Perfect

BEST LOVED BORIS GILTBURG © Sasha Gusov 8.578180 classical piano Perfect Piano Best loved classical piano music 16 Satie: Gymnopedie No. 1 18 Schubert: 4 , Op. 90, D. 899 – Erik Satie had a reputation as a highly Impromptu No. 3 in G flat major 1 (1770–1827) 10 Ludwig van BEETHOVEN eccentric figure in Parisian artistic circles, The title Impromptu suggests sudden

Bagatelle in , WoO 59, ‘Fur Elise’ 3:22 Piano No. 8 in , Op. 13, 4:45 but his best-known work has come to inspiration, an idea typical of the careless Jen Jandó (8.553795) ‘Pathetique’ – II. Adagio cantabile Boris Giltburg (8.573400) epitomise that city’s poetic atmosphere. rapture associated popularly with the 2 Fryderyk CHOPIN (1810–1849) This is particularly true of the solemn Romantic era. Schubert’s Impromptu No. 3 24 , Op. 28 – 5:47 11 Fryderyk CHOPIN No. 15 in D flat major, ‘Raindrop’ Nocturne No. 1 in B flat minor, Op. 9, No. 1 5:32 Gymnopédies, though this title is in fact in G-Flat Major is packed both with rich Idil Biret (8.554536) Idil Biret (8.554531) derived from the festival dance of naked emotional feelings and that sense of human boys in ancient Sparta. drama that is never far away in his most 3 (1685–1750) 12 Antonín DVO ÁK (1841–1904) Goldberg Variations, BWV 988 – 3:56 8 Humoresques, Op. 101, B. 187 – 2:53 inspired compositions. I. Aria No. 7. Poco lento e gracioso in G flat major 17 Rachmaninov: 5 Morceaux de fantasie, Jen Jandó (8.557268) Stefan Veselka (8.557477) Op. 3 – No. 2. Prelude in C sharp minor Dominy Clements © Naxos Rights (Europe) Ltd 4 (1843–1907) 13 Rachmaninov’s darkly dramatic and Lyric Pieces, Book 8, Op. 65 – 5:57 3 etudes de concert, S144/R5 – 5:38 impassioned Prelude in C sharp minor has Bryllupsdag pa Troldhaugen No. 3 in D flat major, ‘Un sospiro’ become symbolic of soulful Russian (‘Wedding Day at Troldhaugen’) William Wolfram (8.557014) melancholy. It was to prove an embarrassingly Einar Steen-Nøkleberg (8.553396) 14 (1810–1856) successful hit, a fact that at first brought 5 (1862–1918) Kinderszenen (‘Scenes of childhood’), 1:32 Rachmaninov some pleasure and later Suite bergamasque – III. Clair de lune 5:08 Op. 15 – I. Von fremden Landern some misgivings, as audiences everywhere François-Joël Thiollier (8.553290) und Menschen (‘Of Foreign Lands and People’) Jen Jandó (8.550784) clamoured for its inclusion in all of his 6 Franz LISZT (1811–1886) recital programmes. Grande Etude de Paganini, S141/R3b – 4:42 15 Fryderyk CHOPIN No. 3 in G sharp minor, ‘La campanella’ Waltz No. 7 in C sharp minor, 3:53 Jen Jandó (8.550510) Op. 64, No. 2 Idil Biret (8.553170) 7 (1782–1837) Nocturne No. 2 in C minor 3:39 16 Erik SATIE (1866–1925) Benjamin Frith (8.550761) Gymnopédie No. 1 2:38 Klára Körmendi (8.550305) 8 (1875–1937) Jeux d’eau 4:59 17 Sergey RACHMANINOV (1873–1943) François-Joël Thiollier (8.555798) 5 Morceaux de fantasie, Op. 3 – 4:16 No. 2. Prelude in C sharp minor 9 (1833–1897) Eldar Nebolsin (8.570327) Rákóczi March, Anh. III/10 5:17 Idil Biret (8.550958) 18 (1797–1828) 4 Impromptus, Op. 90, D. 899 – 4:59 No. 3 in G flat major Jen Jandó (8.550260)

8.578180 Total Timing: 79:46 2 11 8.578180 11 Chopin: Nocturne No. 1 in B flat minor, for the concert hall. The third of these, Perfect Piano Op. 9, No. 1 Un sospiro or ‘A sigh’ sees the performer Best loved classical piano music Among the many forms that Chopin made crossing hands in order to create a magical his own was the Nocturne, adopted and sense of flow, over which an expressive The piano is one of the most universal and have been in use in ancient Roman times, and transformed from those by Irish melody floats with deceptive ease. popular of all instruments and can be found keyboard instruments with a plectrum action John Field. As with Field’s pieces, Chopin’s the world over in all kinds of places, from huge were certainly in use by the mid 14th century. Nocturne is a lyrical piano piece offering, 14 Schumann: Kinderszenen and shiny grand in the most prestigious The direct ancestral lines of descent to the piano in name at least, a poetic vision of the night. (‘Scenes of childhood’), Op. 15 – concert halls to battered old uprights that provide make it a hybrid, with the hammered dulcimer The poignant feel of this First Nocturne may I. Von fremden Landern und Menschen entertainment in pubs and bars. The flexibility of having the most direct technical connection. This be related to Chopin’s move from his native (‘Of Foreign Lands and People’) its nature derives from its character as both one instrument lacks a keyboard, but its hand-held Poland to Paris in 1830. The ingenuous simplicity of Robert of the easiest of musical instruments from which beaters bounce off tightly tuned metal strings Schumann’s Kinderszenen is reflected in to obtain a sound and on which you can play allowing the notes to ring freely, making it 12 Dvo ák: 8 Humoresques, Op. 101, their original title of Leichte Stücke or ‘Easy lots of notes at once, but also one of the most possible to blend harmony and melody and to B. 187 – No. 7. Poco lento e grazioso Pieces’. Each piece expresses some aspect challenging to play really well – especially given contrast dynamics as the player sees fit. It was in G flat major of an adult's reminiscence of childhood or the remarkable demands made by composers exactly this action of striking and immediately Antonín Dvorák’s Eight Humoresques, Op. the child-like qualities his beloved Clara who have invested their highest creativity in releasing the strings that was the greatest 101 are his last significant works for piano, saw in him, and tender romance is writing music for its myriad possibilities. problem when it came to designing an instrument their themes and general feel influenced by certainly in the fragrant air of the miniature The preoccupation with obtaining sound of this kind with an effective keyboard action. his time in America. The Humoresque No. 7 Von fremden Landern und Menschen. from one or more strings through the actions of The origins of what at first was called is by far the best known of the set. It used to plucking, striking or scraping, has been going the ‘pianoforte’, literally ‘soft-loud’ in Italian, be said that Dvo ák composed it while on 15 Chopin: Waltz No. 7 in C sharp minor, on since prehistory. Today’s piano is the result can be traced to around 1700 in Florence, a train journey inspired by the rhythms of Op. 64, No. 2 of refinements that have gone on since mankind where instrument-maker Bartolomeo Cristofori the wheels on the tracks, but this has since Chopin adopted classic dance forms and discovered that creating some kind of firm (1655–1731) is credited with inventing the ‘arpi been declared a myth. turned them to his own expressive ends frame for your strings worked best, thicker string cimbalo del piano e’ forte’. Common keyboard with consummate skill. This particular waltz were better for low notes, pulling your strings instruments of the time were the harpsichord, that 13 Liszt: 3 etudes de concert, S144/R5 – ranges in mood from a yearning opening tighter made the pitch higher, that dampening makes sound by plucking the strings with a quill No. 3 in D flat major, ‘Un sospiro’ theme to the rapid notes of a twirling or shortening a string’s resonating length also and can only change dynamic through a shift Liszt’s Trois études de concert combine ballroom dance, contrasting with passages created different notes, and that stretching them in register, or the much simpler clavichord, in aspects of technical development for the of the utmost tenderness. over some kind of hollow shape gave a fuller, which the strings are hit and the notes sustained virtuoso pianist with music richly suitable louder sound. Very early keyboards seem to by metal tangents. This has beautiful expressive

8.578180 10 3 8.578180 qualities and was a favourite of many composers Important evolutionary leaps continued 6 Liszt: Grande Etude de Paganini, the musical sounds which one hears in its for domestic use, but has too soft a sound for during the , including the introduction S141/R3b: No. 3 in G sharp minor, sprays, cascades and brooks.’ The nature of public performance. of the felt-covered hammer. By the mid-1800s ‘La campanella’ the piece is summed up by a quote written It took many decades for the pianoforte to the move from wooden frames to much stronger Franz Liszt’s virtuosity as a pianist led to by Ravel onto his manuscript: ‘the river god make any headway in terms of popular use. metal constructions was well underway, allowing a phenomenon called ‘Lisztomania’ at laughing as the water tickles him…’ While the more ubiquitous harpsichord remained greater thickness and tension in the strings and the height of his celebrity, a ‘Liszt fever’ popular the piano struggled to gain a foothold, therefore much greater dynamic range. The stoked by pieces such as La campanella. 9 Brahms: Rákóczi March, Anh. III/10 largely due to the complicated escapement typical piano note actually uses three strings, This work had its origins in a The Rákóczi March was the unofficial state mechanism required to make a hammer hit a with the lowest notes using two or sometimes a by the renowned virtuoso Nicolò anthem of Hungary until the 19th century, string and then immediately rebound to allow the single copper-wound string with extra thickness. Paganini, another musician responsible for and both Liszt and Berlioz arranged it for sound to resonate. Rivalries between individual Multiple strings not only increase volume, but the fashion for spectacular musical feats in use it in their own compositions. Brahms makers and in types of design between also deliver a much richer sound. With around Liszt’s time. La campanella is one of many was introduced to Hungarian music by the and London were hot topics amongst 18th 230 strings divided over 88 notes in a typical such works that make demands on the émigré violinist Ede Reményi, and his skilful century musicians, with composers such as modern piano, it is worth sparing a thought for pianist comparable with those made for transcription of this ‘Hungarian March’ Mozart writing in detail about response, tone, the piano tuner who has to make sure each note violinists by Paganini. is the work of a young and ambitious reliability and cost when weighing up which is correctly in tune with itself, let alone in tune composer revelling in this refreshingly instrument was best. For a while there was a with every other note on the instrument. 7 Field: Nocturne No. 2 in C minor energetic national idiom. fashion for all kinds of added ‘effects’ worked With all of these technical advances it may Irish composer and pianist John Field is by pedals to beef up the piano experience and seem strange that some today have credited with inventing the Nocturne, a 10 Beethoven: No. 8 in C minor, turn it into a household . These included made something of a specialism of performing poetic style that reflected his own delicate and Op. 13, ‘Pathetique’ – II. Adagio cantabile drums, cymbals, and all kinds of materials put on antique or reproduction ‘’ transparent way of performing. The typical Hardly any composer is more closely between hammers and strings to imitate harps, instruments modelled on examples from the past. Nocturne is characterised by a lyrical, often associated with the piano sonata than lutes, bassoons and the like. As the 19th century The differences in touch and timbre between old song-like melody over rippling harmonies Beethoven, and the Adagio cantabile from progressed and the piano’s identity matured this and modern instruments are considerable, with in the left-hand in a form that became his ‘Pathetique’ sonata is one of his most trend declined, with influential composer-players a pungency of sound and an innate sense of influential on composers such as Chopin. exquisite sonata movements. Its beautifully such (1791–1857) dismissing these drama in earlier pianos that composers of the natural and flowing melody has something additions as “childish toys”, and Johann Hummel time knew how to exploit to the full. There is also 8 Ravel: Jeux d’eau of the character of a Schubert song, and (1778–1837) declaring that all of these extra a huge value in hearing music as the composer Maurice Ravel’s Jeux d’eux – literally ‘water Beethoven was clearly happy with it – pedals were ‘of no value either to the performer would have expected it to sound, and how games’ or ‘fountains’, is a light-hearted tone repeating the tune no fewer than five times or the instrument.’ audiences would have experienced such works poem that describes ‘the noise of water and in its brief span.

8.578180 4 9 8.578180 Beethoven’s rejection as a suitor, is a which the thirty variations are based taking when the ink was hardly dry on the page. (1770–1827), who became a crucial and poignant reminder of the great composer’s the form of a dance called a Sarabande. There are a number of composers whose transformative figure in just about every genre of misfortunes in love. role in the development of the piano as a true Western music. Beethoven’s piano are 4 Grieg: Lyric Pieces, Book 8, Op. 65 – solo instrument have to be mentioned. Johann packed with innovation, and his piano 2 Chopin: 24 Preludes, Op. 28. No. 15 Bryllupsdag pa Troldhaugen Sebastian Bach (1685–1750) lies on the cusp of were dubbed ‘The New Testament’ of the piano in D flat major, ‘Raindrop’ (‘Wedding Day at Troldhaugen’) the invention of the piano, but Bach’s collection repertoire by 19th century conductor Hans von Fryderyk Chopin’s Op. 28 Preludes were Edvard Grieg integrated Norwegian folk- of 48 preludes and The Well-Tempered Bülow, with Johann Sebastian Bach’s The Well- in part written on the island of Majorca, music into his composing style, and his Clavier is for several reasons a cornerstone of all Tempered Clavier being ‘The Old Testament’. where the composer sought to escape the popular Lyric Pieces enhanced his reputation keyboard music, not least for its use of the kind Franz Schubert (1797–1828) was a torchbearer wintry dampness of Paris. Of these, the for working in smaller musical forms. The of ‘equal temperament’ tuning that allows today’s at Beethoven’s funeral, and his remarkable use powerful Prelude No. 15 in D flat major is festive ‘Wedding-Day at Troldhaugen’ is pianist to work in every musical key equally of the piano both as an accompaniment to his one of the most famous, its repeating A flat one of his best-loved works, and was effectively. J.S. Bach’s fifth child Carl Philipp many songs and in his greatest sonatas was to note thought to describe the dripping of originally titled ‘The well-wishers are coming’; Emanuel Bach (1714–1788) is seen as standing have a considerable influence on 19th century raindrops, though its dark mood led pianist written as ‘a present to my wife on 11 June at the transition between the Baroque and composers such as Mendelssohn and Brahms. to subtitle it, ‘But Death is (our wedding day)’. Classical eras in music, and his empfindsamer Most great composers for the piano were here, in the shadows.’ Stil or ‘sensitive style’ can even trace a forward themselves performers, and their style of playing 5 Debussy: Suite bergamasque – line into with its dramatic can increasingly be traced in their works as 3 J.S. Bach: Goldberg Variations, III. Claire de lune contrasts of mood. C.P.E. Bach favoured the musical history moved from the narrower fashions BWV 988 – I. Aria Debussy’s Suite bergamasque is a prime clavichord, making his many sonatas well suited and formalities of Classicism into the freer and Bach’s Goldberg Variations were said to example of his incomparable skill in to the modern piano, and his technical treatise more poetic world of the Romantic era. Irish have been commissioned by the Russian conjuring impressionistic visual scenes in An Essay on the True Art of Playing Keyboard pianist and composer John Field (1782–1837) ambassador to the court of Saxony in music, harking back as it does to the romantic Instruments has been influential ever since its two- was influential as a performer and teacher in Dresden for performance by the young Rococo world of paintings by Antoine part publication in 1753 and 1762. Europe and Russia. He was admired for his harpsichordist Johann Gottlieb Goldberg Watteau. Claire de lune takes its melancholy (1756–1791) sensitive touch at the keyboard, and is credited to amuse him during his hours of mood from a poem of the same name was one of the first great composers to take with inventing the lyrical Nocturne, a form taken sleeplessness, though this tale remains by Paul Verlaine, suggesting a ‘sad and advantage of the of the new fortepiano’s up by Fryderyk Chopin (1810–1849). Chopin’s somewhat speculative. Whatever the truth beautiful moonlight which makes the birds potential, and the best of his piano concertos piano technique was considered unequalled behind the origins of this masterpiece it in the trees dream and sob with ecstasy’. elevated the genre to new heights of both form in his time, and his compositions expanded remains a remarkable testimony to Bach’s and expressive depth. Mozart was a great the potential of the instrument as a poetic and skill in , the beautiful Aria on influence on the young Ludwig van Beethoven virtuoso means of musical expression. Virtuosity

8.578180 8 5 8.578180 is a central feature of the works of Franz Liszt contemporary Maurice Ravel (1875 –1937) also Moscow for instance, and their remarkable skills John Cage (1912–1992) went further than most, (1811–1886), whose playing at the peak of his represents a distinctly French sound, exploring provided Sergey Prokofiev (1891–1953) with being considered the inventor of the ‘prepared fame caused the phenomenon of ‘Lisztomania’, the more extrovert style of Liszt when compared the ideal vehicle for his powerful wartime Piano piano’ in which objects such as metal screws and a kind of celebrity infatuation more familiar with with Debussy’s more intimate worlds, though Sonatas Nos. 6, 7, and 8. paper are placed between or over the strings to rock stars today. By contrast, Johannes Brahms both clearly held their musical ancestors in high Arguably the most identifiable piano sound create new sonorities. Cage cited the composer (1833–1897) always maintained a more sober regard, as can be seen in titles such as Ravel’s Le is that of the Canadian pianist Henry Cowell (1897–1965) as an influence connection with tradition, though the symphonic tombeau de Couperin. (1932–1982). Gould retired from giving concerts in this development, Cowell’s music sometimes scale of his two piano concertos was a new The differing flavours in music for the piano at the age of 31 in order to focus on recording, asking for the player to pluck, sweep or strike departure, and his tremendous sets of piano between countries is inevitably connected to providing us with a unique and influential legacy the strings with the hand rather than using the Variations and other works cast their influence the culture in which composers have been which has the music of Johann Sebastian Bach at conventional keyboard. There are of course on 20th century composers such as Arnold immersed, but there are also ‘schools’ of playing its heart. His unusual technique involved sitting worlds of piano music beyond the ‘classical’ Schoenberg (1874–1951) and that can have their effect on the way piano very low at the keyboard, the mechanism of his realm, with jazz pianists and others creating their (1883–1945). music is written and performed. The Russian piano adjusted for an immediacy of response own very wide variety of styles and techniques. Russian pianist and composer Sergey piano school is the most distinctive of these in that make his recordings all the more distinctive. When it comes to the piano it really does seem Rachmaninov (1873–1943) was one of the first the way lineage can be traced from teacher Use of the piano is of course not restricted as if we are confronted with an embarrassment whose fame was in part due to the invention of to student, but also in its openness to influence to solo repertoire, and its function as an of riches at every turn. the . The huge popularity of from abroad and its cultivation of artistic accompanying instrument or an equal partner his Second and other works for individuality. founded the St. in all kinds of would fill another 1 Beethoven: Bagatelle in A minor, piano have become emblematic of the lushly Petersburg Conservatory in 1861 and engaged entire essay. In Baroque orchestral music the WoO 59, ‘Für Elise’ lyrical late-Romantic style against which many the best professors available, teachers who had harpsichord can often be heard as a ‘continuo’ If you’ve ever been near a piano in a 20th century composers rebelled. Béla Bartók in turn been students of Beethoven, Clementi, or support instrument, its sound adding harmonic public space then you are likely to have (1881–1945) for instance found inspiration in Czerny, Chopin and Liszt. Not long afterwards depth and enhancing rhythm amongst the string heard Für Elise, or at least its first few bars. his native Hungarian , embracing the the Moscow Conservatory was established by instruments. The modern piano can enhance an This is one of many short piano pieces piano’s qualities as a percussion instrument as Anton Rubenstein’s brother Nikolai, with an orchestral sound in different ways, providing a Beethoven wrote throughout his life, and well as one for conjuring the illusion of smooth equally strong piano tradition. These institutions sense of weight and mood as well as rhythmic it is thought that this Bagatelle in A minor melodic lines. Bartók was influenced by the have resulted in a rather special generation-to- impact and shimmering radiance in, for was composed for Thérèse Malfatti, whom French composer Claude Debussy (1862–1918), generation continuity that can be boasted by few instance, the of Bohuslav Martin Beethoven had hoped to marry. Thérèse whose piano music skilfully blended centuries other conservatoires. Great pianists Sviatoslav (1890–1959). gave him no encouragement and the match of tradition with vivid ‘impressionist’ depictions Richter (1915–1997) and (1916– Expanding the piano’s sound-world has long was strongly opposed by her parents, so of landscapes and the sea. Debussy’s younger 1985) both studied with Heinrich Neuhaus in been the preoccupation of composer-pianists, but this little piece from 1810, the year of

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