Wilhelm Kempff was born on November 25, 1895, in Jüteborg (Brandenburg) in a family of musicians who contributed to the growth of his extraordinary musical talent. He possessed a natural predisposition for keyboard instruments and composition, which manifested early, as shown by recordings made by his father, the musical director of the church of San Nicola in Potsdam. In fact, Wilhelm Kempff began performing as a child, and already in 1904, at the admission exam for the Royal Academy of Arts in Berlin, the very young boy was able to play numerous preludes and fugues from Bach’s Well-Tempered Clavier and perform very complex transposition exercises. The young talent was entrusted to the care of Heinrich Barth, who had already studied piano and composition with Hans von Bülow and Robert Kahn, a student of Brahms. His brilliant course of studies led him to receive the Mendelssohn Prize as the best graduate in both disciplines. His career began as a virtuoso of the organ and piano, and the first success came when, at a young age, he embarked on a successful tour in Scandinavia with the Berlin Cathedral Choir. His greatest admirer and patron was the bishop of Uppsala, Nathan Sœderblom, to whom the young composer dedicated his Fantasy and Fugue for organ in D major. It was remarkable that one of the great pianists of the 20th century played the organ with such mastery and had a deep love for sacred repertoire, considering that both his father and grandfather were accomplished singers of ecclesiastical music. Eckhard von Hoogen, writing about Kempff, tells us: “The organ, the piano, and composition were equally important for a long time, and it is surprising how an acclaimed organist, as he was in Sweden, became an equally, if not more, eminent pianist.”
However, his career as an organist gradually took a back seat, even though he continued to study and occasionally gave concerts on this noble instrument. Memorable were his performances at the Church of Peace in Hiroshima in 1954 and in Tokyo in 1961. The great French organ master Marcel Dupré provides a precious testimony of their meeting at his home in London: “Wilhelm Kempff […] asked me questions about the arrangements […] of my organ and flawlessly performed Bach’s Passacaglia and Fugue in C minor, BWV 582. I was astonished and elated at the same time. I thought I had received a famous piano virtuoso, but I discovered in him a first-rate organist.”
In the end, his career as a pianist took precedence and accompanied him consistently until the age of 87, garnering him the highest accolades. Here is another precious testimony from the music critic Karl Schumann on the occasion of the 1980 edition anniversary of Beethoven’s Sonatas: “[…] His path started from the originality of his youth and then extended to the subtly nuanced sound poetry of adulthood to the parsimonious style of senility […] He played finely and brilliantly, without lacking in depth. Kempff is a poet who writes with the piano keyboard.”
His recordings dedicated to Beethoven, Schubert, Schumann, and Liszt are considered among the most successful and definitive interpretations of the 20th century. This acknowledgment comes as he was one of the first to record the complete Schubert Sonatas when they were still largely unknown to the majority of the public. His chamber collaborations with musicians like Yehudi Menuhin, Pierre Fournier, and Mstislav Rostropovic contributed to his fame in Europe and Asia. However, it was only in 1964, at almost 70 years old, that he made his debut at Carnegie Hall in New York, earning the warm esteem of Leonard Bernstein. Wilhelm Kempff’s activity as a composer is relatively obscure, although he considered it one of the most important means to exercise his creativity. In fact, his first teacher, Robert Kahn, suggested to the young student to dedicate himself exclusively to composition, but Kempff chose not to follow his advice. The breadth of his catalog is remarkable and includes numerous chamber works, at least 200 sacred and secular vocal compositions, many organ pieces, numerous choral compositions, cantatas, a Te Deum, and an oratorio. Additionally, there are numerous piano pieces (including a Piano Sonata, suites, album sheets, and two piano concertos), compositions for organ, symphonies, and an opera dedicated to Frederick II. Among all these artistic endeavors, there are true gems, such as the Symphony No. 2 in D minor, Op. 19, which was first performed in Leipzig in 1924. For several years, I have had the privilege of delving into the heritage of Wilhelm Kempff, discovering authentic gems within the manuscripts of his compositions, preserved in the Archiv der Kunste in Berlin. While the milestones of his eminent career as a pianist, which established him as one of the most illustrious of the 20th century, are well-known, we still know little about his activity as a composer. Kempff chose Italy, particularly Positano on the Amalfi Coast, as his ideal residence. Today, this place is home to the splendid foundation dedicated to him. I turned to the guardian of his memory, Mrs. Annette Von Boedecker, who, with great generosity, has contributed to my research. Kempff’s compositional activity, far from being marginal, permeated his entire existence, representing a constant deepening of music and a privileged space for his ideas. His musical education is entirely tied to the instrumental repertoire, rooted in classicism, with a particular focus on the Baroque repertoire (especially Bach) and the fervor of the Romantic era. He loved to repeat, “When I was born, Brahms was still alive!” His compositions reflect this rich musical heritage, but it is noteworthy that he had a profound interest in contemporary music as well. Kempff’s works bear a distinctive, always original trait worthy of exploration. Undoubtedly, the great pianist possessed extraordinary musical facility, a result of early education and compositional studies initiated at a young age. Unfortunately, much of his archive was lost in a fire. Today, what remains is carefully preserved in the Archiv der Kunste, which gradually makes manuscripts of great interest available to me.
Rapsodisches Präludium
The Rhapsodic Prelude represents a challenge of considerable significance. Kempff himself notes that the composition originated from a particularly inspired improvisation on July 3, 1941, in Potsdam, during a musical evening, and only later, on July 21 of the same year, did he commit the score to paper, which had not received editorial attention until recently (indeed, the publication is very recent – 2022 – thanks to Da Vinci Publishing). Despite the manuscript appearing substantially intact, its structure seems rather intricate and challenging to decipher; however, by carefully scrutinizing the numerous corrections, it has been possible to identify significant solutions. For example, the indication of the key signature is not always clear. In the initial staves, it is understood to be in E minor due to the presence of an F sharp in the key signature, but then this sign disappears because the composer feels the urgency to jot down the memory of an improvised piece. The same applies to irregular rhythmic groups, indicated only sporadically and evident even if implied; later, Kempff completes the manuscript with dynamic markings and numerous annotations that assist orienting the performer. Attempting to decipher the handwriting of an author is a matter of considerable interest, as it involves an immersion in the creative process of the artist and his personality. The Rhapsody presents itself with an epic character and an episodic structure. As in his other compositions, a profound mastery of the instrument is clearly evident, exploring all expressive and technical possibilities, with surprising results also from a tonal perspective.
Sonata op. 47
Published by Salabert in 1959, the Sonata is a composition with a broad formal scope despite its brevity. Kempff does not forego the articulation into multiple movements, following a classical scheme, but with his originality, he seeks a unifying idea, primarily evident in the titles. “Praeambulum” is the first movement, written in a perfect tripartite sonata form style, where the contrast between rhythmic and melodic themes is vivid. It is characterized by an evocative narrative with thematic cells in continuous transformation. The Scherzo (in complete adherence to Beethoven’s dictate) is a page of rare lightness with an internal theme assigned to the central area of the piano, expressing itself with utmost delicacy, featuring developments that span the entire keyboard.
An Adagio follows (functioning as an introduction to the final movement), certainly not lyrical but capable of creating an atmosphere of emotional tension that culminates in the Toccata. This concluding piece maintains continuity with the first movement, drawing rhythmic motifs and presenting them in a feverish and bouncing rhythmic pattern in continuous transformation.
Ischia – Suite op. 68
Wilhelm Kempff was deeply drawn to Italy, specifically to the southern part of the peninsula. He chose a gem of the Amalfi Coast as his residence: Positano, which became his home. His love for the Gulf of Naples began from afar, when, still very young, Kempff visited Capri, at the residence of the visionary doctor Axel Munthe, for a restful stay following a severe nervous breakdown.
Even from Capri, Kempff could admire “Die ferne küste,” or “The distant Coast” of the island of Ischia, a volcanic island part of the Gulf of Naples archipelago. Ischia is quite different from both Capri and the Amalfi Coast due to the manifestations of the magmatic chamber beneath. Also known as the Green Island, Ischia greatly impressed the young Kempff with its fiery energy, dark beaches with warm waters, and its ancient, rich, and profound history. The manuscript of the Suite (also recently published – Da Vinci Publishing 2021) is particularly organized, a sign of the author’s meticulous care. “Invocation: The distant Coast” is an evocative piece that represents distance through repeated chords in the right hand, creating a sense of physical space permeated by the sea mist. These chords support a melody articulated in the middle register of the piano, which is expressive and melodic. The piece is interspersed with pauses that, instead of disrupting the narrative, contribute to maintaining a strong sense of overall unity.
“Pastoral: Pan’s Flute in Front of the Church Door” paints a sonic portrait of the island, immersing the listener in an environment where the sea seems to almost completely envelop the perception of the surrounding land. Ischia is described as the green island, not only for its abundant vegetation but also for the presence of the characteristic local stone, green tuff. The composer explores expansive and open spaces, entrusting the right hand with melismas that evoke the sound of Pan’s flute: brief melodies, born from simple yet constantly varied ideas, ascending towards the high register of the piano, accompanied by simple and repetitive harmonies. This musical ensemble seems to pursue a state of enchantment, consistent with the magical and evocative atmosphere of the place.
“Lament of Vittoria Colonna” sees Kempff clothing the sorrow of Vittoria Colonna, a noblewoman and poet of the Italian Renaissance, in music. Vittoria, known for her friendship with important figures of the time such as Michelangelo Buonarroti, Ludovico Ariosto, and others, lived on Ischia with her husband Francesco Fernando D’Avalos. However, their marital life was brief, as her husband tragically died as an officer in the army of Charles V. Kempff approaches this musical narrative with essential yet effective writing. The piece features two brief and contrasting themes: the first, clearly melodic in nature, proceeds through conjunct degrees to represent the plasticity of emotion. The second theme, on the other hand, is generated from a repeated note that folds in on itself, resembling a lament. This short but intense composition is highly effective in describing the sadness associated with the tragic aspect of Vittoria Colonna’s story.
“Nocturne” is a composition that creates a sense of great inner quiet and reflection, following the Northern European tradition associated with this genre. Kempff, both composer and pianist, reveals himself through mastery of the keyboard, employing color effects capable of moving entire sound masses in contrast to each other. The dynamics, faithfully transcribed, are clearly defined by the author, who has precise solutions in mind to create a meditative and contemplative atmosphere.
The album concludes with a triptych of transcriptions by Kempff, among the most beautiful that he dedicated to Bach’s music: a journey that ranges from G minor with the Siciliano from the Flute Sonata No. 2 BWV 1031, to D major (dominant of G) with the Prelude to the Cantata ” Wir danken dir, Gott, wir danken dir ” BWV 29, and finally to G major with the Chorale Prelude “In dulci jubilo” BWV 751.
Kempff’s formation primarily takes place in the school of the great Johann Sebastian, for whom the pianist had a true adoration, as evidenced by the many recordings dedicated to the supreme Master. The activity of transcribing, on the one hand, allows Kempff to enjoy masterpieces of absolute beauty on the piano, and on the other hand, it enables him to have a more direct apprenticeship: to enter the composition and grasp its most hidden aspects. A process, moreover, dear to J. S. Bach himself, who, through the transcription activity, was able to thoroughly acquire styles far from his own, such as the music of Vivaldi.
