Here are a pair of newly unearthed, major-length compositions dating from Carl Czerny’s early adolescence. Thematically speaking, the D major Variations take their cue from the central variations movement of his mentor Beethoven’s “Kreutzer” Sonata. Beethoven’s influence manifests itself by way of sudden dynamic shifts, plus an instinct for sustained dramatic intensity and textural contrasts that is quite remarkable for a teenaged composer. The same can be said for Czerny’s ambitious sonata, cast in three large movements. While the idiomatic violin writing takes full registral advantage of the instrument, the piano part hardly stands still as Czerny serves up oodles of runs and decorative turns. The slow movement’s expansive lyricism and strolling gait wouldn’t be out of place in a Schubert sonata, nor would the quirky, strategically placed harmonic twists and turns.
Violinist Erika Raum plays with concentration and blinding intensity. The quiver in her vibrato adds just the right expressive spark to softer passages, and if her forceful accentuation sometimes results in notes that don’t land squarely in tune, you still get a sense that she’s playing in the moment, for keeps. Anton Kuerti’s stellar musicianship and controlled bravura go way beyond mere accompanying, and his difficult-to-record sonority registers with more color and tonal roundness than in many of his solo discs. He also contributes succinct program notes. You can imagine suaver performances, but few to equal these musicians’ fervent, committed readings.
