Tuesday, February 13, 2018

Tuesday, August 23, 2016

Buddy DeFranco - Pretty Moods

Buddy DeFranco with Sonny Clark on piano — an early classic in the wonderful run the two players cut for Verve Records — a key chapter in jazz during the early 50s ! Buddy's clarinet has these wonderfully angular turns here — very different than the generation before, and spurred on by some new bop modes from Clark's work on the keys. The format is lean, clean, and extremely tight — some of the best jazz clarinet work of the time, and proof that the instrument could have a life long after the swing years had ended. Other players include Bobby White on drums and Gene Wright on bass — and the whole thing's packaged in a sweet David Stone Martin cover ! Titles include "Lover Man", "Yesterdays", "If I Should Lose You", and "Deep Purple"...
© 1996-2014, Dusty Groove, Inc.

Source : http://www.dustygroove.com/item/670858

Buddy DeFranco
Pretty Moods

Tracks

1 Tenderly (Lawrence, Grass)  4:41
2 Lover Man (Weill, Anderson)  5:19
3 Deep Purple (DeRose, Parish)  3:32
4 Yesterdays (Kern, Harburg)  4:10
5 If I Should Lose You (Rainger, Robin)  4:19

*

Personnel
Buddy DeFranco - cl
Sonny Clark - p
Gene Wright - b
Bobby White - dr

Recorded in New York City ; April 7, 1954

Sviatoslav Richter in Prague (Rachmaninov & Mussorgsky)

"The universe of sounds is without limits. It is the brain that is limited...", Mussorgsky would sometimes exclaim when reproached for his cutting style of writing. According to Shostakovitch (Memoirs, edited by Solomon Volkov), "Mussorgsky's music is a characteristic and tagic example of the dangers of composing at the piano. Really tragic. He played and played, and an endless flood of music of genius was never written down. "Mussorgsky is not a classical composer, but a realistic painter, brutal, passionate, aware of the incomplete nature of his messages, but also of their novelty and their clearsightedness. A true Slav, he goes without transition from enraptured exaltation to profound dejection, from intoxication to the painful hangovers of grey, melancholy, often "Sunless" mornings. Although Pictures at an Exhibition was written in a few weeks in June and July 1874, it was published only in 1886, after the composer's death, by Bessel in Moscow in an edition by Rimsky-Kosakov. Many details were altered in the manuscript which was not published until 1930 by Lamm. The work, comparable to a song-cycle, consists of ten character-pieces interspersed with five interludes, supposed to describe in music the drawings, sketches and water-colours of his friend, the architect, draughtsman and stage-designer, Viktor Hartmann (1834-1873). The various stages of his "Journey through memory" are separated by the recurrence of a variation of the same folk-like theme, entitled "Promenade", depicting the composer himself wandering through the exhibition. The irregular metre and the differences in tone of these "Promenades" are at first humorous reflections of the corpulent figure and the unsteady gait of the composer, and then of the transformation of his state of mind that gradually substitutes itslef for his dead friend. Today the musicologists of the post-serial age agree that Mussorgsky never thought of orchestrating this series of scenes and evocations reminiscent of Schumann (Carnaval, etc.) and especially of late Liszt. The reduction for piano solo of "operatic scenes" like Limoges. The Market presents a veritable challenge to pianists who have to render successively a mood of humour, comical animation, life and colour, and finally come to grips with its concluding breadth and power. Its first oerformers were not fond of this awkward score, difficult to hold together and to vary, not very rewarding in spite of its daunting and spectacular "gaucheries" : the fairy-tale pianissimo of the Ballet of the Unhatched Chicks (which Ravel remembered in Ma Mère l'Oye), the lamentoso repeated nots in Samuel Goldenberg and Schmuyle, the organ-like sonorities in Catacombs, the chiming of the bells, both liturgical and epic, in The Great Gate of Kiev...
Pierre-E. Barbier, translated by Derek Yeld, from the booklet

Sviatoslav Richter
Plays
Rachmaninov
Mussorgsky

Tracks

Sergueï Rachmaninov
(1873-1943)

Etudes tableaux, Op. 33
1 N° 4, in C minor. Moderato  3:15
2 N° 5 in E-flat minor. Presto  1:50
3 N° 8, in C-sharp minor. Grave  2:40

Etudes tableaux, Op. 39
4 N° 1, in C minor. Allegro agitato  2:50
5 N° 2, in A minor. Lento assai  7:10
6 N° 3, in F-sharp minor. Allegro molto  2:30
7. N° 4, in B minor. Allegro assai  3:15
8 N° 9, in D major. Allegro moderato  3:30

*

Modest Mussorgsky
(1839-1881)

Pictures at an Exhibition
9 I. Promenade. Allegro giusto, nel modo russico,
senza allegrezza, ma poso sostenuto  1:07
10 II. No. 1 "Gnomus". Sempre vivo  2:27
11 Promenade. Moderato comodo assai
e con delicatezza  0:44
12 II. "Il vecchio castello". Andantino molto cantabile
e con dolore  4:27
13 Promenade. Moderato non tanto, pesamente  0:22
14 III. "Les Tuileries". Allegretto non troppo, capriccioso  0:57
15 IV. "Bydło". Sempre moderato, pesante  2:08
16 V. Promenade. Tranquillo  0:28
17 V. Ballet des poussins dans leur coque.
Scherzino-vivo, leggiero-trio  1:16
18 VI. "Samuel" Goldenberg und "Schmuÿle".
Andante grave, energico andantino  1:41
19 XI. Promenade. Allegro giusto, nel modo russico,
poco sostenuto  1:02
20 VII. Limoges, le marché". Allegro vivo, sempre scherzando  1:19
21. VIII. "Catacombæ" (Sepulcrum romanum). Con mortuis in lingua mortua.
Andante non troppo, con lamento  4:08
22 La Cabane sur des pattes de poule.
Allegro con brio, feroce - Andante mosso - Allegro molto  2:57
23 La Grande Porte de Kiev.
Allegro alla breve - Maestoto. Con grandezza  4:46

*

Sviatoslav Richter - p

Recorded live in Prague, Dvořák Hall, June 2, 1984 [# 1-8] ; & November 14, 1956 [# 9-23]

Monday, August 22, 2016

Tal Farlow - Fuerst Set

The "Fuerst" in the title refers to Ed Fuerst, who had frequent jazz parties in his apartment and recorded this set and its follow-up. Featured is one of guitarist Tal Farlow's finest groups, a trio with pianist Eddie Costa (whose lower-register solos were distinctive) and bassist Vinnie Burke. The group stretches out on four lengthy numbers : "Jordu," "Have You Met Miss Jones," a nearly 15-and-a-half-minute rendition of "Out of Nowhere" (which has a vocal by Gene Williams) and "Opus De Funk." There are many hot sections on the album, and the recording quality is quite listenable.
Scott Yanow


Source : http://www.billboard.com/album/tal-farlow/fuerst-set/2433720

Tal Farlow
Fuerst Set


Tracks

1 Jordu (Jordan)  14:48
2 Have You Met Miss Jones ? (Rodgers)  9:38
3 Out Of Nowhere (Green)  15:25
4 Opus de Funk (Silver)  8:11


*

Personnel
Tal Farlow - g
Eddie Costa - p
Vinnie Burke - b
Gene Williams - voc [# 3]


Recorded at Ed Fuerst's apartment, 71st Street, New York City ; December 18, 1956

Tal Farlow - Second Set

Tal Farlow was one of the finest guitarists to emerge during the 1950s. The exciting trio he performs with during this record (which was recorded in a friend's apartment) also features pianist Eddie Costa and bassist Vinnie Burke. The recording quality is generally quite good and the lengthy performances of the four standards never loses their momentum, except when the tape ran out during "Let's Do It." These boppish performances (with plenty of impressive interplay by the musicians) will certainly please straightahead jazz fans.
Scott Yanow

Source : http://www.allmusic.com/album/second-set-mw0000867677

Tal Farlow
Second Set

Tracks

1. All The Things You Are (Kern, Hammerstein)  9:18
2. I Remember You (Mercer, Schertzinger)  14:08
3. Yesterdays (Kern, Hammerstein)  10:59
4. Let's Do It (Porter)  10:43

*

Personnel
Tal Farlow - g
Eddie Costa - p
Vinnie Burke - b 

Recorded at Ed Fuerst's apartment, 71st Street, New York City ; December 18, 1956

Rob McConnell - Trio Sketches

A pleasant change-of-pace date for Rob McConnell. He's well known as a longtime big-band leader, arranger and conductor, but he turned to the trio format on this session and made a nice adjustment. McConnell's warm, inviting valve trombone solos, abetted by Ed Bickert's equally enticing guitar and Neil Swainson's dependable bass, made music that wasn't overly challenging, yet wasn't vapid or of background caliber. They blended show tunes and popular standards, and included an intriguing number by Clare Fischer, "Ornithardy." This was a nice date by three musicians much better known for contributions to other situations.
Ron Wynn

Source : http://www.allmusic.com/album/trio-sketches-mw0000623183

Rob McConnell
Ed Bickert
Neil Swainson
Trio Sketches

Tracks

1 Snow White (Bass, Laws)  5:27
My Ideal (Chase, Robin, Whiting)  3:42
3 I Have Dreamed (Hammerstein II, Rodgers)  7:48
4 Can't We Be Friends ? (James, Swift)  8:26
5 Baubles, Bangles and Beads (Borodin, Forrest, Wright)  5:15
6 Medley
This Love of Mine/This Is Always (Gordon, Sanicola, Jr., Parker, Sinatra, Warren)  4:08
7 Long Ago (And Far Away) (Gershwin, Kern)  4:29
8 I'm Gonna Sit Right Down (And Write Myself a Letter) (Ahlert, Young)  8:07
9 Ornithardy (Fischer)  5:14
10 'Deed I Do (Hirsch, Rose)  8:04

*

Personnel
Rob McConnell - tb
Ed Bickert - g
Neil Swainson - b

Recorded at Manta Eastern Sound, Toronto, Canada ; May 20 & 21, 1993

John Ogdon - Legendary British Virtuoso (Part. 1 - cd. 1-9)

To tie in with the 75th birthday year of John Ogdon, EMI Icons brings out its largest anthology devoted to the late British pianist, who died at 52 in 1989. It includes items that have been out of the catalog for some time, along with the contents of a 2007 four-CD set that I reviewed for Classicstoday.com. The present 17 discs embrace a wide spectrum of the pianist’s catholic repertoire from Bach to Bartók and beyond, providing ample evidence both of Ogdon’s remarkable pianistic gifts and his erratic interpretive temperament.
Most of the encore-type fare on Disc 17 sounds like extremely accomplished sight-reading : the square Bach-Hess Jesu, Joy of Man’s Desiring, the listless Debussy Clair de lune, and a “just the notes, ma’am” attitude toward the Albéniz Tango in D at far remove from Alicia de Larrocha’s lovingly detailed traversal. Yet Ogdon catches you off guard with a passionate, almost explosive rendition of Sinding’s once-popular salon piece Rustle of Spring, an energetic and characterful Moszkowski Valse Op. 34 n° 1, and a cool, debonair Poulenc Mouvements perpétuels n° 1. Ogdon’s Chopin hits and misses, between a slapdash “Revolutionary” Etude and an unusually terse, well-thought-out Scherzo n° 3. Ogdon also could be incandescent and perfunctory in the same performance, as the Rachmaninov Second and Tchaikovsky First concertos, Liszt’s Fifteenth Rhapsody, Valse Oubliée n° 1, and B minor sonata bear out.
But when it came to new music, oddball repertoire, or large-scale works containing millions of notes, Ogdon usually rose to the occasion. His extremely rare recording of Ronald Stevenson’s massive Passacaglia on DSCH (the musical notes D, E-Flat, C, B that spell out Shostakovich’s signature motto theme) surpasses both of the composer’s own recordings for dynamic variety and virtuosic sheen, as well as more extreme, dramatically contrasted tempos. He similarly sails through Busoni’s Piano Concerto, the Dukas Piano Sonata, plus the Piano Concerto and first two sonatas of Michael Tippett (sound sample below).
He serves up an atypically impetuous, driven Messaien Cantéyodjaya while making a lovingly nuanced case for Robert Sherlaw Johnson’s quite Messiaenic Piano Sonata n° 2 (incidentally, Sherlaw Johnson made some superb Messiaen piano recordings for Argo in the late 1960s ; they deserve reissue). Rehearing the masterfully lithe 1971 Rachmaninov Etudes-Tableaux reconfirms their standing among the crown jewels in Ogdon’s discography. No matter how thick or unwieldy the textures, Ogdon takes Rachmaninov’s challenges in easy stride.
Jeremy Nicholas’ frank and informative booklet notes discuss these recordings in the context of Ogdon’s life and career, although I noticed one small error. Nicholas writes that the aforementioned Busoni Concerto represents conductor/Busoni scholar Daniell Revenaugh’s only commercial recording. In fact, the Busoni Concerto sessions also yielded the same composer’s Sarabande & Cortège for orchestra, while at least three commercial releases feature Revenaugh as pianist.
ClassicsToday.com

Source : http://www.arkivmusic.com/classical/Name/Richard-Hall/Composer/75992-1

John Ogdon
Legendary British
Virtuoso

Tracks
Cd. 1

Felix Mendelssohn
(1809-1847)

Piano Concerto n° 1 in G minor, Op. 25
1 I. Molto allegro con fuoco  7:32
2 II. Andante  6:47
3 III. Presto - Molto allegro e vivace  6:06

Piano Concerto n° 2 in D minor, Op. 40
1 I. Allegro appassionato  9:59
2 II. Adagio  9:20
3 III. Finale. Presto scherzando  6:45

*

London Symphony Orchestra, Aldo Ceccato - dir.

Recorded at N° 1 Studio, Abbey Road, London ; September 7/9, 1969

*

Cd. 2

Felix Mendelssohn
(1809-1847)

1 Rondo brillant in E-Flat, Op. 29  9.26

Edvard Grieg
(1843-1907)

Piano Concerto in A minor, Op. 16
2 I. Allegro molto moderato  11:37
3 II. Adagio  6:51
4 III. Allegro moderato molto e marcato  10:13

Alexander Glazunov
(1865-1936)

Piano Concerto n° 1 in F minor, Op. 92
5 I. Allegro moderato/II. Tema con variazioni  10:53
6 Tema. Andantino tranquillo  1:38
7 Variation 1  1:09
8 Variation 2. Cromatica (Andantino)  0:51
9 Variation 3. Eroica (Allegro moderato)  1:00
10 Variation 4. Lyrica (Adagio)  2:14
11 Variation 5. Intermezzo (Allegro)  2:14
12 Variation 6. Quasi una fantasia (Lento)  2:02
13 Variation 7. Mazurka (Allegretto)  1:22
14 Variation 8. Scherzo (Allegro ma non roppo)  1:33
15 Variation 9. Finale (Allegro moderato)  3:09

Ferruccio Busoni
(1866-1924)

16 Ten Variations on Chopin’s Prelude in C minor, Op. 22  8.52


John Ogdon - p
London Symphony Orchestra, Aldo Ceccato [# 1]
New Philharmonia Orchestra, Paavo Berglund - dir. [# 2-4]
Bournemouth Symphony Orchestra, Paavo Berglund - dir. [# 5-15]

Recorded same place and date as above [# 1] ; December 21, 1971 [# 2-4] ; January 8/9, 1976 [# 5-15] ; & December 19 & 23, 1960 [# 16]

*


Cd. 3

Peter Il’yich Tchaikovsky
(1840-1893)

Piano Concerto n° 1 in B-Flat minor, Op. 23
1 I. Allegro non troppo e molto maestoso - Allegro con spirito  19:23
2 II. Andante semplice - Prestissimo - Tempo I  7:09
3 III. Allegro con fuoco  6:55

César Franck
(1822-1890)

Symphonic Variations
4 Poco Allegro -  4:16
5 Allegretto quasi andante - 3:57
6 Molto più lento - 3:46
7 Allegro non troppo  4:15

Franz Liszt
(1811-1886)

Fantasia on Hungarian Folktunes, S.123
8 Andante mesto -  3:28
9 Allegro eroico -  2:58
10 Molto adagio, quasi fantasia -  1:51
11 Allegreto alla Zingarese -  3:40
12 Vivace assai  3:24

Franz Liszt
(1811-1886)
arr. Ferruccio Busoni
(1866-1924)

Rhapsodie espagnole, S.254
13 Lento -  1:16
14 Andante moderato (Folies d'Espagne) -  4:16
15 Allegro (Jota aragonese) -  7:49
16 Non troppo allegro  1:21

*

John Ogdon - p
Philharmonia Orchestra, Sir John Barbirolli - dir. [# 1-7]
Philharmonia Orchestra, Sir John Pritchard - dir. [# 8-16]

Recorded same place as above ; December 17 & 18, 1962 [# 1-7] ; & December 22, 1962 [# 8-16]

*


Cd. 4

Ferruccio Busoni
(1866-1924)

Concerto for piano, orchestra and male chorus, Op. 39
1 I. Prologo e introit  16:12
2 II. Pezzo giocoso  9:05
3 III. Pezzo serioso (Introductio - Prima pars -  20:01
Altera pars - Ultima pars)
4 IV. All'italiana (Tarantella)  12:47
5 V. Cantico*  10:22

6 Turandots Frauengemach (Intermezzo) (N° 4 of Elegies)  3:27
7 Sonatina n° 6 (Chamber fantasy on Bizet’s Carmen)  7:33


John Ogdon - p
*Men’s voices of the John Alldis Choir
Royal Philharmonic Orchestra, Daniel Revenaugh - dir. [# 1-5]

Recorded same place as above ; July 20/22, 26 & 28, 1967 [# 1-5] ; & December 19 & 23, 1960 [# 6 & 7]

*


Cd. 5

Sergei Rachmaninov
(1873-1943)

Piano Concerto n° 2 in C minor, Op. 18
1 I. Moderato  11:25
2 II. Adagio sostenuto  12:18
3 III. Allegro scherzando 11:36

Rhapsody on a theme of Paganini, Op. 43
4 Introduction. Allegro vivace  0:10
5 Variation I. Precedente  0:21
6 Thema. L'Istesso tempo  0:19
7 Variation II. L'Istesso tempo  0:19
8 Variation III. L'Istesso tempo  0:25
9 Variation IV. Più vivo  0:31
10 Variation V. Tempo precedente  0:30
11 Variation VI. L'Istesso tempo  1:08
12 Variation VII. Menomosso, a tempo moderato  0:58
13 Variation VIII. Tempo 1  0:34
14 Variation IX. L'Istesso tempo  0:33
15 Variation X Variation X (♩ = ♩)  0:53
16 Variation XI. Moderato  1:19
17 Variation XII. Tempo di minuetto  1:28
18 Variation XIII. Allegro  0:29
19 Variation XIV. L'Istesso tempo  0:43
20 Variation XV. Più vivo, scherzando  1:09
21 Variation XVI. Allegretto  1:41
22 Variation XVII (♩ = ♩.)  1:55
23 Variation XVIII. Andante cantabile  2:57
24 Variation XIX. A tempo vivace  0:33
25 Variation XX. Un poco più vivo  0:35
26 Variation XXI. Un poco più vivo  0:26
27 Variation XXII. Un poco più vivo (alla breve)  1:43
28 Variation XXIII. L'Istesso tempo  0:56
29 Variation XXIV. A tempo un poco meno mosso - Più vivo  1:17

Gabriel Fauré
(1845-1924)

30 Ballade in F-Sharp major, Op. 19  13:14

Henry Litolff
(1818-1891)

31 Scherzo (Concerto symphonique n° 4 in D minor, Op. 102)  6:47

John Ogdon - p
Philharmonia Orchestra, Sir John Pritchard - dir. [# 1-29]
City of Birmingham Symphony Orchestra, Louis Frémaux - dir. [# 31]

Recorded same place as above ; January 29/31, 1962 [# 1-3] ; December 21, 1963 [# 4-29] ;  & at De Montfort Hall, Leicester ; June 17 & 18, 1971 [# 30 & 31]

*

 

Cd. 6

Frédéric Chopin
(1810-1849)


Études, Op. 10
1 N° 3 in E major  4:12
2 N° 12 in C minor “Revolutionary”  2:25


Nocturnes
3 Op. 9 n° 2 in E-Flat  5:13
4 Op. 15 n° 2 in F-Sharp  3:40


5 Ballade n° 1 in G minor, Op. 23  8:30

Préludes, Op. 28
6 N° 7 in A. Andantino  0:50
7 N° 15 in D-Flat “Raindrop”. Sostenuto  5:58


Mazurkas
8 Op. 7 N° 1 in B-Flat  1:50
9 Op. 33 N° 2 in D  1:52


10 Scherzo N° 3 in C-Sharp minor, Op. 39  7:12

Polonaises
11 Op. 40 n° 1 in A major “Military”  3:23
12 Op. 53 in A-Flat major “Héroique”  6:01


Waltzes, Op. 64
13 N° 1 in D-Flat “Minute”  1:45
14 N° 2 in C-Sharp minor  3:00

15 Fantaisie-impromptu in C-Sharp minor, Op. 66  4:20

Franz Liszt
(1811-1886)


16 Un sospiro (Trois Études de concert, S144)  5:33


Liebesträume
17 N° 1 in A-Flat  5:36
18 N° 3 in A-Flat  4:34



Recorded at N° 1 Studio, Abbey Road, London ; June 14/16, 1968 [# 1-9, 13-15] ; March 14/16, 1961 [# 10] ; & July 25 & 26, 1967 [# 16-18]

*



Cd. 7

Franz Liszt
(1811-1886)


Piano Sonata in B minor, S178
1 Lento assai - Allegro energico - Grandioso -  7:51
2 Allegro energico - Recitaivo -  4:09
3 Andante sostenuto - Quasi adagio -  8:11
4 Allegro energico (Fugue) -  1:36
5 (Recapitulation) - Più mosso - Stretta quasi presto -  4:36
6 (Coda) Presto - Prestissimo - Andante sostenuto - Allegro moderato - Lento assai  4:36


Zwei Konzertstüdien, S145
7 N° 1. Waldesrauschen  4.26
8 N° 2. Gnomenreigen  2.13


Trauervorspeil und Trauermarsch, S206
9 Trauervorspeil  1:45
10 Trauermarsch  6:17


11 En rêve - Nocturne. Andantino S207  2:37
12 Réminiscenses de Don Juan, S418 (Mozart)  16:57
13 Réminiscences de Simone Boccanegra, S438 (Verdi)  11:51


Recorded same place as above ; April 24, 1964 [# 1-6] ; July 25 & 26, 1967 [# 7 & 8] ; & August 9/12, 1965 [# 9-13]

*


Cd. 8


Franz Liszt
(1811-1886)


1 Après une lecture du Dante : Fantasia quasi Sonata  17:01
(Années de pélerinage 2e année: Italie, S161)
2 Mephisto Waltz n° 1. Der Tanz in der Dorfschenke, S514  11:14
3 Mephisto Waltz n° 3, S216  8:45
4 Csardas macabre, S224  6:23
5 Polonaise n° 2 in E major, S.223  8:55
6 Hungarian Rhapsody n° 15 in A minor (Rákóczi March), S244  6:30


Étude d’exécution transcendante d’après Paganini, S140
7 N° 2 in E-Flat (Octaves)  4:21
8 N° 3 in G-Sharp minor (La Campanella)  4:13
(arr. Busoni)


9 Funérailles (Harmonies poétiques et religieuses, S173)  10:.19
10 Valse oubliée n° 1, S215  2:22


Recorded same place as above ; March 29 & 30, 1961 [# 1, 2 & 8] ; August 10, 1965 [# 3 & 4] ; July 25 & 26, 1967 [# 5-7, 9 & 10] 

*

Cd. 9

Sergei Rachmaninov 
(1873-1943)

Études tableaux, Op. 33
1 N° 1 in F minor Allego non troppo.  2:11
2 N° 2 in C major Allegro.  1:52
3 N° 3 in C minor Grave.  3:30
4 N° 4 in D minor Moderato.  2:43
5 N° 5 in E-Flat minor Non allegro - Presto.  1:23
6 N° 6 in E-Flat major Allegro con fuoco.  1:51
7 N° 7 in G minor Moderato.  3:51
8 N° 8 in C-Sharp minor. Grave  2:27


Études tableaux, Op. 39
9 N° 1 in C minor. Allegro agitato  3:17
10 N° 2 in A minor. Lento assai  5:45
11 N° 3 in F-Sharp minor. Allegro molto  2:32
12 N° 4 in B minor. Allegro assai  3:50
13 N° 5 in E-Flat minor. Appassionato  4:15
14 N° 6 in A minor. Allegro  2:25
15 N° 7 in C minor. Lento  7:05
16 N° 8 in D minor.  Allegro moderato  3:32
17 N° 9 in D major. Allegro moderato  3:49


18 Prelude in C-Sharp minor, Op. 3 n° 2  4:03

Recorded same place as above ; March 23/25, 1971 [# 1-17] ; & July 14, 1972 [# 18]

Wilhelm Kempff Plays Beethoven - The 32 Piano Sonatas (Mono)

Wilhelm Kempff was the most inspirational of Beethoven pianists. Those who have cherished his earlier stereo cycle for its magical spontaneity will find Kempff’s qualities even more intensely conveyed in this mono set, recorded between 1951 and 1956. Amazingly the sound has more body and warmth than the stereo, with Kempff’s unmatched transparency and clarity of articulation even more vividly caught, both in sparkling allegros and in deeply dedicated slow movements. If in places he’s even more personal, some might say wilful, regularly surprising you with a new revelation, the magnetism is even more intense, as in the great Adagio of the Hammerklavier or the final variations of Op. 111, at once more rapt and more impulsive, flowing more freely. The bonus disc, entitled ‘An All-Round Musician’, celebrates Kempff’s achievement in words and music, on the organ in Bach, on the piano in Brahms and Chopin as well as in a Bachian improvisation, all sounding exceptionally transparent and lyrical. Fascinatingly, his pre-war recordings of the Beethoven sonatas on 78s are represented too. Here we have his 1936 recording of the Pathétique, with the central Adagio markedly broader and more heavily pointed than in the mono LP version of 20 years later.

Source : http://www.gramophone.co.uk/editorial/beethovens-piano-sonatas

Wilhelm Kempff
Plays
Beethoven
(1770-1827)

The 32 Piano Sonatas
[Mono Recording, 1951-1956]

Tracks

Cd. 1

Piano Sonata n° 1 in F minor, Op. 2 n° 1
(1795)
1 I. Allegro  4:33
2 II. Adagio  4:41
3 III. Menuetto. Allegretto  3:02
4 IV. Prestissimo  5:23

Piano Sonata n° 2 in A major, Op. 2 n° 2
(1795)
1 I. Allegro vivace  5:32
2 II. Largo appassionato  7:02
3 III. Scherzo. Allegretto  3:17
4 IV. Rondo. Grazioso  6:30

Piano Sonata n° 4 in E-Flat major, Op. 7
(ca. 1796-97)
1 I. Allegro molto e con brio  8:42
2 II. Largo, con gran espressione  7:50
3 III. Allegro  5:19
4 IV. Rondo. Poco allegretto e grazioso  7:14

*

Cd. 2

Piano Sonata n° 3 in C major, Op. 2 n° 3
(1795)
1 I. Allegro con brio  7:40
2 II. Adagio  7:09
3 III. Scherzo. Allegro  2:46
4 IV. Allegro assai  5:14

Piano Sonata n° 5 in C minor, Op. 10 n° 1
(1796-98)
5 I. Allegro molto e con brio  6:09
6 II. Adagio molto  7:45
7 III. Finale. Prestissimo  3:58

Piano Sonata n° 6 in F major, Op. 10 n° 2
(1796-98)
8 I. Allegro  5:39
9 II. Allegretto  3:30
10 III. Presto  3:44

Piano Sonata n° 7 in D major, Op. 10 n° 3
(1796-98)
11 I. Presto  5:00
12 II. Largo e mesto  8:45
13 III. Menuetto. Allegro  2:51
14 IV. Rondo. Allegro  3:59

*


Cd. 3

Piano Sonata n° 8 in C minor, Op.13
"Pathétique"
(1798-99)
1 I. Grave - Allegro di molto e con brio  7:44
2 II. Adagio cantabile  4:05
3 III. Rondo. Allegro  4:33

Piano Sonata n° 9 in E major, Op. 14 n° 1
(ca. 1798-99)
4 I. Allegro  6:40
5 II. Allegretto  3:34
6 III. Rondo. Allegro commodo  3:37

Piano Sonata n° 10 in G major, Op. 14 n° 2
(ca. 1798-99)
7 I. Allegro  7:29
8 II. Andante  5:23
9 III. Scherzo. Allegro assai  3:18

Piano Sonata n° 11 in B-Flat, Op. 22
(1799-1800)
10 I. Allegro con brio  7:33
11 II. Adagio con molto espressione  7:37
12 III. Menuetto  3:09
13 IV. Rondo. Allegretto)  6:27

*



Cd. 4

Piano Sonata n° 12 in A-Flat major, Op. 26
(1800-01)
1 I. Andante con variazioni  8:06
2 II. Scherzo. Allegro molto  2:50
3 III. Marcia funebre sulla morte d'un Eroe  5:31
4 IV. Allegro  3:07

Piano Sonata n° 13 in E-Flat major, Op. 27 n° 1
(1800-01)
5 I. Andante - Allegro - Tempo I - attaca  4:46
6 II. Allegro molto e vivace - attaca  2:18
7 III. Adagio con espressione - attaca  2:58
8 IV. Allegro vivace  5:48

Piano Sonata n° 14 in C-Sharp Minor, Op. 27 n° 2
"Moonlight"
(1801)
9 I. Adagio sostenuto - attaca  6:20
10 II. Allegretto - attaca  2:19
11 III. Presto agitato  5:52

Piano Sonata n° 15 in D major, Op.28
"Pastorale"
(1801)
12 I. Allegro  7:28
13 II. Andante  6:37
14 III. Scherzo. Allegro vivace  2:27
15 IV. Rondo. Allegro ma non troppo  5:00

*

Cd. 5

Piano Sonata n° 16 in G major, Op. 31 n° 1
(1801-02)
1 I. Allegro vivace  4:53
2 II. Adagio grazioso  11:02
3 III. Rondo. Allegretto  6:23

Piano Sonata n° 17 in D minor, Op.31 n° 2
"The Tempest"
(1801-02)
4 I. Largo - Allegro  6:19
5 II. Adagio  7:21
6 III. Allegretto  7:06

Piano Sonata n° 18 in E-Flat major, Op. 31 n° 3
(1801-02)
7 I. Allegro  6:09
8 II. Scherzo. Allegretto vivace  5:07
9 III. Menuetto. Moderato e grazioso  4:32
10 IV. Presto con fuoco  4:45

Piano Sonata n° 19 in G minor, Op. 49 n° 1
(1795-98 ?)
1 I. Andante  4:07
2 II. Rondo. Allegro  3:45

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Cd. 6

Piano Sonata n° 20 in G major, Op. 49 n° 2
(1795-96 ?)
1 I. Allegro, ma non troppo  4:37
2 II. Tempo di Menuetto  3:45

Piano Sonata n° 21 in C major, Op. 53
"Waldstein"
(1803-04)
3 I. Allegro con brio  8:25
4 II. Introduzione. Adagio molto - attacca  3:31
5 III. Rondo. Allegretto moderato  9:43

Piano Sonata n° 22 in F major, Op. 54
(1804)
6 I. In tempo d'un Menuetto  6:01
7 II. Allegretto  5:57

Piano Sonata n° 23 in F minor, Op. 57
"Appassionata"
(1804-05)
8 I. Allegro assai  9:43
9 II. Andante con moto - attacca  6:11
10 III. Allegro ma non troppo - Presto  5:35

Piano Sonata n° 24 in F-Sharp major, Op. 78
(1809)
11 I. Adagio cantabile - Allegro, ma non troppo  4:59
12 II. Allegro vivace  2:49

*

Cd. 7

Piano Sonata n° 25 in G major, Op. 79
(1809)
1 I. Presto alla tedesca  3:03
2 II. Andante  2:29
3 III. Vivace  1:52

Piano Sonata n° 26 in E-Flat major, Op. 81a
"Les Adieux"
(1809-10)
4 I. Das Lebewohl (Les Adieux). Adagio - Allegro  6:51
5 II. Abwesenheit (L'Absence). Andante espressivo  3:01
6 III. Das Wiedersehen (Le Retour). Vivacissimamente  4:08

Piano Sonata n° 27 in E minor, Op. 90
(1814)
7 I. Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck  5:07
8 II. Nicht zu geschwind und sehr singbar vorzutragen  8:07

Piano Sonata n° 29 in B-Flat major, Op.106
"Grosse Sonate für das Hammerklavier"
(1817-18)
9 I. Allegro  8:54
10 II. Scherzo. Assai vivace  2:41
11 III. Adagio sostenuto. Appassionato e con molto sentimento  15:21
12 IV. Largo. Molto risoluto  11:47

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Cd. 8

Piano Sonata n° 28 in A major, Op. 101
(1816)
1 I. Etwas lebhaft und mit der innigsten Empfindung  3:35
Allegretto ma non troppo
2 II. Lebhaft, marschmäßig. Vivace alla marcia  5:41
3 III. Langsam und sehnsuchtsvoll  2:23
Adagio ma non troppo, con affetto
4 IV. Geschwind, doch nicht zu sehr und mit Entschlossenheit. Allegro  7:12

Piano Sonata n° 30 in E major, Op. 109
(1820)
5 I. Vivace, ma non troppo  3:14
6 II. Prestissimo  2:23
7 III. Gesangvoll, mit innigster Empfindung  10:59
(Andante molto cantabile ed espressivo)

Piano Sonata n° 31 in A-Flat major, Op. 110
(1821)
8 I. Moderato cantabile molto espressivo  6:04
9 II. Allegro molto  2:29
10 III. Adagio, ma non troppo - Fuga. Allegro, ma non troppo  9:33

Piano Sonata n° 32 in C minor, Op. 111
(1821-22)
11 I. Maestoso - Allegro con brio ed appassionato  7:05
12 II. Arietta. Adagio molto semplice e cantabile  14:33

*

Wilhelm Kempff - p

Recorded at Beethovensaal, Hannover, Germany ; between September 20, 1951 & May 3,1956

See the complete artwork

*


Cd. 9
[bonus]

Wilhelm Kempff
(1895-1991)

Ein Universalmusiker
Ann All-round Musician

1 Die Glocken der Weltfriedenskirche in Hiroshima  2:16
The Bells of the World Peace Church, Hiroshima

Johann Sebastian Bach
(1685-1750)

2 Ich rufe zu dir, Herr Jesu Christ BWV 639  3:15
Orgelchoral aus dem Orgelbüchlein
Organ chorale from the Orgelbüchlein

Wilhelm Kempff

3 Ansprache anläßlich der Orgeleinwihung in der Weltfriedenkirche, Hiroshima  2:22
Adress given at the organ dedication in the World Peace Church, Hiroshima

Johann Sebastian Bach

4 Wenn ich einmal soll scheiden  3:06
Orgelchoral (N° 72 au der Matthäuspassion/from the
St. Matthew Passion)
Fassung/Version: Herzlig tut mir verlangen, BWV 727

Wilhelm Kempff
"Aus meinem Leben"  3:06
From From my Life

Johannes Brahms
(1833-1897)

Piano Sonata in F minor, Op. 5
6 III. Scherzo. Allegro energico  4:52

Wilhelm Kempff

7 "Über das Klavier und das Klavierspielen"  2:59
On the Piano and Piano-Playing

Frédéric Chopin
(1810-1849)

Nocturne in B major, Op. 9 n° 3
[excerpt]
8 Allegretto  1:15

Johann Sebastian Bach

10 Es ist gewißlich an der Zeit BWV 307/  2:20
Nun freut euch, lieben Christen g'mein BWV 734
[Setting improvised by Wilhelm Kempff]

Wilhelm Kempff

11 "Über eine Beethoven-Interpretation"  1:42
On my Interpretation of Beethoven

Ludwig Van Beethoven
(1770-1827)

Piano Sonata n° 8 in C minor, Op.13
"Pathétique"
12 I. Grave - Allegro di molto e con brio  7:37
13 II. Adagio cantabile  4:52
14 III. Rondo. Allegro  4:30

Wilhelm Kempff

Vier Lieder nach Gedichten von C. F. Meyer
Four Songs to Poems by C. F. Meyer
15 I. Liederseelen Op. 56 n° 1  3:01
16 II Alle Op. 56 n° 2  3:20
17 III. Der Gesang des Meeres Op. 56 n° 3  2:48
18 IV. In einer Sturmnacht Op. 55 n° 1  5:13

*

Wilhelm Kempff - p
Dietrich Fischer-Dieskau - bar

Recorded at Wold Peace Church, Hiroshima ; November 1954 [# 1-4] ; Stuttgart ; September 1952 [# 5, 7-11] ; Beethoven-Saal, Hannover ; Mach 1958 [# 6] ; Berlin ; December 1936 ; Jesus-Christus-Kirche, Berlin ; May 1964 [# 15-18]