Who were his teachers? Who were his students? Which recordings do you enjoy?
Thank you, GMGers.
Nice avatar
;D
Quote from: mn dave on January 15, 2009, 06:54:12 PMWhich recordings do you enjoy?
Don't know much about his teachers and students (though I do know John O'Conor studied with him), but I
do know which recordings of his I like: pretty much all of them. Sure, his output varies in quality, but his mono LvB sonata and piano concerto cycles, his stereo LvB G Major, his mono Schumann and Brahms recordings, his Schubert (the DG as well as the one Decca recording I've heard), his Bach recordings (excluding his Goldbergs), his Mozart, and his various live recordings, well, all are indispensable for me.
Quote from: Todd on January 15, 2009, 07:14:00 PM
Don't know much about his teachers and students (though I do know John O'Conor studied with him), but I do know which recordings of his I like: pretty much all of them. Sure, his output varies in quality, but his mono LvB sonata and piano concerto cycles, his stereo LvB G Major, his mono Schumann and Brahms recordings, his Schubert (the DG as well as the one Decca recording I've heard), his Bach recordings (excluding his Goldbergs), his Mozart, and his various live recordings, well, all are indispensable for me.
Ah, it's good to know I can't lose with his recordings. Thanks, Todd.
Quote from: mn dave on January 15, 2009, 07:15:41 PM
Ah, it's good to know I can't lose with his recordings.
I'll second that view, on who is, after all, my favourite pianist.
(Yes, more than Richter, though he comes close. ;))
His intelligence, his musicianship, and in the end of the day his
art demand to be heard. *pounds
Karl's table*
Everything
Todd mentioned above I heartily second as recommendations; and even though I can see many reasons they might not be recommendable, even his
Goldbergs are a cherished piano recording in my collection. :)
I have his Schubert sonatas (on DG) and a disc of Brahms and I love them both. 0:) Also the LvB cello/piano music with Fournier.
And I FINALLY just ordered the mono LvB sonatas after years of dilly-dallying. 0:)
Quote from: mn dave on January 15, 2009, 07:33:03 PMAnd I FINALLY just ordered the mono LvB sonatas after years of dilly-dallying.
It's about time.
From Wiki:
"In 1957 Kempff began to give an annual Beethoven interpretation course in his villa in Positano. Six years after his death, friend and former student John O'Conor took over the course. Other noted pianists to have studied with Kempff include Mitsuko Uchida, Angela Hewitt, Peter Schmalfuss, Idil Biret, Carmen Piazzini, and Gerhard Oppitz."
Re his teachers, I am aware of him relating how the "lineage" of his piano-playing goes back to Beethoven himself (in response to someone accusing him of interpretatively misreading the piano sonatas). It was a whole list of names, none of which I remember.
How could I forget Peter Schmalfuss?
Quote from: Todd on January 16, 2009, 06:05:06 AM
How could I forget Peter Schmalfuss?
Are you being sarcastic? Because I never heard of the guy.
Quote from: Todd on January 16, 2009, 06:05:06 AM
How could I forget Peter Schmalfuss?
How could you remember Peter Schumalfuss?
Quote from: springrite on January 16, 2009, 06:20:19 AMHow could you remember Peter Schumalfuss?
Clearly it's the Schumalfuss part.
I definitely enjoy all of the Kempff that I have -- primarily the mono Beethoven sonatas, PCs with van Kempen, and Schubert. All near the top for me.
If you'd care to see him at work, this (http://www.amazon.com/Wilhelm-Beethoven-Sonatas-Schumann-Classic/dp/B0001AW052/ref=sr_1_1?ie=UTF8&s=dvd&qid=1232119401&sr=8-1) is also a nifty DVD:
(http://ecx.images-amazon.com/images/I/41ZD6P7JJTL._SL500_AA240_.jpg)
Sounds like I may need to check out more of his Bach -- the only disc I have is his Goldbergs. Any recommendations on that front? Don't suppose he recorded the WTC?
Quote from: jwinter on January 16, 2009, 06:25:27 AMSounds like I may need to check out more of his Bach -- the only disc I have is his Goldbergs. Any recommendations on that front?
There are a couple of Eloquence discs floating around with excerpts from the WTC (he didn't record the whole thing) and some other works. I don't think he recorded anything else by Bach, though I could be wrong.
(http://ecx.images-amazon.com/images/I/51TTS6V1TDL._SL500_AA240_.jpg) (http://ecx.images-amazon.com/images/I/41RDD5GY5ML._SL500_AA240_.jpg)
Not sure how exhaustive this discography is, but I thought I'd link it anyway:
http://www.panix.com/~checker/kempff.htm
One of his main teachers was the legendary (for a number of reasons and not all good) Heinrich Barth, who also worked with a young Artur Rubinstein for a while. His father was his first teacher (a la Richter).
Paper sleeves? Why is this '50s LvB box so high-priced?
Quote from: mn dave on January 28, 2009, 01:31:12 PM
Paper sleeves? Why is this '50s LvB box so high-priced?
It's OOP.
If it's so great, why is it oop?
Quote from: mn dave on January 28, 2009, 01:41:00 PM
If it's so great, why is it oop?
Because the monkeys that run the classical labels are very slow learners.
Next week, they'll re-release it for $20. ::)
;D
Quote from: mn dave on January 28, 2009, 01:44:17 PM
Next week, they'll re-release it for $20. ::)
;D
I've tried offering them bananas for CDs, but got no replies. Monkeys can't read. :-\
So Dave, how does it compare to your stereo set? You own both, right?
Quote from: George on January 28, 2009, 01:47:28 PM
So Dave, how does it compare to your stereo set? You own both, right?
I just got it in the mail today, so who knows? ;D
No, I don't have the stereo set.
Quote from: George on January 28, 2009, 01:39:15 PMIt's OOP.
I don't believe it's out of print; US and European outlets list it as in stock. It's probably expensive because UMG can get away with charging a high price for a quality product.
One thing I'd like to see UMG reissue on CD is Kempff's recording of Beethoven's Bagatelles. I'm just about to take the plunge back into vinyl, and I found this LP at a specialty dealer. Why is it not on CD? (There are some other fine LPs that don't appear to have ever made it to CD.) I'd also like to see UMG reissue all of Kempff's Decca Schubert recordings. There aren't too many, but the D845 is quite nice and makes me want more.
I had a recording of Kempff playing the last Beethoven Piano Sonatas, and his Opus 111 not only rawked at the appropriate moments, but attained an ineffable spirituality at the end. 0:)
It is the standard by which I measure all performances of this work.
Quote from: Cato on January 28, 2009, 02:34:15 PM
I had a recording of Kempff playing the last Beethoven Piano Sonatas, and his Opus 111 not only rawked at the appropriate moments, but attained an ineffable spirituality at the end. 0:)
It is the standard by which I measure all performances of this work.
What happened to your recording and what year was it from?
Quote from: mn dave on January 28, 2009, 06:05:23 PM
What happened to your recording and what year was it from?
The only release I know of that had the late works was from the stereo set.
Quote from: mn dave on January 28, 2009, 06:05:23 PM
What happened to your recording and what year was it from?
Not from a set, it was a single LP, perhaps on the London label (?). I gave it to my younger brother, and in the style of younger brothers, it disappeared! :o
Which is why being the oldest (i.e. responsible, diligent, etc.) can be a curse! 0:)
It was bought in the 1960's, but no doubt was recorded in the 1950's. I recall it being in stereo.
Quote from: Todd on January 28, 2009, 02:27:43 PM
I don't believe it's out of print; US and European outlets list it as in stock. It's probably expensive because UMG can get away with charging a high price for a quality product.
One thing I'd like to see UMG reissue on CD is Kempff's recording of Beethoven's Bagatelles. I'm just about to take the plunge back into vinyl, and I found this LP at a specialty dealer. Why is it not on CD? (There are some other fine LPs that don't appear to have ever made it to CD.) I'd also like to see UMG reissue all of Kempff's Decca Schubert recordings. There aren't too many, but the D845 is quite nice and makes me want more.
Did Kempff record all of the Bagatelles - I have a CD with Op 126 and from my research, that's all he ever recorded. BTW, the op 126 is very good.
Quote from: Holden on January 29, 2009, 12:46:21 AMDid Kempff record all of the Bagatelles - I have a CD with Op 126 and from my research, that's all he ever recorded.
No, I don't think so. The LP has Op 126 and a variety of other miniatures and leftovers (the Andante Favori). I'm curious why DG doesn't do a straight reissue.
Quote from: Todd on January 29, 2009, 06:09:21 AM
No, I don't think so. The LP has Op 126 and a variety of other miniatures and leftovers (the Andante Favori). I'm curious why DG doesn't do a straight reissue.
Actually they did.
http://www.jpc.de/jpcng/SESSIONID/22d46a7725f6c4527cdde565d1763a41/classic/detail/-/hnum/5034118?rk=classic&rsk=hitlist
Quote from: premont on January 29, 2009, 07:57:10 AMActually they did.
Sweet - looks like another CD I've got to buy.
Quote from: premont on January 29, 2009, 07:57:10 AM
Actually they did.
http://www.jpc.de/jpcng/SESSIONID/22d46a7725f6c4527cdde565d1763a41/classic/detail/-/hnum/5034118?rk=classic&rsk=hitlist
This is the one I was talking about that I own.
Quote from: Todd on January 28, 2009, 02:27:43 PM
I'd also like to see UMG reissue all of Kempff's Decca Schubert recordings. There aren't too many, but the D845 is quite nice and makes me want more.
I'm still hoping there will be another Original Masters Box dedicated to Kempff's mono recordings, there should be plenty left.
Quote from: jlaurson on January 29, 2009, 01:31:08 PM
FYI: It isn't actually OOP in Germany.
Yes, Todd mentioned that it is in print overseas. I have never seen it used or new in a US store, but I have only been collecting classical for about 7 or 8 years.
(http://www.jpc.de/image/w600/front/0/0028942907225.jpg)
I've just spun this up - I'd forgotten how good it was.
and there is a 7th bagatelle - Fur Elise of course.
Todd, any progress on finding Op 33 or Op 119?
Quote from: Holden on January 29, 2009, 02:55:50 PMTodd, any progress on finding Op 33 or Op 119?
Nope. I saw the old user LP of Kempff playing the Bagatelles and assumed, apparently incorrectly, that it was all the bagatelles. It's the Op 126 and scattered ones, like on the CD. I guess I was just too eager for all of them. I will be getting the disc though.
Quote from: Todd on January 29, 2009, 02:57:28 PM
Nope. I saw the old user LP of Kempff playing the Bagatelles and assumed, apparently incorrectly, that it was all the bagatelles. It's the Op 126 and scattered ones, like on the CD. I guess I was just too eager for all of them. I will be getting the disc though.
I was hoping that MDT would have that disc, as I already have an account with them, but no such luck.
Boy oh, boy have I got something for you Kempff fans! (http://nealshistoricalcorner.blogspot.com/search/label/Kempff)
Um... wow.
Lilas Pastia and I are going to be listening to the Schumann and Liszt concertos from this box and posting our impressions here. From there we will do the same for the rest of the set. If anyone else here has this box and would like to join us, feel free. The more, the merrier. :)
(http://ecx.images-amazon.com/images/I/41QXGFBF0JL.jpg)
Quote from: George on June 29, 2009, 06:45:04 PM
Lilas Pastia and I are going to be listening to the Schumann and Liszt concertos from this box and posting our impressions here. From there we will do the same for the rest of the set. If anyone else here has this box and would like to join us, feel free. The more, the merrier. :)
(http://ecx.images-amazon.com/images/I/41QXGFBF0JL.jpg)
George, How is the following set? Any idea?
(http://ecx.images-amazon.com/images/I/31R3SPXYFPL._SL500_AA240_.jpg)
Quote from: Coopmv on June 29, 2009, 07:21:44 PM
George, How is the following set? Any idea?
(http://ecx.images-amazon.com/images/I/31R3SPXYFPL._SL500_AA240_.jpg)
I've heard all but the Beethoven from that set and can say that I expected to like it more, having read some good things about it and recently connecting with his Beethoven. I'd need to hear it again, but I'd say my first impression was lukewarm overall.
It's been a few years since I listened to the concertos box, but the Schumann is so-so at best. He's relatively more succesful in Liszt. Kempff plays quickly but quietly, and while not fiery, he actually manages to do well. Not even close to top choice, but good.
As to the other concertos, the Brahms is weak, the Mozart concertos quite good if decidedly of their time. The LvB is the reason to buy the set. Taken as a whole, I find it one of the best cycles available. His later, stereo 4th is better (and possibly my favorite of all recordings), and his live 5th with Ozawa is better than in this set. Still, a must-have for me.
I have a different take on the solo Schumann/Brahms/LvB box: I find it uniformly superb, and the Schumann better than Kempff's later takes. The Brahms is brilliant.
Quote from: Todd on June 30, 2009, 07:15:28 AM
It's been a few years since I listened to the concertos box, but the Schumann is so-so at best. He's relatively more succesful in Liszt. Kempff plays quickly but quietly, and while not fiery, he actually manages to do well. Not even close to top choice, but good.
Yes, I fully agree. I listened to the Schumann and Liszt PC 1 this morning. He isn't helped by the sound, which places the piano too far back in the mix for me, plus the piano image is blurry throughout. The Schumann was indeed so-so, with an unexciting finale that didn't leave me wanting to hear this again soon.
The Liszt PC 1, plagued with the same sound problems as the Schumann, did come off a lot better. Kempff surprised me here with his virtuosity. The Orchestra played very well too and with great authority.
Quote from: George on June 30, 2009, 07:24:30 AM
Kempff surprised me here with his virtuosity.
:o
My experience with these recordings is quite different from George's ! :D
I listened to the same works (Schumann and Liszt 1) twice, and compared the Schumann with two diametrically opposite recordings: by Andreas Staier (fortepiano) and Herreweghe, and Eugene Istomin and Bruno Walter with the Columbia Symphony (studio recordings, both.).
The Schumann concerto started life as a one-movement phantasie, which he described as a middle ground between a symphony, concerto and 'grande sonate'. His publisher wanted something more saleable than the Phantasie. Schumann obliged by adding an intermezzo and finale 4 years later. IMO the first movement is the most interesting of the three. It strikingly resembles Franck's Variations symphoniques in its scope, shape, and rather unflashy piano part.
By the time he started work on it, his right hand had been crippled and he didn't put a lot of virtuosic traits in the work. Indeed, the pianistic writing is biased toward the left hand in terms of rythmic accentuation and in its contribution to the overall sonority. Quite often the right hand is consigned to delicate filigrees in the treble acting almost as a continuo to the orchestra's instrumental dialogue.
I think this points to the problem of how to approach the concerto: some pianists will want a true 'symphonic concerto' approach (à la Beethoven 4 and 5 for example), and will favour a strong impulse and big-boned sonority. I wouldn't be surprised if dynamics were cheated to give more heft and flash to the right hand figurations. That's how it comes across in the Istomin and Barenboim recordings (the latter with Celibidache - not listened to recently, but very identifiably of the Big Concerto school of thought). I don't mind that if it's well done. The Istomin-Walter is quite superb in that regard.
Another approach is to take the work as it is written: a composite work where the first movement has its own internal structure and an individual approach to the concertante elements. It will emphasize the 'fantasy'. This is what I hear in the Kempff recording (he remade it in his eighties with Kubelik, adding a couple minutes' time to its duration). There are many places where I perked up my ears and listened to intently because Kempff makes you hear things that are just not there - or are not designed to stand out - with others. Instances in point are the exposition that immediately follows the turbulent introductory bars, or the first movement cadenza. In both cases he made me listen much more intently than the other pianists I heard.
There is a wealth of poetry here that come from myriad little phrasing touches - accentuation of notes, micro-hesitations in the shaping of individual phrases - and there is also a singular differentiation between the bell-like, bronzen bass notes and the ethereal filigrees he achieves in the treble. Add to that pedalling that transforms the piano sound from a mass of sonorous ivory tickling (Barenboim) to something where you almost hear two instruments at once. Kempff's attention to legato is also a feature that is essential to his overall conception. Compare that to Andreas Staier, whose instrument (or his handling of it) lets you hear every single note as an equal entity with barely a connecting tissue (sound swell and decay) between them. Staier is ok if you like that kind of ultra clear, no-nonsense, dry-eyed approach. He is very delicate when needs be, and he doesn't slight those big bass notes in the left hand (suprising power from his instrument).
In the end, Kempff's approach tends to emphasize the incidental beauties, but it makes the last two movements less interesting. I suspect he is right. They are just as beautiful, but less interesting. The best interpretations I've heard that make the work 'whole' and get away with it with flying colours are Serkin's - in particular the sizzling Szell Cleveland. I guess it depends what one is looking for in the Schumann concerto, or even how one feels at a particular time.
I found the sound quite good, the only unpleasant item being steely massed violins. It was recorded in 1953 in Kingsway Hall (a great recording venue) under Decca engineers.
The same team (Krips-LSO-Decca) recorded the Liszt concertos one year later, again in Kingsway Hall. Here I found the sound less good. The orchestra comes out brighter - a good thing - but the piano is more recessed and sounds muffled - a very bad thing, as it probably mutes Kempff's palette of sonorities. I didn't find it very interesting overall. That, too, is a work where structure is quite peculiar. I don't think it's a great work, but it's a most enjoyable display of pianistic fireworks and orchestral burps and farts. I'll listen to the Magaloff-Fistoulari I have on hand as a comparison, but if memory serves, he storms through the work with infinitely more panache than I heard with Kempff. Favourites are Rubinstein (inimitable sonority and flair) and François (with Silvestri - fantastic chic and dazzle).
Mozart concertos 9 and 15 from the DG boxed set.
These are also from the Decca vaults, recorded in Geneva's famed Victoria Hall with members from the Suisse Romande Orchestra (led by Munchinger, not Ansermet). The 9th (Jrunrhommr, K.. 271) is the prize here. It helps that it's one of Mozart's very finest works, a gem that never outstays its welcome. Kempff explores its beauties patiently, but with no attempt to either prettify or pump up its size with unwanted weight. I really liked this interpretation, one of the best I've heard of that perennial favourite.
The 15th OTOH is a rare miscalculation from Kempff. Why choose this, probably Mozart's least interesting post-Jeunehomme piano concerto. I found it wan and faceless. And yet, if memory serves, Ashkenazy and esp. Perahia are quite enjoyable. I'd have to check, but am not inclined to right now. In any case, Kempff's reticence doesn't pay any dividends here. He just makes a dull work sound even less intereting.
Kempff recorded other Mozart concertos (8, 20, 21, 22, 23, 24 and 27 are currently available, some as recent as 1982) and no doubt played them throughout his carreer. I'd certainly welcome a boxed set of everything that appeared on DG (8, 9, 15, 21-24 and 27).
I'll need to get to those soon, Lilias.
I also recently got the DG CD of him playing some Mozart solo works.
Have any of you compared Kempff's mono and stereo sets of the Beethoven Piano Sonatas?
If so, what were you're findings?
I have yet to listen to my stereo set, but I plan to do so soon and compare to the mono along the way.
Quote
Have any of you compared Kempff's mono and stereo sets of the Beethoven Piano Sonatas?
If so, what were you're findings?
I have yet to listen to my stereo set, but I plan to do so soon and compare to the mono along the way.
Hi George,
There was a time when I was a Kempff fanatic 8) But even at that time I did not really like most of his stereo cycle - excepting the last three sonatas. Conversely, I tended to prefer his mono cycle in almost all cases, except for the last sonatas (I don't like the Hammerklavier in either cycle).
Today, in fact, I do not like the mono cycle that much any more. I feel that Kempff's Beethoven playing lacks "smoothness" (don't really know how to describe it) and power, both due to a somewhat less than perfect technique.
However, I absolutely adore Kempff's mono Beethoven Concerto Cycle with Kempen, more specifically, the 5th concerto from this cycle - the slow movement in particular I find very poetically played. (I do not like his stereo Concerto Cycle with Leitner at all).
Thanks Verena. I know the consensus is that the mono is better, but for the handful of sonatas I have compared (a few early and a few late works) I have preferred the stereo.
Like you, I prefer many other pianists's Beethoven to Kempff's, but since he is held in such high regard, I have tried to make a special effort to get to know his interpretations.
One thing you can say about Kempff's Beethoven is that they are original interpretations. I don't think anyone plays the sonatas like he does.
QuoteOne thing you can say about Kempff's Beethoven is that they are original interpretations. I don't think anyone plays the sonatas like he does.
Agree. I think he would have been a really wonderful Beethoven player if he had been just a little bit more virtuosic. I find him much better in Schubert - in fact, he is one of my absolute favorites in Schubert - but even here there are moments (or whole sonata movements in fact), where he is just not manually equipped to tackle more demanding passages with the kind of sweep you find in many other pianists.
Quote from: Verena on August 18, 2010, 01:52:23 PM
Agree. I think he would have been a really wonderful Beethoven player if he had been just a little bit more virtuosic.
True, but that's one of the things that makes his interpretations important.
QuoteI find him much better in Schubert - in fact, he is one of my absolute favorites in Schubert - but even here there are moments (or whole sonata movements in fact), where he is just not manually equipped to tackle more demanding passages with the kind of sweep you find in many other pianists.
In some Schubert works, he's great. But in the darker, heavier works I much prefer Richter.
QuoteIn some Schubert works, he's great. But in the darker, heavier works I much prefer Richter.
Interesting that you call some of his works "dark/heavy". I had never seen them in this light before. Now, come to think of it, D 958 is really dark and heavy, and D 959 is very dark indeed - though there is no interpretation of this work by Richter, I think. And in both cases, I actually don't like Kempff's interpretations (as a whole).
As for the IMO greatest sonata, D960, I'd spontaneously characterise it as infinitely sad (most of the time), but not dark or heavy. In the hands of Richter, however, it is indeed dark and heavy. In the hands of Kempff, it is not; it is rather infinitely sad, but sadness transcended by beauty of melody. For me, that's kind of the essence of Schubert, and that's probably why I find his music comforting; on the other hand, I know people who find it difficult to listen to because they get depressed.
I find both Kempff and Richter great in D960, although they are completely different. I guess that's part of the greatness of that work that it lends itself to so many different interpretations.
Quote from: Verena on August 18, 2010, 02:46:53 PM
Interesting that you call some of his works "dark/heavy". I had never seen them in this light before. Now, come to think of it, D 958 is really dark and heavy, and D 959 is very dark indeed - though there is no interpretation of this work by Richter, I think. And in both cases, I actually don't like Kempff's interpretations (as a whole).
Heard Sokolov's D 959? It's in the Richter vein. There's a few live performances floating around. I think you already have access to one of them. 8)
QuoteAs for the IMO greatest sonata
IMO, that honor is held by D 894 http://www.youtube.com/watch?v=xX4NH7yHFKI
I was pleased to learn recently that this was Richter's favorite Schubert sonata as well. I wasn't surprised, for his interpretations were molded with such loving care that his fondness for the work is immediately apparent.
Quote, D960, I'd spontaneously characterise it as infinitely sad (most of the time), but not dark or heavy. In the hands of Richter, however, it is indeed dark and heavy. In the hands of Kempff, it is not; it is rather infinitely sad, but sadness transcended by beauty of melody. For me, that's kind of the essence of Schubert, and that's probably why I find his music comforting; on the other hand, I know people who find it difficult to listen to because they get depressed.
I never find depressing music depressing, in fact I find it comforting to hear difficult emotions conveyed with such honesty and beauty.
QuoteI find both Kempff and Richter great in D960, although they are completely different. I guess that's part of the greatness of that work that it lends itself to so many different interpretations.
My first pass through Kempff's D 960 did not impress me. In fact, I haven't really enjoyed any other interpretation of this work besides Richter. I've tried Haskil, Fiorentino and a few others.
QuoteHeard Sokolov's D 959? It's in the Richter vein. There's a few live performances floating around. I think you already have access to one of them. 8)
Oh yes :D I love that recording by Sokolov. It's my favorite recording of that sonata.
QuoteIMO, that honor is held by D 894 http://www.youtube.com/watch?v=xX4NH7yHFKI
I was pleased to learn recently that this was Richter's favorite Schubert sonata as well. I wasn't surprised, for his interpretations were molded with such loving care that his fondness for the work is immediately apparent.
Did not know about this video, thanks! Listening now.
QuoteMy first pass through Kempff's D 960 did not impress me. In fact, I haven't really enjoyed any other interpretation of this work besides Richter. I've tried Haskil, Fiorentino and a few others.
I never found Haskil's reading special. Perhaps you might like Afanassiev (on ECM, not the Denon), it is even slower than the Richter recording. There was a time I liked the Afanassiev very much, but at the moment I find it too extreme.
Quote from: Verena on August 18, 2010, 03:15:10 PM
Oh yes :D I love that recording by Sokolov. It's my favorite recording of that sonata.
Me too.
QuoteI never found Haskil's reading special.
Me neither.
I compared the Kempff mono and stereo recordings of the Beethoven Op. 2, No. 1 sonata this morning. I plan to go through all 32, doing about one per week.
Here's my thoughts on the two Op. 2, No. 1 Kempff performances.
First off, I see why others like the fuller sound of the mono, but the stereo has some of the high frequency info that's missing from the mono. As for the performance, I much prefer the stereo. More excitement in the outer movements, in fact, if I was blindfolded, I'd say the mono was the later version. He sounds older, less energetic in the mono, which is the opposite of most reviews I have read for Kempff's mono set. I liked the dynamic contast in the third movement more in the stereo and found the second movement to be a draw.
So far, stereo set 1, mono 0.
QuoteI compared the Kempff mono and stereo recordings of the Beethoven Op. 2, No. 1 sonata this morning. I plan to go through all 32, doing about one per week.
Here's my thoughts on the two Op. 2, No. 1 Kempff performances.
First off, I see why others like the fuller sound of the mono, but the stereo has some of the high frequency info that's missing from the mono. As for the performance, I much prefer the stereo. More excitement in the outer movements, in fact, if I was blindfolded, I'd say the mono was the later version. He sounds older, less energetic in the mono, which is the opposite of most reviews I have read for Kempff's mono set. I liked the dynamic contast in the third movement more in the stereo and found the second movement to be a draw.
So far, stereo set 1, mono 0.
Thanks very much for your review. Agree about the sound - never understood why most seem to prefer the mono sound-wise. Looking forward to your review of the other sonatas!
I will also follow your comparisons with interest George.
I have never really "got" Kempff. I have his stereo LvB late sonatas, and also a stereo Appassionata/Waldstein/Les Adieux disc, but I am not over-enamoured with his sound, which is a bit hard, brittle and "glassy" for my liking- but this could be the DG recording engineers I suppose.
Have never heard the mono cycle.
QuoteI have never really "got" Kempff. I have his stereo LvB late sonatas, and also a stereo Appassionata/Waldstein/Les Adieux disc, but I am not over-enamoured with his sound, which is a bit hard, brittle and "glassy" for my liking- but this could be the DG recording engineers I suppose.
Have you tried his Schubert Impromptus, Moments Musicaux, or D960? I'm so specific because I think these are almost the only pieces where his "weaknesses" (lack of virtuosity) do not affect the quality of his interpretation. I was a great Kempff enthusiast once, but today, I mostly like his Schubert, though even here there are usually moments where his lack of virtuosity shows. With the exception of the works mentioned above, which IMO are among the greatest interpretations of these pieces (though they do not show the brooding/heavy side of Schubert).
Quote from: Verena on August 29, 2010, 01:38:13 PM
Have you tried his Schubert Impromptus, Moments Musicaux, or D960? I'm so specific because I think these are almost the only pieces where his "weaknesses" (lack of virtuosity) do not affect the quality of his interpretation. I was a great Kempff enthusiast once, but today, I mostly like his Schubert, though even here there are usually moments where his lack of virtuosity shows. With the exception of the works mentioned above, which IMO are among the greatest interpretations of these pieces (though they do not show the brooding/heavy side of Schubert).
Hi Verena,
thank you very much for your reccomendation- I have not heard any Kempff Schubert. I am currently enjoying the Uchida set which I bought recently, but will search out the works you mention. As someone else mentioned she studied with Kempff- I think his influence certainly shows in her recordings of LvB 109/110/111.
QuoteHi Verena,
thank you very much for your reccomendation- I have not heard any Kempff Schubert. I am currently enjoying the Uchida set which I bought recently, but will search out the works you mention. As someone else mentioned she studied with Kempff- I think his influence certainly shows in her recordings of LvB 109/110/111.
Hi David,
You're welcome. That LvB sonata recording by Uchida sounds tempting.. BTW, speaking of these sonatas, these are the only Beethoven sonatas where I enjoy Kempff as much as in Schubert. Had completely forgotten for a moment. (But only the later version)
Quote from: Verena on August 30, 2010, 01:22:39 AM
Hi David,
You're welcome. That LvB sonata recording by Uchida sounds tempting.. BTW, speaking of these sonatas, these are the only Beethoven sonatas where I enjoy Kempff as much as in Schubert. Had completely forgotten for a moment. (But only the later version)
Yes, Kempff's Op. 110 is superb!
Quote from: Verena on August 30, 2010, 01:22:39 AM
Hi David,
You're welcome. That LvB sonata recording by Uchida sounds tempting.. BTW, speaking of these sonatas, these are the only Beethoven sonatas where I enjoy Kempff as much as in Schubert. Had completely forgotten for a moment. (But only the later version)
guess its not a popular choice, but I rate Uchida's 109 and 111 very highly indeed. There seems to be a real balance between intelligence and emotion- they are deeply felt and I would put them in amoungst the first rank of late sonata performances. Not so sure about her 110 though.
Apart from not liking Kempff's tone in the DG stereo LvB that i have heared (which may just be the recording), I just find that there is sometimes something a little "flaccid" about his playing. For me, he also lacks fire a little in the allegros.
But I want to persevere because of his high reputation which is no doubt justified.
Quote from: david-jw on August 30, 2010, 02:38:29 AM
Apart from not liking Kempff's tone in the DG stereo LvB that i have heared (which may just be the recording), I just find that there is sometimes something a little "flaccid" about his playing. For me, he also lacks fire a little in the allegros.
Absolutely. But that's part of his appeal, I think. No one else plays them that way.
Quote
But I want to persevere because of his high reputation which is no doubt justified.
I can understand this. Though my appreciation for Kempff has grown over the years, he is still not among my favorite pianists.
Quote from: George on August 30, 2010, 02:45:29 AM
Absolutely. But that's part of his appeal, I think. No one else plays them that way.
I can understand this. Though my appreciation for Kempff has grown over the years, he is still not among my favorite pianists.
Yes, when it comes to Beethoven, one feels that Kempff
has to be explored :-\
Look forward to your comparisons.
Quote from: George on August 29, 2010, 05:23:58 AM
I compared the Kempff mono and stereo recordings of the Beethoven Op. 2, No. 1 sonata this morning. I plan to go through all 32, doing about one per week.
Here's my thoughts on the two Op. 2, No. 1 Kempff performances.
First off, I see why others like the fuller sound of the mono, but the stereo has some of the high frequency info that's missing from the mono. As for the performance, I much prefer the stereo. More excitement in the outer movements, in fact, if I was blindfolded, I'd say the mono was the later version. He sounds older, less energetic in the mono, which is the opposite of most reviews I have read for Kempff's mono set. I liked the dynamic contast in the third movement more in the stereo and found the second movement to be a draw.
So far, stereo set 1, mono 0.
The problem with the stereo one is with the vision. I mean, what's he trying to say? In so far as I can hear any ideas in the performance at all, he's saying "this is a rather charming piece of ear candy, which I can play very nicely."
Contrast the great interpreters of this marvellous sonata – Richter and Gould. Richter's saying "This music is a complete break with the past. I'm bringing you into a new world. Smash – here I am" And Gould is saying "This is so fun, so funny, so light, so joyful. "
I don't have the mono.
Quote from: Mandryka on August 30, 2010, 05:14:00 AM
The problem with the stereo one is with the vision. I mean, what's he trying to say? In so far as I can hear any ideas in the performance at all, he's saying "this is a rather charming piece of ear candy, which I can play very nicely."
:D
Similarly, Harris Goldsmith had this to say about Kempff's stereo and mono versions - "Both Kempff versions are neat and dainty."
Quote from: George on August 30, 2010, 07:05:45 AM
Similarly, Harris Goldsmith had this to say about Kempff's stereo and mono versions - "Both Kempff versions are neat and dainty."
There's certainly some truth to this, but in the mono cycle there's a bit more drive and control than the later set. None of Kempff's output is marked by dazzling virtuosity or power. It's more introspective in nature, and more about never making an ugly sound.
I'm one of the people who prefers the mono cycle as a whole, though there are some cases where the later set is better. Op 28 is a perfect example.
The few live recordings I've heard from Kempff reveal him to be more inspired, if perhaps less technically astute. Perhaps more will surface in time.
Quote from: Renfield on January 15, 2009, 07:28:04 PM
Everything Todd mentioned above I heartily second as recommendations; and even though I can see many reasons they might not be recommendable, even his Goldbergs are a cherished piano recording in my collection. :)
I adore his Goldbergs. I just got them this week and I love his serene, joyful interpretation of these variations.
Quote from: George on July 29, 2011, 06:44:26 PM
I adore his Goldbergs. I just got them this week and I love his serene, joyful interpretation of these variations.
I also quite like some of Kempff's Bach. I'd also be curious to listen to his Well-tempered Clavier. Perhaps it will be reissued complete some day.
Quote from: Verena on July 30, 2011, 10:12:53 AM
I also quite like some of Kempff's Bach. I'd also be curious to listen to his Well-tempered Clavier. Perhaps it will be reissued complete some day.
Nice to see you, Vernena!
So Kempff recorded the whole thing?
Quote from: George on July 30, 2011, 01:17:03 PM
Nice to see you, Vernena!
So Kempff recorded the whole thing?
I was able to find only WTC I on Amazon and it is clearly OOP as ArkivMusic is now offering the CDR version, though a few used ones are available ...
(http://ecx.images-amazon.com/images/I/41GYGMZET8L._SL500_AA300_.jpg)
Get ready for the big one (http://www.amazon.de/Solo-Piano-Recordings/dp/B0064ZDQCO/ref=sr_1_170?ie=UTF8&qid=1321466745&sr=1-170), folks! (Well, almost.)
Quote from: Opus106 on November 16, 2011, 09:13:08 AM
Get ready for the big one (http://www.amazon.de/Solo-Piano-Recordings/dp/B0064ZDQCO/ref=sr_1_170?ie=UTF8&qid=1321466745&sr=1-170), folks! (Well, almost.)
Ooh - that could be one of the more interesting artist boxes....
Quote from: mc ukrneal on November 16, 2011, 09:33:56 AM
Ooh - that could be one of the more interesting artist boxes....
Really? Haven't just about all of his solo recordings on those labels been issued on CD, with most still in print?
It's not complete. It has only one of the LvB cycles, and it lacks the early (1930s) LvB recordings. Somewhat disppointing, really. I have around 50 discs worth of Kempff, only a few of which are live or bootleg, so a few things are missing. And where are the few 50s Decca Schubert recordings?
Quote from: Todd on November 16, 2011, 10:03:29 AM
... it lacks the early (1930s) LvB recordings.
I thought that too, but aren't those on Polydor?
Quote from: George on November 16, 2011, 10:44:25 AMI thought that too, but aren't those on Polydor?
Not sure, but Polydor merged with Phonogram into PolyGram, which got gobbled up by UMG. Or something like that. I don't know which entity has the rights to 1930s DG recordings, as they don't seem to be reissued terribly frequently.
Quote from: Todd on November 16, 2011, 10:03:29 AM
It's not complete. It has only one of the LvB cycles, and it lacks the early (1930s) LvB recordings. Somewhat disppointing, really. I have around 50 discs worth of Kempff, only a few of which are live or bootleg, so a few things are missing. And where are the few 50s Decca Schubert recordings?
Where did you find the track-list?
Quote from: Opus106 on November 16, 2011, 08:34:45 PMWhere did you find the track-list?
More of a disc grouping - HMV Japan.
If anyone has suggestions regarding a "Top 5 Kempff Recordings" I´d be interested to hear about it.
Have got
the Beethoven DG stereo 32 sonatas & 5 cti, the decca mono "Hammerklavier", the DG schubert sonatas box + the impromptus,
the DG Bach Goldberg Variations, the DG Mozart sonatas K310 & 331,
but I haven´t heard his Schumann, for instance.
The DG "Hammerklavier" and "Emperor Concerto" are the two that really stand out to me, but I remember some of the Schubert
sonatas as being good as well, though it´s been some time since I heard them.
A lot of his old LPs are often available here at very low prices :-).
Quote from: DieNacht on November 17, 2011, 08:35:42 AM
If anyone has suggestions regarding a "Top 5 Kempff Recordings" I´d be interested to hear about it.
Gotta have Schumann in there
(http://www.arkivmusic.com/graphics/covers/full/93/933329.jpg)
Top five, mostly boxes. Narrowing it down further would be difficult.
(http://ecx.images-amazon.com/images/I/417SJASKPJL._SL500_AA300_.jpg)
(http://ecx.images-amazon.com/images/I/417MTlhU%2BKL._SL500_AA300_.jpg)
(http://www.musicweb-international.com/classrev/2000/dec00/Schubert_CompSonatas_Kempff_CC.jpg)
(http://ecx.images-amazon.com/images/I/51TTS6V1TDL._SL500_AA300_.jpg)
(http://ecx.images-amazon.com/images/I/512IASGRGkL._SL500_AA300_.jpg)
Quick responses here :-) ... I didn´t clarify perhaps, but was thinking especially about his performances of individual works,
exemplifying him at his best ?
Much harder for individual recordings/performances, but some are, in no particular order:
LvB - Op 28 (stereo)
LvB - Emperor (w/ Ozawa)
Schubert - D894
Brahms - Op 116
LvB - G Major Concerto (w/ Leitner)
The Ozawa 1966 Beethoven 5th Concerto was totally unknown to me, must be the youngest Ozawa on record I´ve heard of also;
he can be very good (like his DG Ravel, for instance).
The Beethoven 4th (originally together with no.2) with Leitner was my introduction to that work, and one does tend to return to it regularly.
Quote from: DieNacht on November 17, 2011, 08:35:42 AM
If anyone has suggestions regarding a "Top 5 Kempff Recordings" I´d be interested to hear about it.
Have got
the Beethoven DG stereo 32 sonatas & 5 cti, the decca mono "Hammerklavier", the DG schubert sonatas box + the impromptus,
the DG Bach Goldberg Variations, the DG Mozart sonatas K310 & 331,
but I haven´t heard his Schumann, for instance.
The DG "Hammerklavier" and "Emperor Concerto" are the two that really stand out to me, but I remember some of the Schubert
sonatas as being good as well, though it´s been some time since I heard them.
A lot of his old LPs are often available here at very low prices :-).
Schubert Drei Klavierstucke, live on BBC Legends
Brahms Sonata 3 live on BBC Legends
Brahms op 116 - 119, the mono performances on his Great Pianists Edition
Liszt Legends
Beethoven Kreutzer Sonata with Kulenkampff
Has anyone heard his Beethoven bagatelles?
These are unknown issues to me !
There seems to be agreement concerning Kempff´s recordings of Brahms late piano pieces here ...
It turns out there´s quite a selection on you-t of this which can be quickly checked out, likewise the "Kreutzer" is there:
judging from the introduction, Kempff is really engaged here, and the piano sound is quite good for 1936.
Quote from: DieNacht on November 17, 2011, 10:09:56 AM
There seems to be agreement concerning Kempff´s recordings of Brahms late piano pieces here ...
Yes but IMO the DG is inferior to the earlier recordings.
His Bach Goldbergs and his Beethoven Bagatelles and Op. 110 (stereo) are wonderful!
Quote from: George on November 18, 2011, 06:25:24 AM
His Bach Goldbergs and his Beethoven Bagatelles and Op. 110 (stereo) are wonderful!
8)
(http://img.hmv.co.jp/image/jacket/190/25/8/0/570.jpg) (http://ecx.images-amazon.com/images/I/51ZSHS8J5DL._SL500_AA300_.jpg)
The first of these contains Brahms Op 118 recording he made for the West German Radio in Cologne, the second the same music recorded for Decca from 7 years earlier.
What a difference. The G minor Ballade (Op 118/3) is an elephant's dance for Decca , a pogo dance in the radio recording. He's consistently more inspired -- with the possible exception of Op 118/6 (which is excellent, but it's excellent for Decca too.) The romanze (which happens to be one of my most favourite pieces of music in the world) has a really whimsical free quality which reminds me a bit of Gieseking and maybe Tiegermann (from memory that, I could be wrong about them.) Much much less so for Decca. Sound is considerably more truthful in 1960 than in 1953. He's nearly always significantly faster in Cologne.
But most interesting is the way his conception of the music seems to me to have changed as he aged. In 1953 Kempff's late Brahms is quite a cliché at times. You know, the old guy crying into his beer as he reflects, autumnally , on years forever gone. Not so at all in 1960, where he's a much more complicated fellow.
Seems like Kempff, or at least Kempff's Brahms, youthened. Like Peter Pan.
Not that I'm actually considering to buy it .... but which Beethoven cycle ended up in the big Solo Recordings box? Mono or Stereo?
Quote from: Todd on November 16, 2011, 10:03:29 AM
It's not complete. It has only one of the LvB cycles, and it lacks the early (1930s) LvB recordings. Somewhat disppointing, really. I have around 50 discs worth of Kempff, only a few of which are live or bootleg, so a few things are missing. And where are the few 50s Decca Schubert recordings?
I've just heard for the first time two Schubert sonatas from the 1950s, 960 and 845. They were released on Australian Eminence a couple of years ago and I only just noticed. I think they show the slightly capricious and irrational crazy side of his art that we once discussed in connection with the BBC Legends D 946 and the Brahms sonata. Anyway, my real reason for making this post is to ask if there are any other Decca Schubert recordings.
(https://ptpimg.me/1f6750.png)
Future Releases
Next Piano Release for Marston Records
Friedrich Wilhelm Walter Kempff (1895–1991) is considered one of the great pianists of the twentieth century. One of the last chief exponents of the Germanic piano tradition, Kempff is particularly well known for his interpretations of Beethoven and Schubert. He is often best remembered for his warmth and poetic insights, sensitivity, and beautiful phrasing, yet this set of Kempff's earliest recordings also reveal a young firebrand: a technical marvel capable of stunning, extroverted virtuosity.
Wilhelm Kempff was awarded two scholarships to the Berlin Hochschule für Musik at the age of nine: one to study piano with Heinrich Barth, and another to study composition with Brahms's close friend and disciple Robert Kahn, both of whom had previously taught Artur Rubinstein. In 1917, Kempff gave his first major recital, consisting of predominantly major works, including Beethoven's "Hammerklavier" and Brahms's "Variations on a Theme of Paganini". Kempff toured extensively during his career yet did not make his first London appearance until 1951, and his first in New York in 1964 at the ages of fifty-five and sixty-nine respectively. He gave his last public performance in Paris in 1981, and then retired for health reasons (Parkinson's Disease).
Wilhelm Kempff recorded over a period of some sixty years, yet this set of his acoustic recordings is unique: this is the first time that these early acoustic recordings have been assembled and the only group of Kempff recordings that have never been reissued. Additionally, Kempff establishes himself as the first pianist in history to place fully a quarter of the Beethoven sonatas on disc. The final Kempff DG/Polydor acoustic recording is arguably the most historically significant, since his Beethoven First, recorded with the Berlin State Opera Orchestra in September of 1925, stands as the first commercial release of one of the staples of the modern repertoire. Notes by Stephen Siek (pianist, musicologist, piano historian, and author of England's Piano Sage: The Life and Teachings of Tobias Matthay) round out this historically important and beautifully lyric set.
In Memoriam Robert L. Autrey, II: Record collector and opera lover
This project is fully sponsored by Tito and Michael Autrey
Quote from: George on October 24, 2022, 08:59:39 AM
(https://ptpimg.me/1f6750.png)
Future Releases
Next Piano Release for Marston Records
Anything known about the content?
Can they only be purchased at Marston's own home-page?
Quote from: (: premont :) on October 24, 2022, 09:30:22 AM
Anything known about the content?
Can they only be purchased at Marston's own home-page?
Hi premont,
I shared the only info that I have. And yes, only purchaseable through Marston.
Quote from: George on October 24, 2022, 08:59:39 AM
(https://ptpimg.me/1f6750.png)
Future Releases
Next Piano Release for Marston Records
Friedrich Wilhelm Walter Kempff (1895–1991) is considered one of the great pianists of the twentieth century. One of the last chief exponents of the Germanic piano tradition, Kempff is particularly well known for his interpretations of Beethoven and Schubert. He is often best remembered for his warmth and poetic insights, sensitivity, and beautiful phrasing, yet this set of Kempff's earliest recordings also reveal a young firebrand: a technical marvel capable of stunning, extroverted virtuosity.
Wilhelm Kempff was awarded two scholarships to the Berlin Hochschule für Musik at the age of nine: one to study piano with Heinrich Barth, and another to study composition with Brahms's close friend and disciple Robert Kahn, both of whom had previously taught Artur Rubinstein. In 1917, Kempff gave his first major recital, consisting of predominantly major works, including Beethoven's "Hammerklavier" and Brahms's "Variations on a Theme of Paganini". Kempff toured extensively during his career yet did not make his first London appearance until 1951, and his first in New York in 1964 at the ages of fifty-five and sixty-nine respectively. He gave his last public performance in Paris in 1981, and then retired for health reasons (Parkinson's Disease).
Wilhelm Kempff recorded over a period of some sixty years, yet this set of his acoustic recordings is unique: this is the first time that these early acoustic recordings have been assembled and the only group of Kempff recordings that have never been reissued. Additionally, Kempff establishes himself as the first pianist in history to place fully a quarter of the Beethoven sonatas on disc. The final Kempff DG/Polydor acoustic recording is arguably the most historically significant, since his Beethoven First, recorded with the Berlin State Opera Orchestra in September of 1925, stands as the first commercial release of one of the staples of the modern repertoire. Notes by Stephen Siek (pianist, musicologist, piano historian, and author of England's Piano Sage: The Life and Teachings of Tobias Matthay) round out this historically important and beautifully lyric set.
In Memoriam Robert L. Autrey, II: Record collector and opera lover
This project is fully sponsored by Tito and Michael Autrey
Wow! Nice to know that they are available now in CD format. Kempff's recordings of Beethoven are my favorites overall. :)
PD
Some of those early recordings are worth hearing, like the Liszt here
https://open.spotify.com/album/0OS6jAACERS4SWPIpyDLy5
and, though I'm not keen myself, I have a friend who raves about this Bach transcription from 1936
https://www.youtube.com/watch?v=26GnXDZKOIw&ab_channel=uchukyoku1
Quote from: George on October 24, 2022, 09:59:49 AMI shared the only info that I have. And yes, only purchaseable through Marston.
Spendy, but I will have to buy it. The LvB PC 1 is on it, and if the Marston blurb is correct, this marks the first time all three CDs worth have been made available commercially. I suspect some other Beethoven and some miniatures which were fashionable in the acoustic era will be included. I emailed Marston to see if I can get more info.
Quote from: Todd on October 24, 2022, 02:53:28 PM
Spendy, but I will have to buy it. The LvB PC 1 is on it, and if the Marston blurb is correct, this marks the first time all three CDs worth have been made available commercially. I suspect some other Beethoven and some miniatures which were fashionable in the acoustic era will be included. I emailed Marston to see if I can get more info.
They are good about posting all the info on their site, but usually not until something is released.
Here's an example of the info that they include, from an earlier release: https://www.marstonrecords.com/collections/piano/products/kapell
I'd be interested to know what the people here make of his 1945 Fauré nocturne 6 - I think it's a little miracle of elegance and fluidity, but I know someone who feels it's the worst performance ever put on record
https://m.youtube.com/watch?v=KPbVeCH1KUg
The response from Marston Records:
"Thank you for expressing your interest in the Kempff set.
When we get closer to publication, we will post an announcement of its availability and contents. You can order it from our website or directly from us. (We do not have information on file for you, so probably online will be easier for you and for us.)"
Drat. I have to wait to learn what I will buy.
Contents of the Marston Kempff set below. I place my order today.
CD 1 (70:20)
BACH:
1. Prelude and Fugue in C-sharp, No. 3 from The Well-Tempered Clavier, Book 1 3:11
January 1923; 1094 as (65699) [B 27001]
2. Prelude and Fugue in D, No. 5 from The Well-Tempered Clavier, Book 1 3:07
January 1923; 1093½ as (65699) [B 27000]
3. Presto, Third Movement from Italian Concerto in F, BWV 971 3:14
January 1923; 1095 as (65700) [B 27002]
BACH–KEMPFF:
4. Sinfonia from Cantata BWV 29 3:50
January 1923; 1096½ as (65700) [B 27003]
5. Sicilienne from Sonata for Flute and Klavier in E-flat, BWV 1031 3:50
July 1924; 1748½ as (66045) [B 27071]
GLUCK–BRAHMS:
6. Gavotte from IPHIGÉNIE EN AULIDE* 3:19
July 1924; 1747 as (66045) [B 27070]
BEETHOVEN:
Sonata No. 8 in C Minor, Op. 13, "Pathétique"
July 1924; 1712/15 as (66176/77) [B 27090/93]
7. I Grave – Allegro di molto e con brio 7:36
8. II Adagio Cantabile 4:41
9. III Rondo: Allegro 4:10
Sonata No. 12 in A-flat, Op. 26
July 1924; 1737½ as, 1738 as, 1739 as, 1740 as, 1741 as, 1742 as (66041/43) [B 27062/67]
10. I Andante con variazioni 7:19
11. II Scherzo. Allegro molto 2:30
12. III Marcia funebre sulla morte d'un eroe. Maestoso andante 5:19
13. IV Allegro 2:45
Sonata No. 14 in C-sharp Minor, Op. 27, No. 2, "Moonlight"
July 1924; 1700 as, 1701 as, 1706 as, 1707½ as (66172/73) [B 27082/85]
14. I Adagio sostenuto 7:25
15. II Allegretto 2:34
16. III Presto agitato 5:39
CD 2 (79:38)
BEETHOVEN:
1. Bagatelle in C, Op. 33, No. 5 2:29
January 1923; 2062 ar (62400) [B 7000]
2. Rondo in G, Op. 51, No. 2 8:23
July 1924; 1721/22 as (66040) [B 27060/61]
Sonata No. 21 in C, Op. 53, "Waldstein"
July 1924; 1694½ as, 1695 as, 1696 as, 1697½ as, 1698½ as, 1699½ as (66036/38) [B 27052/57]
3. I Allegro con brio 8:13
4. II Introduzione. Adagio molto 3:34
5. III Rondo. Allegretto moderato – Prestissimo 9:46
Sonata No. 23 in F Minor, Op. 57, "Appassionata"
July 1924; 1688½ as, 1689 as, 1690 as, 1691 as, 1692½ as, 1693½ as (66033/35) [B 27046/51]
6. I Allegro assai 10:10
7. II Andante con moto 4:14
8. III Allegro ma non troppo – Presto 5:43
Sonata No. 26 in E-flat, Op. 81a, "Les Adieux"
July 1924; 1708/11 as (66174 and 65175) [B27086/89]
9. I Das Lebewohl 5:56
10. II Abwesenheit 3:39
11. III Das Wiedersehen 4:12
Sonata No. 27 in E Minor, Op. 90
July 1924; 3371/72 ar and 1719/20 as (62491 and 66039) [B 7012/13 and B 27058/59]
12. I Mit Lebhaftigkeit und durchaus mit Empfindung und Ausdruck 5:04
13. II Nicht zu geschwind und sehr singbar vorgetragen 8:21
CD 3 (67:27)
BEETHOVEN:
Sonata No. 28 in A, Op. 101
July 1924; 1723½ as, 1724½ as, 1725½ as, 1726½ as (66178/79) [B 27094/97]
1. I Etwas lebhaft, und mit der innigsten Empfindung (Allegretto ma non troppo) 3:32
2. II Lebhaft, marschmäßig (Vivace alla Marcia) 3:59
3. III Langsam und sehnsuchtsvoll (Adagio ma non troppo, con affetto) 2:42
4. IV Geschwind, doch nicht zu sehr und mit Entschlossenheit (Allegro) 5:43
5. Ecossaises in E-flat, WoO 86 2:02
January 1923; 2064 ar (62400) [B 7001]
Concerto No. 1 in C, Op. 15
with the Berlin State Opera Orchestra, conductor unidentified
March 1925; 822½ az, 823½ az, 824½ az, 825½ az, 828 az, 829 az, 830½ az, 831½ az (69815/18) [B 20613/20]
6. I Allegro con brio 13:39
7. II Largo 13:01
8. III Rondo. Allegro scherzando 8:10
MENDELSSOHN:
9. Scherzo in E Minor, Op. 16, No. 2 2:03
July 1924; 1743½ as (66044) [B 27068]
10. Song Without Words, Op. 102, No. 5 1:08
July 1924; 1746 as (66044) [B27069]
11. Song Without Words, Op. 102, No. 6 2:35
July 1924; 1746 as (66044) [B27069]
SCHUMANN:
12. Toccata in C, Op. 7 4:34
July 1924; 1744 as (66180) [B 27098]
BRAHMS:
13. Rhapsody in E-flat, Op. 119, No. 4 4:23
July 1924; 1745½ as (66180) [B27099]
Quote from: George on December 07, 2022, 03:16:28 PMMy set ships next week, Todd! Should be a good one.
Kempff in his 20s playing core rep. Should be something.
(https://ptpimg.me/1f6750.png)
Here's a set I knew I needed to get as soon as it became available. I do enjoy me Wilhelm Kempff recordings. Basically the antithesis of the barnstorming virtuoso in his most famous recorded legacy, Kempff imbues his playing with poetry and nuance. In some late career live recordings, he demonstrated an ability matched only by Alfred Cortot to miss notes and otherwise botch passages yet make it sound like that's the way it's supposed to go. Even his Liszt concertos, pieces he should not be able to deliver at all, come off strikingly well once one accepts Kempffian style. The earlier recordings, though, show Kempff in better form. Certainly, there were more technically assured pianists in the 30s and 40s, but his LvB sonatas from the era display such a sense of freedom and perfect Beethovenian style, that had he completed the cycle – and he came tantalizingly close – then it, not Schnabel's, would be the 78s era benchmark. And this set offers something even earlier. These basically century old acoustic recordings capture Kempff in his 20s. I mean, come on, how could it not be great? Sure, century old sonics suck, but Ward Marston knows his business, so one can be assured that this set is in the best sound possible.
Disc one starts off with some frustrating Bach. Frustrating because these recordings do nothing other than demonstrate how good of a Bach player Kempff was, which makes one want to hear even more. I have his late career Bach, and the WTC excerpts from elderly Kempff are remarkable, but the three solo Bach tracks here – two from the WTC, and one from the Italian Concerto – display freedom and flexibility and ease coming from a young man's fingers. The two Bach-Kempff transcriptions do the same thing. Argh! The Gluck-Brahms, as well. A little bit less of an argh there. After that, three LvB sonatas get squeezed in – Opp 13, 26, and 27/2. Now, I have all three complete cycles from Kempff, plus the 30s and 40s recordings, and some studio one-offs, and some live recordings, so I am well versed in Kempffian Beethoven. As with the Bach, these display a flexibility and freedom and obviously live feel, and the young Kempff zips across the keyboard, never imparting a too-heavy romantic sound, but also not limiting himself to boring classical strictures. Op 13 sounds just nifty, with some slow playing in Grave, and some super-lithe if not super-accurate playing in the Rondo. Op 26 is a delight. Kempff plays the opening theme and variations with great distinction, and even plays with a scampish, almost silly humor in one variation. The Scherzo is lithe and light, Kempff just zipping through. The taut Funeral March has enough oomph and drama to satisfy, and Marston's remastering is good enough to highlight some possibly dodgy tuning. Kempff then scampers along in the finale. The Moonlight sonata ends the disc. It more or less proceeds as one would expect, with a moody opener, punchy middle movement, and a zippy finale where Kempff pushes things just a bit too much and ends up garbling things a bit, but ya just don't care.
The all-LvB second disc starts with a playful, swift, and light Op 33/5 Bagatelle and moves on to a 51/2 Rondo that sounds the same, and so free. Some of the runs sound improvised. Then it's on to four sonatas, starting with the Waldstein. The repeatless Allegro con brio starts quiet and swift, and insofar as the listener can tell from the recording, swells just swell in terms of dynamics, and exhibits a degree of freedom and flexibility not present in even his wartime recording. Here's turn of the 20th Century German pianism in its purest form. The Introduzione, though a bit swift, sounds slower than its timing and essentially perfect. The real magic happens in the final movement. It starts off more poetic and almost dreamy than any other version I've heard, and Kempff lets rip in the virtuosic passages. Here is properly proportioned, perfectly romantic, but not over the top playing. It emerges as one of the great recordings of the work. Op 57 follows, and the Allegro assai displays actual fire. Kempff roars throughout, and one can sense if not precisely hear the dynamics swells. He makes a few blunders, but that reinforces how live these recordings are. The second movement veritably sings and the tonal beauty reaches out from a century ago. (And is that some vocalizing I hear?) The finale displays the same fire as the opening movement and quite effective dynamic shifts. Op 81/a follows and here's a case, familiar from later live recordings, where Kempff gets the spirit entirely right, especially in the slow movement, but makes a noticeable number of unforced errors, especially in the final movement. The spirit matters, the flubs do not. Op 90 wraps up the disc. In the opening movement, Kempff plays the two contrasting themes in as highly contrasted a manner as I've heard, playing with sublime beauty in the slow sections, and an intensity and speed in the faster music that I would have never envisioned from Kempff. Note perfect it is not, a musical wallop it is. Then comes the gorgeous, tender, endlessly lyrical second movement, and Kempff plays in a manner lovelier than his loveliest Schubert. An ancient blockbuster of a performance.
The final disc starts off with Op 101. The opening movement does an excellent job of immediately establishing a transcendent soundworld, with the young Kempff matching old Kempff. The march, though, is too pressed and rushed and overloaded with unkempt passages. The Adagio and then final Allegro basically repeat the same styles. Make no mistake, the highlights make it worth hearing, but this is not a top choice. Next, the tiny WoO 86 Ecossaises exhibit joy and, no joke, a rustic feel. No unnecessary refinement here. Next up is the C Major Piano Concerto in its first ever recording. The orchestral sound is of course distant and cloudy, but one can hear some old world portamento in the mix, and it delights. There is nothing current world HIP about it, and it sounds splendid. Kempff is closer to the acoustic horn of course, and so the balance difference is not so different from later recordings. The young man dashes off the playing with an energy and brio and virtuosity missing in his recordings from decades later. The finale, in particular, bubbles, and boasts an orchestral decelerando unlike any I've heard, and the same goes for the cadenza. A trio of Mendelssohn pieces follow, including 102/6, and Kempff displays an affinity for the music, even if one wishes he might have played a little more slowly. The Schumann Toccata follows, and while Kempff does well enough, he doesn't make the work work – so very few people have. The set ends with the Brahms 119/4 that sounds a bit rough and does not reach the same levels as his later career late Brahms. I guess everything can't be superb.
When I plumped for this set, I paid the highest per disc price I have paid in years, since I last imported a big haul from Japan. But given the artist and the music, I just had to have it. It was money well spent. Ward Marston and crew deliver, and not just in transfers, but in packaging and the accompanying essay. Sonics are as good as one can reasonably hope for, and headphone playback ends up more satisfactory than loudspeakers.
A purchase of the year.
I'm jealous, Todd. I am a subscriber and I still haven't recieved my set. Did you pay for expedited shipping?
Quote from: George on December 20, 2022, 06:40:37 AMI'm jealous, Todd. I am a subscriber and I still haven't recieved my set. Did you pay for expedited shipping?
No, I ordered with regular shipping after finding the release notification email in my spam folder. Ordered it on the 7th and received it on the 12th.
Quote from: Todd on December 20, 2022, 07:14:01 AMNo, I ordered with regular shipping after finding the release notification email in my spam folder. Ordered it on the 7th and received it on the 12th.
Wow, I'm a subscriber and they shipped mine 2 weeks after yours. Subscribers are supposed to have theirs shipped
first, not two weeks later. I just cancelled my subscription.
Quote from: George on December 20, 2022, 09:46:47 AMWow, I'm a subscriber and they shipped mine 2 weeks after yours. Subscribers are supposed to have theirs shipped first, not two weeks later. I just cancelled my subscription.
Which business are you a subscriber of George?
PD
Quote from: George on December 20, 2022, 02:46:16 PMNo longer a subscriber, but formerly a subscriber of Marston Records CDs.
I was wondering if that might have been to whom you were subscribing. Wondering if you were a bit premature re unsubscribing--thinking that they might have been flooded with more orders by subscribers at a certain point? Or other issues? And is Todd a subscriber? Just pondering a bit at my end.
PD
Quote from: Pohjolas Daughter on December 20, 2022, 02:52:04 PMI was wondering if that might have been to whom you were subscribing. Wondering if you were a bit premature re unsubscribing--thinking that they might have been flooded with more orders by subscribers at a certain point? Or other issues? And is Todd a subscriber? Just pondering a bit at my end.
PD
Interesting. I see that they have different subscriptions available. Could this have been a part of it? In any event, as this is a very specialized label and doesn't have the sales of the "Big Ones", perhaps give it a rethink? He is, I believe, someone who has a whole lot of pluses on his side (thinking in terms of things like restoration skills, hearing and intelligent thinking, and giving people, often, the best audio engineering results possible including the most important part--making it so that people can enjoy the performance).
Perhaps send them an email letting them know that you were disappointed and why? Perhaps they could let you know what was going on/problems/issues, etc. Or maybe, there's a different issue that you hadn't considered? I suspect that as you were a subscriber that they would be eager and care about letting you know.
PD