Chopin • Debussy Dussek • Gutmann Liszt • Schubert Live Recording
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CHOPIN • DEBUSSY DUSSEK • GUTMANN LISZT • SCHUBERT LIVE RECORDING 1st Elisabeth Brauß • Tobias Koch Alexei Lubimov • Ewa Pobłocka François-Xavier Poizat • Hubert Rutkowski 1st Chopin Festival Hamburg 2018 Experiencing Piano Music Anew scales and characteristics could be tested intensively and Chopin • Debussy • Dussek • Gutmann • Liszt • Schubert The 1st Chopin Festival Hamburg 2018 is the first of its kind realised. in Europe. For the festival matinees, artist talks and evening Each tonality was, in different eras, attributed divergent Franz SCHUBERT (1797–1828) Polish Folk Melodies concerts, the Museum für Kunst und Gewerbe Hamburg characteristics. Schubert’s Allegretto, as well as Chopin’s Six Moments musicaux, D.780, Op. 94 (Composer unknown, arr. Fryderyk Chopin) (‘Museum of Arts and Crafts Hamburg’) granted the use of its Mazurka are both written in A flat major. For philologist 1 No. 6. Allegretto in A flat major (1824) 6:01 # Mazurka in D minor 0:36 unique collection of keyboards, allowing the pianists to Ferdinand Gotthelf Hand, A flat major is ‘the tonality, in which Fryderyk CHOPIN (1810–1849) $ Dąbrowski’s Mazurka 0:51 interpret works from the Classical, Romantic and the soul soars to celestial heights, and conceives of a divine 2 Mazurka in A flat major, Op. 24, No. 3 (1835) 1:46 Tobias Koch, Piano. Recorded 30 June 2018 Impressionist eras on the instruments for which they were punishment or an transcendent ecstasy […] and is intended, the majority of which were crafted during Chopin’s transfigured into an infinite spiritual sentiment […] The Ewa Pobłocka, Piano. Recorded 28 June 2018 Fryderyk CHOPIN lifetime, as well as on a modern Steinway piano from 2015. meaningful longing, however, can also take on a darker tone, Jan Ladislav DUSSEK (1760–1812) % Berceuse in D flat major, Op. 57 (1844) 4:24 By these means, a kind of ʻauditory competition’ takes or even turn into melancholy.’ Sonata in E flat major, Op. 44 ‘The Farewell’ (1799) Fryderyk CHOPIN place, in which the audience take on the role of a jury. Which The decision is yours, dear listener, which of the 3 II. Molto adagio e sostenuto 7:05 ^ Scherzo No. 2 in B flat minor, Op. 31 (1837) 9:30 sound world captivates you the most? Past, present, or prevailing mood of these first two pieces resounds with you maybe both appeal in their own ways. the most. 4 III. Tempo di minuetto più tosto allegro 3:37 Elisabeth Brauß, Piano. Recorded 27 June 2018 Fryderyk CHOPIN The Romantic era becomes noticeable in the sentimental 5 Prélude in F major, Op. 28, No. 23 (1838) 1:17 Franz LISZT (1811–1886) atmosphere of the evening concerts. In the genuine From Vienna to England ambience of the historic rooms of the Museum fur̈ Kunst und This recording of Alexei Lubimov brings the listener into Claude DEBUSSY (1862–1918) Années de pèlerinage, Première année: Suisse, Gewerbe Hamburg the sound of the unique grand pianos intimate contact with the sound worlds of a period Brodmann, Préludes, Book II (1913) S. 160 (1855) exquisitely unfolds. Not only the manifold sounds, but the a period Broadwood and a modern Steinway piano. 6 No. 2. Feuilles mortes (‘Autumn Leaves’) 2:50 & Au lac de Wallenstadt (‘At Lake Wallenstadt’) 2:57 entire atmosphere lead the listener into a special world. The pianos of the Bohemian piano manufacturer Joseph 7 No. 3. La puerta del vino (‘The Wine Door’) 3:30 Fryderyk CHOPIN Pianos from the past and the present both reveal their Brodmann, together with the pianos of London manufacturer Piano Sonata No. 2 in B flat minor, Op. 35 (1839) Alexei Lubimov, Piano. Recorded 1 July 2018 inherent qualities. On the basis of the different materials John Broadwood & Sons Ltd, were among the most * IV. Finale. Presto 1:38 used, hammer mechanisms or design, each piano renowned of their time. Chopin treasured, alongside Pleyel Fryderyk CHOPIN Franz LISZT 8 Étude in C sharp minor, Op. 25, No. 7 (1834) 5:22 possesses a unique sound and character. pianos, the instruments of Henry Broadwood, the grandson ( Mephisto Waltz No. 1, S. 514 (1859–62) 11:32 The featured pianists of the 1st Chopin Festival Hamburg of the company’s founder, John Broadwood: ‘Broadwood, Fryderyk CHOPIN François-Xavier Poizat, Piano. Recorded 29 June 2018 2018 bring Chopin, works from the past and original antique the Pleyel of London, was the sincerest and best friend to Mazurkas, Op. 7 (1830–32) pianos from different eras to life. me.’ 9 No. 1 in B flat major 2:41 Adolf GUTMANN (1819–1882) In contrast to Broadwood pianos, the Brodmann piano 0 ) Nocturne in A flat major, Op. 8, No. 1 (1844) No. 2 in A minor 3:27 Chopin, Pleyel and A flat major from c. 1815 boasts a smooth running Prellmechanik ! (version for piano four-hands) 3:00 No. 3 in F minor 2:18 This album commences with music by Schubert and Chopin. (‘Vienna Action’) which enables brilliant and fast playing. Fryderyk CHOPIN Hubert Rutkowski, Alexei Lubimov, Piano. Ewa Pobłocka interprets Schubert’s Allegretto in A flat Alongside the playing of the keyboard, the four pedals – @ Mazurka in A minor, Op. 59, No. 1 (1845) 4:21 Recorded 1 July 2018 major from Moments Musicaux, D. 780, Op. 94 on a modern Unacorda, Fagott, Moderator, Forte – permit further sound Steinway from 2015, whereas Chopin’s Mazurka in A flat modification. The use of the Moderator pedal slides a small PIANOS major, Op. 24, No. 3 is played on a period Pleyel piano from piece of felt between the hammer and string, which has a Modern: Steinway & Sons, 2015 2 6–7 % ( ) 1847. muting effect on the sound. By means of bare steel strings, Historical: Joseph Brodmann, c. 1815 3–4, Rousselot, c. 1830, from Eric Feller Collection 8 @–$, The close friendship of Camille Pleyel, as piano which, unlike modern pianos, are not bound by tightly spun John Broadwood & Sons Ltd, 1841 5 9–!, Pleyel, 1847 1 ^, Steinway & Sons, 1872 & * manufacturer, and Chopin, as composer and pianist, strings, a clear, overtone-rich sound is produced, even in the culminated in their artistic collaboration. The cover page of bass. Chopin’s 24 Préludes, Op. 28 bears the text ‘a son ami The strings of the Broadwood piano create a Pleyel’ (‘to my friend Pleyel’). The exchange between considerably higher degree of tension than the Brodmann, instrument manufacturer, composer, and interpreter resulted having a nearly seven octave range (C1 to a4), the latter in a considerable reciprocity, which welded together the having only six octaves (F1 to f4). To withstand the enormous different disciplines, and is of importance to this day. Due to pressure of seven octaves of tightly bound string, the developments in the Romantic era, new forms of music, Broadwood piano, made almost 30 years after the Brodmann, has stress bars built into the resonance arrangement by Chopin of the Mazurka in D minor. Sung as crossed the previously parallel strings over each other. 80 keys, from D1 to a4. Liszt exhausts the entire register of chamber. The bass strings are wrap-spun from the E a hymn since 1798, this hopeful and inspirited song, named The Steinway piano from 1872 already features some of the piano, which in 1860 reached from C1 to a4, in this downwards, making the strings wider in order to reach the after the Polish national hero Jan Henryk Dąbrowski, was components of a modern Steinway, with a cast iron frame, composition. lower registers without being excessively long. Thus, a chosen as the national anthem of Poland in 1926. The stress bars, cross strung strings and register. Following louder, more penetrating sound is produced – the musical genre of the Polish anthem is a mazurka. Originally Franz Liszt’s picturesque Au lac de Wallenstadt from his In the Style of Chopin Stoßmechanik (‘English Action’). The Broadwood piano is a Polish folk dance, Chopin popularised this genre with huge Années de pèlerinage comes the vivacious Finale from The album ends with Adolf Gutmann’s Nocturne in A flat characterised, in opposition to the bounce apparatus of the success through his elegant piano compositions. Chopin’s Piano Sonata No. 2 in B flat major, Op. 35. This major, Op. 8, No. 1 in a version for piano four-hands in the ‘Vienna Action’, by the striking of hammers on the strings. furious yet mysterious Finale demands a responsive style of Chopin. The German composer and pianist Alexei Lubimov interprets two Romantic works on period Virtuoso Contrasts keyboard mechanism. The use of pedal affects the character Gutmann took after his friend and teacher Chopin. The pianos, which were written around the same time as the Elisabeth Brauß brings the modern Steinway sound to of sound of the sotto voce e legato, through which, in the romantic, sensitive, yet proud character of this Nocturne, an pianos were built: Ladislav Dussek’s Piano Sonata in E flat Chopin’s Berceuse in D flat major, Op. 57 from 1844. wave-like, virtuosic series of semiquavers in triplets, a inherent quality of Chopin’s works, are brought to you by major, Op. 44 ‘The Farewell’ from 1799 on the Brodmann Chopin spent the summer months of 1844 with his life ‘spiritual wind’ arises. Hubert Rutkowski and Alexei Lubimov on the modern piano from c. 1815, and Chopin’s Prélude in F Major, Op. 28, companion George Sand on their estate in Nohant. The two Moving to a modern Steinway piano from 2015, Steinway piano. No. 23 from 1838 on the Broadwood Piano from 1841. For year old daughter of a friend of Sand’s was also staying with François-Xavier Poizat interprets Liszt’s Mephisto Waltz, Claude Debussy’s Feuilles mortes and La puerta del vino them – that Chopin may have written the lullaby with the No.