Jean Louis Nicodé: Piano Music, Vol. 1
As pianist, conductor and composer, Jean Louis Nicodé (1853-1919) was one of the most highly respected musicians of his day. Born in Posen in Prussia (Poznań in present day Poland), he became a stalwart of musical life in Dresden in the closing years of the nineteenth century. Today his name is as good as unknown, with his music suffering the same fate as his reputation as a performer – although he was a highly accomplished composer. HIs piano music has hints of Chopin, Liszt and Schumann, and the spirit of dance is never far from the surface, but his expansive, and only, piano sonata has a visionary quality with its origins in late Beethoven.
Muen Vanessa Wei, piano
Listen To This Recording:
Italienische Volkstänze und Lieder, Op. 13
- I. Tarantelle (4:25)
- II. Canzonette (5:48)
- III. Barcarolle (2:42)
- IV. Saltarello (6:13)
Piano Sonata in F Minor, Op. 19
- I. Allegro affettuoso (14:23)
- II. Adagio (Weihevoll und sehr gebunden vorzutragen) (9:14)
- III. Menuett. In mässigem Tempo (crotchet = 92) (5:55)
- IV. Rondo. Allegro agitato (minim = 96) (9:02)
- Scherzo, Op. 19a (5:38)
First Recordings
American Record Guide :
‘The young Chinese pianist plays with great clarity and all the necessary inflections. […]
a worthwhile release. […]
—Bruno Repp, American Record Guide, April 2025
Pizzicato :
‘Wei begins by playing the four-part cycle « Italian Folk Dances and Songs op. 13, » which the composer wrote at the age of 25. In just under 20 minutes, we hear dancing and cheerful music.
The nearly 40-minute sonata begins with a passionate Allegro affettuoso. Wei avoids pathos without losing expressiveness. The Adagio is also pleasing to the ear, before a charming minuet leads to a lively and alert finale.
The concluding scherzo is colorful, shimmering and light. Muen Vanessa Wei plays with a pleasant lightness, avoiding heaviness and force. This adds elegance to the music.’
—Remy Franck, Pizzicato
AllMusic :
‘Two notable aspects will become apparent on listening and reflection. One is that Nicodé’s treatment of his influences is fresh and original. […] The second strength is that to weave these influences together effectively is a nifty trick, and Nicodé managed it. […] the transitions [in the first movement] are quite skillfully handled. […] The gentle Menuett third movement, quite an original thing at the time, is also entirely fresh. Wei’s delicate treatment of this movement is terrific, and her playing throughout is fluent. The booklet notes to this Toccata release, heavily footnoted, may well contain the most detailed biographical information on Nicodé anywhere; the album […] is distinctive and interesting for anyone. One awaits the promised further Nicodé music from Wei.’
—James Manheim, AllMusic
Fanfare :
‘The admirable practice of the Toccata label of finding lesser-known composers from the past has often provided the pleasure of discovery. […] , it is often enjoyable and very much worth hearing. So it is with Jean Louis Nicodé. […]
{His piano sonata] is a very enjoyable sonata that holds the listener’s interest for its 38 minutes. […]
The four make for enjoyable listening […]
Chinese pianist Muen Vanessa Wei obviously believes in this music and gives performances of great textural clarity, balancing contrapuntal lines very well. […] William Melton’s expansive program notes are a model of what is required for such an unfamiliar composer, and Toccata’s recorded sound is clear and natural.’
—Henry Fogel, Fanfare
Fanfare :
‘I was impressed with pianist Muen Vanessa Wei’s fluid virtuosity and effortless quick gestures in the opening movement [of the Italian Folk Dances and Songs], her lovely singing lines in the second, and the dynamism with which she executes the Saltarello. […]
This Piano Sonata in F minor, op. 19 dates from 1879, and opens with a thematic statement of heroic character that suggests that a major musical undertaking is commencing. From this point, the composer expertly develops his material in typical sonata-allegro fashion, taking almost a quarter hour to present just the first movement. The development section is particularly impressive in its masterful exploration of various distant tonal centers while reimagining the thematic material of the exposition. The following introspective Adagio (Weihevoll und sehr gebunden vorzutragen) (to be delivered solemnly and in a very formal manner) contrasts nicely with the bold opening movement, and once again allows the pianist to caress its lovely lines throughout its nine-minute duration. […]
Wei does an exemplary job in bringing out the contrasts in the ideas of [the piano sonata] that is good enough to deserve the attention of other pianists. The program closes with a relatively brief Scherzo, an utter delight—especially in the expert hands of this pianist. […]
I shall be eagerly anticipating future releases on this series of the piano music of Jean Louis Nicodé, whose reputation Wei and Anderson are helping bring back from its undeserved obscurity. Unequivocally and highly recommended.’
—David DeBoor Canfield, Fanfare, March 2026