Heidi Kommerell - Grieg: Lyrische Stücke - Lyric Pieces (2004)

Tracklist

01. Lyric Pieces: In der Heimat / In My Native Country, Op. 43, 3
02. Lyric Pieces: Gade, Op. 57, 2
03. Lyric Pieces: Heimweh / Homesickness, Op. 57, 6
04. Lyric Pieces: Heimwärts / Homeward, Op. 62, 6
05. Lyric Pieces: Wächterlied / Watchman's Song, Op. 12, 3
06. Lyric Pieces: An der Wiege / Cradle Song, Op. 68, 5
07. Lyric Pieces: Walzer / Waltz, Op. 38, 7
08. Lyric Pieces: Volksweise / Folksong, Op. 12, 5
09. Lyric Pieces: Elegie / Elegy, Op. 38, 6
10. Lyric Pieces: Melodie / Melody, Op. 47, 3
11. Lyric Pieces: Norwegisch / Norwegian Melody, Op.12, 6
12. Lyric Pieces: Melodie / Melody, Op. 38, 3
13. Lyric Pieces: Sommerabend / Summer Evening, Op. 71, 2
14. Lyric Pieces: Kanon / Canon, Op. 38, 8
15. Lyric Pieces: Sylphide / Sylphe, Op. 62, 1
16. Lyric Pieces: Zu deinen Füßen / At Your Feet, Op. 68, 3
17. Lyric Pieces: Schmetterling / Butterfly, Op. 43, 1
18. Lyric Pieces: Notturno / Notturno, Op. 54, 4
19. Lyric Pieces: Traumgesicht / Phantom, Op. 62, 5
20. Lyric Pieces: Vorüber / Gone, Op. 71, 6
21. Lyric Pieces: Arietta, Op. 12, 1
22. Lyric Pieces: Nachklänge / Remembrances, Op. 71,

Heidi Kommerell is an expressive performer who has put together a selection of Grieg's Lyric Pieces. She plays with a lovely, serene eloquence, which is heard at its best in the pairing at the end of the disc of Grieg's first and his final Lyric Pieces. What is interesting about her recording is that she is playing a fortepiano, specifically, an instrument that was already 45 years old when Grieg wrote his first set of Lyric Pieces. It, naturally, has a much different sound than a modern piano, and its sound actually varies across the keyboard, sounding like a dulcimer in the highest register, like a harpsichord in the lowest. Sometimes this works to the music's advantage, as in Homesickness, Op. 57/6, where the dulcimer-like sound gives the middle section a fairy tale, magical quality. Other times, it doesn't work as well. The descending ripples in Summer Evening, Op. 71/2, are too jangly, as is At Your Feet, Op. 68/3. The harpsichord wiriness is most evident in Gone, Op. 71/6. Otherwise, the instrument does have a sustained, ringing tone in the middle register that suits these pieces fairly well, and although it isn't as rich a tone as a piano would have, it gives the pieces an air of innocence, of simple grace, under Kommerell's hands. Ultimately, regardless of Kommerell's performance, the choice of instrument doesn't quite do justice to Grieg's beautiful music.

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