Wednesday, August 25, 2010

Schubert: Impromptus, Moments musicaux, Piano Sonatas [Kempff]

Kempff makes each note count for itself, and his control is superb at all times, through pianissimo or fortissimo passages alike.

Moments musicaux

Nice interweaving of echos, like jumping wild dogs in the bushes in #1.
Ah, famous #3. No wonder it is known by itself.
Lovely tempo for the theme in #4, and its baroque-like variation.

Piano Sonatas

Beautiful lyricism in movement 1 of D664. What a natural and simple way of flowing from one passage to another. What a beautiful theme in the 3rd movement, delicious way to end a CD.

Thoroughly delighted by the 1st movement of D960. It is a pearl by itself, and how enjoyable Kempff's transparent interpretation (just for this track alone is this CD worth it! ). The other movements are nice, of course, particularly the scherzo: allegro vivace. But all well below the 1st: molto moderato. I will quote the booklet, because if I wrote this myself, it would seem too far-fetched, but I feel this too[my emphasis]:
One would be reading too much into the score if one said that the [first] movement communicates a sense of leave-taking from life itself, but there is, beyond a doubt, resignation without resentment underlying the music.

Impromptus

I do not like Kempff's attacks, and the military air of #1. What a nice impromptu is #2of D899.
#3 is quite romantic, the beginning is somehow similar to Chopin. Playful yet insightful #4, like the unrest of the last Sunday before returning to school.

Beautiful lyricism in #2 of D935. Dreamy euphoria in #3, some parts sound like tango. Interesing slightly spanish obstinato in #4.



DISC 1
Name Key Catalogue Musicians Observations
Piano SonataBbD960
Moments musicauxD780 op.94
DISC 2
4 ImpromptusD899 op.90
4 ImpromptusD935 op.ph.142
Piano SonataAD664 op.ph.120

Wednesday, August 18, 2010

Beethoven: The 9 Symphonies (Furtwängler)


This is a 5 CD set from EMI Classics. As the booklet acknowledges, these interpretations will lack the free will and brave exploration of the more trying years. Perhaps Wilhelm Furtwängler wanted a more parsimonious work than in previous endeavours. This must be because the situation did not call for such a stern position on his part, but as well, for the weight of the tradition of the Wiener Philharmonic which he was conducting, for the most part.

In any case, delightful. I think that Furtwängler has a respect for the work and its details that was unheard before, and certainly not with Karajan, afterwards. A respect for little accents, flute colorings, strings rhythms, etc. I think that, novel phrasings (esp. of repetitions), the tempo and dynamics are what made Furtwängler's interpretations so magnificent and noteworthy ;-)





Symphony 1

It makes so much sense; I think it is so straightforward, simple, almost naïve. Furtwängler extracts the lyricism that it begs for. Listen particularly to the majestic crescendos in the fourth movement, like a true community rising for a single cause, enthusiasm brooding collectively. And what a nice unpretentious finale. I am delighted with it all.

Symphony 2

The more I listen to the first movement, the more I like it. The struggling to pull through, two thirds into the first movement. The passing of theme from one instrument to the others (I think it is strings and flute).

I lament the quality of the recording. Notice Furtwängler's dry and short attacks.


Symphony 3

Amazing Marica Funebre. What an undoubtedly funerary narrative by Furtwängler... with its orchestral sound languishing towards the end... how many of the musicians are still alive in the end?

Furtwängler signature (among others) is the use of tempo to reinforce the turns and twists of emotion in beethoven's work. This can be seen as well in the famous live recording of the 5th. What a precise and non-traditional use of metals in the grand finale.

Symphony 4

A more impetuous, more mature orchestration appears in Beethoven. Playful, courtly 3rd movement. Forceful 4th movement. Great contrasts in fortissimo and piano achieved by Furtwängler, can hardly imagine someone doing any better. Beethoven managed to sustain the tension a bit longer here than in previous symphonies. Magnificent sort of severe inhalaltions by the whole orchestra, as if the room would expand and contract. (I could not make sense of a little percussion like accent or noise made during those "inhalations").

Symphony 5

Since I am familiar, and who isn't, with the famous 5th, I can notice things that otherwise remain hidden to me. For sintance, I can compare Furtwängler's version with Karajan's, since Karajan's is often played, and was my father's favorite. So my ear was conformed to Karajan's style. Today I can compare Furtwängler's style with a healthy meal, simple powerful recipe. Karajan's is more like a fatty meal, more comparable to comfort food. Furtwängler always adds spices, and each can be tasted, where as Karajan's is like excellent puffy or crispy, but salty fatty fries.

With Furtwängler, along with the interpretative effort, the simple orchestration allows for more enjoyment of the particular instruments, in ornamentations, accents, and timbres, be them in drums, violins, metals... hidden gems, that are brought to light, that would otherwise be only known to a few.
Amazing 3rd movement! An amazing and novel phrasing of the violins, which makes so much sense, until he decides to break it up, to give way to the beautiful demonstration of basses, strings and metals. And so generous and pious pizzicato.

Symphony 6

Very nice storm in the 4th movement.

Symphony 7

Extraordinary impetus in the opening raising scales of movement 1. Quite a nimble flute contrasting with the struggling orchestra in the 4th. Lovely galloping orchestra during the resolution.  Fantastic Finale, even if one has little time, and one wants the finale, it is worth going through the rest, to build that frantic load of excitement.

Symphony 8

Too bad the sound is too muddled. As per the booklet's information, there is no studio recording from Furtwängler of the 8th. Perhaps of all, this is the one of the set where Furtwängler's guillotine-like tempo is more clearly perceived, in the 1st movement. Great touch of strings accents by the strings in the 2nd, contrasting with the pianissimo of the melody and harmony. The staccato reinforces the precision tempo just mentioned, further marked by clear attacks on each note. I think the fanfarre theme of the 3rd is a bit overdone, and the least interesting.

Symphony 9

It boasts Furtwängler's control on attacks, dynamics, and theme lines. The 1st movement is so powerful yet clear, even its frantic sections. The 2nd works like half a dozen chariots darting or struggling through different terrains, sometimes apart - sometimes reunited, with a few stops to rest and talk. Personally, this version's 3rd movement does not tell me anything, and I think it is too slow. For the 4th, in its full majesticness, has, with Furtwängler, a Slavic more than a Germanic flavor. I might guess the tempo and the emphasis on the metals.


Name Key Catalogue Musicians Observations
CD 1
Symphony #1COp.21Wiener Philharmoniker1952
Symphony #3EbOp.55Wiener PhilharmonikerEroica, 1952
CD 2
Symphony #2DOp.36Wiener Philharmoniker1948, live
Symphony #4BbOp.60Wiener Philharmoniker1952
CD 3
Symphony #5CmOp.67Wiener Philharmoniker1954
Symphony #7AOp.92Wiener Philharmoniker1950
CD 4
Symphony #6FOp.68Wiener PhilharmonikerPastoral, 1952
Symphony #8FOp.93Stockholm Philharmonic Orchestra1948, live
CD 5
Symphony #9DmOp.125
  • Wiener Philharmoniker
  • Elisabeth Schwarzkopf, soprano
  • Elisabeth Höngen, alto
  • Hans Hopf, tenor
  • Otto Edelmann, basso
  • Chor & Orchester der Bayreuther Festspiele
Choral, 1951, live

Sunday, August 15, 2010

Beethoven: Piano Concerto 4 & 5

Excellent. Beautiful concerti, and one can always count on Pollini for a forceful virtuoso interpretation. And Beethoven asks for one, of course.



Name Key Catalogue MovementsObservations
Konzert für Klavier & Orchester #5Ebop.73
  1. Allegro
  2. Adagio un poco mosso-attacca
  3. Rondo. Allegro
Emperor
Konzert für Klavier & Orchester  #4Gop.58
  1. Allegro moderato
  2. Andante con moto
  3. Rondo. Vivace
Maurizio Pollini, piano
Karl Böhm / Wiener Philharmoniker.

General information on the piano concerti, scores, instruments, performers, etc: No.5 op.73, at wikipedia
No.4, Op.58, at wikipedia

Chopin: Polonaises (Pollini)

Authoritative interpretation. Strong, commanding. Great force from transparently virtuoso Maurizio Pollini.
Perfectly strict left hand in Polonaise héroïque.
Deutsche Grammophon CD, with Maurizio Pollini, piano, recorded 1976


Name Key Catalogue InstructionObservations
Polonaise 1C#mop. 26 #1Allegro appassionato
Polonaise 2Ebmop. 26 #2Maestoso
Polonaise 3Aop. 40 #1Allegro con brio 'Militaire'
Polonaise 4Cmop. 40 #2Allegro maestoso
Polonaise 5F#mop. 44Tempo di polacca - doppio movimento, tempo di Mazurka - Tempo 1
Polonaise 6Abop. 53Maestoso 'Héroïque'
Polonaise 7Abop. 61Allegro maestoso Polonaise-Fantaisie
Chopin's Polonaises at Wikipedia

Sunday, August 8, 2010

Wilhelm Kempff: Great Pianists of the 20th Century


This CD from Philips Great Pianists of the 20th Century is the second of a 3 part view of Wilhelm Kempff, as chosen by Alfred Brendel, who admired Kempff.

I would have to agree that Michael Steinberg, whose comments appear in the accompanying booklet, that Kempff is particularly simple (I would add sober) in all these interpretations.

I, and now I am sure I am being shallow as my opinion contradicts Brendel's, did not like this CD. CD-2 I do not foresee me listening to, and CD-1 I am sure I can find more pleasurable (at least to my ear and experience) versions.

Regardless, this CD comes quite recommended elsewhere.

CD 1

Franz Schubert

  • Piano Sonata in Am, D845
    1. Moderato
    2. Andante, poco mosso
    3. Scherzo, Allegro vivace
    4. Rondo, Allegro vivace

Beethoven

  • Piano Sonata in Em, Op.90
  1. Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck
  2. Nicht zu geschwind und sehr singbar vorgetragen

    Mozart

    • Piano Concerto #23 in A, KV 488
      • Ferdinand Leitner/Bamberger Symphoniker
    1. Allegro
    2. Adagio
    3. Allegro assai

    CD 2

    Franz Liszt

    • Deux Légendes
      • Saint François d'Assise: la prédication aux oiseaux
      • Saint François de Paule marchant sur les flots
    • Années de pèlerinage
      • Première année: Suisse
        • excerpts (7, 2, 4)
      • Deuxième année: Italie
        • excerpts (2, 3, 4, 5, 6)

    JS Bach + Kempff

    • Nun komm' der Heiden Heiland, BWV 659
    • Jesus bleibet meine Freude (from BWV 147)
    • Wachet auf! ruft uns die Stimme (from BWV 140)

    Saturday, August 7, 2010

    Tchaikovsky+Rachmaninoff (Van Cliburn): Piano concerto (1 bzw 2)

    Tchikovsky's 2nd movement is just a superb piece, alternating peacefulness and exuberance. Precisely the setting for a superb performance.  The 3rd movement interspersed French arpeggiate cannot betray its Slavic origin with its theme of winds and strings with exclamations from the metals.

    Rachmaninoff's concerto is so superbly performed that the interpretation itself can be or not transparent (which although unrelated does not occur with Il Giardino Armonico). One can just leave oneself to be inebriated, or attend to each instrument, at no loss of enjoyment.


    Name Key Catalogue Musicians Observations
    Tchaikovsky:
    Piano Concerto #1
    BbmOp.23Kiril Kondrashin/RCA Symphony Orchestra1958
    Rachmaninoff:
    Piano Concerto #2
    CmOp.18Fritz Reiner/Chicago Symphony Orchestra1962

    This is an instant RCA Red Seal SACD favorite!

    Thursday, August 5, 2010

    Schubert: Lieder

    This combination can never go wrong: Schubert, Dietrich Fischer-Dieskau and Gerald Moore. This is one of the safest CD's to buy, just lovely and inspiring.
    These lieder allow Fischer-Dieskau to show a vast range of dynamics and emotions, while Gerald Moore shows how well he merged into the singer's intention. My favorite accompanying pianist.
    I have to say that I am deeply touched by "Das Zügenglöcklein"(6). Fischer-Dieskau's is magnificent in the "command to come in", as well as in the delicacy of the last line of each of the verses. And what a magnificent poem speaking about the parish bell calling on someone's imminent death.



    An Emi Classic CD of digitally remastered (1988) recordings of mostly 1965, except for 21:1958, and 15+16:1962.

    1. An die Entfernte D765
    2. Auf dem Wasser zu singen D774
    3. Der Schiffer D536
    4. Der Wanderer D649
    5. Nachtgesang D314
    6. Das Zügenglöcklein D871
    7. Der Jüngling und der Tod D545
    8. Das Heimweh D456
    9. Das Lied im Grünen D917
    10. Der Tod und das Mädchen D531
    11. Der Winterabend D938
    12. Der Zürnende Barde D785
    13. Der Strom D565
    14. Litanei auf das Fest Allerseelen D343
    15. Sei mir gegrüsst D741
    16. Du bist die Ruh D776
    17. Heidenröslein D257 (Johann Wolfgang von Goethe)
    18. Ständchen, 'Horch! Horch! die Lerch' D889
    19. Der Jüngling an der Quelle D300
    20. Die Forelle D550
    21. Der Erlkönig D328

    Monday, August 2, 2010

    Mahler: Rückert-Lieder (Kindertotenlieder, 5 Rückert-Lieder, fahrendes Gesellen)

    This is a Great Recordings of the 20th Century CD from EMI, including 2 song cycles, a song set, and a glorious repetition of single song song from a second set. The set and one cycle are poems by Rückert, while the other cycle is Mahler's unlove poems. The lyrics are included in Spanish, French, German (original, all), English. I have to say that by far the best translation of the three is the Spanish. It keeps the essence and keeps closer elements to the German. The other two have been worded too freely.
    I have to say that it is very seldom that one can find a working of 4 different people so well put together: Rückert, Mahler, Barbirolli, and Baker. It is hard to believe that each worked on its own. On its own time and space, to be empathic with the tone of the lyrics. Alone, of course, until Baker and Barbirolli joined on rehearsals. The booklet's text is very appropriate for this CD (which is something unusual, in my opinion), because the writer gives a 1st person perspective as well as a personal narrative.

    Whoever listens to this CD (unless a German expert, of course... oder Deutsche als Muttersprache, aber natürlich) should follow reading the lyrics closely to enjoy this fully.
    The last song, which repeats the 2nd set's fifth song, is superbly performed, sublime interpretation by all.

    Janet Baker, mezzo-soprano; John Barbirolli conducts the Hallé Orchestra, New Philharmonia Orchestra

    CD contents

    • Kindertotenlieder, song cycle for voice & piano [or orchestra] (Rückert)
    • Rückert Lieder, song collection for voice & piano [or orchestra] (Rückert)
    • Lieder eines fahrenden Gesellen, song cycle for voice & piano [or orchestra] (Mahler lyrics)
    • Ich bin der Welt abhanden gekommen, song for voice & piano [or orchestra] (#5 of 7 Songs by (Rückert) )

    Sunday, August 1, 2010

    J.S. Bach: Die Sonaten für Viola Da Gamba und Cembalo

    I have to concur with a couple of the reviews in the Amazon page, in that this CD irks me. Like a dozen mosquitoes swarming around an ear for an hour.
    I can only say that I bought this CD as a recommendation based on the very talented performers, with the added plus of the sound of original instruments:

    • Jordi Savall, viole de gambe
      • Pellegrino Zanetti, Venise 1550 (sonata 1)
      • (à sept cordes) Barak Norman, London 1697 (sonata 2,3)
      • (altus) Andreas Doerffel, Klingenthal 1757 (sonata 4)
    • Ton Koopman, Clavecin
      • Christian Zell, Hamburg 1737 (property of Museo de la Música, Instituo de Cultura de Barcelona)

    Name Key Catalogue Musicians Observations
    Trio SonataCBWV 529 / BC J5based on the Sonate V for organ in C major
    Sonata for viola da gamba & keyboard #1G BWV 1027
    Sonata for viola da gamba & keyboard #2BWV 1028
    Sonata for viola da gamba & keyboard #3Gb BWV 1029

    Lipatti: Bach, Liszt, Bartók

    I have to say that Dinu Lipatti is amazing. Despite this fact, I could not enjoy Liszt nor Bartók, as I expected (due to my taste of authors, of course). But Busoni's adaptation for piano of Bach's BWV 1052 - Concerto for harpsichord No.1 in D minor in the hands of Dinu Lipatti is just sublime.

    Name Key Catalogue Musicians Observations
    JS Bach: Concerto for harpsichord #1DmBWV 1052Eduard van Beinum / Concertgebouw orchestra,  1947Arranged by Busoni
    Franz Liszt: Piano Concerto #1EbS.124Ernest Ansermet / Orchestre de la Suisse Romande, 1947
    Béla Bartók: Piano Concerto #3Sz. 119Paul Sacher / Orchester des Südwestdeutschen Rundfunks, 1948

    Stravinsky: Le Sacre du Printemps, L'oiseau de feu, u.a.

    I feel this music more as being incidental... or spatial. It is more of sensation evocation, rather than emotions... more a music for the skin, than a music for the heart or mind.
    In an earlier version of this same post I wrote

    I (ashamed to confess, as usual :*(  ) did not find a particular connection to Le Sacre du Printemps. Conversely, I even feel relieved when I listened to L'oiseau de feu. Perhaps my still unsophisticated (although improving) ear still cherishes the comfort of acquaintance to a particular work.
    I can say now, several months later that I enjoy it and anticipate listening to it. I have to say that I needed to watch a TV documentary that explained the Rite of Spring to the broad audience, in order to enjoy the deliberate inebriatedness of the work. I still will have to contrast this version to Maazel's with the Radio Symphonie Orchester Berlin.

    Claudio Abbado conducts the London Symphony Orchestra in this Deutsche Grammophon CD. With Teresa Berganza, mezzo-soprano; Ryland Davies, tenor; John Shirley-Quirk, bass


    Name Key PartMusicians Observations
    CD 1
    Le Sacre du Printemps(La consagración de la primavera) Part 1: The Adoration of the Earth published 1947
    Le Sacre du Printemps Part 2: The Sacrifice published 1947
    L'oiseau de feu (The Firebird) Suite 1919
    Jeu de cartes
    CD 2
    Petrouchka4 scenes
    Pulcinella Balletin one actrevised version of 1947