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FROMMEL, Gerhard (1906-1984)


  • Tatjana Blome, piano

GERHARD FROMMEL regarded his piano sonatas as a miniature compendium of his entire output, reflecting a fundamentally Romantic approach melded with Stravinskian vitality. The Sixth Sonata’s poised profundity, inventiveness and structural perfection gives it a place as one of the best in its genre, its serene transparency lying between the powerfully heroic Fifth Sonata and the crystalline quality of the Seventh; a summation of expression in a work that Frommel was conscious would be his last.


Piano Sonata No. 4 in F Major, Op. 21 (1943) (00:14:18 )
I. Allegro moderato * (00:06:29)
II. Tempo di Siciliano * (00:04:30)
III. Allegro molto * (00:02:46)
Piano Sonata No. 5 in E-Flat Major, Op. 35 (1951) * (00:15:19)
Piano Sonata No. 6 in B-Flat Major (1956) (00:18:09 )
I. Allegro molto, sempre un poco rubato * (00:06:40)
II. Adagio * (00:07:07)
III. Rondo (nach der Funftonskala): Allegro * (00:04:24)
Piano Sonata No. 7 in C Major (1966) (00:23:17 )
I. Allegro non troppo, alla breve * (00:08:16)
II. Larghetto, tempo rubato * (00:07:42)
III. Allegro * (00:07:29)
World Première Recording
Total Time: 01:10:42

The Artist

Blome, Tatjana

Tatjana Blome took first prize in the Steinway Competition at the age of twelve and a year later gave her first piano recital. In 1995 she made her début with Brahms’s Concerto No. 1 at the Berlin Philharmonie. She has appeared throughout Germany in recitals and as a soloist with various orchestras. She has some 70 recordings to her credit, for Deutsche Grammophon, EDA, Naxos and others. On the Grand Piano label, she has released two volumes of Gerhard Frommel’s piano sonatas [GP606 and 640] to critical acclaim, with MusicWeb International describing them as “nuanced… powerful performances” and American Record Guide finding “one thing after another to marvel at and delight in.”


“Blome offers nuanced, at times powerful performances” – MusicWeb International

“the young German pianist, Tatjana Blome, has done everything possible for the music, and the clarity of her fingers certainly makes clear the various strands in complex passages.” – David Denton