Davidsbündlertänze, Op. 6, No. 04 (1st Edition, 1937)

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All his instruments seem to have been modeled on old instruments made by Matteo Gofriller. Rec This whole set is well worth getting, but especially wonderful is the Missa Solemnis. CD 1—Arabesque, Op. One notes an affecting talent for melody, and, in many pieces, a great aesthetic sense without the need for virtuoso display. This is evident from the very beginning, with his Op. But, of course, though many of these performances are lovely and affecting, they are not the be all and end all of Schumann discography.

You might spill it.

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The Maurizio Pollini Collection: Schumann

How is that you keep records of that? Originally Posted by RebLem. If you like Bach on the piano I generally do not these are very fine performances.. Many of the recordings which feature solo harpsichord music in this series are recorded at an unusually high level, and require toning down the volume controls. This set, perhaps because it also includes organ in some pieces and solo voices and a duet in some others, is an exception. Wonderful performances.

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The Smetana Quartet chose to record the SQ 13 in its original form, with the Grosse Fuge as the finale and the traditional last movement allegro as an addendum. The Grosse Fuge by itself has a timing, while the quartet in its traditional form is , with the last movement coming in at The first 5 movements before the finale come in at Now, the whole series is once again available. These Smetana performances are full out romantic Beethoven. Unabashedly sentimental, they eschew the classicism of, for example, the Alban Berg Quartet cycle, which I feel is at the opposite extreme.

This is particularly true of the SQ 15, the longest quartet, which has the same sort of slow tempos and care for lovingly shaped phrases I remember from the Giulini Missa Solemnis I reported on last week. In the middle someplace, but still more classical than romantic, is the Gewandhaus Quartet cycle I reported on recently.

They presented additional compositions of their choice. At age 5 he started learning the violin which he still occasionally plays. However, after half a year, he switched to the piano. He obtained his Soloist Diploma in Actually, it is considered an iconic piano composition of the entire romantic era.

Despite the early opus number, it was actually written after the Carnaval , op. The key to this composition is in the underlying poetic program. That describes the interaction between two contrasting character types: Eusebius , introverted, lyrical, poetic—and Florestan , impetuous, impulsive, extroverted.

MTO Robb, Imagined, Supplemental Sound in Nineteenth-Century Piano Music

At the same time, the work as a whole is intimate, internalized. The first version of op. In that version, he removed the references to Florestan and Eusebius. And he simplified the tempo annotations. Let me just make some overall comments, rather than going into detail with the individual pieces. That impression was certainly supported by the acoustics of the venue. It was maybe often on the fast side, but never pushed or rushed.

In general, I found the pianist to be virtuosic.

Introduction

And he observed secondary voices. That sonata comes in three movements:.


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However, to me, the most prominent characteristic of this sonata is its percussive nature. This is most obvious already at the very beginning, or in the fast movements in general. Occasionally, I expected more harshness in the articulation.


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  5. However, from the rear of the hall it was hard to judge whether this impression was caused be generous use of the sustain pedal. Or, was it rather the acoustics, i. Should he have paid more attention to adapting his playing to the acoustics? The characteristics of the Steinway D in this venue are inherently warm.

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    And that warmth is reinforced by the acoustics. Yet, the pianist managed to create the impression of a cold atmosphere in this movement. There, she also received her first piano lessons at the local music school.

    For revision 2, many new recordings have been added approximately total new listings across all lists for a total of CDs. In general, these new recordings are identifiable by the compositions being justified closer to the left margin. In some cases, though not all, newly added recordings will have the key identified for the pieces, as applicable. CDs are listed according to the composer s represented. If a CD contains works by a single composer, the CD is listed alphabetically by that composer in the main section. If a CD contains works by two or more composers, it is included in the "Collections" section at the end of the file.

    Within the collections section, CDs are listed alphabetically by composer s. Variations "Emperor" Hob i. Sinistre, disastro" S.