I was recommended this 3-CD set very highly, but I did not find it appealing. Nonetheless, I can comment on the wide character variation and expressivity that Hotter adds to the Winterreise.
Kempff makes each note count for itself, and his control is superb at all times, through pianissimo or fortissimo passages alike.
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.
| DISC 1 | ||||
|---|---|---|---|---|
| Name | Key | Catalogue | Musicians | Observations |
| Piano Sonata | Bb | D960 | ||
| Moments musicaux | D780 op.94 | |||
| DISC 2 | ||||
| 4 Impromptus | D899 op.90 | |||
| 4 Impromptus | D935 op.ph.142 | |||
| Piano Sonata | A | D664 op.ph.120 |
CD 1Franz Schubert
Beethoven
Mozart
| CD 2Franz Liszt
JS Bach + Kempff
|
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.
I have to say that it took me like 10 times to appreciate this quintet. I do not have memory of having heard it before I bought it. The first times, I just thought it was a waste of emotiveness. I had to listen to it a few times, to start identifying passages I liked.
Now I can say that it is among the music that I undoubtedly had to have in my collection. In the allegro, it has stubborn repetitions with accompanying lyricism, alternations of impetus and reflexions. I particularly enjoy the tension Schubert creates whenever he wants to emphasize. Listen particularly to the main theme of the adagio. The allegretto has a playful slavic air. It becomes stubborn too.
This is a live version by the Emerson String Quartet with guest Mstislav Rostropovich as second Violoncello.
This is amazing. It is a lovely set of 3 CD's from Vox. There is no loss throughout the set. (I should come to write further sometime ;). Brendel is brilliant. The set is so favourably priced as well.
Beautiful short varied pieces, with Schwarzkopf's expressiveness and precision.
Elizabeth Schwarzkopf (soprano) accompanied on the piano by Edwin Fischer(3-14), Gerald Moore (1,2 & 15-22), and Geoffrey Parsons (23 & 24). I have to say that my favorite version for (8) is with Gerald Moore, unfortunately I have not yet found it with Schwarzkopf (in fact I do not even know if they recorded it together).
This CD has been praised so heavily, it was a must-have. And certainly it did not fail to the expectations created.
How sweet was the decrescendo in the sixth movement of the partita.
Beautiful "Jesus bleibet meine Freude" and the sonata for flute & harpsichord #2. Especially in the latter, how beautiful the transcription made by Kempff, that one can distinctly listen the flute in the piano.
Wow! Such a carefree playing of Mozart's Sonata #8 in Am.
The sound of the 1957 recording, that is Schubert's, is a bit too muted, and is the least giving, perhaps for being live. Yet, it is amazing how Lipatti plays each style so distinctively. And how tender and lovingly, yet seemingly carefree, he interprets each.
These recordings were done in 1950, 51 and 57, and they are so clear, a CD by EMI Classics.
| Name | Key | Catalogue | Musicians | Observations |
|---|---|---|---|---|
| Partita #1 | Bb | BWV 825 | Bach | 1950 |
| Choralvorspiel | BWV 599 | Bach | 1951, "Nun komm', der Heiden Heiland" (arr. Busoni) | |
| Chorale Prelude | BWV 639 | Bach | 1951, "Ich ruf zu dir, Herr Jesu Christ" (arr. Busoni) | |
| Cantata | BWV 147 | Bach | 1951, "Jesu bleibet meine Freude" (arr. Hess) | |
| Sonata for flute & harpsichord #2 | BWV 1031 | Bach | 1951 (arr. Kempff) | |
| Sonata | E | Kk 380 | Domenico Scarlatti | 1951 |
| Sonata | Dm | Kk9 | Domenico Scarlatti | 1951, "Pastorale" |
| Sonata #8 | Am | K310 | Mozart | 1951 |
| Impromptu | Gb | D.899 N.3 | Schubert | 1957 |
| Impromptu | Eb | D.899 N.2 | Schubert | 1957 |
I had to listen to this CD 4 times, before I could appreciate it. I will quote myself after my first listening:
Well despite boasting the participation of Rostropovich, I have to say that I am not impressed by this work. I feel that it simply accumulates many loose phrases that end not being sufficiently tied up in a coherent work. I think it sounds like a Beethoven wannabe, with little dramatism.
This is my first impression, and I will listen to it again.
| Name | Key | Catalogue | Musicians | Observations |
|---|---|---|---|---|
| StreichQuintett | C | D 956 | Emerson String Quartet and Rostropovich |
This disc is amazing too.
It plays a very nice sonata with its intended dead (as in latin) instrument, and its contemporary companion. These are the arpeggione a fretted, bowed, 6-string instrument, and the famous pianoforte which evolved into modern pianos.
I have to say that Rostropovich's interpretation is fantastic (as noted in earlier posts), but the charm of this historic recording is amazing. Very hard to find, indeed.
Along with the arpeggione sonata come the variations for flute and pianoforte "Trockne Blumen". I will omit comments on it, as it did not impress me.
Constructors:
Arpeggione: Anton Mitteis, mid s.XIX
Flute: Matheus Schrafft, 1830
Fortepiano: Joseph Brodmann, Vienna ca.1810
| Name | Key | Catalogue | Musicians | Observations |
|---|---|---|---|---|
| Sonata für Arpeggione | D.821 | Klaus Storek, arpeggione Alfons Kontarsky, fortepiano | ||
| Trockne Blumen | D.802 | Hans-Martin Linde, flute Alfons Kontarsky, fortepiano |
As the booklet quotes, the sound quality is amazing... it is so warm yet harsh. Both musicians, Rostropovich(cello) & Britten(piano) are so well coupled that it sounds as a perfect unit. And though the Schubert's Arpeggione sonata is simple, it is so direct and with such an emotional interpretation that it keeps resounding after it is over. Amazing sound produced by the cello, with plucked chords at some point.
Schumann's five pieces are quite lively and wholehearted.
Debussy is more contemplative and excessively tentative, instead of inspired to my taste.
Definitely a must buy!!
Decca: Legendary Performances, Legends 1968
engineered at 96Khz 24-bit (Super Digital transfer) above standards
| Name | Key | Catalogue | Musicians | Observations |
|---|---|---|---|---|
| Franz Schubert: Sonata for arpeggione and piano | D821 | Recorded Snape, 1968 | ||
| Robert Schumann: Fünf Stücke im Volkston | p.102 | London 1961 | ||
| Claude Debussy: Sonata for cello and piano | L.135 | London 1961 |
Beautiful interpretation by Dietrich Fischer-Dieskau (baritone) and Gerald Moore (piano) of Schubert's D911 (Deutsche Grammophon, 1972).
Great narrative was achieved by the baritone's sensibility and dynamic range, as he interprets different characters throughout the work from poems by Wilhelm Müller. No emotions were withheld by Fischer-Dieskau, marking the different characters with distinct voices (timbres). A must-listen. Moore's accompaniment is delicious as well. (Amazon indicated this album has been discontinued by DG)
