Die Fähigkeit, innig-sanfte Gefühlsbilder sensibel zu gestalten, zeigte sich im Laufe des Abends als Stärke von Viviane Goergen. In „Reflets dans l’Eau“ und in „Hommage à Rameau“ aus Debussys „Images“ ließ sie eine vielfältige Farbenpalette aufleuchten. Rhythmisch differenziert, klar strukturiert klang auch Debussys „L’Isle Joyeuse“. Vom poetischen Ausdruck in „Des Abends“ über das sanfte Fragen in „Warum“ und die innere Unruhe des „In der Nacht“ bis hin zum akkordisch - orchestralen, kapriziösen „Ende vom Lied“ in Schumanns Fantasie Stücke op. 12 – Viviane Goergen traf stets die richtige Atmosphäre.

Frankfurter Allgemeine Zeitung

Durch packende Virtuosität, glasklare Anschlagdelikatesse und akribische Genauigkeit gab Viviane Goergen den verschiedenartigen Affekten bedachten Kompositionen Leben und Fülle, so dass die farbigen Phantasien und Visionen von Scarlattis Sonaten transparent wurden und vom ersten bis zum letzten Ton unter dynamischer Spannung standen.

Die Sonate op. 10 Nr. 3 von Ludwig van Beethoven gilt als sein phantasievollstes und pianistisch wirkungsstärkstes Werk. Viviane Goergen interpretierte die Sonate mit traumwandlerischer Sicherheit und absoluter Werkbeherrschung und verblüffte durch ihr nuancenreiches und ausgeklügeltes Spiel. Weitab von Effekthascherei gestaltete sie die wenig gehörte Sonate mit kraftvollem Pathos und souveräner Spieltechnik zu einer Kostbarkeit Beethovenscher Schöpfungen, aufwühlend im düsteren Largo, erlösend und lebensbejahend im Menuett, scherzend und übermütig im Rondo.

Badische Zeitung

Gelöster, klangfarbiger, ausdrucksvoller können sich diese fremden Länder, diese kuriosen Geschichten, diese Träumereien, dieser Ritter auf dem Steckenpferd usw. nicht anhören. Florestan und Eusebius, die geistigen Kinder Robert Schumanns, hat Viviane Goergen „adoptiert“ und sie dem geneigten Publikum eigens vorgetragen – einem Publikum von Davidsbündlern, wie sich denken lässt. Florestan und Eusebius eroberten sich an diesem Abend alle Herzen. Und wie Kinder im Marionettentheater die Hand vergessen, die die Fäden führt, so vergaßen wir an diesem Abend die Hände der Pianistin und überließen uns ganz dem poetischen Zauber der Schumannschen Musik. Ein besseres Kompliment können wir u. E. der Kunst Viviane Goergens nicht machen als das, dass sie uns über der Musik, die sie spielte, uns und sie selbst vergessen ließ!

Luxemburger Wort

Viviane Goergen  champions the music of nine women in an interesting and engaging recital  containing music of much beauty and interest

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Piano Miniatures by Female Composers
Viviane Goergen  (piano)
rec. 2017, Festeburg-Kirche, Frankfurt, Germany
The music of women composers is finally being given the  respect and credit it deserves. However, the fact that this disc presents  music of nine composers of whom hardly any are well known, shows that there  is still a long way to go. That the ARS label has released this disc should  be both applauded and condemned: applauded, in that they bring to the  listening public a cross section of composers from the nineteenth and  twentieth centuries, and condemned because it takes a disc of ‘Piano  Miniatures by Female Composers’ for them to be recognised, which begs the  question of why they have not previously been included on discs of piano  pieces by their male contemporaries. This is something of which the whole  industry seems to be guilty, there seldom being examples of male and female  composers sharing the limelight and, in the past, just the odd piece being  included as a filler. The major labels have been especially bad at this, so  grateful thanks go to ARS for this fine disc.

The music chosen for  this disc is varied and interesting in its own right and deserves to achieve  a larger audience. Yes, some can be described as being “charming”, but only  in the way that this epithet can be applied to many piano miniatures  composed during the period and in that it actually reflects the musical  tastes of the time. Some of the composers here are new to me but the disc  opens with two pieces by a composer who might be known by some: Mel Bonis,  the prolific French composer, who like many of her generation, was a pupil  of César Franck at the Conservatoire of Paris, where she was a sometime  classmate of Debussy. It is the second of these two pieces, “La cathédrale  blesse”, with its allusion to Debussy’s “La cathédrale engloutie” as well as  to the “Dies irae”, as it references the destruction of churches during the  First World War.

The next composer is also fairly new to me, as I  know only her Flute Sonata which features on another ARS disc  (ARS38089). Swiss composer Marguerite Roesgen-Champion was also a keyboard  player, who along with Wanda Landowska, played an important role in the  revival of interest in the harpsichord in the twentieth century. She  composed five harpsichord concertos as well as the Concerto moderne for  Harpsichord and Orchestra; she acted as soloist in the premiere in  1931. She also composed a piano concerto and a number of solo pieces for  harpsichord and, or piano. The two pieces performed here are the outer  movements of a larger work and are firmly rooted in Roesgen -Champion’s  neo-Romantic style, with the second piece, “Jeux de nymphes”, being  particularly interesting.

We then move to the Czech composer Otilie  Suková-Dvořáková, the daughter of one composer and the wife of another. She  died prematurely and very little of her music survives. Only three of her  piano pieces are in printed editions, two of which are recorded here. The  lyrically charming “Ukolébavka” stands out, although the “Humoresque” is  capricious and eventful.

Beginning with a rippling motif, the “Dunová  Prludia” by the Czech composer Vitězslava Kaprálová, who was the daughter of  Janáček’s pupil Václav Kaprál and the singer Viktorie Kaprálová, showed her  great promise. She went on to study with Vítězslav Novák, Václav Talich and  Bohuslav Martinů, and her music was championed by the likes of Rafael  Kubelík. Her untimely death at the age of only 25 was a great loss to Czech  music. Her music is more modern in outlook; whilst still being melodic and  characterful it still represents her musical heritage well.

Perhaps  the best known of the composers featured on this disc, Germaine Tailleferre,  the only female member of Les Six, is represented by a single piece, her  lovely lilting “Sicilienne” of 1928. It is typically French in character and  reflects the influence of her teacher of orchestration, Maurice Ravel.  Another French composer, although of the previous generation, Marie Jaëll,  is probably best known these days as a teacher. She developed her own method  for teaching the piano that is still in use, although her music, too, is now  becoming recognised in its own right. This can be seen in her inclusion in  the Bru Zane series of Portraits (ES 1022), which offers extensive  documentation as well as three discs of her music. As I said in my review of  that set, her music is deeply Romantic in nature: the “influence of Schumann  and Brahms can be seen. There's also the occasional glimpse of  Liszt.”

The remaining three composers are all new to me. Stephanie  Zaranek and Vera Winogradowa were both born in Russia. Zaranek had a  successful career in the former Soviet Union as a teacher. Only a few of her  works have made it to the West; “Cinq Miniatures” of 1929 has a French  feeling to it, especially in the charming opening Marche; however, the rest  of the suite is tinged with Prokofiev, especially in the “Grotesque”.  Winogradowa was a student of Glazunov and, like Zaranek, of Maximillian  Steinberg at the St. Petersburg Conservatory. She married the Estonian  composer Hermann Bernhard Biek (1896-1944) and in 1937 the couple moved to  London. They died in Chichester, although she always retained her husband’s  Estonian nationality. She was known mainly as a pianist with only about  thirty compositions to her name, of which the majority were for solo piano .  Despite their French-sounding title, the “Deux Danses,” are clearly Russian  in character, the sound of Prokofiev’s more acerbic piano music instantly  coming to the fore.

The final piece on this disc is the “Danza  Criolla” of 1954 by the Argentinian composer Alicia Terzian who had been a  student of the great Alberto Ginastera at the conservatory in Buenos Aires.  It is very attractive, firmly rooted in the Argentine folk tradition and at  odds with her more avant-garde later style.

This is an excellent disc  of often neglected women composer’s music, with many of the pieces receiving  their premiere recording here, a fact which belies their quality. They are  expertly brought to life by the pianist Viviane Goergen who is excellent  throughout, making this a most enjoyable and welcome addition to the  catalogues. Excellent recorded sound throughout and informative booklet  notes aid the listening.

Stuart  Sillitoe

Mel BONIS  (1858-1937)
1  Une flüte soupire, Op. 117 No. 2  (Version for Piano) [1:43]
2  La cathedrale blessee, Op.  107 [4:58]
Marguerite ROESGEN-CHAMPION  (1894-1976)
Bucoliques pour piano ou clavecin modern (1937)  *
3  Chant pastoral [2:28]
4  Jeux  de nymphes [4:25]
Otilie SUKOVÁ-DVOŘÁKOVÁ  (1878-1905)
5  Ukolebavka (Wiegenlied) [2:22]  *
6  Humoreska [2:06]
Vitezslava KAPRÁLOVÁ  (1915-1940)
Dunova Prludia (April-Praeludium) Op.  13
7  I. Allegro ma non troppo  [2:05]
8  II. Andante [2:59]
9  III.  Andante semplice [1:52]
10 IV. Vivo [2:24]
Germaine  TAILLEFERRE (1892-1983)
11 Sicilienne [3:37]
Marie  JAELL (1846-1925)
Valses mignonnes
12 No. 1, Tres anime  [1:16]
13 No. 2, Assez vite [1:32]
14 No. 3, Mouvement tres modere  [2:08]
15 No. 4, Tes decide [1:28]
16 No. 5, Retenu mouvement de  valses [2:07]
17 No. 6, Anime [1:58]
Stephanie ZARANEK  (1904-1972)
Cinq Miniatures op.4 *
18 No. 1, Marche  [1:34]
19 No. 2, Chanson [1:29]
20 No. 3, Grotesque [1:04]
21 No. 4, Fragment [1:23]
22 No. 5, La toupie [0:59]
Vera WINOGRADOWA  (1895-1982)
Deux Danses op.21 *
23 No. 1, Moderato  [1:07]
24 No. 2, Allegro [2:05]
Alicia TERZIAN (b. 1934)
25 Danza Criolla, Op. 1 [2:52]
                                         PianoNews 6-2019_Goergenklein

Noch immer wird vom Anteil und der Rolle der Frauen in der Musikgeschichte kaum Notiz genommen, ein unterbewertetes Thema. Im Bereich Klavierrepertoire hat Viviane Goergen „Pianistische Miniaturen vonKomponistinnen“ vor allem des 20. Jahrhunderts recherchiert

 (s. den Begleittext) und manches Verblüffende entdeckt. So das expressive Grave majestueux aus „La cathédrale blessée) von Mel Bonis, deren Akkord-Trauer und Klage berührend sind.

Als pittoresken Tanz gestaltet Viviane Goergen die kapriziösen „Jeux de Nymphes“ von Marguerite Roesgen-Champion und wie einen springenden Kobold die « Humoreska“ der Tschechin Ottilie Sukova-Dvorakova, Antonin Dvoraks Tochter. Ein Sujet, das bei Marie Jaell in den „Valses Mignonnes“ zum kauzigen Stil und bei Vera Winogradovas „Deux- danses“ zur Groteske mutiert. Außerdem ist „Sicilienne“ von Germaine Tailleferre als flimmerndes Stillleben, moderne Nervosität inzuckendem Duktus in den April-Präludien“ von Vitzeslava Kapra-ova und der Marsch aus den „Cinq Miniatures“ von Stefanie Zaranekwie frecher Spott zu hören. Nur Alicia Terzian lässt im folkloristischen „Danza Criola“ zu, dass man träumen kann. Sicher ist, dass die Werke der genannten neun Komponistinnen aus Frankreich, der Schweiz, Tschechien, Russland und Argentinien, um die sich Viviane Goergen mit kompetentem Engagement für diese Aufnahme gekümmert hat, Originalität vorweisen können.

Hans-Dieter Grünefeld

Pianistische Miniaturen von


Werke von Mel Bonis u. a.

Viviane Goergen, Klavier (k. A.)

Ars Produktion 38559

(Vertrieb: Note 1)