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 Twenty-two short piano pieces by Rudolf Friml, Sara Davis Buechner, piano. (Koch International Classics KIC-CD-7512)Does the name Rudolf Friml mean anything to you? If you're drawing a blank, a new recording by the pianist Sara Davis Buechner should help to open the composer's case. The Prague-born composer, a former student of Dvorak and once a potent figure in American theater, has slipped into the shadows. But during the 1910s and '20s, he was the toast of New York's theater world, writing a series of acclaimed musical-theater works, songs and other vocal confections. Among them were the operettas The Firefly, The Vagabond King, and Rose-Marie, whose big hit, "Indian Love Call," was said to be a favorite song of President Dwight D. Eisenhower.
While these works can seem trite and sappy to modern ears—and Friml's comparative obscurity at the moment can be traced in part to the eclipse of operetta in general—his piano music has held up much better. The 22 pieces in this collection show a remarkable sophistication and sheer eclecticism. The earliest, including Mignonette and the Concert Waltz, are brisk, whimsical character pieces, which Buechner, who earned a master's degree from Juilliard in 1981, performs with dexterity and finesse. The jaunty Staccato Etude, with its rapid, repeated octaves, is a clever nod to Chopin. Buechner tosses it off with ease.As Friml's compositional attention turned away from the recital hall and toward the theater, his piano writing became more attuned to song-like melodies. Among the standouts are the gentle Humoresque, Chant sans Paroles, and Chanson (which he later turned into a hit song, "The Donkey Serenade"). This charming work features some interesting melodic twists and supple chromatic harmonies that keep the listener guessing. Friml was also a seasoned world traveler, which is reflected in his assimilation of styles from many diverse cultures. Exotic titles suggesting the allure of foreign lands helped to sell sheet music in an age when overseas travel was a novelty. Friml's musical travelogues include the Japanese-inspired Cherry Blossoms, with its "oriental" passages, and the Egyptian Dance, which recalls Saint-Saëns's Fifth Piano Concerto in its modal inflections. Hints of American ragtime also turn up, particularly in Iris, with its gentle syncopations.Friml lived a fruitful career until his death in 1972, writing musical-theater works until the 1930s, when he moved to Hollywood where he adapted his works and wrote new scores for films. He was also active as a conductor and concert pianist. The liner notes tell a humorous story about when in 1906, as the soloist for the premiere of his own Piano Concerto with the New York Philharmonic, he unnerved conductor Walter Damrosch by improvising a large cadenza differently at each performance. Certainly, there's a sly, improvisatory spirit in much of Friml's music, which Buechner captures with great flair.
Mention this column at the Juilliard Bookstore to receive a 5-percent discount on this month's featured recording. (In-store purchases only.)Brian Wise is a producer at WNYC radio and writes about music for The New York Times, Time Out New York, Opera News, and other publications.
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