Ernst Levy , 3 - Forgotten Genius: Plays Beethoven, Schumann and Brahms (豆瓣)

表演者: Ernst Levy
流派: 古典
专辑类型: 专辑
介质: CD
发行时间: 2005
出版者: Marston
条形码: 0638335203928

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简介 · · · · · ·

　　Ernst Levy was one of the century’s most remarkable musicians, although his name is all but unknown to even many specialists in the study of great pianists. As a pianist he made some commercial recordings in the late 1950s (reissued here and on subsequent Marston releases) which received mostly lukewarm and negative reviews when originally released, and there exist non-commer... (展开全部) 　　Ernst Levy was one of the century’s most remarkable musicians, although his name is all but unknown to even many specialists in the study of great pianists. As a pianist he made some commercial recordings in the late 1950s (reissued here and on subsequent Marston releases) which received mostly lukewarm and negative reviews when originally released, and there exist non-commercial tapes of his playing which the International Piano Archives at the University of Maryland will soon issue.
　　Levy was a protean artist, whose multifaceted life as a pianist, conductor, teacher, author, theorist, general polymath and prolific composer was one that shaped and affected his interpretations to an extraordinary degree. Many experts consider his interpretations and playing among the greatest ever recorded; many disagree.
　　Levy’s performances are not for the faint of heart. Those encountering him for the first time may well be shaken—perhaps irritated—by some of the unorthodox aspects of his approach. Although obviously grounded in a total intellectual knowledge of the inner workings of the score, Levy’s conceptions—and especially the freedom with which he handles dynamics and tempo relationships—definitely demand an open-minded receptivity from the listener. Therefore it may be useful to suspend, as much as possible, any and all preconceived notions concerning how the music “is supposed to be played.” Levy’s departures from convention are borne of an absolute sincerity of conviction, but one must be prepared for some unexpected jolts. In the Liszt Sonata, for example (and to a lesser extent in the Beethoven works), Levy sometimes flies defiantly in the face of the composer’s instructions. He does this in order to boldly construct an edifice of towering and overwhelming drama—a life-and-death conflict, even—that makes many other interpretations sound meek by comparison. In other words, this is the kind of titanic playing that grabs the listener by the neck and does not let go until the final note has evaporated. As a composer himself, and as a performer who often worked with living composers, Levy knew as well as anyone that musical creators are far more flexible in their acceptance of individual interpretations than is generally acknowledged. And because the compositional process imparts such an intensely and uniquely personal message, it invites (and even requires) a similarly personal response from the interpreter.

曲目 · · · · · ·

CD 1 :
Ludwig van Beethoven
Piano Sonata No. 7 in D, op. 10, no. 3
Performed 18 December 1955, Kresge Auditorium, Massachusetts Institute of Technology
Piano Sonata No. 15 in D, op. 28, “Pastorale”
Performed 16 January 1955, Huntington Hall, Massachusetts Institute of Technology
Piano Sonata No. 21 in C, op. 53, “Waldstein”
Performed 18 December 1955, Kresge Auditorium, Massachusetts Institute of Technology
CD 2 :
Ludwig van Beethoven
Piano Sonata No. 23 in F Minor, op. 57, “Appassionata”
Performed 20 February 1955, Sanders Theatre, Cambridge, Massachusetts
Robert Schumann
Symphonic Etudes, op. 13
Performed 14 November 1954, Cambridge, Massachusetts
Johannes Brahms
Variations and Fugue on a Theme by G. F. Handel, op. 24
Performed 22 March 1959, Kresge Auditorium, Massachusetts Institute of Technology
Selections from Klavierstucke, op. 118
Performed 14 November 1954, Cambridge, Massachusetts

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Booklet	来自四海无人对夕阳		2024-05-11 22:58:03

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