A new CD recording has been issued by Romantic Discoveries Recordings.

Beethoven Piano Sonatas volume 2
Piano Sonata no 30 in E major, op. 109 • Piano Sonata no. 31 in A flat major, op. 110 • Piano Sonata no. 32 in C minor, op. 111
John Kersey, piano
RDR CD143

Total time: 68 minutes 45 seconds

1. Piano Sonata in E major, op 109 (1820) (20:01)

i. Vivace ma non troppo – Adagio espressivo
ii. Prestissimo
iii. Gesangvoll, mit innigster Empfindung. Andante molto cantabile ed espressivo

2. Piano Sonata in A flat major, op 110 (1821) (19:27)

i. Moderato cantabile e molto espressivo
ii. Allegro molto
iii. Adagio ma non troppo – Fuga

3. Piano Sonata in C minor, op 111 (1821-22) (29:12)

i. Maestoso – Allegro con brio ed appassionato
ii. Arietta – Adagio molto semplice e cantabile

A new CD recording has been issued by Romantic Discoveries Recordings.

Beethoven Piano Sonatas volume 1
Piano Sonata no 27 in E minor, op 90 • Piano Sonata no. 29 in B flat major, op. 106 “Hammerklavier”
John Kersey, piano
RDR CD142

Total time: 66 minutes 40 seconds

1. Piano Sonata in E minor, op. 90 (1814) (14:55)

i. Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck
ii. Nicht zu geschwind und sehr singbar vorgetragen

2. Piano Sonata in B flat major, op 106 “Hammerklavier” (1818) (52:21)

1. Allegro
2. Scherzo: Assai vivace
3. Adagio sostenuto
4. Largo – Allegro risoluto

A new CD recording has been issued by Romantic Discoveries Recordings.

In Recital at Chingford Parish Church
Bach-Busoni Prelude and Fugue in E flat major, BWV552 “St Anne” • Beethoven Sonata no 30 in E major, op 109 • Fauré Barcarolles 6 and 8 • Beethoven: Bagatelles, op. 126 • Alkan: La Vision • Beethoven: Bagatelle in F minor (1826)
John Kersey, piano
RDR CD141

Total time: 67 minutes 20 seconds

1. Johann Sebastian Bach (1685-1750) transcribed by Ferruccio Busoni (1866-1924): Prelude and Fugue in E flat major, BWV552 “St Anne” (15:38)

2. Ludwig van Beethoven (1770-1827): Piano Sonata no. 30 in E major, op. 109 (1820) (19:48)
i. Vivace ma non troppo – Adagio espressivo
ii. Prestissimo
iii. Gesangvoll, mit innigster Empfindung. Andante molto cantabile ed espressivo.

3. Gabriel Fauré (1845-1924):
i. Barcarolle no. 6 in E flat major, op. 70
ii. Barcarolle no. 8 in D flat major, op. 96 (8:24)

4. Ludwig van Beethoven (1770-1827): Six Bagatelles, op 126 (19:58)
i. Andante con moto
ii. Allegro
iii. Andante
iv. Presto
v. Quasi allegretto
vi. Presto – Andante amabile e con moto – Tempo I

4. Charles-Valentin Alkan (1813-88): Esquisses, op. 63 (2:27)
i. no. 1 La Vision

5. Ludwig van Beethoven (1770-1827): Bagatelle in F minor (1826; unpublished)* (0:53)

Live recording taken from performances at Chingford Parish Church, London, May 2015 and *2017.

A new CD recording has been issued by Romantic Discoveries Recordings.

Brahms Piano Works volume 2
Piano Sonata no 3 in F minor, op 5 • Variations and Fugue on a theme by Handel, op. 24
John Kersey, piano
RDR CD140

Total time: 68 minutes 50 seconds

1. Piano Sonata no. 3 in F minor, op 5 (38:20)
i. Allegro maestoso
ii. Andante
iii. Scherzo. Allegro energico
iv. Intermezzo (Rückblick)
v. Finale. Allegro moderato ma rubato

2. Variations and Fugue on a theme by Handel, op. 24 (20:27)
i. Theme
ii. Variation 1
ii.i Variation II
iv. Variation III
v. Variation IV
vi. Variation V
vii. Variation VI
viii. Variation VII
ix. Variation VIII
x. Variation IX
xi. Variation X
xii. Variation XI
xiii. Variation XII
xiv. Variation XIII
xv. Variation XIV
xvi. Variation XV
xvii. Fugue

A new CD recording has been issued by Romantic Discoveries Recordings.

Brahms Piano Works volume 1
Seven Fantasias, op. 116 • Six Piano Pieces, op. 118 • Four Piano Pieces, op. 119
John Kersey, piano
RDR CD139

Total time: 71 minutes 17 seconds

1. Seven Fantasias, op. 116 (27:02)
i. Capriccio in D Minor (Presto energico)
ii. Intermezzo in A Minor (Andante)
iii. Capriccio in G Minor (Allegro passionato)
iv. Intermezzo in E Major (Adagio)
v. Intermezzo in E Minor (Andante con grazia ed intimissimo sentimento)
vi. Intermezzo in E Major (Andante teneramente)
vii. Capriccio in D Minor (Allegro agitato)

2. Sechs Klavierstücke, op 118 (26:57)
i: Intermezzo in A minor
ii: Intermezzo in A major
iii: Ballade in G minor
iv: Intermezzo in F minor
v: Romanze in F major
vi: Intermezzo in E-flat minor

3. Vier Klavierstücke, op. 119 (17:13)
i. Intermezzo in B Minor
ii. Intermezzo in E Minor
iii. Intermezzo in C Major
iv. Rhapsodie in E Flat Major

A new CD recording has been issued by Romantic Discoveries Recordings.

Brahms Violin Sonatas 1 and 2 transcribed for piano solo by Paul Klengel
Sonata in G major, op. 78 “Rain Sonata” • Two Rhapsodies, op. 79 • Sonata in A major op 100 “Meistersinger” (includes first recordings)
John Kersey, piano
RDR CD138

Total time: 72 minutes 3 seconds

1. Johannes Brahms (1833-97) Sonata for violin and piano no. 1 in G major, op. 78 “Rain Sonata”, transcribed for solo piano by Paul Klengel (1854-1935) (31:54)
i. Vivace ma non troppo
ii. Adagio
iii. Allegro molto moderato

2. Johannes Brahms (1833-97): Two Rhapsodies, op 79 (15:49)
i. Agitato in B minor
ii. Molto passionato, ma non troppo Allegro in G minor

3. Johannes Brahms (1833-97) Sonata for piano and violin no. 2 in A major, op. 100 “Meistersinger” (1886), transcribed for solo piano by Paul Klengel (1854-1935) (24:14)
i. Allegro amabile
ii. Andante tranquillo – Vivace
iii. Allegretto grazioso, quasi Andante

A new CD recording has been issued by Romantic Discoveries Recordings.

Piano Music of Frédéric Chopin (1810-49) volume 2
Polonaise-fantaisie, op. 61 • Scherzos nos. 2 and 4 • Barcarolle, op. 60 • Polonaise op. 44 • Two Nocturnes, op. 62
John Kersey, piano
RDR CD137

Total time: 76 minutes 15 seconds

1. Polonaise-fantaisie in A flat major, op 61 (16:04)

2. Scherzo in B flat minor, op. 31 (11:00)

3. Barcarolle in F sharp major, op. 60 (10:03)

4. Polonaise in F sharp minor, op. 44 (12:08)

5. Two Nocturnes, op 62 (14:16)
i. Andante in B major
ii. Lento in E major

6. Scherzo no. 4 in E major, op. 54 (12:32)

A new CD recording has been issued by Romantic Discoveries Recordings.

Piano Music of Frédéric Chopin (1810-49) volume 1
Piano Sonata no. 3 in B minor, op. 58 • Two Nocturnes, op. 32 • Two Polonaises, op. 26
John Kersey, piano
RDR CD136

Total time: 70 minutes 14 seconds

1. Piano Sonata no. 3 in B minor, op. 58 (38:04)
i. Allegro maestoso
ii. Scherzo: Molto vivace
iii. Largo
iv. Finale: Presto non tanto
The variant passages in the first movement exposition are taken from the 1845 first edition published by J. Meissonier in Paris.

2. Two Nocturnes, op 32 (11:17)
i. Andante sostenuto in B major
ii. Lento in A flat major

3. Two Polonaises, op 26 (20:49)
i. Allegro appassionato in C sharp minor
ii. Maestoso in E flat minor

A new CD recording has been issued by Romantic Discoveries Recordings.

Piano Music of Nikolai Medtner (1880-1951)
Canzona matinata and Sonata tragica from op 39 • Sonate-elegie (Sonata no. 3) op 11 no 2 • Sonata reminiscenza, op 38 no 1 • Sonata no. 4 in C major, op. 11 no. 3 • Sonata no. 9 in A minor “War Sonata”, op. 30
John Kersey, piano
RDR CD135

Total time: 70 minutes 35 seconds

1. from Forgotten Melodies book 2, op. 39 nos. 4 and 5 (1920) (17:25)
i. Canzona matinata ii. Sonata tragica (Sonata no. 11)

2. Sonate-elegie (Sonata no. 3), op. 11 no. 2 (7:09)

3. from Forgotten Melodies book 1, op. 38 no. 1 (1920) (17:38)
i. Sonata reminiscenza (Sonata no. 10)

4. Sonata no. 4 in C major, op. 11 no. 3 (11:38)
“Und so das Herz erleichtert merkt behende,
Daß es noch lebt und schlägt und möchte schlagen,
Zum reinsten Dank der überreichen Spende
Sich selbst erwidernd willig darzutragen.
Da fühlte sich – o daß es ewig bliebe! –
Das Doppelglück der Töne wie der Liebe.”
Johann Wolfgang von Goethe

5. Piano Sonata no. 9 in A minor “War Sonata”, op. 30 (16:35)

“I want to speak of music….as a country, our native country which determines our musicians’ nationality, our musicality, a country in relation to which all our ‘ideologies’, schools, individualities, are merely sides.” – Nikolai Medtner, The Muse and the Fashion.

A new CD recording has been issued by Romantic Discoveries Recordings.

Piano Music of Walter Niemann volume 24
Tchaikovsky Symphony no. 6 in B minor, op. 74, transcribed by Walter Niemann • The Abode of Happiness, op. 163 (includes first recordings)
John Kersey, piano
RDR CD134

Total time: 78 minutes 35 seconds

1. Peter Ilyich Tchaikovsky (1840-93): Symphony no. 6 in B minor, op. 74 “Pathetique”, transcribed for solo piano by Walter Niemann (49:10)
I. Adagio – Allegro non troppo
2. Allegro con grazia
3. Allegro molto vivace
4. Finale. Adagio lamentoso – Andante

2. Die Wohnung des Glücks, op. 163 (13:06)
In grateful memory of his sister Elisabeth (1866-1942), with whom he had lived all his life.
i. Home
ii. Summerland
iii. A Birthday
iv Grief and Consolation
v. Epilogue

Our thanks go to Nicolo Figowy and Steffen Herrmann for their generous loan of scores.

Walter Niemann was regarded in 1927 as “the most important living piano composer who knows how to make music from the piano in a subtle and colorful way, although he often enters the field of salon music” (H. Abert, Illustrated Music Lexicon). This most sensitive and introverted master of the piano devoted his life to composition and musical scholarship, also performing his music in concerts and radio broadcasts. Niemann’s vast output for the piano is only now starting to become more widely known. Although his style is generally unashamedly conservative, he was one of the very few German composers to explore Impressionism in music, and this also reflected a fascination with the Far East. Elsewhere, Niemann’s imagination takes us from much Baroque recreation to large-scale epic sonatas, Schumannesque miniatures and even the exploration of early jazz styles. His understanding of the capabilities of the piano was complete, and his works include both collections for young pianists and mature works that exploit the full range of pianistic effect and make significant demands on the performer.

A new CD recording has been issued by Romantic Discoveries Recordings.

Piano Music of Walter Niemann volume 23
Before the forest smithy • Six Rondinettos, op. 130 • The Yellow Tango • From a little city, op. 154 • Variations on an old English minuet, op. 118 no. 1 • Masks, op. 59 (includes first recordings)
John Kersey, piano
RDR CD133

Total time: 60 minutes 48 seconds

1. Vor der Waldschmiede (published 1907) (3:50)

2. Six Rondinettos, op. 130 (8:47)
i. Amabile con moto, in modo pastorale ii. Allegro alla caccia ii. Moderato con moto e un poco malinconico iv. Amabile con moto v. Giocoso con moto vi. Allegro liquido

3, Der gelbe Tango (1933) (3:55)

4. Aus einer kleinen Stadt, op. 154 (after Wilhelm Raabe’s “Das Horn von Wanza”) (10:34)
i. The little city ii. The old gate iii. The peasant jug iv. Dance in the old patrician house (17th century) v. The worthies in the “Great Bear” vi. The little river in front of the city vii. Night and watchman’s call

5. Variations on an old English minuet (Theme (Minuet) from Sonata VIII by Thomas Augustine Arne (1710-78)), op. 118 no. 1 (7:07)

6. Masken, a cycle of twenty little character pieces, op. 59 (26:21)
i. Praeludium in Schumann’s style ii. Chinese Mandarin iii. Coquette iv. The Spanish Woman v. Johann Strauss vi. Louis XIV vii. Russian Folk Dances viii. The Timid One ix. German Girls x. Winter xi. Tarantella dance xii. Debussy xiii. The Jolly Dutch Gentleman xiv. The Black Larva xv. Grieg xvi. Biedermeier xvii. The Irascible One xviii. The Swiss Milkmaid xix. Italian Pipers xx. To End

Our thanks go to Nicolo Figowy and Steffen Herrmann for their generous loan of scores.

Walter Niemann was regarded in 1927 as “the most important living piano composer who knows how to make music from the piano in a subtle and colorful way, although he often enters the field of salon music” (H. Abert, Illustrated Music Lexicon). This most sensitive and introverted master of the piano devoted his life to composition and musical scholarship, also performing his music in concerts and radio broadcasts. Niemann’s vast output for the piano is only now starting to become more widely known. Although his style is generally unashamedly conservative, he was one of the very few German composers to explore Impressionism in music, and this also reflected a fascination with the Far East. Elsewhere, Niemann’s imagination takes us from much Baroque recreation to large-scale epic sonatas, Schumannesque miniatures and even the exploration of early jazz styles. His understanding of the capabilities of the piano was complete, and his works include both collections for young pianists and mature works that exploit the full range of pianistic effect and make significant demands on the performer.

A new CD recording has been issued by Romantic Discoveries Recordings.

Piano Music of Walter Niemann volume 22
Pickwick, op. 93 • Pictures from Chiemsee, op. 131 • Der Artushof, op. 158 • Tales from the Mountains, op. 41 • Scarlattiana, op. 126 (includes first recordings)
John Kersey, piano
RDR CD132

Total time: 78 minutes 35 seconds

1. Pickwick, a cycle after Charles Dickens, op. 93 (21:03)
i. Mr Pickwick ii. Mr Tupman Waltzes iii. The poetic Mr Snodgrass iv. Mr Winkle, the friend of the woods and hunts v. Sam and Mary (Duettino) vi. A morning in the country (Manor Farm) vii. The fat Joe viii. How Mr Weller drives his stagecoach ix. The Ball at Bath x It is over (A backwards glance)

2. Bilder vom Chiemsee, op. 131 (11:39)
i. Summer morning ii. In the monastery church (Fraueninsel) iii. Highland – Dirndl iv. Castle Herrenchiemsee (Herreninsel) v. On the lake vi. Highland – Bua vii. Mending the fishing nets (Fraueninsel) viii. Market day in Prien

3. Der Artushof – suite from old Danzig, op. 158 (11:36)
i. Praeludium (Moderato con moto) ii. Sarabande (Tempo di Sarabanda, largamente e solenne) iii. Menuett (Tempo di Minuetto, Allegretto amabile) iv. Alla Giga (Giocoso animato)
“Now a magical chiaroscuro crept through the murky windows, all the strange pictures and carvings with which the walls are richly decorated, became active and alive.” – E.T.A. Hoffmann, Der Artushof

4. Geschichten aus den Bergen, little Ländler and dances, op. 41 (14:14)
i. Sehr gemütlich und gemächlich ii. Anmutig, in mässigem Zeitmass iii. Ein wenig gehalten und trübe erregt iv. Mit Wärme, night zu schnell v. Ein wenig gehalten, mit sanft verhaltener Melancholie vi. Mit feurigem Aufschwung vii. Ein wenig gehalten, in stiller Wehmut viii. Anmutig und leicht bewegt ix. Mit sanfter Melancholie, ein wenig gehalten x. Den Manen Edvard Griegs – Sehr mässig, mit grösster Wärme xi. Schmerzlich gehalten xii. Mit derb-übermütiger Lustigkeit in Holzschuhen
“On the Wiesenanger, which, walking gently downhill, came up against the wood, and partly also on the harvested fields, there were stalls, tables with people feasting, there were bowling alleys, target shooting, swings, music stages, dance floors and I don’t know what else , towered over by poles with waving flags and swarming with colourful people.” – – Adalbert Stifter

Scarlattiana, three little Sonatas in the style of Domenico Scarlatti, op. 126
5. Sonata no. 1 in D major (4:23)
6. Sonata no. 2 in A minor – i. Allegro marcato, ma leggiero ii. Pastorale – Molto moderato ed amabile iii. Presto leggiero (8:29)
7. Sonata no. 3 in G major – i. Pastorale – Molto moderato e malinconico ii. Allegro capriccioso (6:57)

Our thanks go to Nicolo Figowy and Steffen Herrmann for their generous loan of scores.

Walter Niemann was regarded in 1927 as “the most important living piano composer who knows how to make music from the piano in a subtle and colorful way, although he often enters the field of salon music” (H. Abert, Illustrated Music Lexicon). This most sensitive and introverted master of the piano devoted his life to composition and musical scholarship, also performing his music in concerts and radio broadcasts. Niemann’s vast output for the piano is only now starting to become more widely known. Although his style is generally unashamedly conservative, he was one of the very few German composers to explore Impressionism in music, and this also reflected a fascination with the Far East. Elsewhere, Niemann’s imagination takes us from much Baroque recreation to large-scale epic sonatas, Schumannesque miniatures and even the exploration of early jazz styles. His understanding of the capabilities of the piano was complete, and his works include both collections for young pianists and mature works that exploit the full range of pianistic effect and make significant demands on the performer.

A new CD recording has been issued by Romantic Discoveries Recordings.

Piano Music of Walter Niemann volume 21
Introduction and Toccata, op. 106 • Hermitage, op. 140 • Sevillana, op. 63 • Romantic Suite, op. 189 • A Day at Schloss Dürande, op. 62 • Five Little Poesies, op. 11 (includes first recordings)
John Kersey, piano
RDR CD131

Total time: 72 minutes

1. Introduction and Toccata, op. 106 (5:34)

2. Eremitage – little pictures from an old park, op. 140 (15:40)
i. Menuett on the Nature-Theatre ii. Leda with the Swan iii. Little Chinese Temple iv. Little Mosque v. Rococo Pavilion vi. Gate of the Sphinx vii. Marble Fountain viii. Before a pillared bust of the young Beethoven ix. Ancient Temple Ruins

3. Sevillana, Spanish airs for piano, op. 63 (12:26)
i. Romanza ii. Mandolinata iii. Boléro iv. Serenata

4. Romantische Suite after words by Alexander Pushkin, op. 189 (10:20)
i. On the Volga – Barkarole ii. Ballet in the Garden – Gavotte iii. Horn Music – Alla Caccia iv. Fireworks Music – Folk Dance

5. Ein Tag auf Schloss Dürande, Romantic novel in six chapters after words by Eichendorff, op. 62 (15:22)
i. The Castle on the Mountain (Heroic Präludium) ii. Sarabande iii. Midday Silence in the Castle Park iv. At the Forest Spring (Idyll after the Hunt) v. Foreign Bagpiper (Burleske) vi. Gallant Entertainment (Gigue)

6. Fünf kleine Poesien, op. 11 (12:25)
i. Capriccietto ii. Mazurka iii. Little Waltz iv. Rococo (Menuetto scherzando) v. Arietta

Our thanks go to Nicolo Figowy and Steffen Herrmann for their generous loan of scores.

Walter Niemann was regarded in 1927 as “the most important living piano composer who knows how to make music from the piano in a subtle and colorful way, although he often enters the field of salon music” (H. Abert, Illustrated Music Lexicon). This most sensitive and introverted master of the piano devoted his life to composition and musical scholarship, also performing his music in concerts and radio broadcasts. Niemann’s vast output for the piano is only now starting to become more widely known. Although his style is generally unashamedly conservative, he was one of the very few German composers to explore Impressionism in music, and this also reflected a fascination with the Far East. Elsewhere, Niemann’s imagination takes us from much Baroque recreation to large-scale epic sonatas, Schumannesque miniatures and even the exploration of early jazz styles. His understanding of the capabilities of the piano was complete, and his works include both collections for young pianists and mature works that exploit the full range of pianistic effect and make significant demands on the performer.

A new CD recording has been issued by Romantic Discoveries Recordings.

Piano Music of Walter Niemann volume 20
Ancient Idylls, op. 99 • Merry Prelude, op. 85 • Dreams of Autumn, op. 63 • Rimsky-Korsakov transcr. Niemann: Hymn to the Sun • Theme and Variations inspired by Camoens’ Lusiaden, op. 25 • Arabeske, op. 52 • For the House, op. 34 (includes first recordings)
John Kersey, piano
RDR CD130

Total time: 77 minutes 7 seconds

1. Antike Idyllen, after poems by Elsa Bergmann, op. 99 (18:37)
i. Pompeja ii. Lalage iii. Telemachos iv. Odysseus v. Paesta vi. Erinna

2. Fröhliches Präludium, op. 85 (4:04)

3. Herbstträumereien, op. 63 or 64 (14:16)
i. Andante teneramente ii. Moderato e teneramente, con intimissimo sentimento iii. Molto moderato, un poco malinconico iv. Andante mosso v. Allegro leggierissimo ed amabile

4. Nikolai Rimsky-Korsakov (1844-1908) Hymn to the Sun from The Golden Cockerel, transcribed for piano by Walter Niemann (4:48)

5. Theme and Variations inspired by Camões’ Os Lusíadas, op. 25 (17:53)

6. Arabeske, op. 52 (3:24)

7. Fürs Haus, eight little lyric pieces after words by Johann Hinrich Faers, op. 34 (13:51)
i. Little snowbells ii. Colourful butterfly iii. Restlessness iv. Remembering you v. Dried flowers vi. At Christmas time vii. Bad mood viii. An old hunting-piece

Our thanks go to Nicolo Figowy and Steffen Herrmann for their generous loan of scores.

Walter Niemann was regarded in 1927 as “the most important living piano composer who knows how to make music from the piano in a subtle and colorful way, although he often enters the field of salon music” (H. Abert, Illustrated Music Lexicon). This most sensitive and introverted master of the piano devoted his life to composition and musical scholarship, also performing his music in concerts and radio broadcasts. Niemann’s vast output for the piano is only now starting to become more widely known. Although his style is generally unashamedly conservative, he was one of the very few German composers to explore Impressionism in music, and this also reflected a fascination with the Far East. Elsewhere, Niemann’s imagination takes us from much Baroque recreation to large-scale epic sonatas, Schumannesque miniatures and even the exploration of early jazz styles. His understanding of the capabilities of the piano was complete, and his works include both collections for young pianists and mature works that exploit the full range of pianistic effect and make significant demands on the performer.

A new CD recording has been issued by Romantic Discoveries Recordings.

Piano Music of Walter Niemann volume 19
Music for an old castle, op. 147 • To be sung on the gondola – Barcarole, op. 64 • Amoretten, op. 15 • From Forest and Field, op. 17 • Fairy Tales from the Forest, op. 29 • La Cascade, Etude-Poésie, op. 14 • Suite composed to words by Friedrich Hebbel, op. 23 • Fountains, op. 69 • Waltzer-Kaprice, op. 79 (includes first recordings)
John Kersey, piano
RDR CD129

Total time: 73 minutes 51 seconds

1. Musik für ein altes Schlösschen, op. 147 (9:13)
i. Giocoso animato ii. Poco Andante, quasi Andantino iii. Alla Giga. Presto assai e giocoso

2. Auf der Gondel zu singen – Barcarole, op. 64 (4:46)

3. Amoretten, three little recital pieces, op. 15 (9:16)
i. Valse-Rêverie ii. Gavotte à la Reine iii. Roses from the South – Waltz-Arabeske

4. Aus Wald und Flur, three rondinos for little pianists, op. 17 (4:41)
i. On the way to the forest ii. The young shepherd (Pastorale) iii. In the village inn

5. Waldmärchen, five miniatures for the piano, op. 29 (9:17)
i. The King of the Elves a-Hunting is Gone ii. In the Twilight iii. What the Brooklet Murmurs iv. The Princess of the Forest v. The Sun is Rising

6. La Cascade, Etude-Poésie, op. 14 (2:34)

7. Suite composed to words by Friedrich Hebbel, op. 23 (20:25)
i. Prelude – ‘Mid rain and tempest ii. Idyl – Genevieve of the brook iii. Ballad – On the heath iv. Romance – In the spring v. Nocturne – Evening thoughts

8. Wasserspiele, op. 69 (8:53)

9. Waltzer-Kaprice, op. 79 (4:25)

Our thanks go to Nicolo Figowy and Steffen Herrmann for their generous loan of scores.

Walter Niemann was regarded in 1927 as “the most important living piano composer who knows how to make music from the piano in a subtle and colorful way, although he often enters the field of salon music” (H. Abert, Illustrated Music Lexicon). This most sensitive and introverted master of the piano devoted his life to composition and musical scholarship, also performing his music in concerts and radio broadcasts. Niemann’s vast output for the piano is only now starting to become more widely known. Although his style is generally unashamedly conservative, he was one of the very few German composers to explore Impressionism in music, and this also reflected a fascination with the Far East. Elsewhere, Niemann’s imagination takes us from much Baroque recreation to large-scale epic sonatas, Schumannesque miniatures and even the exploration of early jazz styles. His understanding of the capabilities of the piano was complete, and his works include both collections for young pianists and mature works that exploit the full range of pianistic effect and make significant demands on the performer.

A new CD recording has been issued by Romantic Discoveries Recordings.

Piano Music of Walter Niemann volume 18
Voices of the Wood, op. 184 • Bunte Lampions, op. 186 • Valse-Impromptu, op. 183 • The Spring Morning, op. 167 • Ciacona – The Church Window, op. 169 • Pavane and Gavotte, op. 108 • Three Poetical Waltzes op 182 • Christmas Bells, op 129 • Präludium, Menuett and Capriccio, op. 133 (includes first recordings)
John Kersey, piano
RDR CD128

Total time: 78 minutes 53 seconds

1. Waldweben, op. 184 (4:16)

2. Coloured Lanterns; 12 little pictures from old China (inspired by A. Gervais’ “A doctor experiences China”), op. 186 (20:03)
i. Merry journey in the sedan chair ii. Garden in the evening iii. The stumbling lantern-bearer iv. Fog over the city v. Inn vi. Curved roofs vii. Twilight viii. Rickshaw coolies in the rain ix. Distant voices of the city by night x. Theatre xi. Junks xii. Farewell to China

3. Valse-Impromptu, op. 183 (2:54)

4. Der Frühlingsmorgen, eight little flower-pieces, op. 167 (13:32)
i. Tulip ii. Violet iii. Daffodil iv. Pansy v. Hyacinth vi. Liverwort vii. Wallflower viii. Cowslip
“Fragrant in pure blue, the early red melted like silver And the garden was already glowing sunnier with coloured ropes” – Johann Heinrich Voss

5. Ciacona – Das Kirchenfenster, op. 169 (5:04)
“…pure church windows in which the colours of the rainbow have become images of saints” – Felix Timmermanns, Das schöne Lier

6. Pavane and Gavotte, op. 108 (7:52)
i. Pavane (In memory of my parents) – Un poco largamente lamentoso ii. Gavotte

7. Drei poetische Waltzer, op. 182 (7:44)
i. Blue Syringa ii. Coloured Asters iii. Vetches and Convulvulus

8. Weihnachtsglocken (Christmas Bells); little variations on an English air by Matthew Camidge (1795), op. 129 (5:30)

9. Präludium, Menuett and Capriccio, op. 133 (11:39)
i. Präludium (Allegro marcato) ii. Menuett (Tempo di minuetto) – Musette (Poco più mosso) iii. Capriccio (Allegro non troppo, ma marcato)

Our thanks go to Nicolo Figowy and Steffen Herrmann for their generous loan of scores.

Walter Niemann was regarded in 1927 as “the most important living piano composer who knows how to make music from the piano in a subtle and colorful way, although he often enters the field of salon music” (H. Abert, Illustrated Music Lexicon). This most sensitive and introverted master of the piano devoted his life to composition and musical scholarship, also performing his music in concerts and radio broadcasts. Niemann’s vast output for the piano is only now starting to become more widely known. Although his style is generally unashamedly conservative, he was one of the very few German composers to explore Impressionism in music, and this also reflected a fascination with the Far East. Elsewhere, Niemann’s imagination takes us from much Baroque recreation to large-scale epic sonatas, Schumannesque miniatures and even the exploration of early jazz styles. His understanding of the capabilities of the piano was complete, and his works include both collections for young pianists and mature works that exploit the full range of pianistic effect and make significant demands on the performer.

A new CD recording has been issued by Romantic Discoveries Recordings.

Piano Music of Walter Niemann volume 17
Romantic Miniatures, op. 33 • Musical Picture Book after Kate Greenaway, op. 19 • The Garden of Orchids, op. 76 • Two Barcarolles, op. 144 (includes first recordings)
John Kersey, piano
RDR CD127

Total time: 78 minutes 11 seconds

1. Romantische Miniaturen, inspired by poems of Jens Peter Jacobsen, op. 33 (19:33)
i. Yellow Roses ii. Old Roman Pastorale iii. Dreams iv. Silent Love v. Beautiful Autumn Day vi. Butterfly vii. Shadows viii. In the flower garden ix. Death in Springtime x. On the Elves’ Hill

2. Musikalisches Bilderbuch after Kate Greenaway, op. 19 (23:22)
i. The Doll’s Lullaby ii. Christmas Eve iii. The little Soldier iv. The Mill v. Grandma’s Fairy Tales vi. Lisette dances a Minuet vii. Dolly is sick viii. The first time to school ix. A little Tyrolean Ländler x. Mary’s Birthday Bouquet xi. The callow youth xii. A Hunting Piece xiii. The Brooklet in the Forest xiv. The Sleigh Ride xv. The Circus xvi. Mother Hubbard and her Dog

3. Der Orchideengarten, Ten Impressions from the Far East, op. 76 (25:50)
i. Javanese Dance ii. Song of the Malay Fishermen iii. In a green porcelain tea-house iv. Lotus Flower v. Bird of Paradise at a Waterfall vi. Blossoming Liana-Vines vii. The Indian Magician viii. In the Chinese City ix. Moonlight beneath the Palms x. A Rickshaw Ride

4. Zwei Barkarolen, op. 144 (9:39)
i. Poco Allegretto tranquillo (in anmutigem Fliessen) ii. Molto moderato, ma con anima
“There, on a May evening, when his light boat after a hot day glided late under the silent tree vault, from which the moonlight trickled into the water, towards the Alster…” – Rudolf G. Binding (Der Opfergang)

Our thanks go to Nicolo Figowy and Steffen Herrmann for their generous loan of scores.

Walter Niemann was regarded in 1927 as “the most important living piano composer who knows how to make music from the piano in a subtle and colorful way, although he often enters the field of salon music” (H. Abert, Illustrated Music Lexicon). This most sensitive and introverted master of the piano devoted his life to composition and musical scholarship, also performing his music in concerts and radio broadcasts. Niemann’s vast output for the piano is only now starting to become more widely known. Although his style is generally unashamedly conservative, he was one of the very few German composers to explore Impressionism in music, and this also reflected a fascination with the Far East. Elsewhere, Niemann’s imagination takes us from much Baroque recreation to large-scale epic sonatas, Schumannesque miniatures and even the exploration of early jazz styles. His understanding of the capabilities of the piano was complete, and his works include both collections for young pianists and mature works that exploit the full range of pianistic effect and make significant demands on the performer.

A new CD recording has been issued by Romantic Discoveries Recordings.

Piano Music of Walter Niemann volume 16
24 Preludes, op. 55 • Im Kinderland, op. 46 • Yule Slumber Lilt, op. 143 (includes first recordings)
John Kersey, piano
RDR CD126

Total time: 74 minutes 18 seconds

1. 24 Preludes, op. 55 (43:15)
Book I:
i. (C major) Off to a Happy Start ii. (A minor) An Evening in Seville (Spanish Dance-Song) iii. (G major) The Brook in the Green iv. (E minor) Shapes in the Fog v. (D major) A Dream vi. (B minor) Brooding and Musing vii. (A major) Silent Happiness viii. (F sharp minor) The Three Shepherds ix. (E major) The Babbling Meadow-Spring x. (C sharp minor) At Robert Schumann’s Grave xi. (B major) Devotion xii. (G sharp minor) Autumnal Thoughts
Book II
xiii. (G flat major) In Festive Splendour xiv. (E flat minor) Funeral Procession at Night xv. (D flat major) In the Gloaming xvi. (B flat minor) Fleeting Shadows xvii. (A flat major) Lassie with thy Locks of Gold xviii. (F minor) Hardened Hearts xix. (E flat major) To Adolph Henselt xx. (C minor) Old Harpsichord Tunes xxi. (B flat major) Dialogue xxii. (G minor) Anger xxiii. (F major) Onward, onward, never resting! xxiv. (D minor) Lament

2. In Children’s Land, nineteen pieces in progressive sequence, op. 46 (20:44)
i. Morning Prayers ii. Christmas-Bells iii. Chinese Lanterns! iv. Prince Suso and Princess Susi dance a minuet v. Schoolmaster Morose with a long nose vi. With a birthday bouquet vii. Very melancholic viii. Little Willy and the Wind ix. The little Mermaid in the shell x. Hans on the ice xi. Cradlesong for Dolly Dora xii. In an aeroplane xiii. Dolly’s Washingday xiv. Falling Flakes xv. The brave hen xvi. Little brother and little sister xvii. The three little chatterboxes xviii. Evening Prayers xix. Dreams

3. Krippenmusik zur Weihnacht, op. 143 (10:14)
i. Snowy Night ii. Come, O ye Shepherds! iii. Pastorella (The Shepherds’ Lay at the Cradle) iv. The Adoration of the Holy Child v. Joyous Dance of Children and Shepherds vi. Wing-dance of Angels

Our thanks go to Nicolo Figowy and Steffen Herrmann for their generous loan of scores.

Walter Niemann was regarded in 1927 as “the most important living piano composer who knows how to make music from the piano in a subtle and colorful way, although he often enters the field of salon music” (H. Abert, Illustrated Music Lexicon). This most sensitive and introverted master of the piano devoted his life to composition and musical scholarship, also performing his music in concerts and radio broadcasts. Niemann’s vast output for the piano is only now starting to become more widely known. Although his style is generally unashamedly conservative, he was one of the very few German composers to explore Impressionism in music, and this also reflected a fascination with the Far East. Elsewhere, Niemann’s imagination takes us from much Baroque recreation to large-scale epic sonatas, Schumannesque miniatures and even the exploration of early jazz styles. His understanding of the capabilities of the piano was complete, and his works include both collections for young pianists and mature works that exploit the full range of pianistic effect and make significant demands on the performer.

A new CD recording has been issued by Romantic Discoveries Recordings.

Piano Music of Walter Niemann volume 15
Ancient China, op. 62 • 3 Compositions, op. 7 • Black Forest Idylls, op. 21 • Tokkata, op. 78 • Three Miniatures (without opus number) • Brazilian Rhapsodies, op. 110 (includes first recordings)
John Kersey, piano
RDR CD125

Total time: 66 minutes 56 seconds

1. Alt-China; five dream-poems for piano, op. 62 (22:28)
i. The Pagoda Bells – Prelude ii. The Chinese Nightingale – Elegy iii. Little Li-Li-Tse – Scherzo-Caprice iv. The Sacred Barque – All Souls’ Day – Nocturne v. A Garden Fete – Finale (19:21)
“The Composer, having in a dream joined the Poet, Paul Claudel (author of “Aus der Erkenntnis des Ostens”, translated into German by Jakob Hegner, and published by Insel-Verlag), on a journey to China, relates here in music some of his experiences. They do not pretend to be Chinese, as the Composer does not deliberately employ the five-tone scale, whole-tone combinations with abstention from the leading-note, strange rhythms, and other primitive auxiliary means of producing exotic music; they are intended to be Chinese only in so far as they reproduce the delicate, exotic, fairy-tale atmosphere of the Far East, occasionally coloured with the primitive element in music. The work should be regarded as a musical picture of Ancient China, as conceived in a dream-fantasy by a modern German composer.”

2. Drei Kompositionen for the Pianoforte, op. 7 (7:14)
i. Intrata ii. Remembrance iii. Arabeske

3. Schwarzwald-Idyllen, 10 Character-Pieces for Piano, op. 21 (19:42)
i. Morning-glories and Eglantine ii. Butterfly iii. On a poem by Hebbel iv. The bairn v. On a sunny bank vi. Whims and fancies vii. A picture by Thoma viii. Little bare-foot ix. A gloomy hour x. The woodland brook

4. Tokkata, op. 78 (3:29)

5. Three Miniatures (without opus number) (10:33)
i. Träumerei ii. Schweizer Kuhreigen (Ranz des vaches) | “Hark! the note, (The Shepherd’s pipe in the distance is heard) The natural music of the mountain reed–For here the patriarchal days are not A pastoral fable — pipes in the liberal air, Mix’d with the sweet bells of the sauntering herd” – Byron – “Manfred” Act 1, Scene 2
3. Kleiner Waltzer (07:07)

6. Brasilianische Rhapsodien, op. 110 (9:25)
i. In the Form of a Tango ii. In the Form of a Fandango (based on a melody collected by Alexandre and Alice Rey Colaço in “Cantigas de Portugal”)

Our thanks go to Nicolo Figowy and Steffen Herrmann for their generous loan of scores.

Walter Niemann was regarded in 1927 as “the most important living piano composer who knows how to make music from the piano in a subtle and colorful way, although he often enters the field of salon music” (H. Abert, Illustrated Music Lexicon). This most sensitive and introverted master of the piano devoted his life to composition and musical scholarship, also performing his music in concerts and radio broadcasts. Niemann’s vast output for the piano is only now starting to become more widely known. Although his style is generally unashamedly conservative, he was one of the very few German composers to explore Impressionism in music, and this also reflected a fascination with the Far East. Elsewhere, Niemann’s imagination takes us from much Baroque recreation to large-scale epic sonatas, Schumannesque miniatures and even the exploration of early jazz styles. His understanding of the capabilities of the piano was complete, and his works include both collections for young pianists and mature works that exploit the full range of pianistic effect and make significant demands on the performer.

A new CD recording has been issued by Romantic Discoveries Recordings.

Piano Music of Walter Niemann volume 14
Holstein Idylls, op. 8 • Hans und Grete, op. 36 • Suite, op. 87 • Kocheler Ländler, op. 135 • 3 Nocturnes, op. 28 (includes first recordings)
John Kersey, piano
RDR CD124

Total time: 66 minutes 56 seconds

1. Holsteinische Idyllen, op. 8 (17:21)
i. Early spring ii. In blossom-snow iii. In the deep forest (East Holstein) iv. Evening atmosphere v. North Sea landscape
“And suddenly an idyll lay before him. Over by the pond the stately courtyard with the mighty residential building and the linden-shaded living rooms, the green panelwork of the walls, the bright red of their bricks reflected in the clear water, the bridge rolling and roaring dully under the wheels, the dusting mill wheel and in the background the vast radiant and bursting forest in the spring sun.” – Timm Kröger

2. Hansel and Gretel, op. 36 (14:17)
i. Gretel ii. Hansel iii. A fairground serenade iv. “Suse, Peter Kruse” (from an old Schleswig-Holstein childrens’ song) v. A hard holiday task vi. The nightwatchman’s round vii. In the garden under the lilac viii. On the railway ix. The first great sorrow x. Wicked Friedrich from the village xi. The Woodman and Kitty xii. Uncle Theobald and Aunt Doris – A Gavotte from the good old days xiii. Farewell

3. Suite for piano, op. 87 (13:29)
i. Praeludium – Molto moderato, in modo d’un Preambulo ii. Sarabande – Poco adagio iii. Menuett – Un poco Allegretto amabile iv. Rigaudon – Allegro con spirito

4. Kocheler Ländler, op. 135 (15:29)
i. Lieblich und gemessen ii. Munter und scharf markiert iii. Anmutig wiegend iv. Feurig und scharf markiert v. Mit schelmischer Grazie vi. Heimlich und gedämpft vii. Feurig und rhythmisch markiert (nach altbayrischen Originalmotiven) viii. Träumerisch versonnen und ein wenig gehalten im Tempo ix. Mässig, doch lieblich bewegt x. Unmutig erregt und pathetisch, frei im Tempo xi. Heimlich und versonnen xii. Heiter, doch gemessen im Tempo und scharf markiert (Altbayrischer Schuhplattler)

5. Three Nocturnes, op. 28 (10:58)
i. Alhambra (Granada) ii. Nach glücklichem Tage iii. Ave Maria (Frauenchiernsee)

Our thanks go to Nicolo Figowy and Steffen Herrmann for their generous loan of scores.

Walter Niemann was regarded in 1927 as “the most important living piano composer who knows how to make music from the piano in a subtle and colorful way, although he often enters the field of salon music” (H. Abert, Illustrated Music Lexicon). This most sensitive and introverted master of the piano devoted his life to composition and musical scholarship, also performing his music in concerts and radio broadcasts. Niemann’s vast output for the piano is only now starting to become more widely known. Although his style is generally unashamedly conservative, he was one of the very few German composers to explore Impressionism in music, and this also reflected a fascination with the Far East. Elsewhere, Niemann’s imagination takes us from much Baroque recreation to large-scale epic sonatas, Schumannesque miniatures and even the exploration of early jazz styles. His understanding of the capabilities of the piano was complete, and his works include both collections for young pianists and mature works that exploit the full range of pianistic effect and make significant demands on the performer.