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pianopera

Benützer: pianopera

Gieseking plays Schumann Fantasie in C opus 17 (1/3) Robert Schumann (1810-1856): Fantasie in C major, opus 17 (1836) 1. Durchaus phantastisch und leidenschaftlich vorzutragen. Walter Gieseking, piano From a radio broadcast, 1947. Paintings by the German Romantic painter Caspar David Friedrich (1774-1840). "Although every truly great pianist has his own tone resulting from his total interpretation, Gieseking perhaps had the most readily recognizable and the longest sustaining tone of all. His was a pure, transparent, nonpercussive tone of a great dynamic range resulting from his phenomenal ear for prolonging vibrations, his masterful pedaling and his panlike inwardly-felt melodic outpouring. Music flowed from him effortlessly and enthusiastically, always colored by his innate sense of the exquistite - a beautiful landscape, the myriad colors of a butterfly wing or a flower. Yet for him tone was uncomplicated: 'I have to hear beautiful sounds from my piano.'" (Dean Elder) Tags: Walter Gieseking Robert Schumann Fantasie piano historic recording

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Gieseking plays Schumann Fantasie in C opus 17 (2/3) Robert Schumann (1810-1856): Fantasie in C major, opus 17 (1836) 1. Durchaus phantastisch und leidenschaftlich vorzutragen (conclusion) 2. Durchaus energisch Walter Gieseking, piano From a radio broadcast, 1947. "Although every truly great pianist has his own tone resulting from his total interpretation, Gieseking perhaps had the most readily recognizable and the longest sustaining tone of all. His was a pure, transparent, nonpercussive tone of a great dynamic range resulting from his phenomenal ear for prolonging vibrations, his masterful pedaling and his panlike inwardly-felt melodic outpouring. Music flowed from him effortlessly and enthusiastically, always colored by his innate sense of the exquistite - a beautiful landscape, the myriad colors of a butterfly wing or a flower. Yet for him tone was uncomplicated: 'I have to hear beautiful sounds from my piano.'" (Dean Elder) Tags: Walter Gieseking Robert Schumann Fantasie piano historic recording

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Gieseking plays Schumann Fantasie in C opus 17 (3/3) Robert Schumann (1810-1856): Fantasie in C major, opus 17 (1836) 3. Langsam getragen. Durchweg leise zu halten. Walter Gieseking, piano From a radio broadcast, 1947. "Although every truly great pianist has his own tone resulting from his total interpretation, Gieseking perhaps had the most readily recognizable and the longest sustaining tone of all. His was a pure, transparent, nonpercussive tone of a great dynamic range resulting from his phenomenal ear for prolonging vibrations, his masterful pedaling and his panlike inwardly-felt melodic outpouring. Music flowed from him effortlessly and enthusiastically, always colored by his innate sense of the exquistite - a beautiful landscape, the myriad colors of a butterfly wing or a flower. Yet for him tone was uncomplicated: 'I have to hear beautiful sounds from my piano.'" (Dean Elder) Tags: Walter Gieseking Robert Schumann Fantasie piano historic recording

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Bartók plays Bartók Suite opus 14 Béla Bartók (1881-1945): Suite opus 14 (1916) 1. Allegretto 2. Scherzo 3. Allegro molto - 4. Sostenuto Béla Bartók, piano Recorded in 1929 Tags: Béla Bartók Suite opus 14 piano historic recording

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Horowitz plays Beethoven 32 Variations in C minor Ludwig van Beethoven (1770-1827): 32 Variationen für Klavier (1806) (32 Variations in C minor WoO 80) Vladimir Horowitz (1903-1989), piano Recorded in 1934. Tags: Ludwig van Beethoven Vladimir Horowitz Variations Variationen piano Klavier historic recording

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Dirk Schäfer plays Chopin Waltz opus 42 Frédéric Chopin (1810-1849): Waltz in A flat major, opus 42 Dirk Schäfer (1873-1931), piano Recorded in 1924. Portrait of Schäfer by Jan Toorop (1858-1928), "Dirk Schäfer aan den vleugel", 1905 (Ps I uploaded this video for the second time because somehow the first version was "no longer available".) Dirk Schäfer (1873-1931) was a Dutch pianist, composer and writer, born in Rotterdam. He studied piano at the Conservatory of Cologne with Max Pauer. Chopin was one of his specialties. Like Anton Rubinstein, he organized a series of historical concerts (1913) in which he surveyed piano literature from Byrd and Bull to Debussy and Schönberg. He was also one of the first musicians to go back to the composers original manuscript. His aphorisms, thoughts and contemplations on piano playing, art and music were assembled in a book, Het Klavier. "Never have I seen such a powerful and pure objectivation into the soul of another subject without loosing the personal. This explains the dramatic impression of Schäfer's playing. He is doing what only very great poets and writers can: objectivate oneself, not by *throwing away* the personality, but on the contrary by a complete *dissolution* of it into another Self. It's like mimicry of the soul." (Israël Querido) Some aphorisms of Schäfer (in my own translation): - The first necessity for an artist is: self-renunciation. - Every finger is an individuality. - Art is the science of the unknown. - The source from which our good qualities of character emanate from, owes its existence often to our vices. - The bigger the virtuoso, the bigger the comedian. http://www.musicweb-international.com/classrev/2002/may02/Schafer.htm Tags: Dirk Schäfer Chopin valse wals walz opus 42 piano historic recording

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Dirk Schäfer plays Handel Fantasia and Henselt Berceuse George Frideric Handel (Georg Friedrich Händel, 1685-1759): Fantasia in C Adolf von Henselt (1814 - 1889): Berceuse in G flat major Dirk Schäfer (Rotterdam 1873 - Amsterdam 1931), piano Recorded in 1926. (Photographs Schäfer - Henselt) Tags: Handel Henselt Dirk Schäfer Fantasia piano Berceuse historic recording

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Emil von Sauer plays Chopin Bolero Frédéric Chopin (1810-1849): Boléro opus 19 (1833) Emil Sauer (1862-1942), piano Recorded in 1940. Sheet music: http://imslp.info/files/imglnks/usimg/b/b3/IMSLP00633-Chopin_-_Bolero__Op_19.pdf "Sauer is that rare bird, a pianist who boasts not only the solid science of the German school, but also a subtle Slavic strain in his playing. He played Bach, Beethoven, Schumann and Brahms with deep, unaffected sentiment, healthy Teutonic sentiment; but let him loose in Liszt [with whom he studied], Chopin, or the Russians, and a second temperament came to view. I puzzled over this anomaly for years, wondering how a North German - hard-headed Hamburger - could spin such a many-coloured web of exotic music." James Huneker (1857-1921). The last photograph shows a signed soundboard of an Ibach Concert grand. This instrument was played for the first time by Sauer when it was brand new at a Dresden's New Year's concert in 1896 and has been restored by JASenior44, who kindly sent me the photograph. Tags: Emil von Sauer piano Chopin Bolero Boléro historic recording Ibach

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Raoul Koczalski plays Chopin 3 Écossaises Frédéric Chopin (1810-1849): Trois Écossaises opus 72 no. 3-5 (composed 1830 or earlier) (Vivace) 1. D major 2. G major 3. D flat major Raoul (von) Koczalski (1884-1948), piano Recorded in 1936 Pictures: Koczalski - Karol Mikuli (1819-1897) and Chopin. Early Edition: http://chopin.lib.uchicago.edu/gsdl/cgi-bin/library?e=d-000-00---0chopin--00-0-0-0prompt-10---4---Document-dtt--0-1l--1-en-Zz-1---50-home-ecossaises--001-001-0-0utfZz-8-0&a=d&cl=search&d=CHOP111.8 Tags: Raul Raoul Koczalski Chopin Mikuli Ecossaises opus 72 historic recording

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Smithsherman plays Gigue of Slurs Rare recording of Sherman Smith (b. 1960) playing a gigue (known as: Gigue of Slurs) by an anonymous 18th Century composer, probably Irish. We feel it is such a shame that this highly gifted and very original musician is forced to write comments (that are always knowledgeable and free of any personal frustrations) and play in bars and restaurants to make a living... Some critiques: "Great hierarchy of phrasing and use of expressive agogics to eschew vapidity" The Fine Arts Review "Smithsherman knows how to create an atmosphere of unpredictability by varying beat placements, thus avoiding a sense of boredom that is so often taken for granted in this repertoire." The Classical Music Review Tags: Smithsherman satire guitar parody

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Clara Haskil plays Bach Toccata in E minor Johann Sebastian Bach (1685-1750): Toccata in e minor BWV 914 Clara Haskil (1895-1960), piano Recorded in 1953. Photographs of Haskil with Dinu Lipatti and Wilhelm Backhaus. Clara Haskil was a Jewish Swiss classical pianist, born in Romania, renowned as an interpreter of the classical and early romantic repertoire, Haskil was particularly noted for her performances and recordings of Mozart. Many considered her the foremost interpreter of Mozart in her time. She was also noted as a superb interpreter of Beethoven, Schumann, and Scarlatti. Well regarded as a chamber musician, Haskil collaborated with such famed musicians as Georges Enescu, Eugène Ysaÿe, Pablo Casals, Joseph Szigeti, Géza Anda, Isaac Stern and Arthur Grumiaux, with whom she played her last concert. She played as a soloist under the baton of such conductors as Stokowski, Karajan, Beecham, Solti, Barbirolli, Boult, Jochum, Sawallisch, Kempe, Szell, Celibidache, Klemperer, Rosbaud, Monteux, Cluytens, Paray, Markevitch, Giulini, Ansermet, Münch, Kubelik, Fricsay, Inghelbrecht, among many others. Haskil was born into a Sephardic Jewish family in Bucharest, Romania and studied in Vienna under Richard Robert (whose memorable pupils also included Rudolf Serkin and George Szell) and briefly with Ferruccio Busoni. She moved to Paris at the age 10, where she started studying with Gabriel Faure's pupil Joseph Morpain, whom she always credited as one of her biggest influences. She then entered the Paris Conservatoire at the age of ten, officially to study with Alfred Cortot although most of her instruction came from Lazare Lévy and Mme Giraud-Letarse, and graduated at age 15 with a Premier Prix. She also graduated with a Premier Prix in violin. Upon graduating, Haskil began to tour Europe, though her career was cut short by one of the numerous physical ailments she suffered throughout her life. In 1913 she was fitted with a plaster cast in an attempt to halt the progression of scoliosis. Frequent illnesses, combined with extreme stage fright that appeared in 1920, kept her from critical or financial success. Most of her life was spent in abject poverty. It was not until after World War II, during a series of concerts in the Netherlands in 1949, that she began to win the acclaim she deserved. As a pianist, her playing was marked by a purity of tone and phrasing that may have come from her skill as a violinist. Transparency and sensitive inspiration were other hallmarks of her style. Haskil died from injuries received through a fall in a Brussels train station. She was to play a concert with Arthur Grumiaux the following day. (source: wikipedia) Tags: Clara Haskil Bach BWV 914 Toccata piano historic recording

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Elly Ney plays Beethoven opus 111 (2/3) Ludwig van Beethoven (1770-1827): Sonata no. 32 opus 111 (1821/22) 2. Arietta (first half) Adagio molto, semplice e cantabile Elly Ney, piano Recorded in 1936 (On request, I already posted the first movement earlier!) In 1812, the Viennese piano-makers and friends of Beethoven, Nanette and Andreas Streicher (a school day friend of Schiller) opened a big piano room they also used as concert hall. They wanted to decorate this room with busts of famous musicians. The sculptor Franz Klein was commissioned to this end to produce a naturalistic bust of Beethoven. (Before 1805, Klein had created busts for the medical doctor Franz Joseph Gall, just for scientific purposes.) The sculptor first created Beethoven's life mask made of plaster. According to the Streicher family, this had not been successful at the first try, since Beethoven was afraid of suffocating under the plaster that Klein molded on his face. But the second try was successful and Franz Klein shaped a bust based on the model of the created face mask. However, he had to complete the composer's eyes and hair by himself, since those areas of the face had been covered when removing the mask. The clothes, too, are an addition of the sculptor. The original bust produced by Klein had been in the possession of the Streicher family until the beginning of the 20th century. (Thereafter it became the possession of the Historical Museum of the City of Vienna) In 1890, a mold was made for the Beethoven-Haus in Bonn based on this original bust. This mold, too, had been copied and casted several times. http://www.beethoven-haus-bonn.de/sixcms/detail.php?id=5156&template=dokseite_digitales_archiv_en&_eid=5056&_ug=Masks&_mid=Pictures%20and%20objects&_eid=5056&_dokid=i1560&_eid=5056&_seite=1 Tags: Ludwig van Beethoven piano sonata sonate opus 111 Arietta Elly Ney historic recording

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Elly Ney plays Beethoven opus 111 (3/3) Ludwig van Beethoven (1770-1827): Sonata no. 32 opus 111 (1821/22) 2. Arietta (second half, conclusion) Adagio molto, semplice e cantabile Elly Ney, piano Recorded in 1936 (On request, I already posted the first movement earlier!) In 1812, the Viennese piano-makers and friends of Beethoven, Nanette and Andreas Streicher (a school day friend of Schiller) opened a big piano room they also used as concert hall. They wanted to decorate this room with busts of famous musicians. The sculptor Franz Klein was commissioned to this end to produce a naturalistic bust of Beethoven. (Before 1805, Klein had created busts for the medical doctor Franz Joseph Gall, just for scientific purposes.) The sculptor first created Beethoven's life mask made of plaster. According to the Streicher family, this had not been successful at the first try, since Beethoven was afraid of suffocating under the plaster that Klein molded on his face. But the second try was successful and Franz Klein shaped a bust based on the model of the created face mask. However, he had to complete the composer's eyes and hair by himself, since those areas of the face had been covered when removing the mask. The clothes, too, are an addition of the sculptor. The original bust produced by Klein had been in the possession of the Streicher family until the beginning of the 20th century. (Thereafter it became the possession of the Historical Museum of the City of Vienna) In 1890, a mold was made for the Beethoven-Haus in Bonn based on this original bust. This mold, too, had been copied and casted several times. http://www.beethoven-haus-bonn.de/sixcms/detail.php?id=5156&template=dokseite_digitales_archiv_en&_eid=5056&_ug=Masks&_mid=Pictures%20and%20objects&_eid=5056&_dokid=i1560&_eid=5056&_seite=1 Tags: Ludwig van Beethoven piano sonata sonate opus 111 Arietta Elly Ney historic recording

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Weber's Invitation to the Dance (Ignaz Friedman) Carl Maria von Weber (1786-1826): Aufforderung zum Tanz (Invitation to the Dance), Rondo Brillant (Rondeau Brillant) für das Pianoforte Op. 65. This piece is often heard today in the orchestral version by Hector Berlioz (L'Invitation à la Valse) but was originally composed for piano. Ignaz Friedman (1882-1948), piano Recorded in 1931. Illustrations by Ferdinand von Reznicek (except portrait of Weber). Sheet music: http://imslp.info/files/imglnks/usimg/c/c4/IMSLP02088-Weber_op.65.pdf &fmt=18 Tags: Ignaz Friedman Weber piano Aufforderung zum Tanz L'Invitation la Valse Invitation Invito Alla Danza opus 65 historic recording

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Noel Mewton-Wood plays Weber Sonata no. 2 (1/3) Carl Maria Friedrich Ernest von Weber (1786 - 1826): Piano Sonata no. 2 opus 39 in A flat major (1816) 1. Allegro moderato, con spirito ed assai legato (until recapitulation) Noel Mewton-Wood, piano recorded in 1941. Noel Mewton-Wood (November 20, 1922 - December 5, 1953) was an Australian-born concert pianist who achieved some fame during his short life. Born in Melbourne, he studied at the Melbourne Conservatorium until the age of fourteen. After further studies at London's Royal Academy of Music, Mewton-Wood spent time with Artur Schnabel in Italy. In March 1940, he returned to London for his debut performance at Queen's Hall, performing Beethoven's third piano concerto with the London Philharmonic Orchestra under Sir Thomas Beecham. He later performed in France, Germany, South Africa, Poland, Turkey and Australia. At the age of thirty-one, Mewton-Wood committed suicide by drinking prussic acid, apparently blaming himself for the death of a friend. He had an enormous repertoire ranging from Weber to Stravinsky. He had a particular interest in Feruccio Busoni's music and performed the five-movement piano concerto on three occasions - twice under Beecham. Arthur Blisss Sonata for Piano was composed for Noel Mewton-Wood in 1952. After a Noel Mewton-Wood performance of Hindemith's Ludus Tonalis, Dame Myra Hess exclaimed: "The boy is truly remarkable, and what shall he be like at 40-odd?". Glowing testimonials to his genius (Sir Malcolm Sargent) from Beecham, Schnabel, Bliss, Hindemith and Britten were countered by indifference from the major record labels and concert managements. To read the article on his death: http://images.google.nl/imgres?imgurl=http://www.lagna.org.uk/images/mewton-wood_cutting.jpg&imgrefurl=http://www.lagna.org.uk/archive/noel-mewton-wood&h=1010&w=578&sz=198&hl=nl&start=1&sig2=PVrCfZ2M6Bf57QKkg4d-2Q&um=1&usg=__oK5DDQYROTOgnZhpugjYgLBwnSY=&tbnid=YgdDNL7RdaPrQM:&tbnh=150&tbnw=86&ei=0CQESePYG43k1gbXq_2eDg&prev=/images%3Fq%3Dmewton-wood%26um%3D1%26hl%3Dnl%26rls%3DGGIC,GGIC:2006-50,GGIC:nl%26sa%3DN Sheet music: http://imslp.info/files/imglnks/usimg/2/26/IMSLP04407-Weber_-_Piano_Sonata_No2.pdf Tags: Noel Mewton-Wood piano Weber sonate sonata opus 39 historic recording

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Noel Mewton-Wood plays Weber Sonata no. 2 (2/3) Carl Maria Friedrich Ernest von Weber (1786 - 1826): Piano Sonata no. 2 opus 39 in A flat major (1816) 1. Allegro moderato, con spirito ed assai legato (conclusion) 2. Andante Noel Mewton-Wood, piano recorded in 1941. Noel Mewton-Wood (November 20, 1922 - December 5, 1953) was an Australian-born concert pianist who achieved some fame during his short life. Born in Melbourne, he studied at the Melbourne Conservatorium until the age of fourteen. After further studies at London's Royal Academy of Music, Mewton-Wood spent time with Artur Schnabel in Italy. In March 1940, he returned to London for his debut performance at Queen's Hall, performing Beethoven's third piano concerto with the London Philharmonic Orchestra under Sir Thomas Beecham. He later performed in France, Germany, South Africa, Poland, Turkey and Australia. At the age of thirty-one, Mewton-Wood committed suicide by drinking prussic acid, apparently blaming himself for the death of a friend. He had an enormous repertoire ranging from Weber to Stravinsky. He had a particular interest in Feruccio Busoni's music and performed the five-movement piano concerto on three occasions - twice under Beecham. Arthur Blisss Sonata for Piano was composed for Noel Mewton-Wood in 1952. After a Noel Mewton-Wood performance of Hindemith's Ludus Tonalis, Dame Myra Hess exclaimed: "The boy is truly remarkable, and what shall he be like at 40-odd?". Glowing testimonials to his genius (Sir Malcolm Sargent) from Beecham, Schnabel, Bliss, Hindemith and Britten were countered by indifference from the major record labels and concert managements. To read the article on his death: http://images.google.nl/imgres?imgurl=http://www.lagna.org.uk/images/mewton-wood_cutting.jpg&imgrefurl=http://www.lagna.org.uk/archive/noel-mewton-wood&h=1010&w=578&sz=198&hl=nl&start=1&sig2=PVrCfZ2M6Bf57QKkg4d-2Q&um=1&usg=__oK5DDQYROTOgnZhpugjYgLBwnSY=&tbnid=YgdDNL7RdaPrQM:&tbnh=150&tbnw=86&ei=0CQESePYG43k1gbXq_2eDg&prev=/images%3Fq%3Dmewton-wood%26um%3D1%26hl%3Dnl%26rls%3DGGIC,GGIC:2006-50,GGIC:nl%26sa%3DN Sheet music: http://imslp.info/files/imglnks/usimg/2/26/IMSLP04407-Weber_-_Piano_Sonata_No2.pdf Tags: Noel Mewton-Wood piano Weber sonate sonata opus 39 historic recording

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Noel Mewton-Wood plays Weber Sonata no. 2 (3/3) Carl Maria Friedrich Ernest von Weber (1786 - 1826): Piano Sonata no. 2 opus 39 in A flat major (1816) 3. Menuetto capriccioso (presto assai) 4. Rondo (moderato e molto grazioso) Noel Mewton-Wood, piano recorded in 1941. Noel Mewton-Wood (November 20, 1922 - December 5, 1953) was an Australian-born concert pianist who achieved some fame during his short life. Born in Melbourne, he studied at the Melbourne Conservatorium until the age of fourteen. After further studies at London's Royal Academy of Music, Mewton-Wood spent time with Artur Schnabel in Italy. In March 1940, he returned to London for his debut performance at Queen's Hall, performing Beethoven's third piano concerto with the London Philharmonic Orchestra under Sir Thomas Beecham. He later performed in France, Germany, South Africa, Poland, Turkey and Australia. At the age of thirty-one, Mewton-Wood committed suicide by drinking prussic acid, apparently blaming himself for the death of a friend. He had an enormous repertoire ranging from Weber to Stravinsky. He had a particular interest in Feruccio Busoni's music and performed the five-movement piano concerto on three occasions - twice under Beecham. Arthur Blisss Sonata for Piano was composed for Noel Mewton-Wood in 1952. After a Noel Mewton-Wood performance of Hindemith's Ludus Tonalis, Dame Myra Hess exclaimed: "The boy is truly remarkable, and what shall he be like at 40-odd?". Glowing testimonials to his genius (Sir Malcolm Sargent) from Beecham, Schnabel, Bliss, Hindemith and Britten were countered by indifference from the major record labels and concert managements. To read the article on his death: http://images.google.nl/imgres?imgurl=http://www.lagna.org.uk/images/mewton-wood_cutting.jpg&imgrefurl=http://www.lagna.org.uk/archive/noel-mewton-wood&h=1010&w=578&sz=198&hl=nl&start=1&sig2=PVrCfZ2M6Bf57QKkg4d-2Q&um=1&usg=__oK5DDQYROTOgnZhpugjYgLBwnSY=&tbnid=YgdDNL7RdaPrQM:&tbnh=150&tbnw=86&ei=0CQESePYG43k1gbXq_2eDg&prev=/images%3Fq%3Dmewton-wood%26um%3D1%26hl%3Dnl%26rls%3DGGIC,GGIC:2006-50,GGIC:nl%26sa%3DN Sheet music: http://imslp.info/files/imglnks/usimg/2/26/IMSLP04407-Weber_-_Piano_Sonata_No2.pdf Tags: Noel Mewton-Wood piano Weber sonate sonata opus 39 historic recording

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Moiseiwitsch plays Anton Rubinstein Barcarolle Anton Rubinstein (1829-1894): Barcarolle opus 30 no. 1 in F minor Benno Moiseiwitsch, piano Acoustic recording, 1922. "The Barcarolles are amongst Rubinstein's most successful and memorable pieces. They are tinged with that peculiarly Russian melancholy that found its full expression in, perhaps, Tchaikovsky." (Larry Sitsky) &fmt=18 Tags: Benno Moiseiwitsch Moiseivitch Anton Rubinstein piano Barcarolle historic recording

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Rachmaninoff Piano Concerto no. 2 Gieseking/Mengelberg (1/4) Part I Sergei Rachmaninoff (1873-1943): Piano Concerto No. 2, Op. 18 (1900-1901) 1. Moderato Walter Gieseking, piano Concertgebouw Orchestra Willem Mengelberg, conductor Live recording, 1940. "This is one of those collaborations where each partner goads the other to even greater acts of musical brinkmanship: listen to Giesekings hair-raising entry in the finale. The result is mesmerising: each melodic swell, each harmonic twist, and each rhythmic tease - and there are plenty, as the piece is delivered here - is played with such commitment that you're not simply drawn in, but nearly sucked up by the music ... one of the most compelling recordings ever made of this overrecorded, if usually underplayed music." Peter J. Rabinowitz "A particularly inspired moment in this grandiose, titanic performance with its big-line phrasing, marvellous speed and transparency, is the slow movement's unison melody for which Gieseking uses an extremely intense tone, achieving great depth of feeling and lyrical outpouring." Dean Elder Tags: Sergei Rachmaninoff Walter Gieseking Willem Mengelberg piano concert concerto Concertgebouworkest historic recording

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Rachmaninoff Piano Concerto no. 2 Gieseking/Mengelberg (2/4) Part II Sergei Rachmaninoff (1873-1943): Piano Concerto No. 2, Op. 18 (1900-1901) 2. Adagio sostenuto (first half, beginning) Walter Gieseking, piano Concertgebouw Orchestra Willem Mengelberg, conductor Live recording, 1940. "This is one of those collaborations where each partner goads the other to even greater acts of musical brinkmanship: listen to Giesekings hair-raising entry in the finale. The result is mesmerising: each melodic swell, each harmonic twist, and each rhythmic tease - and there are plenty, as the piece is delivered here - is played with such commitment that you're not simply drawn in, but nearly sucked up by the music ... one of the most compelling recordings ever made of this overrecorded, if usually underplayed music." Peter J. Rabinowitz "A particularly inspired moment in this grandiose, titanic performance with its big-line phrasing, marvellous speed and transparency, is the slow movement's unison melody for which Gieseking uses an extremely intense tone, achieving great depth of feeling and lyrical outpouring." Dean Elder Tags: Sergei Rachmaninoff Walter Gieseking Willem Mengelberg piano concert concerto Concertgebouworkest historic recording

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Rachmaninoff Piano Concerto no. 2 Gieseking/Mengelberg (3/4) Part III Sergei Rachmaninoff (1873-1943): Piano Concerto No. 2, Op. 18 (1900-1901) 2. Adagio sostenuto (second half, conclusion) Walter Gieseking, piano Concertgebouw Orchestra Willem Mengelberg, conductor Live recording, 1940. "This is one of those collaborations where each partner goads the other to even greater acts of musical brinkmanship: listen to Giesekings hair-raising entry in the finale. The result is mesmerising: each melodic swell, each harmonic twist, and each rhythmic tease - and there are plenty, as the piece is delivered here - is played with such commitment that you're not simply drawn in, but nearly sucked up by the music ... one of the most compelling recordings ever made of this overrecorded, if usually underplayed music." Peter J. Rabinowitz "A particularly inspired moment in this grandiose, titanic performance with its big-line phrasing, marvellous speed and transparency, is the slow movement's unison melody for which Gieseking uses an extremely intense tone, achieving great depth of feeling and lyrical outpouring." Dean Elder Tags: Sergei Rachmaninoff Walter Gieseking Willem Mengelberg piano concert concerto Concertgebouworkest historic recording

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Rachmaninoff Piano Concerto no. 2 Gieseking/Mengelberg (4/4) Part IV Sergei Rachmaninoff (1873-1943): Piano Concerto No. 2, Op. 18 (1900-1901) 3. Allegro scherzando Walter Gieseking, piano Concertgebouw Orchestra Willem Mengelberg, conductor Live recording, 1940. "This is one of those collaborations where each partner goads the other to even greater acts of musical brinkmanship: listen to Giesekings hair-raising entry in the finale. The result is mesmerising: each melodic swell, each harmonic twist, and each rhythmic tease - and there are plenty, as the piece is delivered here - is played with such commitment that you're not simply drawn in, but nearly sucked up by the music ... one of the most compelling recordings ever made of this overrecorded, if usually underplayed music." Peter J. Rabinowitz "A particularly inspired moment in this grandiose, titanic performance with its big-line phrasing, marvellous speed and transparency, is the slow movement's unison melody for which Gieseking uses an extremely intense tone, achieving great depth of feeling and lyrical outpouring." Dean Elder Tags: Sergei Rachmaninoff Walter Gieseking Willem Mengelberg piano concert concerto Concertgebouworkest historic recording

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Interview with Josef Hofmann From a radio broadcast, one day after Hofmann's 76th birthday, so the date should be Januari 21, 1952. It is very interesting because Hofmann, the pianist that knew the secret of producing a gorgeous singing tone, calls the piano a "percussion instrument". Tags: Josef Joseph Hofmann piano pianist interview

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Pachmann the Bhagwan plays Showpan Vladimir de Pachmann (1848-1933), apart from being a great pianist, was one of the greatest guru's and eccentrics in the history of piano playing. Here he plays the Chopin waltz opus 64 no. 1 in D flat major, preceeded by one of his priceless commentaries. Recorded in 1925. From the Pachmann essay, written by Allan Evans: "To his recitals, Pachmann often brought specimens from his extensive jewel collection. He would clasp diamonds and rubies in his hands, holding them upraised for his listeners to admire their sparkling radiance, only to dismisss them all: "You will forget them when you hear me play. Pachmann has even more color!" Pachmann endeared his public through his antics and speeches. It created an intimacy and rapport that helped lessen the nervousness he experienced. With age this trait increased and convinced later critics that he was more an entertainer than devotee of music. Once he held up to the audience an old sock and explained that George Sand had knit it for Chopin. He performed the concert with the sock dangling from the side of the opened concert grand. Whenever Pachmann visited Paris he would stop at the Père Lachaise cemetary. He instructed Mantia [Aldo Mantia, Pachmanns student], 'Remember to bring flowers from Pachmann to Chopin, but not until fifteen years after my death. They must be carnations. Five carnations.' 'Why?' asked Mantia. 'I know' replied Pachmann. Mantia obeyed and had photos taken of his visit. Pachmann himself would approach the grave to ask forgiveness for the wrong notes he played." Tags: Vladimir de Pachman Frédéric Chopin valse waltz walzer piano historic recording

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Ernő Dohnányi plays Strauss/Dohnányi "Du und Du" ...Ever heard a Strauss walz played on piano by someone who was born and raised in the heart of that Austro-Hungarian Empire of yore? Here is your chance! Ernő Dohnányi, or Ernst von Dohnanyi (1877-1968) plays themes from "Die Fledermaus" composed by Johann Strauss II (1825-1899) Recorded in 1928. According to Harold Schonberg, Dohnányi's playing had "power and propulsion, and extraordinary finesse". Tags: Ernő Dohnányi Ernst von Dohnanyi Johann Strauss Fledermaus chauve souris piano walz historic recording

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Myra Hess plays Brahms Intermezzo opus 117 no. 1 Johannes Brahms (1833-1897): from Drei Intermezzi opus 117 (1892), 1. Andante moderato in E flat major. Played by Myra Hess (recorded in 1941). She plays it with tenderness, expression, spirituality, purity and simplicity, but without eroticism, narcissism, mannerism or sentimentality. "On a smaller and more intimate scale than the surrounding sets of Op. 116, Op. 118 and Op. 119, the composer described these pieces as "lullabies to my sorrows". Here we find Brahms at his most tender and introspective, with only one outburst (in the third Intermezzo) of the characteristic Brahmsian fieryness. The Intermezzi were inspired by a Scottish poem from Herder's Volkslieder, and bear this inscription: Schlaf sanft mein Kind, schlaf sanft und Schön ! Mich dauert's sehr, dich weinen sehn. (Sleep softly my child, sleep softly and well ! It hurts my heart to see you weeping.)" Piano Society. Painting by Berthe Morisot (1841-1895) Tags: Myra Hess Johannes Brahms Intermezzi opus 117 piano historic recording

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Horowitz plays Tchaikovsky Dumka Pyotr Ilyich Tchaikovsky (1840-1893): Dumka, Op. 59 (Scenes from a Russian village) for solo piano (1886) Vladimir Horowitz (1904-1989), piano Recorded in 1942 Paintings by Marc Chagall (1887-1985) Tags: Horowitz Tchaikovsky Dumka opus 59 piano historic recording Chagall

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Sibelius - Tapiola (LPO/Boult) (1/2) Part I Jean Sibelius (1865-1957): Tapiola opus 112 (1925) The London Philharmonic Orchestra Sir Adrian Boult (1889-1983) Recorded in 1956 Tapiola (literally, "Realm of Tapio"), op. 112, is a tone poem by the Finnish composer Jean Sibelius. It was the product of a commission from Walter Damrosch for the New York Philharmonic Society. Tapiola portrays the terrifying spirit (Tapio) lying behind the stark Finnish pine-forests that enveloped Sibelius's isolated home outside Järvenpää. When asked by the publisher to clarify the work's program, Sibelius responded by supplying a quatrain: "Widespread they stand, the Northland's dusky forests, Ancient, mysterious, brooding savage dreams; Within them dwells the Forest's mighty God, And wood-sprites in the gloom weave magic secrets." It was to be his last major work, even though he would go on to live for another thirty years. However, in his excellent book "Sibelius and his world", Robert Layton mentions another symphony, the mysterious Eighth. Sibelius must have said that he completed the work in the early 1930s but that he wasn't satisfied with it. I found these wonderful pictures on the internet, they're from the Oulanka National Park in Northern Finland. Tags: Jean Sibelius Tapiola Adrian Boult LPO Tone Poem

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Sibelius - Tapiola (LPO/Boult) (2/2) Part II Jean Sibelius (1865-1957): Tapiola opus 112 (1925) The London Philharmonic Orchestra Sir Adrian Boult (1889-1983) Tapiola (literally, "Realm of Tapio"), op. 112, is a tone poem by the Finnish composer Jean Sibelius. It was the product of a commission from Walter Damrosch for the New York Philharmonic Society. Tapiola portrays the terrifying spirit (Tapio) lying behind the stark Finnish pine-forests that enveloped Sibelius's isolated home outside Järvenpää. When asked by the publisher to clarify the work's program, Sibelius responded by supplying a quatrain: "Widespread they stand, the Northland's dusky forests, Ancient, mysterious, brooding savage dreams; Within them dwells the Forest's mighty God, And wood-sprites in the gloom weave magic secrets." It was to be his last major work, even though he would go on to live for another thirty years. However, in his excellent book "Sibelius and his world", Robert Layton mentions another symphony, the mysterious Eighth. Sibelius must have said that he completed the work in the early 1930s but that he wasn't satisfied with it. I found these wonderful pictures on the internet, they're from the Oulanka National Park in Northern Finland. Tags: Jean Sibelius Tapiola Adrian Boult LPO Tone Poem

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Landowska plays Mozart Piano Concerto KV 537 (1/4) Part I: Wolgang Amadeus Mozart ((1756-1791): Concerto for piano and orchestra no. 26 in D major, "Krönungskonzert", KV 537 1. Allegro (beginning) Wanda Landowska, piano London Philharmonic Orchestra Walter Goehr Recorded in 1937 Wanda Landowska (July 5, 1879 - August 16, 1959), was a Polish (later a naturalized French citizen) harpsichordist whose performances, teaching, recordings and writings played a large role in reviving the popularity of the harpsichord in the early 20th century. She was the first person to record Bach's Goldberg Variations on the harpsichord (1931). Landowska was born in Warsaw, where her father was a lawyer, and her mother a linguist who translated Mark Twain into Polish. She began playing piano at the age of four, and studied at the Warsaw Conservatory with Jan Kleczynski and Alexander Michalowski. She also studied composition with Heinrich Urban in Berlin. After marrying the Polish folklorist Henry Lew in 1900 in Paris, she taught piano at the Schola Cantorum there (1900-1912). She later taught harpsichord at the Berlin Hochschule für Musik (1912-1919). Deeply interested in musicology, and particularly in the works of Bach, Couperin and Rameau, she toured the museums of Europe looking at original keyboard instruments; she acquired old instruments and had new ones made at her request by Pleyel and Company. These were large, heavily-built harpsichords with a 16-foot stop (a set of strings an octave below normal pitch) and owed much to piano construction. They have largely fallen out of fashion in the past four decades, and have done much to harm the modern appreciation of Landowska's recordings. Responding to criticism by fellow harpsichordist Rosalyn Tureck, she once said: "You play Bach your way, and I'll play him his way." A number of important new works were written for her: Manuel de Falla's El retablo de maese Pedro marked the return of the harpsichord to the modern orchestra. Falla later wrote a harpsichord concerto for her, and Francis Poulenc composed his Concert champêtre for her. She established the École de Musique Ancienne at Paris in 1925: from 1927, her home in Saint-Leu-la-Forêt became a center for the performance and study of old music. When Germany invaded France, the Jewish Landowska escaped with her assistant and companion Denise Restout, leaving Saint-Leu in 1940, sojourning in southern France, and finally sailing from Lisbon to the United States. She arrived in New York on December 7, 1941. The house in Saint-Leu was looted, and her instruments and manuscripts stolen, so she arrived in the United States essentially without assets. She settled in Lakeville, Connecticut in 1949 and re-established herself as a performer and teacher in the United States, touring extensively. Her life companion Denise Restout was editor and translator of her writings on music, including Musique ancienne, and Landowska on Music. (Source: Wikipedia) Tags: Wanda Landowska Mozart piano orchestro LPO Goehr Konzert Concerto KV 537 historic recording

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