 Aussi modernistes que soient les œuvres de Bernard Van Dieren elles ne sont jamais arides. La Toccata, partition emblématique de son art, où semble se refléter la Sonate d’Alban Berg, avoue dans ses replis harmoniques encore décadents sa fascination pour Ferruccio Busoni. Il sera de son ultime cercle berlinois, assistant dans son appartement à une exécution privée du "Pierrot lunaire" sous la direction du compositeur, et transportera en Angleterre son esprit ésotérique et son univers soufré. A Londres, Van Dieren fut une figure majeure de la jeune génération, fréquentant Warlock, Lambert, Epstein, Gray, mais son art n’avait déjà plus rien à voir avec le leur, seul Sorabji arpentait alors en partie les mêmes univers. Dans ces partitions déconcertantes mais d’abord surprenantes, Christopher Guild est un aède précieux, il fait entendre d’abord la profusion harmonique, les sensualités de ces partitions comme assoiffées d’abstraction, en fait vibrer les couleurs, culminant dans une lecture magistrale du redoutable Tema con Variazione. Mais commencez d’abord par la perfection de cette Chaconne aussi belle que mystérieuse. (Discophilia - Artalinna.com) (Jean-Charles Hoffelé) The most comprehensive survey ever made on record of the piano output by a highly individual figure on the Dutch and English music scenes of the early 20th century, featuring two world-premiere recordings. Bernard Van Dieren (1887-1936) was essentially self-taught as a composer, though friendships with Schoenberg, Busoni, Sorabji, Walton and Lambert all obliquely indicate by association both the technical confidence of his work as well as the variegated colours of his harmonic palette. He was born in Rotterdam but fell in love with and then married a pupil of Busoni’s, Frida Kindler, who gave the first performances of most of his piano music. Kindler and Van Dieren settled in London, where they joined a distinguished artistic circle including the sculptor Jacob Epstein and the Sitwell family. Van Dieren’s devotion to Mediterranean culture and his witty questioning of accepted judgments appealed greatly to the group. He was, for example, one of the first to encourage a re-assessment of the work of Donizetti, Alkan and Meyerbeer. While earlier works such as the powerful Toccata approach Schoenbergian atonality in their tightly woven chromaticism, Van Dieren’s world is at root a diatonic one, stretching rather than breaking tonalities with a post-Wagnerian sensibility often comparable to the music of Delius. The composer himself was apparently a pianist of modest ability, but (perhaps not least thanks to Frida Kindler) he writes for the instrument with a formidable array of pianistic technique grounded in his own enduring love of counterpoint. The most straightforwardly appealing music here is a set of 12 Dutch folk melodies on CD2, followed by a charming little prelude written for Frida’s birthday in 1934 – his last piano work before his death from a long-standing kidney complaint two years later. The pianist Christopher Guild, renowned for his advocacy of lesser-known pianistic voices, is then joined by Dr James Reid-Baxter for the first-ever recording of the Ballad de Villon, in which Van Dieren originally set a prayer to the Virgin for reciter and string quartet, with the instrumental lines later transcribed for the piano by Philip Heseltine (a pupil of the composer, himself better known as Peter Warlock). CD1 features a set of six densely polyphonic ‘Sketches’ in the style of Busoni and a Theme and Variations in the grand Romantic manner.
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