Christian Seibert - Toch: Piano Works (2005)
BAND/ARTIST: Christian Seibert
- Title: Toch: Piano Works
- Year Of Release: 2005
- Label: CPO
- Genre: Classical Piano
- Quality: flac lossless (tracks)
- Total Time: 00:58:43
- Total Size: 292 mb
- WebSite: Album Preview
Tracklist
01. Capricetti, Op. 36: I. Zart, nachdenklich
02. Capricetti, Op. 36: II. Lebhaft
03. Capricetti, Op. 36: III. Graziös, heiter
04. Capricetti, Op. 36: IV. Sehr zart und innig
05. Capricetti, Op. 36: V. Mit ausgelassenem Humor
06. Kleinstadtbilder, Op. 49: No. 1, Junges Kätzchen
07. Kleinstadtbilder, Op. 49: No. 2, Müde bin ich
08. Kleinstadtbilder, Op. 49: No. 3, Ach hätt' ich doch
09. Kleinstadtbilder, Op. 49: No. 4, Auf dem Schulweg
10. Kleinstadtbilder, Op. 49: No. 5, Leiermann
11. Kleinstadtbilder, Op. 49: No. 6, Im Gänsemarsch
12. Kleinstadtbilder, Op. 49: No. 7, Armes Kind
13. Kleinstadtbilder, Op. 49: No. 8, Abzählen
14. Kleinstadtbilder, Op. 49: No. 9, Spaßvogel
15. Kleinstadtbilder, Op. 49: No. 10, Alleingelassen
16. Kleinstadtbilder, Op. 49: No. 11, Hinter der Musik her
17. Kleinstadtbilder, Op. 49: No. 12, Über den Marktplatz
18. Kleinstadtbilder, Op. 49: No. 13, Dem Herbst entgegen
19. Kleinstadtbilder, Op. 49: No. 14, Gassenhauer
20. Piano Sonata, Op. 47: I. Quasi toccata
21. Piano Sonata, Op. 47: II. Intermezzo
22. Piano Sonata, Op. 47: III. Allegro
23. Burlesken, Op. 31: No. 1, Gemächlich
24. Burlesken, Op. 31: No. 2, Lebhaft
25. Burlesken, Op. 31: No. 3, Der Jongleur. Sehr lebhaft
26. 10 Konzertetüden, Op. 55: No. 1, Praeludium
27. 10 Konzertetüden, Op. 55: No. 2, Phantom
28. 10 Konzertetüden, Op. 55: No. 3, Lebhaft
29. 10 Konzertetüden, Op. 55: No. 4, Allegro
30. 10 Konzertetüden, Op. 55: No. 5, Spiegelbild
31. 10 Konzertetüden, Op. 55: No. 6, Aus dem Handgelenk
32. 10 Konzertetüden, Op. 55: No. 7, Toccata
33. 10 Konzertetüden, Op. 55: No. 8, Impromptu No. 1
34. 10 Konzertetüden, Op. 55: No. 9, Impromptu No. 2
35. 10 Konzertetüden, Op. 55: No. 10, Legende
Ernst Toch's early piano works are marked by his use of harmony and the way he plays with tonality, more than anything else. The pieces on this disc by Christian Seibert all feature a theme or melody, but Toch frequently changes key or uses more than one key at once to cast a theme in a new light. The resulting music is angular and chromatic, but in a playful way, not jarringly, particularly in Seibert's hands. The Capriccetti and Kleinstadtbilder have streamlined textures and feel intimately balletic, as if one or two dancers were acting out a tableau for each caprice or picture. Often Toch mixes moods as well as tonalities in these miniatures. The other works on the disc are only slightly more substantial in length and in texture, and are more abstract, more serious, in their disposition. The use of thematic material is most obvious in the Sonata, where it serves as an anchor, just as a particular technique anchors each of the etudes. The Burlesques, again, are more substantial than the opening miniatures, but they contain the same humor and picturesque expression. The third burlesque gives Seibert a chance to be virtuosically showier, sounding as it does like hyperactive Debussy. Seibert has an impressive touch and control that allow the listener to immediately hear, understand, and enjoy all the contrasts in Toch's music. Seibert proves that not all music from the 1920s and 1930s is intimidating.
01. Capricetti, Op. 36: I. Zart, nachdenklich
02. Capricetti, Op. 36: II. Lebhaft
03. Capricetti, Op. 36: III. Graziös, heiter
04. Capricetti, Op. 36: IV. Sehr zart und innig
05. Capricetti, Op. 36: V. Mit ausgelassenem Humor
06. Kleinstadtbilder, Op. 49: No. 1, Junges Kätzchen
07. Kleinstadtbilder, Op. 49: No. 2, Müde bin ich
08. Kleinstadtbilder, Op. 49: No. 3, Ach hätt' ich doch
09. Kleinstadtbilder, Op. 49: No. 4, Auf dem Schulweg
10. Kleinstadtbilder, Op. 49: No. 5, Leiermann
11. Kleinstadtbilder, Op. 49: No. 6, Im Gänsemarsch
12. Kleinstadtbilder, Op. 49: No. 7, Armes Kind
13. Kleinstadtbilder, Op. 49: No. 8, Abzählen
14. Kleinstadtbilder, Op. 49: No. 9, Spaßvogel
15. Kleinstadtbilder, Op. 49: No. 10, Alleingelassen
16. Kleinstadtbilder, Op. 49: No. 11, Hinter der Musik her
17. Kleinstadtbilder, Op. 49: No. 12, Über den Marktplatz
18. Kleinstadtbilder, Op. 49: No. 13, Dem Herbst entgegen
19. Kleinstadtbilder, Op. 49: No. 14, Gassenhauer
20. Piano Sonata, Op. 47: I. Quasi toccata
21. Piano Sonata, Op. 47: II. Intermezzo
22. Piano Sonata, Op. 47: III. Allegro
23. Burlesken, Op. 31: No. 1, Gemächlich
24. Burlesken, Op. 31: No. 2, Lebhaft
25. Burlesken, Op. 31: No. 3, Der Jongleur. Sehr lebhaft
26. 10 Konzertetüden, Op. 55: No. 1, Praeludium
27. 10 Konzertetüden, Op. 55: No. 2, Phantom
28. 10 Konzertetüden, Op. 55: No. 3, Lebhaft
29. 10 Konzertetüden, Op. 55: No. 4, Allegro
30. 10 Konzertetüden, Op. 55: No. 5, Spiegelbild
31. 10 Konzertetüden, Op. 55: No. 6, Aus dem Handgelenk
32. 10 Konzertetüden, Op. 55: No. 7, Toccata
33. 10 Konzertetüden, Op. 55: No. 8, Impromptu No. 1
34. 10 Konzertetüden, Op. 55: No. 9, Impromptu No. 2
35. 10 Konzertetüden, Op. 55: No. 10, Legende
Ernst Toch's early piano works are marked by his use of harmony and the way he plays with tonality, more than anything else. The pieces on this disc by Christian Seibert all feature a theme or melody, but Toch frequently changes key or uses more than one key at once to cast a theme in a new light. The resulting music is angular and chromatic, but in a playful way, not jarringly, particularly in Seibert's hands. The Capriccetti and Kleinstadtbilder have streamlined textures and feel intimately balletic, as if one or two dancers were acting out a tableau for each caprice or picture. Often Toch mixes moods as well as tonalities in these miniatures. The other works on the disc are only slightly more substantial in length and in texture, and are more abstract, more serious, in their disposition. The use of thematic material is most obvious in the Sonata, where it serves as an anchor, just as a particular technique anchors each of the etudes. The Burlesques, again, are more substantial than the opening miniatures, but they contain the same humor and picturesque expression. The third burlesque gives Seibert a chance to be virtuosically showier, sounding as it does like hyperactive Debussy. Seibert has an impressive touch and control that allow the listener to immediately hear, understand, and enjoy all the contrasts in Toch's music. Seibert proves that not all music from the 1920s and 1930s is intimidating.
As a ISRA.CLOUD's PREMIUM member you will have the following benefits:
- Unlimited high speed downloads
- Download directly without waiting time
- Unlimited parallel downloads
- Support for download accelerators
- No advertising
- Resume broken downloads