). The contrasting section has a very open feel about it.
5. Trauer. This begins with a slow weary tread of repeated notes, the full force of which becomes unleashed after the music lapses into a resigned silence. This climax is eked out over a dotted rhythm in the base and finally the music rises up ethereally to resolve in the major, as though offering consolation in death. If you love sad music then this is for you.
6. Walzer.  This is a fairly standard waltz with a mid-section in the minor. However, it is rendered interesting by its inventive harmonies.

[Ten thumbs]

Op.37 4 Elegies (1878)
The arrangement of these, alternating grief and consolation, strongly suggests they are intended as a cycle – key signatures: F min, F, A min, F.
1. This opens with an expressive melody embellished with counterpoint. A reflective period follows with diminished French sixths over pedals in the bass. This leads back to the opening phrase, which rises to a climax only to sink down into despondency.
2. A singing melody in unison provides a feeling of companionship. This is developed freely in various registers and keys until only fragments remain.
3. Here, a mock waltz rhythm in 6/8 gives a sense of distance to the mournful cries of the melodic line. The music then becomes more free-flowing with major/minor alternations adding to the pathos until the compass narrows again and that rhythm returns like the call of doom. One of the saddest endings in all of music.
4. After the last, the composer provides some comfort with phrase repetitions and warm counterpoint. Unlike the previous elegies, which are through composed, this one has two written out repeats before the coda visits the ghostly world of C major and ends gently on the cadence Eb7 > F.
This set has long been one of my favourites and is perhaps the definitive collection of elegies in the whole repertoire.

[Ten thumbs]

Op.38 12 Studies (1878)
These are not on the model of Chopin, but more an exploration of styles and ideas.
1. Poco moderato in C. A somewhat prelude like piece in two repeated sections. Not particularly adventurous but surrounding the home key with those of B and Db provides a nice touch.
2. Allegro ma non troppo in C min. Very vigorous with a dotted rhythm between the hands. Recommended.
3. Poco moderato in Eb. More of a stalk than a march, staccato and becoming increasingly dissonant. The contrasting mid-section is legato (dolce) but equally weird and ending in an orgy of chromatic dissonance. Kirchner really deserves some credit for pieces like this.
4. Allegro – A min. A Scarlatti sonata in texture and form but belonging firmly to the Romantic era. A strong vigorous piece – recommended.
5. Allegro – E. An odd combination of running scales and block chords. Not entirely without merit.
6. Moderato in A min. This opens with a lovely melody in the manner of a 'legend'. The answering section in the major is full of offbeat rhythms. Twice it rises to a climax before the melody returns to provide an ending. A masterpiece.
7. Sanft bewegt in B. A gently rocking motif continues until its deceptive simplicity is shattered by a menacing answer from deep in the bass (nach und nach immer starker). The opening innocence returns briefly before the piece ends with unexpected force. Another worthy of recommendation.
8. Poco animato – C min. Another strong piece that drives forward through some quite difficult keys (Bbb major) before coming to an emphatic conclusion.
9. Mässig schnell – Db. Kirchner sets a dotted motif against staccato scale passages, taking these ideas to a climax before unwinding them. Not a favourite of mine.
10. Allegro ma non troppo – D. A kind of invention in two or more parts. The counterpoint includes snatches of canon and interesting breaks of rhythm – possesses some originality.
11. Scherzando – G. – A cheeky little chromatic motif is tossed about and then simplified into a turn in the more serious mid-section. The whole is through composed and the two versions are combined in the ending – worthwhile.
12. Allegretto sostenuto – C. A gently flowing melody is enlivened by the interplay of hands and subtle key changes. Nothing startling but a very pleasant conclusion.

[Ten thumbs]

Op.39 Dorfgeschichten (1879)

These fourteen small pieces are unusual in having titles. I do not know on which particular set of village tales they are based, this being a popular genre in the early part of that century (possibly Auerbach). Although not impressionistic, they are none the less impressions. That is what the character piece is all about.
1. Großvater erzählt von der guten, alten Ziet (Grandfather tells of the good old days). Suitably old-fashioned.
2. Unter der Eiche (Under the Oak). Warm and charming but very 'Mendelssohn'.
3. Der verdrießliche Fagottist (The peevish bassoonist). A good bit of fun.
4. Schlechtes Wetter (Bad weather). If played as pure music, this is quite startling.
5. Regenbogen (Rainbow). If this had ever reached the drawing-room, this gorgeous piece would have become a classic – deserves recognition.
6. Menuett. A lively little neo-Baroque affair. The trio is spatially quite interesting.
7. Im Mondenschein (In moonlight). The instruction 'sehr langsam und träumerich' should be taken seriously. Given that and zen-like contemplation it can work.
8. Jagdlied (Hunting song). A romp.
9. Zwiegesang (Duet). A duet sung in harmony but its odd phrase lengths and changeable dynamics make it difficult to master. It seems to drift into and out of ones consciousness.
10. Ländler. An interesting rendition.
11. Gondellied. This is Mendelssohn territory and I'm not sure what it's doing in town. Nevertheless, it is suitably hypnotic and worth its short duration.
12. Bauerntanz (Barn dance). A rowdy dance in which the composer enjoys the clashing harmonies.
13. Bruder Eduard muß läuten gehn (Brother Edward must go ringing). Edward's natural inclinations vie with his religious duties, another bit of fun.
14. Zum Abschied (Farewell). Rather a tame ending in my view.

[Ten thumbs]

Op.40 3 Poems for Voice and Piano (1879)

Op.41 Verwehte  Blätter (Fallen Leaves)  (1879)
In spite of the title, this set is essentially an outpouring of music with no other particular connotation. Not big works but each exquisitely formed.
1. Moderato. Relatively serene with interesting harmonies – two repeated sections and a short coda.
2. Allegretto.  Begins with a Kirchneresque dialogue over two short repeats moving into a typical outburst 'con passione', which spreads itself across the keyboard before the music returns to a syncopated version of the opening line and then accelerates to a conclusion.
3. Poco allegretto. This weaves its way gently through several registers, once again with two repeats and a coda – charming.
4. Allegro. A dynamic piece opening with a passage of invertible counterpoint. After much development this returns before a strong variation brings closure – recommended.
5. Ziemlich langsam, zart. A song with crossing hands and overlapping parts. Each of its two parts is followed by an elaboration – another fine piece.
6. Andante. A gently flowing piece, Baroque in style but Romantic in harmony and feeling. Short but a very pleasing ending.

[Ten thumbs]

Op.42 7 Mazurkas (1879)

Round about this time, Kirchner arranged ten of Chopin's songs for solo piano. He also edited an edition of 50 of that composer's pieces, including mazurkas. This interest seems to have inspired him, both in this opus and the one that follows. These seven mazurkas offer a good complement to the seven waltzes Op.34, both being representations of ballroom dances with folk origins. Those origins are naturally less obvious here than in Chopin. Any discussion of the development of the mazurka in art music will be of little worth if it does not consider these, and also those of Heller's Op.148, although I have not yet tracked down a score of the latter.
1. Poco lento. This has a drooping motif that becomes embellished with a tremolo, at first over a dim. 5th, later over a maj. 3rd. These return after a more vigorous section that fades mysteriously away.
2. Semplice (poco lento). The opening simplicity soon disappears in overlapping entries and a switch to the minor with bass tremolos that are full of foreboding. The return of the opening is shortened.
3. Mesto. Moody and magnificent, this is a good exemplar for the 'melancholy mazurka'. The music rises to a climax that sinks chromatically before switching somewhat reluctantly to the major, which is sustained through another chromatic descent to end on the pulse of a broken heartbeat.
4. Moderato. This comes the closest to Chopin. Two different rhythmic ideas are introduced that come together in the close.
5. Vivo non troppo. Like the 5th waltz, this is a more extensive piece. The exposition runs to 33 bars and is then repeated. A development section follows leading into a concealed recapitulation and a long dramatic coda. A sa first reviewer remarked, this has the appeal of extravaganza and it is certainly worthy of recommendation.
6. Mesto. A slow sedate 8-bar opening runs from E maj to C, which is held for four bars before the opening repeats. A second repeat of 9 bars follows, leading from c through A min to A. All very subtle.
7. Moderato. This delightfully free and easy version of the mazurka is a real joy. Kirchner uses the instruction 'rubato', which probably differs from Chopin's insistence on keeping the left hand in strict time.

[Ten thumbs]

Op.43 4 Polonaises (1879)

Kirchner continues his interest in things Polish. The polonaise is a processional dance and was a grand affair when used to open a ball. Kirchner's grandeur is admittedly not as subversive as Chopin's. However, it does remain effective.
1.  Maestoso. The basic element here is three rising notes that are stated boldly at the very beginning and then appear again and again in various guises. The opening ceremonial has a gloriously climactic ending. The ensuing development (con spirito) introduces a new rhythmic element but the opening idea is never far away and mounts up over a drum roll into the reprise.
2. Allegro ma non troppo. This has always been my favourite – probably because it is so memorable (that has to count for something). The principal idea is presented in 3/2 and has a very formal air. After two repeats, a lovely melody is introduced over the continued rhythm (dolce, the key switching from F to Db). This migrates to remote keys before reintroducing the opening material without repeats.
3. Lebhaft. In lighter mood, Kirchner holds back the theme by commencing it each time with three bars of 4/4 common time. The main section is wide-ranging and volatile, closing with a descent of minor thirds from a high register. The singing melody that follows is introduced in the tenor but moves to the higher octave. Once again the opening returns to round of the piece.
4. Moderato. This follows the others in format and is typical of Kirchner in style (not a bit like Schumann incidentally). The more sedate mid-section is relatively short and retains elements of the main thematic material, ending on a particularly dissonant climactic ascending scale.

[Ten thumbs]

Op.44 Blumen zum Strauß (1879)

Flowers for a Bouquet – much to do with poetry and nothing to do with Strauss! An interesting collection, although its strongest element perhaps lies in perfume.

1. Allegretto. A bright little bloom. As is fairly typical with Kirchner we find a non-arpeggiated accompaniment spanning more than three octaves.
2. Sehr ruhig. Heavily scented, this gorgeous and sensuous piece belongs to a later age. It's a sad reflection on today's musical world that there is no recording. Please, please, can we have one? Indeed, why not several.
3. Vivace scherzando. A chirpy little prelude that is full of surprises, both in harmony and in the sudden halving of the tempo – a touch of genius.
4. Langsam, zart. More voluptuous perfume with an almost Scriabin-like langour.
5. Moderato. The opening innocence becomes disturbed in the second repeat and the coda is like a regretful memory.
6. Allegretto scherzando. More colourful flowers but this little scherzo becomes increasingly chromatic and quite tricky. There are no repeats.
7. Moderato. Another gentle interplay of voices that rises to a subdued climax before fading away into a lovely poetic ending.
8. Allegretto vivace  (gleichsam zänkisch). There seems to be a colour-clash here. The main thing is to master the rhythms, which are irregular and often offbeat – a very individual piece. 
9. Poco lento (sehr zart). Although effectively a short double repeat, dynamic variation and the lovely harmonies make this a piece to treasure.
10. Moderato. The opening bars seem a little commonplace but Kirchner transforms them into something magical.
11. Lebhaft, mit Humor. Anyone who has investigated Kirchner will have discovered his sense of humour and this classically-textured piece is full of witty subtleties, even in the contrasting mid-section (Etwas ruhiger) with its mischievous hand-crossings. Another delight and an excellent object for study.
12. Poco lento. This little farewell is perhaps not as strong as the rest but nevertheless possesses charm.

[Ten thumbs]

Opus 45 6 Klavierstücke (1879)
Here we find to the full, Kirchner's individual style and vision.
1. Ballade. Einfach, ruhig
The principal idea runs in parallel chords onto which bell-like notes intrude before a more impassioned section (leidenschaftlich) introduces an urgent double-noted motif, which becomes doubled in pace in a violent climax (heftig). The main idea survives all this and becomes magically transformed (in Cb major). The music then rises chromatically to reach a peaceful ending in which the bell notes return.
2. Mazurka. Etwas gemessen
An addition to Opus 42 and a magnificent one at that: richly textured throughout. The main argument is divided into two contrasting halves, based on F min and Ab respectively. Then follows a delightful trio with a skipping rhythm (scherzando) in Ab min. As a variation, the first part of the opening appears in G# minor.
3. Novelette. Sanft bewegt
This opens with soft interwoven syncopation from which is built a major climax. This reduces to a simple falling semitone, a motif that draws the piece to an emphatic ending after another page of development.
4. Mazurka. Tempo giusto
Very positive and upbeat with the usual added layers. The main section has two repeats, which are omitted on the return. The trio (Ruhig, leise) is a little gem in which a simple idea is tossed about with great subtlety and skill.
5. Intermezzo. Sehr ruhig, doch nicht schleppend
An exercise in the art of understatement with uncertain rhythms and a pizzicato accompaniment. More animation is introduced using running triplets (erregter) but after a brief climax the opening mood returns and the music sinks to a close with broken rhythms and an F pedal. An original piece that requires great care of interpretation.
6. Romanze. Andante espressivo
The essence here is the changes of pace and key. The opening phrases lead from Eb to G and a doubling in speed then leads towards a bold statement in Db with the quicker rhythms taken into the bass. This accompaniment continues with the motif now at half original speed high above. After a brief resumption of the opening, the motif moves to the left hand with the right adding a static version below at the double.

This set is worthy of every pianist's attention.

[Ten thumbs]

Opus 46. 30 Kinder- und Künstlertänze (1879)
This exemplifies the difficulty an explorative pianist has with Kirchner's works. A set of dances for children and artists may sound to be relatively minor pieces but this is by no means the case. A reviewer describes them thus: a splendid phalanx of martial character pieces, pervaded with artistic effervescence, with multifarious lunges against false pedantry, mechanical platitudes and dry philistinism.
These pieces serve two purposes and division is not straightforward. It is unlikely they were conceived as a cycle, so one can pick and choose. It is sad for Kirchner that there are still philistines amongst us today.
1. Allegretto. Clearly a piece for children with little remarkable other than the question asked in the coda.
2. Poco lento, espressivo. Here Kirchner sticks to four bar phrases but pulls the rhytms and harmonies about.
3. Munter. Follows the same course as the preceding but lively.
4. Nicht zu schnell. A short and Vigorous classical style minuet surround s atrio full of suspended chords (tranquillo) and a tricky little three-voice sequence.
5. Moderato. Another offering for the student with touches of humour. Nothing of great note so far.
6. Lamentoso. Almost a slow march but enlivened by rhythmic changes. Kirchner dispenses with repeats her and the result is a fine little piece.
7. Mässig schnell. Back to repeats but this time much more interesting harmonically.
8. Espressivo. A lovely piece in which snippets of melody are treated contrapuntally across several voices with some very sharp dissonances.
9. Poco vivace. One for the artists amongst us. The main section has a Hungarian air, which is further emphasised in the mid-section, switching to the major and very equestrian.
10. A single page but with much musical content – a fine little prelude.
11. Ruhig, singend. A most beautiful example of floating melody – ideal for moments of contemplation. This really ought to be a classic.
12. Moderato. Perhaps a little pedestrian but punctuated by a dropping 7th motif that occurs in another guise in the flowing mid-section.
13. Nicht zu schnell. The strong opening harmonies contrast vividly with the more wayward offbeat deviations that follow and the return is particularly satisfying where the keys of C and F combine. The midsection introduces staccato scales subject to similar offbeat rhythms and snatches of the main theme (now in Eb). A more extended piece well worth exploring.
14. Moderato. Another shorter piece but its many twists of harmony make it interesting.
15. Poco vivace. The vigorous F major theme is suddenly interrupted by a Bb entry that presages a flowing midsection in which the melody is ironed out.
16. Poco lento. Another beautiful piece in which the opening notes are put to ethereal use before finally rising into heaven.
17. Moderato. A very short piece with a slightly Polish aura.
18. Vivace.  One of Kirchner's stepping pieces. Great fun once you've mastered the rhythms.
19. Moderato. Not especially interesting. Perhaps aimed at students.
20. Nicht schnell, innig. Pleasant enough but hardly more than a song without words.
21. Sanft bewegt. A strong flowing waltz with strong rhythms – recommended.
22. Lebhaft, wild – and wild it is too requiring an uninhibited approach. A brief slower section (langsamer, zart) offers only temporary respite – again recommended.
23. Mässig. This piece with its open horn calls and sudden key changes employs two written out repeats and perhaps lacks a little in development.
24. Mesto. Again with two repeats but being slow and stately with its active counterpoint it works out well.
25. Poco vivace. A boisterous tripartite piece with rising chromatic flourishes. The stepping trio is a bit thin but on the whole quite fun.
26. Vivace. Very strong with dynamic syncopation and tart dissonances. The midsection provides a subdued contrast – highly recommended.
27. Poco allegretto scherzando.  The main idea persists throughout with little time to pause even when overlain with more expressive lines in the midsection. With its many interesting key changes, this piece is a delight.
28. Andante, dolce. A floating dream, one could almost call this piece divine. Ought not to be ignored.
29. Mesto (poco lento). Rising from the depths with a slow measured tempo, mournful phrases are answered by ones expressive of consolation. After a dramatic climax the piece ends in repose. Recommended.
30. Vivace. A vigorous scherzo-like movement with some seemingly strange passages, whose logic is eventually revealed. The rhapsodic midsection seems to demand a wild abandon, given which it works through its harmonies. A splendid conclusion to the set.