not really. According unconventional because he was also with sounds and shapes. One of the boldest and most original works of piano literature in general is one of his only Sonata (1853) which was quite controversial among experts. The Viennese critic Hanslick wrote of a "genius steam mill almost always this is free "; Schumann, which was the dedication, the opus was not also feel uncomfortable - he spoke of a" musical whore "with" liebäugele every style and every master " Why the outrage Liszt was and is.? not a German composer. If this is true even politically (as a subject, he belonged to Habsburg Austria-Hungary ), then certainly in style. Franz Liszt was formed by the French romance, the glaring contrasts, dramatic peaks and a good dose of pathos with sensual, erotic and perfume knew how to combine the Paris salons. But in no case shall be measured Liszt with the yard of the Viennese classical music. If he already wrote a sonata, then you can rest assured that there will be a real surprise - and thanks to his genius, an advance in completely uncharted territory. Unheard of even the thought of the usual four movements to condense into a single (as then in his second piano concerto) and all six (!) Issues of a core motif (the dark unison theme of the beginning) to formulate them.
Franz Liszt, has around 1860 (Fotograpie of Franz Hanfstaengl ) This monothematicism some precursors in the "idée fixe" the friend of Liszt, Berlioz
; will address the technology and the metamorphosis of themes later Cesar Franck and Alexander Scriabin . Liszt knew that he had here thrown his "spear into the future" : "I can build with just a few blocks a musical ... Other buildings will need the material lOOOfache I say that there will be less in future and building materials. that one must be a good master in order to cope not. in the waste is the essential, but the restriction to the essentials. An idea must be present, not an agglomeration of Pseudomonas ideas. " The main theme of the hands-on exposure, as a symbol of absolute power apply a hammering part of the motif is becoming more dramaturgical weight. Liszt had six years earlier abandoned the concert life, because it meant to him only repetition and routine: Now he wanted to penetrate to the essence and create lasting. So he settled in Weimar
as
Hofkapellmeister and devoted his best years to composing and conducting. He dealt extensively with the orchestra, with literature, wrote books and even music stood up for the Goethe-care. Behind the grandiose sound painting of the B minor Sonata, one may assume in fact a Faustian conception: through struggles and trials can pass the personality to maintain and achieve inner peace. The goal state - dissolved, freed after the victorious peace activity is represented by the cantabile second subject, the central Asked fervent F major Andante, and the coda. Of particular harmonic elegance is the final cadence. The sonata was first performed in Berlin in 1857 by Hans von Bülow
: on the first wing of the now world-famous
Bechstein .
a page from Liszt's manuscript of his Piano Sonata The notes are (in the IMSLP ) freely available here. - Prof. Dr. Tibor Szász has some fundamental analysis source of the work. Bénédiction de Dieu dans la solitude As a child already had Liszt, drained by the early overuse want to go to the monastery. Periodically versa, this world-weariness, again this desire for seclusion. When he toured the life "in the lap of luxury," as he put it himself, gradually became weary, he sank into the mysteries of faith and created strange meditation pieces that point forward to Messiaen
about a century later. The ten Harmonies poétiques et religieuses and 1845-52 were included in addition to liturgical adaptations third in the de Dieu dans la solitude Bénédiction (God's blessings in solitude). Finishing the song, uniform motion, the diatonic harmony, clear and easy to cover the closing tune.
Two concert etudes
In 1863, Liszt wrote for the then-known "piano method" of
Lebert and Stark
two concert etudes , both motion studies of elegant and colorful character. Whispering Forest is a subtle sound, like its sophisticated genre of each piece can fade of his contemporaries. In Gnomenreigen the permit does somewhat misleading: dance here because elves, no elves, and one supposedly to hear Mendelssohn.
Jean-Pierre Dantan (* 1800 Paris, 1869 + Baden-Baden): Liszt played piano, 1836, plaster, height 21 cm, Musée Carnavalet, Paris (Dantan know more about the French Wikipedia) Vallée d'Obermann The beautiful, smart Countess Marie d'Agoult
, Liszt's first girlfriend and mother of his children had abandoned her family because of him and the Paris society in order to follow him to Geneva. With it he now took
traveled extensively through Switzerland and Italy, that he impressions a sort of sounding diaries noted. First came an album d'un voyageur, which consists almost exclusively of Swiss impressions. These are then reviewed in a three-part major cycle again, the sounding diaries Années de pèlerinage. The ". First born Switzerland", in addition to the chapel of William Tell another associate literary landscape painting: the Vallee d'Obermann (Obermann's Valley), after the hero of a sensitive contemporary epistolary novel by Étienne de Senancour .
Source: Christoph Rueger, in the booklet
TRACKLIST
FRANZ LISZT 1811-1886
Sonata in B minor B minor - h-Moll
01 I Lento assai - Allegro energico - 3.19 02
II Grandioso - Recitativo - 9.26 03 III Andante sostenuto - 8.21 04 IV Allegro 9.11 energico
Blessing of God in solitude
No.3 from Harmonies Poetic and Religious
05 I Moderato - 8.08
Andante 06 II - 2.19 III 07
Più sostenuto quasi Preludio - 8.40
Tempo I - Andante semplice
Zwei Konzertetüden
08 Waldesrauschen
4.37 3.14 09 Gnomenreigen
Vallee d'Obermann 15.03 10
from Years of Pilgrimage. First Year: Switzerland
74.36 Total Timing
Claudio Arrau, piano
Recording locations: Detmold, Germany, March 1969 (Vallee d'Obermann)
Johannesstift, Berlin, March 1970 (Sonata, Bene diction, Concert Studies )
(C) 2001 ADD
Claudio Arrau (1903-1991) Claudio Arrau : Ernst was his art. Ernst was his art. Arrau played, he was thinking. A Scherzo of Chopin, a ballad by Brahms - the music seemed to grow, to question themselves. He was not a companion, never. But the tasks of the artist should go to the point, everything else remained complacent or glare. At age was added a refined form of stubbornness, a hesitation before each sound. The pulse stopped, the highlights would be fought, even suffered. However, this seemed exciting, often as a "work in progress - familiar themes sounded new, a piece like Beethoven's" Appassionata " again had intention and power. It was to learn that a creative music-making creates always present, regardless of the canon of the tradition.
The tradition remained Arrau otherwise faithful. His heart was beginning for the confident pianism of the 19 Century.
Martin Krause, who had studied with Liszt, taught him in Berlin. At that time, during the First World War, Arrau was a child prodigy. to phrase from the spirit of romance - "organic" and speaking with intensity - heavy, was not the Eleven. Difficult challenges he overcame sovereign, the repertoire had little aside. The Chilean-born son of a piano teacher and gained knowledge rapidly, education, a stupendous memory. Arrau in 1935 as Bach's complete piano works performed publicly - certainly with unflinching care and philological accuracy - he was already a master.
The young maestro also loved the brilliance. Early records show pieces before, whose virtuosic allure speaks for itself. Arrau Liszt offered "Rhapsodie Espagnole" with endurance and agility; Busoni "Carmen Fantasy" with wit and deeper meaning; Balakirev Concert Fantasy "Islamey" with elegant shading art. Alfred Cortot
that Arrau heard in 1927 on the occasion of the Geneva Music Competition, was impressed. "Voilà un pianiste." So, that is the role the brilliant virtuoso, Arrau would henceforth be able to live well. But he was drawn to the higher: Schumann's poetic inner worlds of the piano concertos of Brahms, especially to Beethoven. Not primarily as a pianist Arrau was amazed, but convincing as interpreter and designer.
Arrau at his workplace - Besides again published articles in the NZZ I found on the web has a mirror text from 1965 (No. 15/1965 07/04/1965: "It is madness") a text in Tutila , and obituaries on the occasion of his death ( Time or Der Spiegel ). A Enthusiast operates the private ArrauHouse, "the most reliable and thorough educational website about classical pianist Claudio Arrau." The text was sacred to him. For the text, he never developed a conscience, for sustained. The grades are not everything - they give the idea of the work yet, the reality. But it is likely for the rest. The soigne Lord, since the fifties and sixties entered the podium, was not a "romantic" more. He embodied, on the side of the player, the truth. However, under Arraus care began, the sonatas of Beethoven, the concertos of Chopin, Debussy preludes to discuss their finest nuances. But that was not only accurate, correct, read with a magnifying glass, it was binding on compelling way. Serious and involved no one else was playing the piano. Arraus drama was unmistakable. She took a hand, "everything" true - voices, voices addition, suggestions, breaks, dynamics and rhythm, the characters, the ideas. On the other hand, they knew weighted. Against linear time, against the permanent disappearance of the music they showed action, sharpened it up and down. The slow movement of Beethoven's Fourth Piano Concerto, Arrau began in the simple lament, but the chromatic and down the left hand over the long trill figure as he tore an exclamation of horror in the lyric Texture. No wonder the young Martha Argerich
was affected by it consequences.
hinges, pivot points of the music Arrau was in his mature years, with emphasis, in his late time out with extreme care. Chopin's Nocturnes, which he had formerly delighted to have been a quiet way, he finally into structures of a stagnant and pessimistic language. The ballad of the young Brahms, he was so bitter and polyphonic, as it was written by someone old had become melancholic. And for the Intermezzo in Schumann's "Carnival of Schwank Vienna» reply he made the dissonances interspersed with the sweep of the melody. Arrau thought - always more, always steadfast - in perspective. Seldom followed it also load samples. In Chopin's waltzes, the old man articulated against the softness of the dance, and Mozart sonatas, it now sounded brittle, even tortured.
1983, 20th February: Plácido Domingo and Claudio Arrau. 80th Birthday Gala Recital, Avery Fisher Hall, Lincoln Center, NY.
Still fascinated Arraus late style to significant way. The maestro of formulating the once dazzling passages understood, changed the attack to the side of color and weight. By the sounds of a track was longer, they won on substance and resonance. As Arrau shortly before his death in June 1991, some of Debussy played in, lit the Basses in orchestral splendor - the instrument had sublimated his mechanics completely. Arrau was a long way to achieve that presence of the music. In the Arietta of Beethoven's last sonata, he found them, or the miraculous sign of Liszt's Petrarch Sonnets. Arrau was a man of culture. cultured on old-fashioned way, he preserved the heritage of art. The inheritance went to him with modernity quite all. He enthusiastically commented about the literature of Surrealism, he was looking at all the talk about painting, architecture, poetry. If he then asked for tea, they were prepared to expect any small talk. Every encounter issues and wanted Ideas - now it was serious. - On 6 Claudio Arrau February 2003 would have been a hundred years old. We bow.
Source: Martin Meyer
: Ernst was his art - the 100th Birthday of the pianist Claudio Arrau, 6 February 2003, Neue Zürcher Zeitung
Lempfrid Wolfgang published his music manuscripts in critical cologne piano. I have already published some of his articles here; to Arrau he has to say, unfortunately, nothing, but for many other pianists and works. Highly recommended!
CD Info & Scans (Tracklist, cover, booklet, Music Samples, Bonus Pictures), 26 MB -
Read the file "Download links.txt" for links to the Ape + Cue + Log Files
Track 01: Piano Sonata in B minor
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