Pianist brings modern meaning to German Romanticism
By Lee Hyo-won
In an age of fast food and instant gratification, Cittaslow (Slow City) movements are gaining momentum from Italy to Korea. Yet, this sense of nostalgia, when one took longer breaths to pass the hours, has been a centuries-old concern that deeply affected 19th-century German Romantics.
Pianist Martin Stadtfeld aims to capture the idyllic purity of the period in his latest album “Deutsche Romantik” (German Romanticism; Sony Classical). The young German artist allows the listener to ease into the deep corners of forest glades, with lilting rondos that bring contemporary meaning to Schumann’s “Waldszene” (Forest Scenes), Op. 82. In Liszt’s piano transcription of Richard Wagner’s “Tannhauser” overture, he displays instances of pure pianism, marked by a liquid resignation, quicksilver tones and seamless roulades.
“’Waldszene’ is all about the forest, and is pure romantic. It’s about going into the forest and enjoying yourself and nature. ‘Tannhauser’ is a story set in the Middle Age. The Romantics loved the Middle Age, which was regarded as a time of utopia, when life was purer and not so complicated. It’s interesting, because they find their lives like we find our lives ― very busy, loud, modern and commercial,” said Stadtfeld over the phone in a recent interview, ahead of his recital in Seoul this month.
“There are a lot of things we feel more or less the same in our modern world and these songs really have a message for us. We desire the same things, if not more so than the Romantics, because we live in an even louder, busier and more commercial world. Romanticism brings us closer to ourselves, our souls, our inspirations and emotions,” he said, explaining that a Wagner opera, for example, enables one to learn so much about the soul and emotionality.
The pianist said he wanted to make a thematic CD that could capture the spirit of a period rather than the oeuvre of a specific composer, and thus focused on specific works by Wagner, Schumann, Brahms and Liszt. “These four are extremely important because they transport the same Romantic spirit. I really wanted to bring out the Romantic idea by itself, with especially in-depth pieces.”
German Romanticism, he explained, is different from its French counterpart. Alongside composers, German Romantic poet Joseph Eichendorff was more preoccupied with existentialist concerns.
“German Romanticism is very grounded and very deep. It addresses big topics of the world ― What are we as humans? What is life? What is the world we want to live in? It’s a big advantage for me as a musician to bring out my own emotions and views of the world and music. Romantic music gives a lot of individual space that needs to be filled by the individual personality. It’s very close to Bach.”
A winner of the Busoni Competition (the event’s first top prizewinner in 14 years), Stadtfeld is best known for his interpretation of Bach. His recording of the “Goldberg Variations” (also released under the Sony label after piano greats like Glenn Gould) earned stellar reviews. He said his exploration of the Romantics deepened his understanding of Bach.
“Bach is my musical god. But all these composers (featured in my album) are very much connected to Bach. I’m very much in the Romantic mood and it deepens my understanding of Bach,” he said. He plans to delve into Beethoven’s piano sonatas as well.
In the meantime, he is touring Asia more often. His June 26 recital at Seoul Arts Center will mark his second performance since his 2009 Bach program.
“It was a wonderful experience being in Seoul. I remember how very intensely, attentive and enthusiastic the audience was, and it was very special. I’m looking forward to visiting Seoul again.”
The program for the concert includes tracks from the album including Wagner-Liszt’s “Tannhauser” overture and “The Death of Love” from “Tristan and Isolde.” He will also play his signature Bach repertoire (English Suite No. 4, BWV 809) as well as works by Rachmaninov (Bach’s Violin Partita arranged for the piano and “Six Moments musicaux,” Op. 16).
Tickets cost 30,000 to 70,000 won. Call (02) 599-5743 for more information.