Thursday, April 16, 2015

Charles Rosen - The Complete Columbia and Epic Album Collection (Part. I - Cd. 1/11)

The late Charles Rosen’s renown as a writer, scholar, musical thinker, and teacher tends to overshadow his reputation as a pianist. However, at his best Rosen was a probing virtuoso who embraced a wide, eclectic, and seemingly contradictory range of repertoire. All the more reason to celebrate SonyBMG’s original jacket boxed set devoted to Rosen’s complete Columbia and Epic recordings, many of which have not been available on CD.
Although he studied as a youth with the legendary Liszt pupil Moriz Rosenthal, Rosen’s pianism is anything but “old school”. Like his fellow American colleagues Leon Fleisher, Gary Graffman, and Jacob Lateiner, Rosen was a literalist who favored structure over sensuality, line over mass, clear textures, and a generally lean–even flinty–sonority, although tonal allure and colorful nuance sneak out from time to time. These qualities typify Rosen’s 1968-’70 late Beethoven sonatas, which stand out for their contrapuntal awareness and overall rigor, despite certain quirks, such as the slow and static tempos for Op. 90’s second movement and Op. 101 and Op. 109’s opening movements.
Though not as well recorded, a 1964 Op. 106 and Op. 110 coupling proves more convincing when compared alongside the later versions. The “Hammerklavier” first movement unfolds at a more headlong and urgent pace, albeit with the same controversially elongated fermata at measure 268, while the Scherzo is edgier and harder hitting. Here Rosen maintains the fourth-movement Fugue’s initial tempo ; his Columbia remake slightly slows down as it progresses. While the later Op. 110’s tempo relationships are carefully organized, I prefer the earlier Fugue’s greater animation and flexibility, especially in the ecstatic final pages.
Bach’s two Ricercares from The Musical Offering are new to CD, reunited here alongside their original Art of Fugue and Goldberg Variations LP couplings. Budding Bach pianists can learn a thing or two from the intelligence and deep musicality governing Rosen’s decisions with regard to dynamic scaling, voice leading, and tempo.
Those who prefer their Chopin poetic and big-hearted probably will not respond to Rosen’s dry-eyed literalism and small-scaled dynamism. That said, arresting details catch you off-guard and confirm what’s in the scores, as opposed to the dictates of “tradition”. Rosen clarifies the Fourth Ballade coda’s polyphonic maze as few others have, and at an insanely fast, unyielding pace to boot. Rosen also takes the C-sharp minor Scherzo’s opening section in tempo, as written, although he curiously slackens the dotted rhythm in the octaves. While most of the A-Flat Polonaise is straightforward and reserved, Rosen taps into his lyrical resources beautifully for the G major episode right before the main theme’s final appearance. The A-Flat Mazurka Op. 50 n° 2 is expansive and songful, in contrast to the quick, poker-faced Op. 50 n° 3 C-sharp minor that follows.
A 1965 recital devoted to then-unfashionable Godowsky, Rachmaninov, Tausig, and Rosenthal transcriptions impresses more for proficiency than charm, but Liszt’s Don Juan Fantasy and Tenth Hungarian Rhapsody showcase Rosen’s dazzling technique and lightning reflexes at full capacity. So does a late-1960s Haydn recital that came out on Columbia’s British CBS affiliate label, licensed to Vanguard for a 1969 LP release. In the Chopin F minor and Liszt E-Flat major concertos Rosen triumphantly melds his no-nonsense objective style with discreetly declamatory gestures. The Liszt’s final movement gains stature by virtue of its slower than usual tempo and chamber-like soloistorchestra interplay.
Conversely, Rosen seems a bit studio-bound throughout Schumann’s Carnaval and Davidsbundlertänze ; his early 1980s remakes issued by Nonesuch on LP dare to a higher degree, and are better recorded. Nor are his Schubert A major D. 959 Sonata and Mozart A minor Rondo particularly special when considering numerous other versions past and present, as well as the broader, far more intense Schubert performance I heard Rosen give at the Frick Collection in the late 1970s, preserved in a broadcast that ought to become accessible.
Had they remained in print, Rosen’s splendidly played Debussy Etudes would have been an unambiguous reference version. He seems more emotionally attuned to Debussy’s Images Book II than to Book I or L’Isle Joyeuse, but his ultra-sharp projection, brisk tempos, and top-of-the-keys control in Ravel’s Gaspard de la nuit and Le Tombeau de Couperin proves how you don’t have to be French to be an echt-French pianist ! And there’s no arguing about Rosen’s sympathetic mastery and authority in 20th century works by Bartók, Boulez, Carter, Stravinsky, Schoenberg, and Webern. The collection includes the first two recordings of Carter’s extraordinarily inventive Double Concerto for Piano, Harpsichord, and Two Chamber Orchestras. Performance-wise, the 1968 version is far more assured and incisive than the 1961 premiere, but the latter benefits from a more resonant and realistically balanced soundstage.
Booklet content includes full discographical information and an excellent essay by piano expert Jeremy Siepmann. Incidentally, Siepmann claims that “in 1962, when Rosen first recorded the Debussy Etudes, directly inspired by Chopin, he was the first to do so, beating even the great German pianist Walter Gieseking.” Gieseking actually recorded the Etudes in 1954, although Rosen’s 1951 recording for the small EMS label did indeed beat out Gieseking’s. This release is bound to attract serious attention among piano connoisseurs. Hopefully it will inspire other companies to reissue important and long out-of-print Rosen recordings such as his last and best Beethoven Op. 106 and Op. 110 sonatas (MusicMasters), his Schumann Revolutionary Masterpieces (on vinyl from Nonesuch, briefly on CD from Globe), and his incomparable Beethoven Diabelli Variations (Carlton Classics).
Jed Distler, ClassicsToday.com

Source : http://www.arkivmusic.com/classical/album.jsp?album_id=1610766

Charles Rosen
The Complete
Columbia and Epic
Album Collection
(1959-1970)

Tracks

Maurice Ravel
(1875-1937)

Gaspard de la Nuit
Poèmes pour piano d'après
Aloysius Bertrand
1 I. Ondine. Lent  6:38
2 II. Le Gibet. Très lent  5:55
3 III. Scarbo. Modéré  8:14

Le Tombeau de Couperin
4 I. Prélude. Vif  2:47
5 II. Fugue. Allegro moderato  3:26
6 III. Forlane. Allegretto  6:09
7 IV. Rigaudon. Assef vif  3:03
8 V. Menuet. Allegro moderato  5:51
9 VI. Toccata. Vif  3:52

Recorded at Columbia 30th Street Studio, New York City ; January 9, 12 & 13 & November 11 & 12, 1959

*


Cd. 2

Frédéric Chopin
(1810-1849)

1 Ballade n° 4 in F minor, Op. 52  10:29
Andante con moto
2 Scherzo n° 3 in C-Sharp minor, Op. 39  7:03
Presto con fuoco
3 Polonaise n° 6 in A-Flat major, Op. 53 'Héroïque'  6:35
Maestoso
4 Mazurka n° 2 in C-Sharp minor, Op. 6 n° 2  2:11
5 Mazurka n° 31 in A-Flat major, Op. 50 n° 2  3:07
Allegretto
6 Mazurka n° 32 in C-Sharp minor, Op. 50 n° 3  4:09
Moderato
7 Nocturne n° 8 in D-Flat major, Op. 27 n° 2  3:58
Lento sostenuto
8 Nocturne n° 5 in F-Sharp major, Op. 15 n° 2  3:11
Larghetto
9 Nocturne n° 17 in B major, Op. 62 n° 1  7:03
Andante


Recorded same place as above ; February 3/5, 1960

*


Cd. 3

Igor Stravinsky
(1882-1971)

Serenade in A for piano
1 I. Hymne 3:32
2 II. Romanza  2:50
3 III. Rondoletto  3:02
4 IV. Cadenza finala  3:22

Piano Sonata (1924)
5 I. ♩ =112
6 II. Adagietto  4:57
7 III. ♩ = 112  2:33

Arnold Schoenberg
(1874-1951)

8 Piano Piece, Op. 33a  2:10
Mäßig
9 Piano Piece, Op. 33b  3:23
Mäßig langsam

Suite for piano, Op. 25
10 I. Präludium. Rasch (♩ = 80)  O:57
11 II. Gavotte. Etwas langsam (minim = ca. 72), nicht hastig
12 III. Musette. Rascher (minim = 88)
13 IV. Intermezzo (♩ = 40)  3:31
14 V. Menuett. Moderato (♩ = ca. 88) - Trio 3:40
15 VI. Gigue. Rasch (♩ = ca. 192)  2:23

Igor Stravinsky

Movements for Piano & Orchestra
16 I. ♪ = 110
17 II. ♪ = 52
18 III. ♪ = 72
19 IV. ♪ = 80
20 V. ♪ = 104


Charles Rosen - p
Columbia Symphony Orchestra, Igor Stravinsky - dir.  [# 16-20]

Recorded same place as above ; December 28/30, 1960 [# 1-5] ; & Hollywood ; February 12, 1961 [# 16-20] 

*


Cd. 4

Elliott Carter
(1908-2012)

Double Concerto for Harpsichord and Piano
with 2 Chamber Orchestra
1 Introduction - Cadenza for Harpsichord  6:01
2 Allegro scherzando - Adagio - Presto - Cadenzas for Piano  14:07
3 Coda  2:37

Leon Kirchner
(1919-2009)

4 Concerto for Violin, Cello, 10 Winds and Percusion  18:21
I. Allegro ma non troppo - Andante grazioso
II. Adagio - Andante

Elliott Carter

Piano Sonata
5 I. Maestoso  9:50
6 II. Andante  11:28

Charles Rosen - p
Ralph Kirkpatrick - hrpschrd [# 1-3]
Tossy Spivakovsky - vl [# 4]
Aldo Parisot - cel [# 4] 

Recorded at Columbia 30th Street Studio, New York City ; September 7 & 8, 1961 [# 1-4] , & April 25, 1961 [# 5 & 6] 

*


Cd. 6

Claude Debussy
(1862-1918)

 Douze Etudes pour piano

Livre I
1 I. Pour les «cinq doigts» d' après Monsieur Czerny. Sagement  3:12
2 II. Pour les tierces. Moderato, ma non troppo  3:51
3 III. Pour les quartes. Andantino con moto  4:43
4 IV. Pour les sixtes. Lento  3:46
5 V. Pour les octaves. Joyeux et emporté,  2:39
librement rythmé
6 VI. Pour les huit doigts. Vivamente,  1:46
molto leggiero e legato

Livre II
7 VII. Pour les degrés chromatiques. Scherzando, animato  2:03
assai
8 VIII. Pour les agréments. Lento, rubato  4:37
e leggiero
9 IX. Pour les notes répétées. Scherzando  3:05
10 X. Pour les sonorités opposées. Modéré, sans lenteur  4:36
11 XI. Pour les arpèges composés. Dolce e lusingando  4:36
12 XII. Pour les accords. Décidé, rythmé, sans lourdeur  4:01


Recorded same place as above ; February 26/28, 1962

*


Cd. 6

Franz Schubert
(1797-1828)

Piano Sonata in A major D 959
1 I. Allegro  13:56
3 II. Andantino  7:46
3 III. Scherzo. Allegro vivace - Trio. Un poco più lento  4:42
4 IV. Rondo. Allegretto  10:48

Wolfgang Amadeus Mozart
(1756-1791)

5 Rondo in A minor K 511. Andante  9:44

Recorded dame place as above ; April 3, 4 & 6, 1961 & March 2, 1962 [# 1-4] ; & March 2, 1962 [# 5]

*


Cd. 7

Robert Schumann
(1810-1856)

Davidsbündlertänze, Op. 6
18 Characteristics Pieces

Book I
1 I. Lebhaft (Vivace), in G major, Florestan and Eusebius  1:15
2 II. Innig (Con intimo sentimento), in B minor, Eusebius  1:29
3 III. Mit Humor (Con umore) [2nd edition], in G major, Florestan 1:21
4 IV. Ungeduldig (Con impazienza), in B minor, Florestan  1:22
5 V. Einfach (Semplice), in D major, Eusebius  1:41
6 VI. Sehr rasch (Molto vivo) [2nd edition], in D minor, Florestan  1:50
7 VII. Nicht schnell Nicht schnell (Non presto) [2nd edition], in G minor, Eusebius 316
8 VIII. Frisch (Con freschezza), in C minor, Florestan  1:06
9 IX. Lebhaft (Vivace) [2nd edition], in C major, Florestan  1:42

Book II
10 I. Balladenmäßig sehr rasch (Alla ballata molto vivo), in D minor (ends major), Florestan  1:26
11 II. Einfach (Semplice), in B minor-D major, Eusebius  1:29
12 III. Mit Humor (Con umore), in B minor-E minor and major, Florestan  0:39
13 IV. Wild und lustig (Selvaggio e gaio), in B minor and major, Florestan and Eusebius  2:58
14 V. Zart und singend (Dolce e cantando), in E-Flat major, Eusebius  2:31
15 VI. Frisch (Con freschezza), in B-Flat major - Etwas bewegter (poco più mosso), E-Flat major, Florestan and Eusebius  1:38
16 VII. Mit Humor (Con umore), in G major - Etwas langsamer (Un poco più lento), B minor  1:32
17 VIII. Wie aus der Ferne (Come da lontano), in B major and minor, Florestan and Eusebius  4:13
18 IX. Nicht schnell (Non presto), in C major, Eusebius  2:32

Carnaval, Op. 9
Scènes mignonnes sur quatre notes

19 I. Préambule. Quasi maestoso - Più moto - Animato - Vivo - Presto  2:21
20 II. Pierrot. Moderato  1:40
21 III. Arlequin. Vivo  0:59
22 IV. Valse noble. Un poco maestoso  1:13
23 V. Eusebius. Adagio  2:05
24 VI. Florestan. Passionato  1:03
25 VII. Coquette. Vivo  1:32
26 VIII. Répliques. L'istesso tempo - (Sphinxes)  0:49
27 IX. Papillons. Prestissimo  0:46
28 X. A.S.C.H. - S.C.H.A (Lettres dansantes). Presto  0:31
29 XI. Chiarina. Passionato  1:59
30 XII. Chopin. Agitato  1:29
31 XIII. Estrella. Con affetto  0:31
32 XIV. Reconnaissance. Animato  1:59
33 XV. Pantalon et Colombine. Presto  1:00
34 XVI. Valse allemande. Molto vivace  0:48
35 XVII. Paganini. Intermezzo. Presto  1:17
36 XVIII. Aveu. Passionato  1:08
37 XIX. Promenade. Comodo  1:58
38 XX. Pause. Vivo  0:19
39 XXI. Marche des "Davidsbündler" contre les Philistins.
Non allegro - Molto più vivo - Animato - Vivo - Animato molto -Vivo - Più Stretto  3:55

Recorded same place as above ; March 4/5, 7/8, 1963

*


Cd. 8

Franz Liszt
(1811-1886)

1 Réminiscences de Don Juan S 418  17:30
Grande Fantaisie based on themes
from Mozart's Don Giovanni
2 Sonetto 104 del Petrarca S 161 n° 5  5:57
from Années de pèlerinage —  2e année. Italie
3 Hungarian Rhapsody n° 10 in E major S244 n° 10. Preludio  4:52

Béla Bartók
(1881-1945)

Improvisations on Hungarian Peasant Songs Sz 74 (Op. 20)
4 I. Molto moderato — attacca  1:17
5 II. Molto capriccioso  0:53
6 III. Lento, rubato — attacca  2:07
7 IV. Allegretto scherzando  0:44
8 V. Allegro molto  0:52
9 VI. Allegro moderato, molto capriccioso  1:23
10 VII. Sostenuto, rubato. A la mémoire de Claude Debussy — attacca  1:54
11 VIII. Allegro  1:37

3 Studies Sz 72 (Op. 18)
12 N°1. Allegro molto  2:14
13 N° 2. Andante sostenuto  3:24
14 N° 3. Rubato  — Tempo giusto  2:14


Recorded same place as above : December 16, 18 & 23, 1963 [# 1-3] ; & December 16 & 20, 1963 [# 4-14]

*


Cd. 9

Ludwig Van Beethoven
(1770-1827)

Piano Sonata n° 31 in A-Flat major, Op. 110
1 I. Moderato cantabile molto espressivo  6:41
2 II. Allegro molto   2:02
3 III. Adagio, ma non troppo — Fuga. Allegro, ma non troppo  10:46

Piano Sonata n° 29 in B-Flat, Op. 106
"Hammerklavier"
4 I. Allegro  10/17
5 II. Scherzo. Assai vivace  2:42
6 III. Adagio sostenuto. Appassionato  18:13
e con molto sentimento
7 IV. Largo. Allegro risoluto (Fuga)   11:31

Recorded same place as above ; December 14 [# 1-3] & 18, 1964 ; & October 12 & 13, 1964 [# 4-7]

*


Cd. 10

Moriz Rosenthal
(1862-1946)

1 Study on the Waltz Op. 64 n° 1 by Frédéric Chopin  1:50
"Minute Waltz in thirds"

Leopold Godowsky
(1870-1938)

2 Wein, Weib und Gesang  8:57
Symphonic Metamorphosis on Themes by
Johannes Strauss n° 3

Felix Mendelssohn
(1809-1847)
arr. Sergei Rachmaninoff

3 Scherzo  4:16
from  A Midsummer Night's Dream

Franz Liszt
(1811-1886)

4 Soirée de Vienne S 427 n° 6  6:40
Valse-Caprice d'après Franz Schubert

Carl Tausig
(1841-1871)
arr. Sergei Rachmaninoff

6 Leibesleid  4:17

Georges Bizet
(1838-1875)
arr. Sergei Rachmaninoff

7 Minuet  2:44
from L'Arlésienne Suite n° 1

Moriz Rosenthal
(1862-1946)

8 Carnaval de Vienne  6:56
Humoresque on Themes by Johann Strauss

Recorded same place as above ; February 4 & 5 & March 1, 2 & 5, 1965

*


Cd. 11

Frédéric Chopin
(1810-1849)

Piano Concerto n° 2 in F minor
1 I. Maestoso  14:07
2 II. Larghetto  9:34
3 III. Allegro vivace  8:22

Franz Liszt
(1811-1886)

Piano Concerto n° 1 in E-Flat major, S 124
4 I.Allegro maestoso. Tempo giusto  5:31
5 II. Quasi adagio —  4:39
6 Allegretto vivace — Allegro animato  4:06
7 III. Allegro marziale animato — Presto 4:18


Charles Rosen - p
New Philharmonia Orchestra, John Pritchard, dir.

Recorded at Watford Town Hall, London ; January 11 & 13, 1966

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Ананасий Непитин said...

hm-hm... the have omitted Rosen's participation in a early Boulezian Webern project (all the songs, chamber pieces and the only solo piano variations cycle).
three small cello pieces with the great Piatigorsky (his pen-ultimate studio recording), 4 pieces for violin with Stern. vocal masterpieces partly with Heather harper (early oeuvre) or Halina Lukomska (later works).
too much to loose.

but this time (even considering the Webern loss) i must say 'thanks!' some dozen tmes...

Olde Edo said...

Actually, the Webern tracks are also included in the set.
All together, it is a 21-disc set. The remaining discs are:
12. Debussy Images & Estampes
13. Elliot Carter [Variations for Orch., 1966],
Double Concerto for Hpsi & Pft, 1968
14. Bach BWV 1079 (2 ricercar), BWV 1080 (pt.1)
15. Bach BWV 1080 (pt.2)
16. Bach BWV 988
17. Haydn Sonatas Hob.XVI. 20, 44, 46
18. Beethoven Sonatas 27, 28, 29
19. Beethoven Sonatas 30, 31, 32
20. Boulez Sonatas 1 & 3
21. Webern opp. 3, 4, 7, 11, 12, 22, 23, 25, 27
The documentation is a bit thinner than Rosen deserves,
but otherwise, Sony did a great job.

APARTAMENTOS LA COLLADA said...
This comment has been removed by the author.
carlo87 said...

Thank you!!!

Anonymous said...

Some of the links have expired. Could you upload them again