Schubert: Sonate D 850 / Liszt: Dante Sonate / Schubert/Liszt: Gretchen am Spinnrade (豆瓣)

表演者: Lilya Zilberstein
流派: 古典
专辑类型: 专辑
介质: CD
发行时间: 1992-06-16
出版者: DG
唱片数: 1

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10.0

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简介 · · · · · ·

　　Heir to the great Russian school of technique, Lilya Zilberstein is a noteworthy Muscovite pianist who possesses a great gift of insight and ability as exhibited in this extraordinary 1990 programme recorded in DG's Jesus-Christus-Kirche studio, Berlin.
　　The recorded sound has much bloom and ambience amid the crystal-clarity of the piano.
　　Zilberstein begins this re... (展开全部) 　　Heir to the great Russian school of technique, Lilya Zilberstein is a noteworthy Muscovite pianist who possesses a great gift of insight and ability as exhibited in this extraordinary 1990 programme recorded in DG's Jesus-Christus-Kirche studio, Berlin.
　　The recorded sound has much bloom and ambience amid the crystal-clarity of the piano.
　　Zilberstein begins this remarkable recital with Liszt's solo-piano transcription of Schubert's 1814 breakthrough lied `Gretchen am Spinnrade' (D.118) wherein she takes a marvellously measured deliberate pace at nearly twice the common durée to express Gretchen's painfully yearning physical desire for Faust as she drearily toils at the spinning wheel: in Poe-esque fashion Gretchen bemoans, `I will find my restfulness never nevermore'.
　　Zilberstein captures Gretchen's smouldering passion in a warm bath of aural eroticism suggesting a suffocating atmosphere of ennui and sexual anxiety.
　　Next on the programme is Liszt's difficult Dante Sonata--mate to his infamous b-minor Sonata in its appalling poor taste and gaucheness.
　　Liszt--author of literally `too many notes'--seems to have had a natural instinct for noisome maladroit muck which exploits the keyboard's potential to no end: there's simply no `there' there.
　　Nevertheless, Zilberstein does the best anyone could with this formidable monstrosity of musical diabolism.
　　Finally, the programme's peerless pièce de résistance: Schubert's glorious D-major Sonata which Zilberstein correctly sees in relation to the subsequent great G-major Sonata (D.894) and the great C-major Symphony (D.944) in terms of scale and ebullience of expression.
　　She negociates the metrical shifts of Movement I in a manner positively pregnant with imagination.
　　In Movement II--by far the longest on record, Zilberstein takes a dreamy diaphanously lyrical approach which results in a Theta-brainwave inducing expansiveness yet with a precisely maintained arc of tempo without even an hint of slackness: here she approaches the artistry of Arrau and Glenn Gould.
　　Zilberstein brings out the symphonic ambitions of Schubert's stentorian Scherzo-Trio in a quasi-Brucknerian mode complete with a lamby Ländler which too has it leonine face.
　　Finally, via vision and technique Zilberstein takes the meticulously increasing embroidery of the delicatezza Rondo almost as a set of variations.

曲目 · · · · · ·

Gretchen am Spinnrade (I & II), transcription for piano (after Schubert, D. 118), S. 558/8 & S. 558bis/8 (LW A42/8)
Années de pèlerinage: 2ème année: Italie, S.161 - Après une lecture du Dante fantasia quasi sonata
Piano Sonata No. 17 in D major ('Gasteiner'), D. 850 (Op. 53): Allegro vivace
Piano Sonata No. 17 in D major ('Gasteiner'), D. 850 (Op. 53): Con moto
Piano Sonata No. 17 in D major ('Gasteiner'), D. 850 (Op. 53): Scherzo & Trio, Allegro vivace
Piano Sonata No. 17 in D major ('Gasteiner'), D. 850 (Op. 53): Rondo, Allegro moderato