Miroslav Beinhauer - Hába: The Complete Piano Works (2025) [Hi-Res]
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BAND/ARTIST: Miroslav Beinhauer
- Title: Hába: The Complete Piano Works
- Year Of Release: 2025
- Label: SUPRAPHON a.s.
- Genre: Classical
- Quality: flac lossless (tracks) / flac 24bits - 48.0kHz +Booklet
- Total Time: 02:12:20
- Total Size: 472 mb / 1.1 gb
- WebSite: Album Preview
Tracklist
01. Sonata for Piano in E-Flat Minor: I. Andante con duolo
02. Sonata for Piano in E-Flat Minor: II. Scherzo
03. Sonata for Piano in E-Flat Minor: III. Tempo di menuetto
04. Sonata for Piano in E-Flat Minor: IV. Rondo
05. Three Fugues for Piano: I. Allegretto
06. Three Fugues for Piano: II. Andante
07. Three Fugues for Piano: III. Allegro scherzando
08. Variations on a Canon of Robert Schumann, Op. 1b
09. Two Pieces for Piano, Op. 2: I. Scherzo. Allegro, ma non troppo
10. Two Pieces for Piano, Op. 2: II. Intermezzo. Andante cantabile
11. Sonata for Piano, Op. 3: I. Allegro moderato
12. Sonata for Piano, Op. 3: II. Andante cantabile
13. Sonata for Piano, Op. 3: III. Allegro non troppo
14. Six Pieces for Piano, Op. 6: I. Allegro agitato
15. Six Pieces for Piano, Op. 6: II. Andante cantabile con molta espressione
16. Six Pieces for Piano, Op. 6: III. Allegretto leggiero
17. Six Pieces for Piano, Op. 6: IV. Tempo di marcia
18. Six Pieces for Piano, Op. 6: V. Lento. Dolce con molta espressione
19. Six Pieces for Piano, Op. 6: VI. Allegro risoluto
20. Two Grotesques for Piano, Op. 6: I. Intermezzo. Tempo comodo
21. Two Grotesques for Piano, Op. 6: II. Tempo di Polka
22. Romance, Waltz: Romance. Moderato cantabile
23. Romance, Waltz: Waltz. Tempo di valse
24. Four Modern Dances for Piano, Op. 39: I. Shimmy-Blues. Moderato
25. Four Modern Dances for Piano, Op. 39: II. Blues. Moderatro
26. Four Modern Dances for Piano, Op. 39: III. Boston. Valse moderato
27. Four Modern Dances for Piano, Op. 39: IV. Tango. Moderato
28. Shimmy-Fox
29. Toccata quasi una fantasia for Piano, Op. 38
30. Six Moods for Piano, Op. 102: I. Allegro energico
31. Six Moods for Piano, Op. 102: II. Andante cantabile
32. Six Moods for Piano, Op. 102: III. Allegro molto pesante
33. Six Moods for Piano, Op. 102: IV. Allegretto scherzando
34. Six Moods for Piano, Op. 102: V. Moderato cantabile
35. Six Moods for Piano, Op. 102: VI. Allegro risoluto
The first complete recording of Haba's works for "ordinary" piano. Haba surprisingly without micro-intervals Alois Haba has gone down in the history of 20th-century music as an experimenter.
He studied in Vienna and Berlin under Franz Schreker, studied the tonal principles of non-European music, and developed his own theory of micro-intervallic music. However, his enthusiasm for microtonal music narrowed the perception of his creative legacy solely to its experimental component, although more than half of his works are compositions in the usual system of semitones. As he himself said, he was trying "to find the path from non-traditional training to artistically independent creative work with strongly altered harmony and melody in order to arrive at a personal means of expression following the line leading from Bach to Schumann and on to Reger." He achieved this goal in the Sonata, Op. 3, for which he received much praise from Schreker, while Vitezslav Novak "with condescending humour called it a 'sonata for three hands'".
Erwin Schulhoff premiered the Two Grotesque Pieces in 1922 in Berlin alongside compositions by Satie, Casella, and Stravinsky, and according to a critic, "Haba's compositions made a far more authentic impression than much that surrounded them." After the Toccata quasi una fantasia (1931), Haba returned to writing piano music one last time 40 years later at the end of his life with his Six Moods. As a student in Vienna and Ghent, the pianist Miroslav Beinhauer focused on music of the 20th and 21st centuries. He was introduced to Haba through his compositions for sixth-tone harmonium (Beinhauer is the only player of this instrument, created by Haba), and he went on to study Haba's complete works for "ordinary" piano as well. These works are little known and worthy of attention.
01. Sonata for Piano in E-Flat Minor: I. Andante con duolo
02. Sonata for Piano in E-Flat Minor: II. Scherzo
03. Sonata for Piano in E-Flat Minor: III. Tempo di menuetto
04. Sonata for Piano in E-Flat Minor: IV. Rondo
05. Three Fugues for Piano: I. Allegretto
06. Three Fugues for Piano: II. Andante
07. Three Fugues for Piano: III. Allegro scherzando
08. Variations on a Canon of Robert Schumann, Op. 1b
09. Two Pieces for Piano, Op. 2: I. Scherzo. Allegro, ma non troppo
10. Two Pieces for Piano, Op. 2: II. Intermezzo. Andante cantabile
11. Sonata for Piano, Op. 3: I. Allegro moderato
12. Sonata for Piano, Op. 3: II. Andante cantabile
13. Sonata for Piano, Op. 3: III. Allegro non troppo
14. Six Pieces for Piano, Op. 6: I. Allegro agitato
15. Six Pieces for Piano, Op. 6: II. Andante cantabile con molta espressione
16. Six Pieces for Piano, Op. 6: III. Allegretto leggiero
17. Six Pieces for Piano, Op. 6: IV. Tempo di marcia
18. Six Pieces for Piano, Op. 6: V. Lento. Dolce con molta espressione
19. Six Pieces for Piano, Op. 6: VI. Allegro risoluto
20. Two Grotesques for Piano, Op. 6: I. Intermezzo. Tempo comodo
21. Two Grotesques for Piano, Op. 6: II. Tempo di Polka
22. Romance, Waltz: Romance. Moderato cantabile
23. Romance, Waltz: Waltz. Tempo di valse
24. Four Modern Dances for Piano, Op. 39: I. Shimmy-Blues. Moderato
25. Four Modern Dances for Piano, Op. 39: II. Blues. Moderatro
26. Four Modern Dances for Piano, Op. 39: III. Boston. Valse moderato
27. Four Modern Dances for Piano, Op. 39: IV. Tango. Moderato
28. Shimmy-Fox
29. Toccata quasi una fantasia for Piano, Op. 38
30. Six Moods for Piano, Op. 102: I. Allegro energico
31. Six Moods for Piano, Op. 102: II. Andante cantabile
32. Six Moods for Piano, Op. 102: III. Allegro molto pesante
33. Six Moods for Piano, Op. 102: IV. Allegretto scherzando
34. Six Moods for Piano, Op. 102: V. Moderato cantabile
35. Six Moods for Piano, Op. 102: VI. Allegro risoluto
The first complete recording of Haba's works for "ordinary" piano. Haba surprisingly without micro-intervals Alois Haba has gone down in the history of 20th-century music as an experimenter.
He studied in Vienna and Berlin under Franz Schreker, studied the tonal principles of non-European music, and developed his own theory of micro-intervallic music. However, his enthusiasm for microtonal music narrowed the perception of his creative legacy solely to its experimental component, although more than half of his works are compositions in the usual system of semitones. As he himself said, he was trying "to find the path from non-traditional training to artistically independent creative work with strongly altered harmony and melody in order to arrive at a personal means of expression following the line leading from Bach to Schumann and on to Reger." He achieved this goal in the Sonata, Op. 3, for which he received much praise from Schreker, while Vitezslav Novak "with condescending humour called it a 'sonata for three hands'".
Erwin Schulhoff premiered the Two Grotesque Pieces in 1922 in Berlin alongside compositions by Satie, Casella, and Stravinsky, and according to a critic, "Haba's compositions made a far more authentic impression than much that surrounded them." After the Toccata quasi una fantasia (1931), Haba returned to writing piano music one last time 40 years later at the end of his life with his Six Moods. As a student in Vienna and Ghent, the pianist Miroslav Beinhauer focused on music of the 20th and 21st centuries. He was introduced to Haba through his compositions for sixth-tone harmonium (Beinhauer is the only player of this instrument, created by Haba), and he went on to study Haba's complete works for "ordinary" piano as well. These works are little known and worthy of attention.
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