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Review:
| Calliope has done everyone who loves the beautiful Chopin Nocturnes a genuine favor in recording Ms.Boegner with the Pleyel piano! First, the performances are |
flac, scans |
Showing posts with label Chopin. Show all posts
Showing posts with label Chopin. Show all posts
Friday, July 1, 2011
Chopin - Complete Nocturnes - Michele Boegner
Thursday, October 8, 2009
Chopin - Nocturnes - Ivan Moravec
Chopin - Nocturnes - Ivan Moravec, piano
Piano | Eac, flac, cue | log, cover | 2 CD, 331 MB
June 25, 1991 | Nonesuch | RapidShare
Essential Recording
If Moravec had made only these recordings, he would still be esteemed as one of our greatest pianists. He makes the piano sing throughout this set--coloring the music with exquisite tonal shadings, reflecting the changes of mood with total conviction, and providing moment after moment of revelatory beauty. Many critics consider this the greatest set of the Chopin Nocturnes ever recorded, even finer than the superb stereo set by Rubinstein on RCA. The 1966 recordings, made in two different venues, are still outstanding examples of beautiful-sounding, realistic piano sound. --Leslie Gerber
Ivan Moravec (born 9 November 1930) is a Czech concert pianist whose performing and recording career, spanning nearly half a century, has gained him a worldwide following.
A life-long resident of Prague, Moravec's first musical interest was in opera, which he attended as a child with his father. He also recalls turning pages as his father, an amateur pianist and singer, sight-read and sang through opera scores. Piano studies began later with Erna Grünfeld (niece of the Austrian pianist Alfred Grünfeld). At twenty, he entered the Prague Conservatory, then went on to the Prague Academy of Arts, where he studied with Ilona Štěpánová-Kurzová, daughter of Vilém Kurz. In 1957, after hearing Moravec play in Prague, Arturo Benedetti Michelangeli invited him to attend master classes in Arrezzo that summer.
In the late 1950s, an audio tape of a Prague recital was circulated in the West. Soon afterwards, Connoisseur Society, a small American audiophile record company, negotiated with the Czech authorities to engage the young Moravec. In 1962 he traveled to New York to create the first of many recordings for that label, and in 1964 George Szell invited him to perform with the Cleveland Orchestra. Moravec's international concert career was launched.
Ivan Moravec performs major recital works by Chopin, Debussy, Beethoven, and Mozart, as well as Czech composers. He has played with most of the world's main symphony orchestras, and his active piano concerto repertoire has included more than a dozen works by Mozart, Beethoven, Brahms, Schumann, Ravel, Prokofiev, and Franck. Moravec has been a dedicated piano teacher at home in Prague, and frequently gives master classes when he travels.
Moravec's recordings for Connoisseur Society were notable for their audiophile quality, and nearly all of them remain available, long after the LP era, on CD reissues. Moravec has also recorded for several other labels, including Vox, Dorian, Hänssler, and Supraphon. In 1998 a 2-CD compilation of Ivan Moravec recordings was published as part of the landmark Philips series, Great Pianists of the 20th Century.
Ivan Moravec also has a reputation for fastidious attention to the condition of the pianos he plays. He contends that this reputation is somewhat exaggerated, and names other pianists who have traveled with a spare action or even their own pianos. Moravec's baggage is less extensive: a small black bag containing a few carefully-chosen voicing tools. "I only try to meet with the technician, and I listen with him for any unevenness in sound. I do not find mechanical problems, because today the technicians in great cities are very knowledgeable, so mainly I listen to harsh notes, or to weak notes, and ask for these to be changed gently, and I try to put the local piano in the best condition."
* In 2000 Moravec was awarded the Charles IV Prize, the Czech Republic's most prestigious acknowledgement of service to humanity.
* In 2000 President Václav Havel presented Moravec with the Medal of Merit for outstanding artistic achievements.
* In 2002 Moravec was awarded the Cannes Classical Award for lifetime achievement.--Wikipedi
A life-long resident of Prague, Moravec's first musical interest was in opera, which he attended as a child with his father. He also recalls turning pages as his father, an amateur pianist and singer, sight-read and sang through opera scores. Piano studies began later with Erna Grünfeld (niece of the Austrian pianist Alfred Grünfeld). At twenty, he entered the Prague Conservatory, then went on to the Prague Academy of Arts, where he studied with Ilona Štěpánová-Kurzová, daughter of Vilém Kurz. In 1957, after hearing Moravec play in Prague, Arturo Benedetti Michelangeli invited him to attend master classes in Arrezzo that summer.
In the late 1950s, an audio tape of a Prague recital was circulated in the West. Soon afterwards, Connoisseur Society, a small American audiophile record company, negotiated with the Czech authorities to engage the young Moravec. In 1962 he traveled to New York to create the first of many recordings for that label, and in 1964 George Szell invited him to perform with the Cleveland Orchestra. Moravec's international concert career was launched.
Ivan Moravec performs major recital works by Chopin, Debussy, Beethoven, and Mozart, as well as Czech composers. He has played with most of the world's main symphony orchestras, and his active piano concerto repertoire has included more than a dozen works by Mozart, Beethoven, Brahms, Schumann, Ravel, Prokofiev, and Franck. Moravec has been a dedicated piano teacher at home in Prague, and frequently gives master classes when he travels.
Moravec's recordings for Connoisseur Society were notable for their audiophile quality, and nearly all of them remain available, long after the LP era, on CD reissues. Moravec has also recorded for several other labels, including Vox, Dorian, Hänssler, and Supraphon. In 1998 a 2-CD compilation of Ivan Moravec recordings was published as part of the landmark Philips series, Great Pianists of the 20th Century.
Ivan Moravec also has a reputation for fastidious attention to the condition of the pianos he plays. He contends that this reputation is somewhat exaggerated, and names other pianists who have traveled with a spare action or even their own pianos. Moravec's baggage is less extensive: a small black bag containing a few carefully-chosen voicing tools. "I only try to meet with the technician, and I listen with him for any unevenness in sound. I do not find mechanical problems, because today the technicians in great cities are very knowledgeable, so mainly I listen to harsh notes, or to weak notes, and ask for these to be changed gently, and I try to put the local piano in the best condition."
* In 2000 Moravec was awarded the Charles IV Prize, the Czech Republic's most prestigious acknowledgement of service to humanity.
* In 2000 President Václav Havel presented Moravec with the Medal of Merit for outstanding artistic achievements.
* In 2002 Moravec was awarded the Cannes Classical Award for lifetime achievement.--Wikipedi
CD Content
Nocturnes (3) for piano, Op. 9, CT. 108-110
Nocturnes (3) for piano, Op. 9, CT. 108-110
Nocturnes (3) for piano, Op. 15, CT. 111-113
Nocturnes (2) for piano, Op. 27, CT. 114-115
Nocturnes (2) for piano, Op. 32, CT. 116-117
Nocturnes (2) for piano, Op. 37, CT. 118-119
Nocturnes (2) for piano, Op. 48, CT. 120-121
Nocturnes (2) for piano, Op. 55, CT. 122-123
Nocturnes (2) for piano, Op. 62, CT. 124-125
Nocturne for piano in E minor, KK IV/b
Nocturnes (2) for piano, Op. 27, CT. 114-115
Nocturnes (2) for piano, Op. 32, CT. 116-117
Nocturnes (2) for piano, Op. 37, CT. 118-119
Nocturnes (2) for piano, Op. 48, CT. 120-121
Nocturnes (2) for piano, Op. 55, CT. 122-123
Nocturnes (2) for piano, Op. 62, CT. 124-125
Nocturne for piano in E minor, KK IV/b
Tuesday, September 29, 2009
Chopin - The 1830 Warsaw Concert - Das Neue Orchester, Spering
Chopin - The 1830 Warsaw Concert - Das Neue Orchester, Spering
Piano, Concerto | Eac, flac, cue | log, cover | 1 CD, 255 MB
September 7, 1999 | Opus111 | RapidShare
Volume 3 of Opus 111's Journey Around Chopin series replicates as much as possible an orchestral concert that took place March 17, 1830, in Warsaw, an occasion that sealed Chopin's early reputation as both composer and pianist. Hearing Chopin's music in this context is revealing. His restless modulations and dazzling keyboard figurations sound downright radical next to the hackneyed, workaday musicality of the Kurpinski and Elsner overtures, to say nothing of Paër's facile but empty vocal fireworks. Playing an Erard piano dating from around that time, Olejniczak plays with relaxed fluidity, and the small period-instrument aggregation proves how viable and effective Chopin's orchestrations really are. The concerted works, however, don't match the Emanuel Ax/Sir Charles Mackerras period versions on Sony for freshness and sophistication. Still and all, an absorbing release. --Jed Distler
DAS NEUE ORCHESTER is a name and a programme. It derives its name from a musical essay "Das Neueröffnete Orchestre" – The Newly Opened Orchestra – written by the then widely known musical writer Johann Matheson, published in 1713 as an orchestra manual. The orchestra was founded in 1988 by Christoph Spering and concentrates on performing well known and wrongfully forgotten masterpieces of the 18th and 19th centuries with their original sound; i.e. on instruments from the period of creation of these works. Hence, the orchestra has built up a reputation as an ensemble specialized in baroque music, as you can hear it today; but moreover DAS NEUE ORCHESTER was the first orchestra in Germany to apply the principles of historic fidelity also to music from the romantic period. Here the musicians could benefit from the experiences made as specialized performers of music from the baroque and classical era on period instruments.
Using period instruments means playing on instruments that would have been used during the time and in the geographical area of creation and performance of a composition.To perform its repertoire, the orchestra gathers in ever changing casts with the instruments of the corresponding periods, and is thus able to follow the composer's indications as strictly as possible. The performing conditions of every composer are adhered to very closely by the musicians. They take into account the evolution and manufacturing of the period instruments which took place over several hundred years. The musicians take for granted to be informed on the composing and performing conditions of every single work and to take into account several hundred years of evolution in the manufacture of musical instruments. The instruments used in Western music evolved constantly from generation to generation as have the playing techniques and sound. When DAS NEUE ORCHESTER performs baroque music on period instruments, the chords are made out of catgut instead of metal, the standard pitch is 25 Hertz lower (10 Hertz lower with classical & romantic music) than in a modern orchestra. The form of bows and fingerboards allow the musicians to play virtuoso baroque passages. Moreover the wind instruments only have finger holes and no keys. Bach, for example, used different instruments than his French colleagues; by the time of Mozart and Beethoven mainly the winds had undergone considerable changes. Yet other technical inventions and modifications made it possible for Schumann and Brahms to write for a novel orchestra, which has been completely unknown.
Track listing:
# Zamek na Czorsztynie, opera Overture (Lento - Allegro vivace)
Composed by Karol Kazimierz Kurpinski
Performed by New Berlin Chamber Orchestra
Conducted by Christoph Spering
# Piano Concerto No. 2 in F minor, Op. 21, CT. 48
Composed by Fryderyk Chopin
Performed by New Berlin Chamber Orchestra
with Janusz Olejniczak
Conducted by Christoph Spering
# La Biondina in gondoletta, for voice & piano
Composed by Ferdinando Paer
Performed by New Berlin Chamber Orchestra
with Olga Pasiecznik, Janusz Olejniczak
Conducted by Christoph Spering
# Fantasy on Polish Airs for piano & orchestra in A major, Op. 13, CT. 41
Composed by Fryderyk Chopin
Performed by New Berlin Chamber Orchestra
with Janusz Olejniczak
Conducted by Christoph Spering
# Leszek bialy, opera Overture
Composed by Jozef Antoni Franciszek Elsner
Performed by New Berlin Chamber Orchestra
Conducted by Christoph Spering
DAS NEUE ORCHESTER is a name and a programme. It derives its name from a musical essay "Das Neueröffnete Orchestre" – The Newly Opened Orchestra – written by the then widely known musical writer Johann Matheson, published in 1713 as an orchestra manual. The orchestra was founded in 1988 by Christoph Spering and concentrates on performing well known and wrongfully forgotten masterpieces of the 18th and 19th centuries with their original sound; i.e. on instruments from the period of creation of these works. Hence, the orchestra has built up a reputation as an ensemble specialized in baroque music, as you can hear it today; but moreover DAS NEUE ORCHESTER was the first orchestra in Germany to apply the principles of historic fidelity also to music from the romantic period. Here the musicians could benefit from the experiences made as specialized performers of music from the baroque and classical era on period instruments.
Using period instruments means playing on instruments that would have been used during the time and in the geographical area of creation and performance of a composition.To perform its repertoire, the orchestra gathers in ever changing casts with the instruments of the corresponding periods, and is thus able to follow the composer's indications as strictly as possible. The performing conditions of every composer are adhered to very closely by the musicians. They take into account the evolution and manufacturing of the period instruments which took place over several hundred years. The musicians take for granted to be informed on the composing and performing conditions of every single work and to take into account several hundred years of evolution in the manufacture of musical instruments. The instruments used in Western music evolved constantly from generation to generation as have the playing techniques and sound. When DAS NEUE ORCHESTER performs baroque music on period instruments, the chords are made out of catgut instead of metal, the standard pitch is 25 Hertz lower (10 Hertz lower with classical & romantic music) than in a modern orchestra. The form of bows and fingerboards allow the musicians to play virtuoso baroque passages. Moreover the wind instruments only have finger holes and no keys. Bach, for example, used different instruments than his French colleagues; by the time of Mozart and Beethoven mainly the winds had undergone considerable changes. Yet other technical inventions and modifications made it possible for Schumann and Brahms to write for a novel orchestra, which has been completely unknown.
Track listing:
# Zamek na Czorsztynie, opera Overture (Lento - Allegro vivace)
Composed by Karol Kazimierz Kurpinski
Performed by New Berlin Chamber Orchestra
Conducted by Christoph Spering
# Piano Concerto No. 2 in F minor, Op. 21, CT. 48
Composed by Fryderyk Chopin
Performed by New Berlin Chamber Orchestra
with Janusz Olejniczak
Conducted by Christoph Spering
# La Biondina in gondoletta, for voice & piano
Composed by Ferdinando Paer
Performed by New Berlin Chamber Orchestra
with Olga Pasiecznik, Janusz Olejniczak
Conducted by Christoph Spering
# Fantasy on Polish Airs for piano & orchestra in A major, Op. 13, CT. 41
Composed by Fryderyk Chopin
Performed by New Berlin Chamber Orchestra
with Janusz Olejniczak
Conducted by Christoph Spering
# Leszek bialy, opera Overture
Composed by Jozef Antoni Franciszek Elsner
Performed by New Berlin Chamber Orchestra
Conducted by Christoph Spering
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