Schumann: Kinderszenen, Waldszenen, Papillons, Three Romances[Kempff]

Beautiful Eloquence/Deutsche-Grammophon CD boasting Wilhelm Kempff's interpretation of small piano pieces by Robert Schumann. Wilhelm Kempff shows his great range and amazing clear play under any circumstance.
I personally think he is too harsh sometimes, but his control is superb.

Kinderszenen and Three Romances were recorded in 1973; Waldszenen in 1974; and Papillons in 1967.

• Kinderszenen, op.15
1. Von fremden Ländern und Menschen
2. Kuriose Geschichte
3. Hasche-Mann
4. Bittendes Kind
5. Glückes genug
6. Wichtige Begebenheit
7. Träumerei
8. Am Kamin
9. Ritter vom Steckenpferd
10. Fast zu ernst
11. Fürchtenmachen
12. Kind im Einschlummern
13. Der Dichter spricht
• Waldszenen, op.82
1. Eintritt. Nicht zu schnell
2. Jager auf der lauer. Hochst lebhaft
3. Einsame Blumen
4. Verrufene Stelle
5. Freundliche Landschaft
6. Herberge. Mäßig
7. Vogel als Prophet. Langsam, sehr zart
8. Jagdlied. Rasch, kräftig
9. Abschlied. Nicht zu schnell
• Papillons, op.2
1. -
2. Prestissimo
3. -
4. Presto
5. (Grazioso)
6. -
7. Semplice
8. -
9. Prestissimo
10. vivo
11. -
12. Finale
• Three Romances, op.28
1. Sehr markiert
2. Einfach
3. Sehr markiert: (intermezzo 1:presto; intermezzo 2:etwas langsamer; wie vorher)

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 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

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	Instruction	Observations
Polonaise 1	C#m	op. 26 #1	Allegro appassionato
Polonaise 2	Ebm	op. 26 #2	Maestoso
Polonaise 3	A	op. 40 #1	Allegro con brio	'Militaire'
Polonaise 4	Cm	op. 40 #2	Allegro maestoso
Polonaise 5	F#m	op. 44	Tempo di polacca - doppio movimento, tempo di Mazurka - Tempo 1
Polonaise 6	Ab	op. 53	Maestoso	'Héroïque'
Polonaise 7	Ab	op. 61	Allegro maestoso	Polonaise-Fantaisie

Chopin's Polonaises at Wikipedia

Chopin:Préludes/Impromptus

I might be saying a blasphemy, and I declare myself guilty. But this is the best CD I have found to be working, while listening to it. They are so varied and melodious. Sweet or strong, energetic or reflexive. Beautiful interpretations by Claudio Arrau.

In this Philips/Decca CD, Arrau plays Chopin, with recordings from 1974 and 1981.

24 Préludes, Op.28

1. C
2. Am
3. G
4. Em
5. D
6. Bm
7. A
8. F#m
9. E
10. C#m
11. B
12. G#m
13. F#
14. E#m
15. Db
16. Bbm
17. Ab
18. Fm
19. Eb
20. Cm
21. Bb
22. Gm
23. F
24. Dm
• Prélude in C#m, Op.45
• Prélude in Ab, Op.posth.

Impromptus

• No.1 in Ab, Op.29
• No.2 in F#, Op.36
• No.3 in Gb, Op.51
• No.4 in C#M, Op.66 "Fantaisie-Impromptu"

Brautigan: Mozart Complete Piano Sonatas

This CD set is amazing. Ronald Brautigan plays each note with such respect. Every note, every phrase. With this quality, it seems that the pianoforte's weaknesses are actually strengths. The phrasing is so superb, it is almost like listening to your lover whispering your favorite love-poem.

Beautiful technique, softness, and intention. This expands on what one could expect from Mozart works, and certainly raises the bar for new recordings.
A BIS recording on a 1992 (Paul McNulty) replica of a 1795 fortepiano by Anton Gabriel Walter.

Name	Key	Catalogue	Musicians	Observations
Piano Sonata No. 1	in C major	K. 279 (K. 189d)
Piano Sonata No. 2	in F major	K. 280 (K. 189e)
Piano Sonata No. 3	in B flat major	K. 281 (K.189f)
Piano Sonata No. 4	in E flat major	K. 282 (K. 189g)
Piano Sonata No. 5	in G major	K. 283 (K. 189h)
Piano Sonata No. 6	in D major	K. 284 (K. 205b)
Piano Sonata No. 7	in C major	K. 309 (K. 284b)
Piano Sonata No. 9	in D major	K. 311 (K. 284c)
Piano Sonata No. 8	in A minor	K. 310 (K. 300d)
Piano Sonata No. 10	in C major	K. 330 (K. 300h)
Piano Sonata No. 11	in A major	K. 331 (K. 300i)		"Alla Turca"
Piano Sonata No. 12	in F major	K. 332 (K. 300k)
Piano Sonata No. 13	in B flat major	K. 333 (K. 315c)
Fantasia for piano	in C minor	K. 475
Piano Sonata No. 14	in C minor	K. 457
Piano Sonata	F	K.533/494
Piano Sonata No. 15	C	K.545		"Sonata semplice"
Piano Sonata No. 16	Bb	K.570
Piano Sonata No. 17	D	K.576		"Trumpet", "Hunt"

Bach: Cello Suites

This was perhaps the first CD that I heard when I started building my collection. One and a half years later, I listen to Casals again, and I definitely appreciate his interpretation. Before I thought it sounded to harsh, now, I think it is dramatic. The difference in choice of words clearly demonstrates that I have (finally) added to my criteria the intention of the performer.
Casals attack are fierce, conveying a shocking impression which fills the space. The recordings (1936, 1938, 1939) are not flawless (acoustic and precision-wise) yet neither criteria is why you would buy this 2 CD set for.
Casals definitely opened a new way of interpreting Bach, and it is completely portrayed in the Cello Suiten.

Name	Key	Catalogue	Musicians	Observations
CD 1
Suite #1	G	BWV 1007
Suite #2	Dm	BWV 1008
Suite #3	C	BWV 1009
CD 2
Suite #4	Eb	BWV 1010
Suite #5	Cm	BWV 1011
Suite #6	D	BWV 1012

Schubert: Alfred Brendel plays Schubert

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.

Disc 1 (75:04)



• Impromptus Op.90 (D.899) no.1-4


• Moments Musicaux Op.94 (D.780), no.1-6


• Three pieces Op. Posth. (D.946) no.1-3



Disc 2 (67:27)



• Fantasia in Fm for piano 4-hands, Op.103 (D.940)


• Allegro in Am for piano 4-hands, Op.144 (D.947) "Lebensstürme"


• "Grand Duo" Sonata in C for piano 4-hands, Op.140 (D.812).
  With Evelyne Crochet



Disc 3 (74:56)



• Fantasy in C Op.15 (D.760) "Wanderer"


• Impromptus Op.142 (D.935) no.1-4


• Schubert & Liszt: Fantasy in C for Piano and Orchestra
  Michael Gielen conducts the Vienna Volksoper Orchestra

Chopin: Waltzes, Impromputs

This RCA Red Seal CD boasts Arthur Rubinstein's interpretation of Chopin. I would have to admit that it is until these recordings that I have a new feeling regarding Chopin. Before, I enjoyed the virtuous line as a chain of fioriture, but with Rubinstein, it seems to recover a sense that brings Chopin to the front, and not just the piano. I would have to fully agree with the description given by Harvey Sachs (as per the booklet): "extraordinary pose and tonal beauty".

Name	Key	Catalogue	Musicians	Observations
Waltz for piano	E flat major	Op. 18, CT. 207		Grande valse brillante
Waltz for piano	Ab	Op. 34 No.1, CT. 208		Valse brillante
Waltz for piano	Am	Op. 34 No.2, CT. 209		Valse brillante
Waltz for piano	F	Op. 34 No.3, CT. 210		Valse brillante
Waltz for piano	A flat major	KK IVa/13, CT. 221 (B. 21)		Two-four
Waltz for piano	Db	Op. 64 No.1, CT. 212		Minute
Waltz for piano	C#	Op. 64 No.2, CT. 213
Waltz for piano	Ab	Op. 64 No.3, CT. 214
Waltz for piano	Ab	Op. 69 No.1, CT. 215		L'Adieu
Waltz for piano	Bb	Op. 69 No.2, CT. 216
Waltz for piano	Gb	Op. 70 No.1, CT. 217
Waltz for piano	Fm	Op. 70 No.2, CT. 218
Waltz for piano	Db	Op. 70 No.3, CT. 219
Waltz for piano	E minor	KK IVa/15 CT. 222 (B. 56) op. posth.		opus posthumum
Impromptu for piano	A flat major	Op. 29, CT. 43
Impromptu for piano	F sharp major	Op. 36, CT. 44
Impromptu for piano	G flat major	Op. 51, CT. 45
Fantasy-Impromptu for piano	C sharp minor	Op. 66, CT. 46		Fantaisie Impromptu

Bach: Sonate e Partite per Violino Solo 2/2

Beautiful! At times it is hard to believe it is a violin solo playing.
Inspirational, energetic yet soothing.
Mark Lubotsky. Violin Guadagnini, 1728.

Name	Key	Catalogue	Musicians	Observations
Partita #2	Dm	BWV 1004
Sonate #3	C	BWV 1005
Partita #3	E	BWV 1006

Bach: Goldberg Variations (Leonhardt)

This is one of the most beautiful CD possible. Leonhardt's interpretations is precise, concise, yet emotional. Nothing is missing, nothing is too much. The sound is excellent. It is hard to think a person is playing something so virtuously.

Dinu Lipatti: Bach, Mozart, Scarlatti, Schubert

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

Bach: Suites for Cello 1&2/2

Ah! What an amazing listening! Wispelwey plays so wonderfully: precise, emotive, subtle. I have heard (and posted before) on Casal's and Jaap ter Linden. Although both are recognized as good, I did not find either to appealing to my taste. I can also say that both have a similar free emotional style.

I look forward to listening more from Wispelwey.

Recording: January 1998
Baroque cello: Barak Norman, 1710
Violoncello piccolo (s.XVIII)

Satie: Oeuvres pour piano

This is a 2 CD set under EMI Classics that includes several pieces for piano from Erik Satie (1866-1925). Noticeable are the 3 Gymnopéedies, and the Gnossiennes 1-6. Not much has to be said. Aldo Ciccolini's interpretation is of a good quality, though I personally did not like it, prefering Anne Queffélec's. As I read somewhere in the internet states, French piano composers should be played by women. I would qualify this interpretation as a good academic interpretation that I would rather ignore. [I bolden only the pieces I enjoyed. Most are just tedious.]

CD 1

• 3 Gymnopédies
• Les 3 Valses distinguées du préciuex dégoüté
• Gnossiennes 1-3
• Gnossiennes 4-6
• 3 Mouvements en forme de poire, à 4 mains
• Croquis et Agaceries d'un gros bonhomme en bois
• Sonatine bureaucratique
• 3 Nocturnes
• Premiàre pensée et sonneries de la Rose+Croix
• Le Fils des Etoiles, wagnerie kaldéenne du Sar Peladan

CD 2

• Jack in the box
• Sports et divertissements
• Embryons desséchés
• Préludes flasques (pour un chien)
• En Habit de cheval, à 4 mains
• Aperçus désagréables à 4 mains
• Descriptions automatiques
• 3 Petites pièces montées (à 4 mains)
• Peccadilles importunes
• Pièces froides
• La Belle Excentrique, fantaisie sérieuse pour piano à 4 mains
• 3 Sarabandes

Bach: Das Wohltemperierte Clavier, Teil II

Now, this is nice. I guess it has to do more with my expectations... but it is hard to tell. The general comments before apply. I just have to say this is more listenable. (I hate my lack of expressive power >-( )

Chopin: Polonaises

Soft pearled sound. Emphatic. Pollini plays the Polonaises in a Polydor 1976 recording, now in a Deutsche Grammophon CD.
Acoustic Memory plays a long part in enjoying music, or is it that the more enjoyable music is the one remembered ? I say it because I enjoyed more those that I knew already.
I have to say, that this recording make me "feel" while listening as if I were experiencing a solid in space, ductile, tangible, soft to the grasp.

[2nd round, for omission of description]

Dvořák / Tchaikovsky : Cello Concerto / Rococo Variations

Beautiful! How many themes can fit into a Concerto, that boasts of creativity. How many "profound" themes for movie scores or similar have been inspired by Dvořák's Cello Concerto in Bm, op.104.
And such a nice interpretation by Rostropovich (Мстисла́в Леопо́льдович Ростропо́вич), with the Boston Symphony Orchestra conducted by Seiji Ozawa, an Elatus CD.

The Rococo Variations Op.33 remind us of Tchaikovsy's (Чайкoвский) pompousness. Nice listening, nevertheless.

Dvořák: Cello concerto in Bm Op.104



• Allegro


• Adagio ma non troppo


• Finale: Allegro moderato



Tchaikovsky: Variations on a Rococo Theme, Op.33

Schumman: Kinderszenen, Waldszenen, Papillons, Three Romances

Delightful. Like Mahler's on which I have just commented, this is subtle and straightforward. Wilhelm Kempff shows his lyricism with such expressive modulation.
Each piece is more beautiful than the other, in the Deutsche Grammophone CD with recordings from 1967, 1973 and 1974.
Although Three Romances (op.28) clearly contrasts with the other more situational works: Kinderszenen op.15, Waldszenen op.82, Papillons op.2. This one, I believe, does not necessarily try to evoke any particular sensations, but is, excuse my analogy, more discursive in nature, and not so descriptive.

Bach: Das Wohltemperierte Claveir, Teil I (2)

This one I thought was too forcefully played. To much banging on the keyboardt to my taste. I enjoyed, notwithstanding, Prelude 15, and Prelude 21. I acknowledge it can be due to my lack of sensitivity to complex solo works, which require more on the part of the listener.
But today, BListener didn't appreciate it much.
Soloist: Leon Berben
Instrument: Copy after Couchet, by Willem Kroesbergen (1996)