Main menuPerlemuter, Perlemuter Plays Chopin Album
Veröffentlichungsdetails
| Titel | Perlemuter Plays Chopin | ||||||||
| Künstler: | Perlemuter | ||||||||
| Kategorie: | BBC - Dutch (Klicken Sie auf diese Schaltfläche, um andere Veröffentlichungen von anzuzeigen BBC - Dutch Album.) | ||||||||
| Etikett und Katalognummer: | - REB 153-iD | ||||||||
| Format: | Vinyl Album | ||||||||
| Land: | Netherlands  | ||||||||
| Freigegeben: | 1973 | ||||||||
| Genre: | Music - Classical Alle anderen Titel anzeigen als Music - Classical. | ||||||||
| Run-Off-Codes: | |||||||||
| Artikel gelöscht? | Ja | ||||||||
| Verteilt/gedruckt von | |||||||||
| Seitenaufrufe: | 463 Zeiten seit dem 20. Mai 2017, globaler Rang 11129, Rang ein albums is 4994. | ||||||||
| Meine Bewertung: | ***** | ||||||||
| Gästebewertung: | ***** | ||||||||
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Rezensionen
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Zusätzliche Hinweise zum Cover, in der Mitte (Gatefold-Hülle) und etwaigen Beilagen | ||
| The performances on this record have been chosen from broadcasts given by Vlado Perlemuter over the last four or five years; and one would like to think that other records will follow, because Perlemuter's playing of Chopin, like Schnabel's playing of Schubert, is, at its best, incomparable. Hoe is it, then, that he is less renowned than many of those whose performances of Chopin, once one has heard his own, are so much less satisfying? I think there may be two reasons. In the first place, an occasional lapse of memory, or a handful of wrong notes, either from nerves of through being too greatly moved - as happened in 1972 at Dartington Hall, where there was such prolonged applause as he came in to give his recital that when he sat down he left out the opening bar or two of Chopin's F major Ballade. Secondly, and more important, his style is very grand and simple, and hardly conforms at all to the favourite notions of Chopin playing. He puts line before detail, large patterns before small; there is nothing exquisite or fastidious of feminine. 'He has no soul', says the woman in the row behind; meaning the simplicity I have just mentioned. Of his performances, when he is playing at his best, one can genuinely say that at the end of each piece there is an extra thrill of satisfaction because everything has been so perfectly proportioned. At the same time, each phrase is alive; because although he 'puts line before detail', there is certainly no lack of nuances. It is only that they are of a different order. His priorities are, first, the underlying harmonic progressions; second, or perhaps equal first, the rhythm; third, the melodic detail. If I am right about that, it is one of the main reasons why one can listen again and again to most of the performances on this record. The large contours are always there; the details gradually come to seem natural and inevitable. Of course, there is another element of some importance - the piano playing itself! It has a orchestral quality, in its colouring (and use of the pedal), in the polyphony of different strands in the texture that are perfectly controlled and balanced, and in its depth of tone. And on both sides of the record, but especially in the Etudes - which are played not as studies but as great music - you will notice the marvellous independence of the two hands. This independence is a sine qua non of poetic performance, and that is what one hears all through the present record. May the BBC soon issue another. WILLIAM GLOCK VLADO PERLEMUTER was admitted to Cortot's class in the Paris Conservatoire at the early age of thirteen, and after winning several of the more important prizes of that institution he had the privilege of meeting Maurice Ravel and studying his entire piano works with him. Later, he was one of the first to play them all in public in two recitals. The war and its aftermath interrupted Vlado Perlemuter's career for several years. In 1950 he played again in Paris and since then has made regular appearances with the major orchestras of France, and has played with the Boston Symphony Orchestra under Charles Much, and with Pablo Casals at his Prades Festival. He tours extensively in West and East Europe, Canada, and Japan, giving recitals and master-classes. Parellel to this life at a concert pianist, he has since 1951 been one of the most distinguished professors at the Paris Conservatoire. In 1972 he was made an Officier de la Lgion d'Honneur, and an Honorary Fellow of the Royal Academy of Music, London. He has made recordings of Schmann's Kreisleriana and Fantasie, the entire piano works of Ravel, all the sonatas of Mozart, the 24 Preludes and 14 Waltzes of Chopin, and a Chopin recital which won the Grand Prix du Disque in France. Record produced by Diana Gordon and Sylvia Cartner Notes by Sir William Glock Sleeve design Andrew Prewett | ||
Andere Versionen | ||
| Ich habe andere ähnliche Versionen, hier ist die „primäre” Version in der Datenbank: | ||
| REB 153 | Perlemuter Plays Chopin | |
Weitere Informationen | ||
| Dischi della BBC rilasciati al pubblico olandese. Le etichette e i numeri di catalogo sono generalmente gli stessi delle versioni britanniche. | ||
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