Theodor Kirchner's Little Casino

[Ten thumbs]

Op.47 Federzeichnungen (Ink Drawings).

One should note Kirchner's use of original titles. As there is no lack of colour, Kirchner presumable is referring to line rather than filled in details. This is clearly an integrated cycle.
1. Moderato. A beautifully constructed ternary form with variation in the material.
2. Allegro ma non troppo. Vigorous. The stepped motif from No.1 is inverted here. A more subdued trio continues the rhythm, the return being a straight repetition.
3. Moderato. An example of Kirchner's fragmented counterpoint, with double repeats and coda but nevertheless beautifully balanced.
4. Poco lento. Very subdued with a very effective sketchy effect. Reminds one of Satie.
5. Allegro vivace.  Another sketch but very quick and light (leggiero). Nore the two to a bar insertions – great fun.
6. Andantino. A gentle little piece with fluttering tremolos at its core.
7. Moderato cantabile. The most overtly romantic piece in the set. Short but intensely satisfying, being through composed.
8. Poco lento (Sehr zart). Very sweet but rather flat. Kirchner is going over old ground here.
9. Intermezzo. Very short but made effective through its halting rhythm.
Zum schluss. Poco lento. Back to Schumann here but this is so lovely there is nothing to forgive.

There is enough here to make this set worth acquiring.

[Ten thumbs]

Op. 48 6 Humoresks
These are light by design but nevertheless pleasing musically.
1. Allegro ma non troppo. This trips along with a somewhat Mendelssohnian air. There is a short, warmer, mid-section before the opening returns doubled between the hands.
2. Con moto. More in the manner of Haydn – light and fresh.
3. Allegretto. Perhaps Kirchner is invoking Beethoven here. A chirpy little tune is developed through distant keys.
4. Allegretto. A delightful little minuet in Baroque style – perhaps the tune is borrowed but the treatment is novel.
5. Allegretto grazioso. Another charming melody that becomes enlivened by little chromatic runs in 16th notes.
6. Allegretto. An exercise in minimum means, especially in the mid-section. Such little touches of originality as found here deserve more recognition.

[Ten thumbs]

Op. 49 Neue Albumblätter.
Kirchner begins to create large numbers of small pieces, possibly because his publisher agreed to pay pro rata and he was generally in a state of poverty. This set is little more than album leaves but later he becomes more focused and discovers the possibilities of this genre. It is difficult to comment in any detail, so I will merely indicate those I think worthy of recognition.
Book 1.
1. Allegretto. C. Pseudo-classical.
2. Moderato. C min. Pleasant but not outstanding.
3. Allegretto. C. More typical of Kirchner – strong.
4. Allegretto. F. Balletic – good fun. Strong.
5. Allegretto. A min. Again, well constructed and fun. Strong.
6. Andantino. C. Weak.
7. Andante Ab. Weak.
8. Allegretto. C. Weak.
9. Poco vivace. F. Very short – somewhat minimal.
Intermezzo – The piano tuner comes. Poco lento, sempre – a clever little joke.
10. Poco lento. E. A pleasant melody embellished with stepping semiquavers.
Book 2.
11. Allegretto. A min. A pseudo-classical minuet, chromatic in parts. Good.
12. Moderato. F. Weak.
13. Con moto. A. Lively and fun, especially the halting rhythms in the coda. Strong.
14. Moderato. G. A pseudo-classical piece with a touch of bitonality.
15. Poco vivace. C. Lively and fun. Strong.
16. Andantino. G min. Interesting. Strong.
17. Allegretto. G. A gentle little romp that is a real delight to play. Strong.
18. Poco lento. Eb. The soft rising phrases of the opening seem to presage more.
19. Allegretto. C. Weak.
20. Andante. C. A piece that walks on tiptoes.

[Ten thumbs]

Op. 50 6 Songs

Op. 51 An Stephen Heller. 1880

These more substantial pieces represent a tribute to a fellow progressive. Curiously, although Kirchner knew both Wagner and Brahms, we see no reference to Liszt.

Andantino. The main melody here is rather lovely but the long midsection becomes rather turgid.
Moderato (semplice). Maybe a little repetitious but it is only short and has subtle touches.
Allegro moderato. This magnificent piece shows what Kirchner is capable of. Beginning in E minor, an irregular melodic section reaches a radiant climax in C before a more turbulent recapitulation finally fades into E major.
Etwas langsam ind still. Another excellent piece. I think Kirchner is at his best when he doesn't rely on repeats. Strange harmonies cast an eerie light over an undulating theme that moves between several registers.
Poco allegretto. The guitar imitation is good but the gently meandering melody in the midsection is weaker - works best if kept very quiet.
Ruhig. Here, Kirchner would have done better to develop rather than repeating.
Allegretto. Not special but brisk and vigorous.
Moderato. A waltz with repeats but there is enough harmonic interest to make it worthwhile.
Sanft bewegt. Nicht shnell. Another fine piece with plenty of scope for expression. The midsection developes the material very effectively in flowing semi-quavers. There are no repeats.
Sanft bewegt. Nicht shnell. A gently plucked idea is developed through interesting harmonies but again, one does rather regret the repeats.
Con comodo. This has a harmonic openness that seems almost 20th century. The more stately midsection is also interesting, especially in the modulations that presage the return, which is more or less a repeat although there is an emphatic coda.
Lamgsam ausdrucksvoll. A sedate and solemn ending but Kirchner adds nothing new here.

All in all, this is a mixed bag.

[Ten thumbs]

Op. 52 Ein neues Klavier-Buch (1880)

Composed specifically for young pianists, these are, as a reviewer put it, set with refinement and gratifying for their harmony and proportion. Still worthy of use today.

Allegro. C. The little C major prelude brought up to date.
Allegretto. G. Skips along amongst the registers.
Poco allegro. G.
Allegro. Bb. Very light and quick, each phrase introduced by a flourish.
Einfach, ruhig. G.
Einfach, ruhig. D. More extended. A pleasant tune with a tremolo midsection.
Con moto. G. Fast running triplets rush to an early conclusion.
Allegro ma non troppo. C min. Pseudo-Baroque with a chromatic section in the major.
Allegretto scherzando. 3/4 and 6/8 fight for predominance.
Con moto. D min/D. A vigorous though subdued main section is answered gently in the major.
Ruhig. A. A lovely little serenade.
Allegretto. A. This little clock does not go by clockwork!

[Ten thumbs]

Op.53 Nachklänge (Resonances) 1881 [Florestan ind Eusebius]

Here Kirchner maintains a high level throughout and the set as a whole is a masterpiece whose neglect is shameful. Note that in spite of the obvious homage, the actual title is again original.

1. Non troppo vivace. Permeated by a little dotted rhythm that befits the title. Development continues until a much varied return leads to a strong conclusion.
2. Poco lento. A powerful elegy that pauses on multiple Db chords (5 at one point). The consoling major section soon breaks down and the final mournful lines are overlain by the palpitations of fate.
3. Animato. A very strong scherzo with irregular syncopation. The deep bass in the trio further enhance the music and although the return is unchanged without repeats, one has no regrets. No one does this kind of music better.
4. Andante (poco lento). A wandering melodic line is shared between hands. Brief moments of anguish melt away into repose.
5. Kräftig, nicht zu schnell. Here insistent rhythms form the driving force. Note the clever disposition of the hands in the second section. In the middle is another of Kirchner's rhapsodic interludes, here quiet throughout, even tranquillo.
6. Dolce animato. Another ternary piece marked by the loveliness of its melody. Its closing scales reappear in the more emotional midsection (etwas ruhiger) and bring the piece to a resonant end. 

[Ten thumbs]

Op.54 2nd Scherzo (1881)

The scherzo itself is exciting, developing throughout and, apart from the first 8-bar phrase, without repeats. I find the trio rather disappointing - no doubt Kirchner is trying to provide contrast but there's not a lot there. Fortunately it is brief and one can at least make use of its sonorities.

[Ten thumbs]

Op.55 New Scenes from Childhood (1881)

These are easy pieces for young pianists and I have the RSM edition (Easy Piano Pieces No.52). There are twenty-five in all and I'm not going to detail them here. They are, I think, good for their purpose and might while away an odd moment.

[Ten thumbs]

Op.56 In Stillen Stunden (1881) (In Quiet hours)

These are titled and have individual dedications. There is some excellent music here.

1.   Frühlingsgruß (Spring's Greeting). Allegretto grazioso. A worthy addition to any collection of Spring songs - altogether a lovely piece, recommended.
2.   Caprice. Lebhaft. An idiosyncratic piece needing a light touch - again a pleasure to play and to be recommended. These first two are ion Henle's selection of Kirchner's works.
3.   Novelette. Nicht zu schnell, gut markirt. Rather dark but will appeal to those who like gloomy music or who enjoy playing the bottom notes of the piano with the right hand. The somewhat rarified atmosphere of the midsection is a pleasant contrast but requires great control.
4.   Lied. Ziemlich langsam. A subdued period of answering voices leads to a stormier passage (etwas bewegter) making use of the opening material. Quintessential Kirchner.
5.   Tanzlied. A waltz tempo requiring a light touch and a sharp eye for detail - short but worthwhile. Recommended.
6.   Humoreske. Vivace. The fleet and staccato opening section delves into some strange dissonances. The midsection is in the same vein although more conventional - overall very interesting.
7.   Klage (Lament). Ausdrucksvoll, aber nicht schleppend. Essentially an elegy with two written out repeats and a coda. Best for the lovely warmth of the openings to the second repeat.
8.   Freundliches Erinnern (Friendly Recollection). Another lovely piece - full of expression, especially in the highly romantic midsection. Recommended.
9.   Valse Mélancolique. Shades of Tchaikovsky here but there is a splendid melody and plenty of harmonic interest in the midsection.
10.   Ein Sylvesterlied (A New Year's Song). Sehr langsam. After a repetition of the tripartite opening, the material is developed to a harmonious conclusion. The atmosphere throughout is solemn but restful. A fine piece.

[Ten thumbs]

Op.60 Plaudereien (Gossip)

Kirchner returns here to the small piece but with more purpose. He throws out a plethora of ideas, not always new but in the context of the title, apt.
Book 1:
1.   Con moto. G. A little melody switched between the hands with a nice entry in Bb.
2.   Allegretto. D. With contrasting staccato and legato passages.
3.   Allegro. D min. Basically a running line divided between the hands.
4.   Nicht zu schnell. D. A vigorous little contrapuntal exercise.
5.   Poco allegretto. G. Delicate staccato motifs smoothed out internally with a triplet accompaniment.
6.   Poco allegro. A min. Another contrapuntal piece involving descending triplet turns. Quite strong.
7.   Mässiges Tempo. C. Basically a minuet this more extended piece has a core full of wonderful sonorities. Worth presenting on its own.
Book 2:
8.   Con moto. C min. Another longer ternary form. At first turbulent with interweaving of bass and alto lines; midsection with staccato descending sixths in the major. This piece could stand alone.
9.   Allegretto. Eb. Following the last in staccato mode. Quite adventurous within its short limits.
10.   Allegro. C min. Pervaded by a persistent dropping motive that gives it coherence.
11.   Allegretto. Eb. Very brief: the home key scales being interrupted by an extended one in E.
12.   Poco Andante. Db. A lyrical melody in ¾. Nice but nothing new.
13.   Con troppo vivace. Db. Races along with a little skipping motif.
14.   Zart nicht schnell. E. Perhaps tending to the sentimental but 'not fast' does mean slow!
15.   Poco moderato. Ab. A gently flowing melody interlocked with tritone passages.
Book 3:
16.       Allegro ma non troppo. G min. Typically ebullient Kirchner – always fun to play.
17.   Comodo. G. A game of hide and seek reminiscent of Haydn. Recommended.
18.   Molto moderato. Ab. An extended song without words – dated perhaps but rather lovely.
19.   Poco animato. Eb. Another extended piece in which overlapping pedal notes frequently occur. The midsection in triplets illustrates Kirchner's skill in the interruption of flow.
20.   Comodo. Bb. A short piece with an antique air.
Book 4:
21.   In Gavotten Tempo. D. A full scale dance in neo-classical style.
22.   Con fuoco. B min. Fiery indeed, even in the melodic major section (be careful of the dynamics). Recommended.
23.   Poco Allegro. D. A free exploration of rapidly undulating motifs – original if nothing else.
24.   Allegretto (Gavotten tempo) D. Another fine neo-classical dance. The trio with its wide-ranging triplet figures offers even more and again this could be played as a stand alone piece.
25.   Andantino. Eb. A short farewell but deliciously dissonant and rewarding. Should not be ignored.

A newcomer to Kirchner may be baffled by this somewhat eccentric collection but it is illustrative of his unique contribution to the piano repertoire.

[Ten thumbs]

Op. 61 6 Characterstücke (1882)

A more ambitious collection dedicated to Mary Krebs, a distinguished pianist.
1.   Con passione. A full-blown concert piece full of sweeping phrases and with an extended central section that is so familiar it must have been popularized somewhere, a lovely melody (tranquillo) that ends in an orgy of trills.
2.   Andantino. Taut and concentrated with chromatic harmonies that float in a seemingly disembodied manner.
3.   Moderato. Almost a funeral march - originally marked Lento, but better at the more mobile tempo, as this gives the midsection more life. Nevertheless the overall impression is one of gloom.
4.   Allegro. A Grieg-like effusion gushing with sunshine and singing birds that bring joy to the heart.
5.   Poco vivace. A tightly knit spinning song (pedal only where indicated) that is more caustic than bleak, although the intermediate recitative (langsamer, frei vorzutragen) casts a long shadow. At times sharply dissonant and modern.
6.   Allegro. Material Kirchner has used before but here more open and resonant. A bell-like outpouring of uninhibited joy that maybe belongs in the 20th century. A subdued midsection (ruhiger) in 2/2 time provides contrast, having a somewhat religious flavour. A fitting end to another cycle that deserves recognition.

[Scion7]

Have you looked at the piano trios, the string quartets, the piano quartet, the pieces for violin and piano (Op.63, Op.90) or the cello & piano (Op.79), too?

There are also pieces for cello and organ (Op.92) and violin and organ (Op.91.)

[Ten thumbs]

Have you looked at the piano trios, the string quartets, the piano quartet, the pieces for violin and piano (Op.63, Op.90) or the cello & piano (Op.79), too?

There are also pieces for cello and organ (Op.92) and violin and organ (Op.91.)

Thank you. I'm aware that these are worth exploring and obtaining recordings is part of my work in progress. There are also the lieder but these seem almost totally neglected. For the moment, as a pianist, I am concentrating on the piano works and it's still a long way to Op. 100+!
It's time I had some recordings though.

[Scion7]

Haven't heard the string quartet pieces, but the others I have.
Very nice Brahmsian-circle music.

[Ten thumbs]

Haven't heard the string quartet pieces, but the others I have.
Very nice Brahmsian-circle music.

I'll be looking for a few Wagnerian touches

[Scion7]

Haven't heard anything like that, although he was acquainted with RW.  Schumann and some Brahms elements are what I hear - with his own individual sound mixed in.

[Ten thumbs]

Haven't heard anything like that, although he was acquainted with RW.  Schumann and some Brahms elements are what I hear - with his own individual sound mixed in.

Only the odd harmonic sequence here and there, Kirchner is perhaps more inventive when it comes to rhythm although there are things in Op.61 that Brahms would probably have shuddered at.

Next, a very minor work:
Op. 62 15 Miniatures (1882)
I have these in the RSM edition (Easier piano pieces). More little ideas – brief but not without interest and certainly good for learners. Nothing of  importance, so I too will be brief.
1.   Lustig, doch nicht zu schnell. A chirpy little opener.
2.   Con moto. Based on rather flat chromatic phrases. Needs pace.
3.   Allegretto. Quite fun.
4.   Allegro vivace. With alternating running and chordal passages. Nicely arranged.
5.   Zimlich langsam, ausdrucksvoll. A lovely example of how to extract maximum expression from only a few notes.
6.   Vivace. Short and playful.
7.   Nicht zu schnell, aber lebhaft. A lively little dance.
8.   Ruhig, ausdrucksvoll. A somewhat languorous exercise.
9.   Allegretto, poco agitato. Another lively little piece with doubled offbeat chords.
10.   Allegretto. A little song.
11.   Mässig. A little minuet.
12.   Lebhaft. An exercise in stationery staccato hand alternation. Quite enjoyable but the second repeat is written out and doesn't require repeat marks.
13.   Poco allegro. Brief and based on a tortuous fugue-like phrase.
14.   Mässig schnell. The pick of the set, this more extended piece with its fluttering ascending phrases and midsection with an extended trill on B/C could easily stand alongside Grieg's Lyrical Pieces if given a title. Maybe this is a precursor to Butterflies.
15.   Animato. Passionate and agitated, its fluid variation within a brief span give it interest although Kirchner has done this bigger elsewhere.

[Ten thumbs]

Op.64 Gavotten, Minuetten und Lyrische Stücke (1883)
Here Kirchner is following the fashion for neo-Baroque dance suites without actually using the suite form.
1.   Gavotte – Poco allegro (Mäßiges Tempo). A neat little tune, in the minor but echoed in major in the trio.
2.   Lyrisches Intermezzo – Ziemlich langsam, ausdrucksvoll. A gentle development of the main idea leads into a more animated section (Erregter), which although passionate remains principally in major keys. The truncated return concludes with a positive ending. Altogether am engaging piece.
3.   Menuett – Sehr mäßig. Quite interesting within its short compass. After a 16-bar introduction of staccato counterpoint the material is enlivened with semiquavers (Etwas bewegter) before an 8-bar variation forms a conclusion.
4.   Menuett – Allegro moderato. A strong and vigorous minuet of longer duration with an imaginative syncopated trio.
5.   Gavotte – Allegretto. Somewhat dainty and nice although the trio with its descending scales adds some spice.
6.   Ein frommes Lied – Poco lento. As indicated, a hymn-like conclusion, perhaps justified by the G#, F#, E chords.

[vers la flamme]

I just picked up a CD:



With German pianist Tobias Koch playing Album Leaves of Robert Schumann, as well as a couple by Brahms and two by a composer I'd never heard of before, Theodor Kirchner. I'm listening to the latter of those now. First off, Koch is playing an old piano, an 1830 Tröndlin. The sound is great, very resonant, and of course period appropriate. I'm not big on old pianos or fortepianos typically but this is one of the good ones. Anyway, I enjoyed both Kirchner leaves. One of them was written in memory of Robert Schumann who had recently died. It's a very dark piece and might the longest on the entire disc at about 3 and a half minutes.

So my interest is piqued. Any love for Kirchner recently? Apparently he wrote over 1000 short piano pieces. I'm wondering if they are worth exploring further.