Wilhelm Kempff - 101 Classics: Kempff plays Schumann (2022)
BAND/ARTIST: Wilhelm Kempff
- Title: 101 Classics: Kempff plays Schumann
- Year Of Release: 2022
- Label: UMG Recordings, Inc.
- Genre: Classical
- Quality: FLAC (tracks)
- Total Time: 4:28:57
- Total Size: 974 MB
- WebSite: Album Preview
Tracklist:
01. No. 1 Préambule
02. No. 2 Pierrot
03. No. 3 Arlequin
04. No. 4 Valse noble
05. No. 5 Eusebius
06. No. 6 Florestan
07. No. 7 Coquette
08. No. 8 Réplique
09. No. 9 Papillons
10. No. 10 A.S.C.H.-S.C.H.A. (Lettres dansantes)
11. No. 11 Chiarina
12. No. 12 Chopin
13. No. 13 Estrella
14. No. 14 Reconnaissance
15. XV. Pantalon et Colombine
16. XVIa. Valse Allemande
17. XVIb. Intermezzo: Paganini
18. XVIII. Aveu. Passionato
19. XIX. Promenade. Comodo
20. XX. Pause. Vivo
21. XXI. Marche des "Davidsbündler" contre les Philistins
22. Leicht und zart - Minore I. Etwas langsamer - Minore II. Etwas langsamer - Zum Schluss (Coda). Langsamer
23. No. 1 Lebhaft
24. No. 2 Innig
25. No. 3 Etwas hahnbüchen
26. No. 4 Ungeduldig
27. No. 5 Einfach
28. No. 6 Sehr rasch
29. No. 7 Nicht schnell
30. No. 8 Frisch
31. No. 9 Lebhaft
32. No. 10 Balladenmässig, sehr rasch
33. No. 11 Einfach
34. No. 12 Mit Humor
35. No. 13 Wild und lustig
36. No. 14 Zart und singend
37. No. 15 Frisch
38. No. 16 Mit gutem Humor
39. No. 17 Wie aus der Ferne
40. No. 18 Nicht schnell
41. IX. Novellette
42. Einfach - Sehr rasch und leicht - Noch rascher - Erstes Tempo - Wie im Anfang
43. Hastig - Nach und nach immer lebhafter und stärker - Wie vorher - Adagio
44. Einfach und zart - Intermezzo - (Wie vorher -) Innig
45. Sehr lebhaft - Mit einigem Pomp - Zum Beschluß - Allegro
46. No. 1 Von fremden Ländern und Menschen
47. No. 2 Kuriose Geschichte
48. No. 3 Hasche-Mann
49. No. 4 Bittendes Kind
50. No. 5 Glückes genug
51. No. 6 Wichtige Begebenheit
52. No. 7 Träumerei
53. No. 8 Am Kamin
54. No. 9 Ritter vom Steckenpferd
55. No. 10 Fast zu ernst
56. No. 11 Fürchtenmachen
57. No. 12 Kind im Einschlummern
58. No. 13 Der Dichter spricht
59. Theme. Andante
60. Etude I
61. Etude II
62. Etude III
63. Etude IV
64. Etude V
65. Etude VI
66. Etude VII
67. Etude VIII
68. Etude IX
69. Etude X
70. Etude XI
71. Etude XII (Finale)
72. No. 1 in B-Flat Minor (Sehr markiert)
73. No. 2 in F-Sharp Major. Einfach
74. No. 3 in B Major (Sehr markiert)
75. No. 1 Mehr langsam, oft zurückhaltend
76. No. 2 Markiert und lebhaft
77. No. 3 Mit grosser Lebhaftigkeit
78. No. 4 Einfach
79. I. So rasch wie möglich - Schneller - Noch schneller
80. II. Andantino
81. III. Scherzo (Sehr rasch und markiert)
82. IV. Rondo (Presto - Etwas langsamer - Prestissimo, quasi cadenza - Immer schneller und schneller)
83. No. 1 Eintritt
84. No. 2 Jäger auf der Lauer
85. No. 3 Einsame Blumen
86. No. 4 Verrufene Stelle
87. No. 5 Freundliche Landschaft
88. No. 6 Herberge
89. No. 7 Vogel als Prophet
90. No. 8 Jagdlied
91. No. 9 Abschied
92. No. 1. Äusserst bewegt
93. No. 2 Sehr innig und nicht zu rasch - Intermezzo I. Sehr lebhaft - Tempo I - Intermezzo II. Etwas bewegter - Tempo I
94. No. 3 Sehr aufgeregt
95. No. 4 Sehr langsam
96. No. 5 Sehr lebhaft
97. No. 6 Sehr langsam
98. No. 7 Sehr rasch
99. No. 8 Schnell und spielend
100. Introduction
101. Allegro appassionato
01. No. 1 Préambule
02. No. 2 Pierrot
03. No. 3 Arlequin
04. No. 4 Valse noble
05. No. 5 Eusebius
06. No. 6 Florestan
07. No. 7 Coquette
08. No. 8 Réplique
09. No. 9 Papillons
10. No. 10 A.S.C.H.-S.C.H.A. (Lettres dansantes)
11. No. 11 Chiarina
12. No. 12 Chopin
13. No. 13 Estrella
14. No. 14 Reconnaissance
15. XV. Pantalon et Colombine
16. XVIa. Valse Allemande
17. XVIb. Intermezzo: Paganini
18. XVIII. Aveu. Passionato
19. XIX. Promenade. Comodo
20. XX. Pause. Vivo
21. XXI. Marche des "Davidsbündler" contre les Philistins
22. Leicht und zart - Minore I. Etwas langsamer - Minore II. Etwas langsamer - Zum Schluss (Coda). Langsamer
23. No. 1 Lebhaft
24. No. 2 Innig
25. No. 3 Etwas hahnbüchen
26. No. 4 Ungeduldig
27. No. 5 Einfach
28. No. 6 Sehr rasch
29. No. 7 Nicht schnell
30. No. 8 Frisch
31. No. 9 Lebhaft
32. No. 10 Balladenmässig, sehr rasch
33. No. 11 Einfach
34. No. 12 Mit Humor
35. No. 13 Wild und lustig
36. No. 14 Zart und singend
37. No. 15 Frisch
38. No. 16 Mit gutem Humor
39. No. 17 Wie aus der Ferne
40. No. 18 Nicht schnell
41. IX. Novellette
42. Einfach - Sehr rasch und leicht - Noch rascher - Erstes Tempo - Wie im Anfang
43. Hastig - Nach und nach immer lebhafter und stärker - Wie vorher - Adagio
44. Einfach und zart - Intermezzo - (Wie vorher -) Innig
45. Sehr lebhaft - Mit einigem Pomp - Zum Beschluß - Allegro
46. No. 1 Von fremden Ländern und Menschen
47. No. 2 Kuriose Geschichte
48. No. 3 Hasche-Mann
49. No. 4 Bittendes Kind
50. No. 5 Glückes genug
51. No. 6 Wichtige Begebenheit
52. No. 7 Träumerei
53. No. 8 Am Kamin
54. No. 9 Ritter vom Steckenpferd
55. No. 10 Fast zu ernst
56. No. 11 Fürchtenmachen
57. No. 12 Kind im Einschlummern
58. No. 13 Der Dichter spricht
59. Theme. Andante
60. Etude I
61. Etude II
62. Etude III
63. Etude IV
64. Etude V
65. Etude VI
66. Etude VII
67. Etude VIII
68. Etude IX
69. Etude X
70. Etude XI
71. Etude XII (Finale)
72. No. 1 in B-Flat Minor (Sehr markiert)
73. No. 2 in F-Sharp Major. Einfach
74. No. 3 in B Major (Sehr markiert)
75. No. 1 Mehr langsam, oft zurückhaltend
76. No. 2 Markiert und lebhaft
77. No. 3 Mit grosser Lebhaftigkeit
78. No. 4 Einfach
79. I. So rasch wie möglich - Schneller - Noch schneller
80. II. Andantino
81. III. Scherzo (Sehr rasch und markiert)
82. IV. Rondo (Presto - Etwas langsamer - Prestissimo, quasi cadenza - Immer schneller und schneller)
83. No. 1 Eintritt
84. No. 2 Jäger auf der Lauer
85. No. 3 Einsame Blumen
86. No. 4 Verrufene Stelle
87. No. 5 Freundliche Landschaft
88. No. 6 Herberge
89. No. 7 Vogel als Prophet
90. No. 8 Jagdlied
91. No. 9 Abschied
92. No. 1. Äusserst bewegt
93. No. 2 Sehr innig und nicht zu rasch - Intermezzo I. Sehr lebhaft - Tempo I - Intermezzo II. Etwas bewegter - Tempo I
94. No. 3 Sehr aufgeregt
95. No. 4 Sehr langsam
96. No. 5 Sehr lebhaft
97. No. 6 Sehr langsam
98. No. 7 Sehr rasch
99. No. 8 Schnell und spielend
100. Introduction
101. Allegro appassionato
One of the twentieth century's most important pianists, Wilhelm Kempff found warmth in Beethoven where many others discovered only stress and passion. Concentrating on the composers of the late Classical and early-to-middle Romantic periods, Kempff achieved graceful, amiable results while not neglecting the sterner core of this music. His nobility of purpose was everywhere evident, made manifest through lucid textures, an adherence to a flowing legato, and tonal shading. In addition, he was a composer whose oeuvre included two symphonies, four operas, songs, and solo piano works.
Trained first by his Lutheran church musician father, Kempff studied privately before entering Berlin's Hochschule für Musik at age 9. In 1914, he traveled to Potsdam for further studies at the Viktoriagymnasium before returning to Berlin to finish his work at the Hochschule and enroll at the university. At age 20, Kempff served as organist and pianist on a tour of Germany and Scandinavia by the Berlin Cathedral Choir. A successful 1917 piano recital at the Berlin Singakademie led to an engagement the following year with the Berlin Philharmonic, the first of innumerable collaborations with that august ensemble. During the 1920s and 1930s, he toured South America and Japan, as well as many parts of Europe, adding to his reputation for uncompromising musicianship and personable interpretation. At the same time, he taught, serving first as director at the Stuttgart Musikhochschule from 1924 to 1929 and, later, as piano instructor at Potsdam's Mamorpalais for the decade before WWII. The war kept his activities confined to Germany, but with its end, Kempff once more resumed a busy performance schedule.
England and America heard Kempff only later. In London, the public, including a large number of German émigrés, applauded him upon his first appearance there in 1951. Not until 1964 did New York hear the pianist in person, although by then his many Deutsche Grammophon recordings had already established his stature for Americans. Indeed, Kempff's long and fruitful relationship with that label had brought to the market a long list of desirable recordings, among them the complete Beethoven piano concerti; the sonatas; a relaxed, but rewarding survey with Wolfgang Schneiderhan of the Beethoven violin sonatas; and various collections of Schubert, Schumann, Chopin, and Brahms. ~ Erik Eriksson
Trained first by his Lutheran church musician father, Kempff studied privately before entering Berlin's Hochschule für Musik at age 9. In 1914, he traveled to Potsdam for further studies at the Viktoriagymnasium before returning to Berlin to finish his work at the Hochschule and enroll at the university. At age 20, Kempff served as organist and pianist on a tour of Germany and Scandinavia by the Berlin Cathedral Choir. A successful 1917 piano recital at the Berlin Singakademie led to an engagement the following year with the Berlin Philharmonic, the first of innumerable collaborations with that august ensemble. During the 1920s and 1930s, he toured South America and Japan, as well as many parts of Europe, adding to his reputation for uncompromising musicianship and personable interpretation. At the same time, he taught, serving first as director at the Stuttgart Musikhochschule from 1924 to 1929 and, later, as piano instructor at Potsdam's Mamorpalais for the decade before WWII. The war kept his activities confined to Germany, but with its end, Kempff once more resumed a busy performance schedule.
England and America heard Kempff only later. In London, the public, including a large number of German émigrés, applauded him upon his first appearance there in 1951. Not until 1964 did New York hear the pianist in person, although by then his many Deutsche Grammophon recordings had already established his stature for Americans. Indeed, Kempff's long and fruitful relationship with that label had brought to the market a long list of desirable recordings, among them the complete Beethoven piano concerti; the sonatas; a relaxed, but rewarding survey with Wolfgang Schneiderhan of the Beethoven violin sonatas; and various collections of Schubert, Schumann, Chopin, and Brahms. ~ Erik Eriksson
Year 2022 | Classical | FLAC / APE
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