Friday, July 29, 2016
This is a wonderful collection of solo piano compositions played by different artists, such as Martha Argerich, Daniel Barenboim, Lang Lang, and more. Here is a long list of the selections that are recorded for your enjoyment: Bach, J S: Prelude & Fugue Book 1 No. 1 in C major, BWV846: Prelude Hélène Grimaud (piano) Beethoven: Piano Sonata No. 14 in C sharp minor, Op. 27 No. 2 ‘Moonlight’: Adagio sostenuto Daniel Barenboim (piano) Brahms: Intermezzo in E flat major, Op. 117 No. 1 Wilhelm Kempff (piano) Chopin: Nocturne No. 2 in E flat major, Op. 9 No. 2 Daniel Barenboim (piano) Nocturne No. 5 in F sharp major, Op. 15 No. 2 Daniel Barenboim (piano) Prelude Op. 28 No. 4 in E minor Martha Argerich (piano) Prelude Op. 28 No. 7 in A major Martha Argerich (piano) Debussy: Préludes – Book 1: No. 8, La fille aux cheveux de lin Dino Ciani (piano) Clair de Lune (from Suite Bergamasque) Alexis Weissenberg (piano) Grieg: Lyric Pieces Op. 43: No. 6 – To Spring Mikhail Pletnev (piano) Lyric Pieces Op. 54: No. 4 – Nocturne Andrei Gavrilov (piano) Liszt: Consolation, S. 172 No. 3 in D flat major Daniel Barenboim (piano) Liebestraum, S541 No. 3 (Nocturne in A flat major) Yundi Li (piano) Mendelssohn: Song without Words, Op. 19b No. 1 in E major ‘Sweet Remembrance’ Daniel Barenboim (piano) Song without Words, Op. 30 No. 6 in F sharp minor ‘Venezianisches Gondellied No. 2’ Daniel Barenboim (piano) Rachmaninov: Prelude Op. 23 No. 4 in D major Lazar Berman (piano) Prelude Op. 32 No. 12 in G sharp minor Lilya Zilberstein (piano) Satie: Gymnopédie No. 1 Jean-Marc Luisada (piano) Schubert: Impromptu in G flat major, D899 No. 3 Daniel Barenboim (piano) Schumann: Kinderszenen, Op. 15: Traümerei Lang Lang (piano)
Kirill Gerstein (piano) (Myrios)Liszt’s cycle of 12 pieces – full title Etudes d’exécution transcendante and more often played individually – count among the most fiendishly virtuosic of all piano compositions. Each piece has a title, some descriptive (Vision, Eroica, Chasse-neige), some relating to tempo or form. The particular interest here is Kirill Gerstein’s decision to perform them complete, and the questions about interpretation – notably speed, dynamics – that result. Born in the Soviet Union in 1979 and musically prodigious from the start, Gerstein had an early encounter with jazz before deciding, aged 16, to becoming a classical pianist. Perhaps that knowledge of improvisation, together with a sharp, analytical approach, gives his playing its distinctive freedom, risk and excitement. Continue reading...
William Howard (piano) (Orchid)This disc of songs without words – some too familiar (Schubert’s Ständchen; Liszt’s Liebestraum No 3), some charmingly unfamiliar (Zdenĕk Fibich’s Andante from his Moods, Impressions and Souvenirs; Vítĕzslav Novák’s Serenáda Op 9, No 3) – forms part of a wider project designed to encourage contemporary explorations of the love song genre. The pianist William Howard will shortly launch a competition for today’s composers to provide new expressions of ecstatic joy to join those played so winningly here, particularly the sensual Maiden and the Nightingale from Goyescas by Granados and Kreisler’s evergreen arrangement of Rachmaninov’s Liebesleid. Continue reading...
25 June 1825: The performance of Master Liszt was received with a warmth of applause which must have been highly gratifying to his feelingsMessrs. Ward and Andrews’s second concert took place on Monday evening last, when the theatre was filled nearly in every part by one of the most respectable audiences we ever remember to have seen in it. The performance of Master Liszt on the piano-forte was received, as usual, with a warmth of applause which must have been highly gratifying to his feelings.Indeed, no one could possibly hear him without being delighted; it did not need an acquaintance with music to feel that he was a most extraordinary performer; and it is not necessary, in estimating his powers, to make any allowance on account of his youth; for his performance would be most extraordinary in a person of any age. Continue reading...
James Gilchrist and Anna Tilbrook at the Wigmore Hall, London with Sally Beamish's West Wind. Gilchrist has been one of the most determined advocates of English song, almost from the beginning of his career. Although his core repertoire is built on solid foundations of Handel, Purcell, RVW, Britten, and especially Gerald Finzi of whom he is a great exponent, Gilchrist has always made a point of promoting composers who should be more in the mainstream, like Hugh Wood, Lennox Berkeley and John Jeffreys and others whom he's performed live but not recorded. . By commissioning Beamish, one of the most prominent British composers for voice, Gilchrist is again making a valuable contribution to British music. Beamish's West Wind is based on Percy Bysshe Shelley's Ode to the West Wind, which everyone knows as a poem, but which has hardly ever been set to music, at least not in full. English poets dominate world literature - Shakespeare, the Restoration poets, Wordsworth, Keats - but this heritage is hardly reflected in music. History might explain things. The Industrial Revolution transformed British society, making it more urban and centralized than was the case elsewhere in Europe. British and European Romanticism were very different, in ways too complex to describe here. Furthermore, the British choral tradition was so strong that other forms of music making didn't get much attention. Perhaps the very nature of English Romantic poetry is relevant. The style is fulsome and elegaic, lending itself to oratorio rather than to art song. It's significant that Hubert Parry was one of the first to create art song from English poetry. Read here about the ground breaking series of Parry's songs to English texts from Somm Records (Gilchrist, Roderick Williams and Susan Gritton.) Rolling, circular figures introduce Beamish's West Wind the voice entering from a distance as if it were being blown in by the "pestilence stricken multitudes". Soon, though, the voice asserts itself., Gilchrist dings the words "Cold and low.....the corpse within its grave". A slow, penetrating chill descends, but, like the wind, the music changes direction, at turns capricious, rhen still, then rushing forth. The third section is particularly beautiful. Delicate piano figures lead into curling, keening vocal phrases that seem to hover in the air, "Lull'd by the coil of his crystalline streams". In the lower register of the piano, perhaps we can detect sonorous "lungs" . Suddenly lightness returns. "If I were a dead leaf", Gilchrist sings, almost unaccompanied, suggesting fragility. His touch is delicate, yet perfectly poised. The phrasing suits his voice. Gilchrist has the strange esoteric timbre of a typical English tenor, but also direct, almost conversational naturalness. From vulnerable sensitivity to the ferocity of the last poem. "Make me thy lyre" Gilchrist growls at the bottom of his timbre. Now Tilbrook's playing flutters weightlessly, like falling leaves. "Scatter, scatter, scatter" Gilchrist sings, each word on a slightly different level. "O.. O...O " he sang, mimicking the sound of wind, the word "Wind" pitched and held so high that it floated, rarified, into air. Beamish's West Wind is quirky, underlining the disturbing undercurrents in a poem ostensibly about Nature, but too malign to be a "nature poem". I kept thinking of Peter Warlock's The Curlew, another cycle well suited to Gilchrist's style. I also remembered Gilchrist's Die Schöne Müllerin. There are hundreds of recordings, but his stood out out from the competition because it was an interpretation derived as if from clinical observation of the miller's psychology. In this Wigmore Hall recital, Gilchrist and Tilbrook included songs by Mendelssohn,and Liszt and Schumann's Liederkreis op 39. Eichendorff's poems are less overtly ironic than Heine's, which formed the basis of Schumann's Leiderkreis Op 24. but are perhaps closer to,the spirit of the very early Romantic period. After hearing this performance, I've decided to grt Gilchrist's recent recording of the Schumann song cycles on Linn. photo credit operomnia.uk/Hazard Chase Management
On May 3, 1943, one of Germany’s most gifted young pianists was expected to give a recital at Heidelberg University. Karlrobert Kreiten never turned up. He had been arrested by the Gestapo for making anti-Hitler remarks, reported by a zealous neighbour. Tortured and abused, he was tried by the Nazi judge Roland Freisler and condemned to death by hanging, along with 185 others. Kreiten, a Dutch citizen, was 27 years old. Next week, the pianist Florian Heinisch and author Moritz von Bredow will tour Germany with what should have been Kreiten’s Heidelberg recital – works by Bach-Busoni, Chopin, Mozart, Beethoven and Liszt. Tour dates: Bonn (19th), Cologne (21.6), Dusseldorf (22.6), Bremen (24.6). Heidelberg (26.6), Hamburg (27.6), Munich (29.6), Berlin (30.6)
Franz Liszt (October 22, 1811 July 31, 1886) was a 19th century Hungarian composer, virtuoso pianist and teacher. Liszt became renowned throughout Europe during the 19th century for his great skill as a performer. Liszt was said by his contemporaries to have been the most technically advanced pianist of his age and perhaps the greatest pianist of all time. Liszt was also an important and influential composer, a notable piano teacher, a conductor who contributed significantly to the modern development of the art, and a benefactor to other composers and performers, notably Richard Wagner, Hector Berlioz, Camille Saint-Saëns, Edvard Grieg and Alexander Borodin. As a composer, Franz Liszt was one of the most prominent representatives of the New German School. He left behind an extensive and diverse body of work, in which he influenced his forward-looking contemporaries and anticipated some 20th-century ideas and trends. Some of Liszt's most notable contributions were the invention of the symphonic poem, developing the concept of thematic transformation as part of his experiments in musical form and making radical departures in harmony.
Great composers of classical music