actually canceled a meeting with these words on the right decorations for Johann Sebastian Bach, is controversial. But a conviction of the perpetrator great Polish harpsichordist was in any case - though one that Bach did not play very safe "in his own way." To have the Ritardandi and Rubati , some ornament, probably some registry changes, their monstrous Pleyel harpsichord allowed surprised determined. And yet, Wanda Landowska done more for the development of a historically informed understanding of music than almost any other artist in the first half of the 20th Century. It is quite conceivable that without Bob van Asperen , Gustav Leonhardt and all the other famous expert on historical keyboard instruments today would not be what they are. Wanda Landowska began as a pianist, in the best romantic tradition - as well as different in a music world where a harpsichord as a museum-quality Wire chest was. Your teacher Aleksander Michalowski taught some of the greatest pianists of the time, including Vladimir Sofronitzky and Mischa Levitzki. Landowska also must have been a wonderful interpreter of Chopin, and Mozart recordings, such as produced in London in 1937 Coronation, are documents of a lucid, pleasantly dry articulate piano playing. Fresh, fluid and completely unsentimental phrased it, and only the dreamy and touching plays Fantasie d-minor KV 397 suffices as evidence that she was a great interpreter of Mozart. Wanda Landowska (1879-1959)
1900 Landowska arrived in Paris, a 23-year-old pianist who is less for virtuoso keyboard thunder as the fine detail in Bach, Rameau and Couperin enthusiastic. Given their love for the French to handle the harpsichordists harpsichord in retrospect seems obvious and consistent. In fact, however, was an instrument that had the Paris Pleyel piano company
Built in 1889 for the Exposition, as in the former pianist scene curiosity. But Landowska was undeterred, traveled through European museums, in the wake of a Pleyel technicians to measure the number of old harpsichords had. The instrument, which they then presented in 1912 on the Bach Festival in Wroclaw, as a result of this research, measured over two meters in length, had a massive cast-iron frame, strings, which were under high stress, six combined index, including a heavy 16-foot - this unit was to generate some noise. And so it is - all in spite of intensive study of sources Landowska - not historically accurate, when they swept with metallic sparkle by Bach's Chromatic Fantasy and roars with orgelndem Bass by Passacaglia
of Handel's G minor Suite. The effect, however, was terrific. We understand quite why the harpsichordist of this instrument might never separate anymore. When the Polish Jewess end of 1941, adventurous, and the loss of their entire property from the Nazis fled to America was her Pleyel more or less the only thing that could save them.
Pure style music that sounded to Wanda Landowska too often 'to' bland indifference and tortuous. The last thing one would blame herself. Alone on their recordings can understand easily why their residence Saint-Leu-La-Forêt, near Paris, where they hoarded until the German invasion of ten thousand books and numerous notes and a private concert hall built, the Mecca of very different musicians. Poulenc
and de Falla her feet, and were both written for concerts them. The great pianist Alfred Cortot played with her and sent his students. Your unique harpsichord-like in today's musical life as no more imaginable and Landowska be playing out of date in many details. But the fascination of her recordings is unbroken. This is true for the 64 1928-1940 in Europe earlier and now re-released recordings of music by Bach, Handel, Scarlatti, Rameau, Haydn, Mozart and some others even more so than for the later, although better known, but all in all less fresh and spontaneous-looking New York productions. 1934 was sparkling Scarlatti sonatas like little jewels. Bach's Goldberg Variations - in May 1933 Landowska invited to the "first complete performance in this century," and produced it in the same year - it draws a seemingly endless sheet. And it is the unassuming miniatures by Byrd, Couperin, Daquin, or they discover a most virtuous times, sometimes touching cabinet pieces. The technical quality of sound is the way in most cases, surprisingly good, which is probably not only to thank the excellent remastering. Also in this respect seems to have been Pleyel giant indestructible.
Emil Orlik (1870-1932): Wanda Landowska, 1917
Wanda Landowska, formed in 1959 at age 80 Died in Lakeville, is the pioneer of the modern harpsichord playing, even if it's music and more on their, as played in his own way. Source:
Oswald Beaujean: The cast-iron harpsichordist, DIE ZEIT, 13.03.2008 No 12
quotes from Wanda Landowka:
"I have observed during my concert tours that the harpsichord, his enemies mainly . Pianist in circles by the difficulties to obtain such a hard-to-use tool and learn its special way of playing, are not the only causes of mistrust, and there are more serious and deeper reasons: If one of certain childhood Works heard on the piano, so of course we feel a shock at first when they are played in a completely different tone. The ear is very surprised by the timbre of silver, the metallic sound of the chords, too blinded by the shine and the mysterious sums were able to do that than to follow the melodic line and take their expression. The harpsichord is not an imperfect precursor of the modern piano and the piano is no improvement of the harpsichord. There are two entirely different instruments. "
" So far we know, except for very rare exceptions, only two ways to interpret old music. Either pour them into a new shape by processes they beyond recognition, the pace and nuances vary in their expression and exaggerates. Or they are taking them, as they call it, pure in style, and indeed to that thread and winding indifference that seems difficult, dull and monotonous and gives the impression of attending a funeral of our foreign person with whom it would be improper to to appear cheerful. "
" The concept of progress is a quirk of the critics. The band themselves have never had it. All great musicians were rather full of respectful affection for their predecessors. The critics who say time and again that music is a transient Art is the fashion and is subject to are no better than those of natives of the Fiji Islands who kill their parents when they start to get old. If a composition was actually alive once, then if they met all the conditions of life, then there is no reason that they would die. Music is aging only when it is neglected - like a woman who is not loved. Do you deal with it, and it will taper " Source: Wolfgang
Lempfrid: The distant sound - Wanda Landowska and the rediscovery of the harpsichord
TRACKLIST
Johann Sebastian Bach !
Italian Concerto, BWV 971 [12:36]
(Recording: 07/09/1935 and 25-26.09.1936)
01 1. Allegro [03:59]
02 2. Andante [05:03]
03 3. Presto [03:35]
Chromatic Fantasia and Fugue, BWV 903 [13:24]
(Record: 10 +16.07.1935) 04th 1. Fantasy [8:26]
05th 2. Add [04:57]
Goldberg Variations, BWV 988
[46:35] (Recording: 09/11/1933 and 13-11.15.1933) 06. 1. Air, expressive Andante [02:18]
07. 2. Variation 1 [01:47]
08. 3. Variation 2 [00:54]
09. 4. Variation 3, Canone all 'Unison [01:00]
10. 5. Variation 4 [01:01]
11. 6. Variation 5 [00:57]
12. 7. Variation 6 Canone alla Second [00:51]
13. 8. Variation 7 [01:11]
14. 9. Variation 8 [00:54]
15. 10. Variation 9, Canon at the Third [01:08]
16. 11. Variation 10, fughettas [01:35]
17. 12. Variation 11 [01:07]
18. 13. Variation 12, Canon at the Fourth [01:13]
19. 14. Variation 13 [02:51]
20. 15. Variation 14 [01:10]
21. 16. Variation 15, Canone alla Quinta [02:35]
22. 17. Variation 16, Overture [01:54]
23. 18. Variation 17 [00:45]
24. 19. Variation 18, Canone alla Sesta [00:53]
25. 20. Variation 19 [00:49]
26. 21. Variation 20 [01:00]
27. 22. Variation 21, Canon on the Seventh [02:14]
28. 23. Variation 22, the short [01:33]
29. 24. Variation 23 [01:10]
30. 25. Variation 24, Canone all 'Ottava [01:40]
31. 26. Variation 25 [03:55]
32. 27. Variation 26 [01:04]
33. 28. Variation 27, Canon at the Ninth [0:52]
34. 29. Variation 28 [01:19]
35. 30. Variation 29 [01:13]
36. 31. Variation 30, Quodlibet [00:52]
37. 32. Aria (da capo) [02:26]
Gesamtzeit: [72:35]
Wanda Landowska (1879-1959), Cembalo
+ Audio Restoration Producer: Mark Obert-Thorn
(P) & (C) 2005 ADD
David Bailly, (* 1584 Leiden, + 1657 Leiden): Self-Portrait with vanitas symbols, 1651, Stedelijk Museum De Lakenhal suffering (Source: Web Gallery of Art ) This famous David Bailly's paintings blurs the boundary between the two genres of still life and self-portraits. found the one hand, several portraits (as a painting within the painting), which are arranged as part of a still life on the table. The package includes, among other things, a skull, an extinguished candle, coins, an overturned Wine glass, a pocket watch, roses, a pearl necklace, whistle, books and sculptures. In soap bubbles float
, a traditional symbol of transience.
other hand, the entire collection serves as a statement about the man on the left, whose face the typical characteristics of a self-portrait has. It is irritating that the artist was 67 years old, in truth, when he painted this picture in 1651.
His true appearance at this time shows Bailly in the small oval portrait that presents the young man ostensibly the viewer is thus presented with sophistication, the transience of life. The young man who at first View is presented as real is actually the past: David Bailly more than 40 years.
In the second oval portrait is shown Bailly woman who died in 1651 already, and exposed just as the aged mind (or imagination of the artist) behind the
champagne flute in the middle of the picture. shown at a young age, she has been a youthful self-portrait, as deceased but the age portrait of the artist.
The pressure on the wall is a reproduction of
"According game ends fool"
of
Frans Hals (1623, Musée du Louvre). The drawing of the bearded man next to it is Bailly's father or one of his teachers, and this detail has yet to enlightenment, perhaps forever.
Biography • Quotes • Links • Literature & Sources to Wanda Landowska on the 'FemBio "the women's biographical research
CD Info & Scans (tracklist, cover, booklet, Samples, Bonus Pictures), 24 MB
Read the file "Download links.txt" for links to the Ape + Cue + Log Files
Track 2: JS Bach: Italian Concerto BWV 971 - 2 Andante Wanda Landowska (1879-1959), harpsichord, recording of 9 July 1935
0 comments:
Post a Comment