Wilhelm Kempff - Beethoven: Op.27 & Op.109 - Chopin: Nocturne Op.9 No.3 - Schubert: Impromptu Op.90 No.4 - Schumann: Kreisleriana, Op.16 (2021) [Hi-Res]
![Wilhelm Kempff - Beethoven: Op.27 & Op.109 - Chopin: Nocturne Op.9 No.3 - Schubert: Impromptu Op.90 No.4 - Schumann: Kreisleriana, Op.16 (2021) [Hi-Res]](https://www.dibpic.com/uploads/posts/2021-05/1621664027_wilhelm-kempff-beethoven-op_27-op_109-2021.jpg)
BAND/ARTIST: Wilhelm Kempff
- Title: Beethoven: Op.27 & Op.109 - Chopin: Nocturne Op.9 No.3 - Schubert: Impromptu Op.90 No.4 - Schumann: Kreisleriana, Op.16
- Year Of Release: 2021
- Label: Da Vinci Classics
- Genre: Classical
- Quality: flac lossless / flac 24bits - 44.1kHz
- Total Time: 01:16:16
- Total Size: 432 / 813 mb
- WebSite: Album Preview
Tracklist
01. Piano Sonata No. 13 in E-Flat Major, Op. 27 No. 1: I. Andante – Allegro – Andante
02. Piano Sonata No. 13 in E-Flat Major, Op. 27 No. 1: II. Allegro molto e vivace
03. Piano Sonata No. 13 in E-Flat Major, Op. 27 No. 1: III. Adagio con espressione
04. Piano Sonata No. 13 in E-Flat Major, Op. 27 No. 1: IV. Allegro vivace
05. Vier Impromptus, Op. 90: No. 4 in A-Flat Major
06. Piano Sonata No. 30 in E Major, Op. 109: I. Vivace ma non troppo, sempre legato-Adagio espressivo
07. Piano Sonata No. 30 in E Major, Op. 109: II. Prestissimo
08. Piano Sonata No. 30 in E Major, Op. 109: III. Gesangvoll, mit innigster Empfindung. Andante molto cantabile ed espressivo
09. Nocturnes, Op. 9: No. 3 in B Major, Allegretto
10. Kreisleriana, Op. 16
The presence in Milan of such a charismatic figure as Wilhelm Kempff in the last period of his career was limited to few but significant recitals, structured on the composers he loved most, first and foremost Beethoven and Schubert. It all happened within few months. The eighty-one years old pianist performed at La Scala on March 20th, 1978, playing three very challenging Sonatas by Schubert; later, on April 3rd, he played at the Serate Musicali (Bach, Beethoven and Schumann); then, on October 31st, he performed at the Società del Quartetto, playing four Sonatas by Beethoven. The final farewell happened on January 22nd, again at the Serate Musicali, where he played with violinist Thomas Goldschmidt, who was his grandchild/nephew, in the name of Beethoven.
The direct observation of these events, from a very close position, allowed me to appreciate some particulars which remained indelible in my memory. Kempff was aged, of course, but no more so than others among his colleagues in those years, such as Arrau or Serkin, to say nothing of a Rubinstein, who had performed two years earlier as a perfectly fit eighty-nine years old. Kempff, instead, was extremely thin, hollow-cheeked, with skinny hands, a slow and uncertain pace. And, most importantly, his gaze seemed to be already pointed to the other world, or at least to an ideal place where the musicians he was about to evoke could be found.
His sound was neither dry nor wood-like; it was full-bodied, capable of still rendering the fascination of those pages on which he had meditated throughout his life. The technical problems, which were not serious in general, became entirely irrelevant in comparison with the fascination of his timbre and the intensity of his phrasing. His Bach was timeless, his Schumann was essential and profound, his Beethoven was explored to the roots and brought to the limits of verbal expression in the conclusion of Sonata op. 109. At the end of the recital, even the Chopin of an elusive and enchanting Nocturne was narrated with peerless poetry, and an Impromptu by Schubert (which he announced in German, sounding almost threatening) flowed as pure sound and as an affable speech.
01. Piano Sonata No. 13 in E-Flat Major, Op. 27 No. 1: I. Andante – Allegro – Andante
02. Piano Sonata No. 13 in E-Flat Major, Op. 27 No. 1: II. Allegro molto e vivace
03. Piano Sonata No. 13 in E-Flat Major, Op. 27 No. 1: III. Adagio con espressione
04. Piano Sonata No. 13 in E-Flat Major, Op. 27 No. 1: IV. Allegro vivace
05. Vier Impromptus, Op. 90: No. 4 in A-Flat Major
06. Piano Sonata No. 30 in E Major, Op. 109: I. Vivace ma non troppo, sempre legato-Adagio espressivo
07. Piano Sonata No. 30 in E Major, Op. 109: II. Prestissimo
08. Piano Sonata No. 30 in E Major, Op. 109: III. Gesangvoll, mit innigster Empfindung. Andante molto cantabile ed espressivo
09. Nocturnes, Op. 9: No. 3 in B Major, Allegretto
10. Kreisleriana, Op. 16
The presence in Milan of such a charismatic figure as Wilhelm Kempff in the last period of his career was limited to few but significant recitals, structured on the composers he loved most, first and foremost Beethoven and Schubert. It all happened within few months. The eighty-one years old pianist performed at La Scala on March 20th, 1978, playing three very challenging Sonatas by Schubert; later, on April 3rd, he played at the Serate Musicali (Bach, Beethoven and Schumann); then, on October 31st, he performed at the Società del Quartetto, playing four Sonatas by Beethoven. The final farewell happened on January 22nd, again at the Serate Musicali, where he played with violinist Thomas Goldschmidt, who was his grandchild/nephew, in the name of Beethoven.
The direct observation of these events, from a very close position, allowed me to appreciate some particulars which remained indelible in my memory. Kempff was aged, of course, but no more so than others among his colleagues in those years, such as Arrau or Serkin, to say nothing of a Rubinstein, who had performed two years earlier as a perfectly fit eighty-nine years old. Kempff, instead, was extremely thin, hollow-cheeked, with skinny hands, a slow and uncertain pace. And, most importantly, his gaze seemed to be already pointed to the other world, or at least to an ideal place where the musicians he was about to evoke could be found.
His sound was neither dry nor wood-like; it was full-bodied, capable of still rendering the fascination of those pages on which he had meditated throughout his life. The technical problems, which were not serious in general, became entirely irrelevant in comparison with the fascination of his timbre and the intensity of his phrasing. His Bach was timeless, his Schumann was essential and profound, his Beethoven was explored to the roots and brought to the limits of verbal expression in the conclusion of Sonata op. 109. At the end of the recital, even the Chopin of an elusive and enchanting Nocturne was narrated with peerless poetry, and an Impromptu by Schubert (which he announced in German, sounding almost threatening) flowed as pure sound and as an affable speech.
Year 2021 | Classical | FLAC / APE | HD & Vinyl
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