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| [#6679] Backhaus's Beethoven piano sonatas Hi Wal, ... is Backhaus good ? ＞ I have listened to several Backhaus's accounts (nos. 8, 17, 25, 26, & 32) in Philips's "Great Pianists" series. All very good, but to me not particularly memorable, at any rate not as memorable as his Beethoven's Piano Concertos which are full of unique dashes. There is now a Decca Original Masters 8-CD boxset of Backhaus's Beethoven Piano Sonatas. But at this stage you may also consider getting the inexpensive Decca Eloquence 2-CD set (467 478-2).  |
trollope 正式會員202.xxx.xxx.133 |
2007-07-18 11:30 | |
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| [#6680] Backhaus's Beethoven piano sonatas Dear Trollope, I own the following set for 2 years and still treat it as my ultimate reference to Beethoven's Piano sonatas, excerpt those legendary beethovian pianists such as Wilhelm Kempff, Alfred Brendel,Annie Fischer,Gulda, Rubinstein and Arrau. Backhaus has been highly acclaimed as "The King of Lion on Keyboard", hereunder is an introduction about Backhaus which I have found in Taiwanese music website: 鍵盤上的獅王——威廉"巴克豪斯 在那些以演奏德奧作曲體系作品的頂尖鋼琴大師中，並不是有很多“純粹的德國人”。俄國的有霍洛維茨 (Vladmir Horowitz)、李赫特爾 (Sviatoslav Richter)，猶太人有魯道夫"塞爾金 (Rudolf Serkin)、亞瑟"魯賓斯坦 (Athur Rubinstein)。艾德溫"菲舍爾 (Edwin Fischer)、肯普夫 (Wilhelm Kempff) 和巴克豪斯 (Wilhelm Backhaus)是少有的幾個德國人，而且巴克豪斯是出自德國古典音樂體系，是德國風格的代表。 巴克豪斯（Wilhelm Backhaus 1884.03.16-1969.07.05）出生在德國的萊比錫 (Leipzeg)。他的媽媽是業餘鋼琴家。巴克豪斯小時候就是跟他的媽媽學琴。1891年他開始跟隨萊比錫音樂學院的鋼琴教授Aloys Leckendorf，一學就是九年。1898年開始，巴克豪斯開始到法蘭克福和美茵學習，在那遇到了對他事業影響最大的老師——歐根"德爾貝。歐根"德爾貝是李斯特 (Franz Liszt)的學生，他演繹的貝多芬至今影響很大。 1900年，巴克豪斯開始登臺演出。最早的時候是跟隨由亞瑟"尼基什 (Arthur Nikish)帶領的萊比錫格萬豪斯音樂廳樂團演出。他在全世界開始出名是1905年8月，巴克豪斯贏得了魯賓斯坦鋼琴比賽的冠軍。當時作曲家巴托克 (Bela Bartok)也是參賽選手之一，他在聽完巴克豪斯的演奏後感慨地說：“巴克豪斯的演奏確實漂亮。” 巴克豪斯紐約的首演是在1912年1月5日，當時他彈的是貝多芬的《皇帝協奏曲》，贏得了鋼琴技巧名家的聲譽。之後，他到南美、亞洲、歐洲巡迴演出。 外界對巴克豪斯的私生活知之甚少，僅僅知道他煙抽得很凶。他得興趣只在演奏上，特別是獨奏。我沒有聽說過他喜歡演奏室內樂，留下的唱片也只有兩首作品。他的教學生涯也很短，記憶中只有1905年在曼徹斯特皇家音樂學院當教授、1925－26年在美國的柯帝斯音樂學院之類的短期教學，還有一戰時期為軍隊的服務，他幾乎是集中在舞臺演奏和錄音上。即使是在納粹執政時期也沒有停止演出，後來他還以納粹臨時戰犯的身份為盟軍演出。據說，他音樂會總的數量超過4，000場！就在巴克豪斯逝世前，Andor Foldes向巴克豪斯辭別：“多乾你最喜歡乾的事吧。”他說“最好的問候”是指巴克豪斯為他舉行的歡迎“音樂會”。當時巴克豪斯已經85歲了！在與伯姆 (Karl Bohm)錄製布拉姆斯的第二鋼琴協奏曲時，伯姆對其他人說：“這傢伙無論什麼年紀彈布拉姆斯都那麼好。”，結果大家都笑了。實際上，伯姆比巴克豪斯還年輕10歲，當時巴克豪斯是83歲，伯姆是73…… 在二戰之後，巴克豪斯定居瑞士的盧嘉諾（Lugano），外界都知道他是演奏貝多芬和布拉姆斯的超級大師。從那個時候起，“鍵盤上的雄獅”的昵稱就跟隨著他。他最後的獨奏音樂會是1969年6月28日，7天之後因為心臟病在奧地利的Villach去世。之後，他被埋葬在科隆。 當巴克豪斯在美國巡迴演出時，有一個評論家稱“他的技巧象神一樣。”。他年輕的時候技巧是無與倫比的，雖然因此說他在DECCA留下的所有78轉和單聲道的錄音中技巧是完美的、完全沒有瑕疵的，在身歷聲時期的錄音中還是可以聽到有幾處技術問題，象貝多芬第三奏鳴曲、皇帝協奏曲等，但是，他眾多的貝多芬和布拉姆斯的錄音是里程碑。他的演奏幾乎都是完整的技巧、稍快的速度、率直和充滿力量。不過，在抒情的片斷他的演奏是那麼的迷人、聲音是那麼的豐滿、感情是那麼的深入。他的發音無疑是他那個時代最傑出的。我還沒有聽過有比他1966年在DECCA留下的貝多芬第31奏鳴曲的錄音更美、更打動人的旋律線！在貝多芬第32奏鳴曲的第二樂章，那種一張一弛的鮮明對比，沒有其他的錄音可比的。從錄音中除了可以得到想像他是個強而有力的鋼琴家之外，你未必會感受到這些，你可能會對他晚期在DECCA公司的那些錄音失望的。我覺得這對巴克豪斯是很不公平，就像我們評論吉列爾斯，他被譽為有“鋼鐵般的觸鍵”，但是我們不能不看到他晚年的錄音是那麼的抒情和柔和。如果我們對巴克豪斯的評價僅僅源於他晚期在DECCA的那些錄音，那麼將會對他的藝術產生極大的誤解。 巴克豪斯的演奏對後輩的影響是很大的。年輕的波利尼將他視為最尊敬的鋼琴家之一，科瓦塞維奇稱他是“僅有的理解漢麥克拉維奏鳴曲的鋼琴家”。 鋼琴獅王巴克豪斯 一般人稱鋼琴為「樂器之王」，八十八個鍵盤卻可以營造出像管弦樂團一樣龐 大的氣勢，大作曲家李斯特便是一輩子不斷拓展鋼琴演奏的可能性，而貝多芬 的鋼琴奏鳴曲更是鋼琴音樂的顛峰之作。而自從現代大型平台鋼琴出現以後， 鋼琴的表現力更強。這次要介紹現場音樂會錄音的鋼琴家，正是被人形容是「鋼 琴獅王」的巴克豪斯。 巴克豪斯為何被稱作是「鋼琴獅王」呢？我們只要聽聽他演奏的音樂，相信各 位就聽得出來，除了演奏技巧的紮實以外，觸鍵力道雄渾有力，氣勢磅礡，才 是他最驚人的地方。而這種特質，恰巧在演奏貝多芬鋼琴鋼琴奏鳴曲最能發揮 得淋漓盡致。 其實，早在巴克豪斯之前，第一位錄製貝多芬鋼琴奏鳴曲貝多芬全集的鋼琴家 叫做陳ロB (Arthur Schnabel)，他在三０年代灌錄全世界第一套貝多芬鋼琴奏鳴曲全集。而巴克 豪斯則是在五、六０年代錄製下另一套經典，至今仍舊是釵h樂迷欣賞貝多芬 鋼琴奏鳴曲不可或缺的兩套典範。 回顧一下巴克豪斯的一生，他是在一八八四年出生於德國的萊比錫，十五歲的 時候便跟隨著當時著名的鋼琴家，同時也是李斯特的學生尤金•阿貝特學琴， 算來也是李斯特的徒孫。而讓他成名的一次演奏，是他在倫敦的音樂會，造成 非常大的轟動，消息傳回故鄉萊比錫，連當時的大指揮家尼基陶ㄕw排和他合 作，想想看，一位十六歲的年輕人，和一位連福特萬格勒都非常尊敬的前輩大 指揮家合作，那是一件都麼浪漫而且帶點傳奇的色彩；到了廿三歲，巴克豪斯 便擔任起音樂教授，是一位非常早熟的音樂家。以巴克豪斯學習音樂的年代， 他應該算是在浪漫派音樂的養分下滋養成長的，然而他卻不像浪漫派演奏家那 樣，經常在演出時任意更動作曲家的原譜（原譜被更動得最誇張的例子，最明 顯的就是布魯克納的交響曲，在十九世紀指揮家的指揮棒下，呈現出來的音樂。 有時連作曲家自己都認不得。）然而對巴克豪斯來說，他一輩子堅信，演奏家 只是偉大音樂的謙卑僕人，這一點，倒是和托斯卡尼尼的觀點很像。也因此， 巴克豪斯一輩子探究貝多芬的音樂，呈現出的深刻精神，才能夠歷久彌新，經得起考驗！ 不過對年輕的巴克豪斯來說，雖然他在歐洲、英國等，引起的迴響相當大。但 是後來他想前往美國發展，結果卻不順利，失敗得一大糊塗，他經常面對的是一排又一排空空曠曠的座位，也因此，往後廿八年間，他都不曾在美國的音樂 廳中出現。一直到一九五四年才再度應卡內基音樂廳的邀請，舉辦獨奏會，據 說觀眾爆滿，演出的曲目也是貝多芬。精彩的音樂和觀眾的熱情，透過這份錄 音，完完整整的保留下來。 而我們在欣賞巴克豪斯的演奏時，可以發現他的音樂一點也不華麗取巧，就如 同他所說的，演奏家所扮演的角色，就是作為作曲家和聽眾之間的橋樑。透過 巴克豪斯，我們聽到的，是作曲家的心聲，而不是演奏家加料過後的音樂。這 份忠於原作的精神，就像他對音樂的執著----一九六九年的最後一場音樂會上， 抱重病演出，連坐在琴椅上都顯得吃力，但是他卻堅持把音樂會演奏結束，一 星期後，巴克豪斯去世----生於舞台，死於舞台，是釵h音樂家的生命態度， 卡拉揚曾經如此期待，巴克豪斯也一樣！ 我們不是很容易就找到巴克豪斯多年屹立於世界藝術之林頂峰的原因，但是有一些細節可以供我們深思。在他最後的那些日子堶情A他和維也納愛樂樂團演出完一場音樂會，觀眾甚至樂隊的隊員報以雷鳴般的掌聲。他卻滿臉困惑地說：“現在我回到我生命的起點。當我12歲站在舞臺上，所有人都告訴我，你正處在大量思考的年紀。現在，你們所有的人也都告訴了我同樣的話。”巴克豪斯重來沒有倚重他的天賦。傳聞，在他家堙A掛著一幅非常憂鬱的礦工的油畫。每當問起為什麼他會掛這樣一幅憂鬱的畫在家時，他回答：“每次我看到這畫，我知道我怎麼辛苦也不如他。”還有，當問起他擁有完美技巧的訣竅時，他說：“只有音階。音階加開始。” 貝多芬的鋼琴奏鳴曲與巴哈的平均律並稱鋼琴曲的新、舊約聖經，其中貝多芬的作品更涵括了他創作歷程的每個時期，成就至今無人能超越。大師的演奏自然感人，綿密緊湊，兼顧了知性與感情的特質，本集不但選錄了貝多芬最著名的奏鳴曲，如「月光」、「熱情」、「華倫斯坦」等，更是日本唱片藝術三百首名曲所極力推薦的歷史名盤 貝多芬鋼琴奏鳴曲序論 德國鋼琴家漢斯凡畢羅(Hans von Bulow 1830~1894)奉貝多芬鋼琴奏鳴曲為音樂的新約聖經，巴哈的平均律是舊約聖經，由此可看出他的重要性。 巴哈和貝多芬是學音樂者不可忽略的一環。無論小學，大學，甚至研究所的考試，多會規定一定要彈巴哈或貝多芬的作品，一個鋼琴家的奶O有多深厚，一聽就見真章了。從小學就開始彈，練了十幾年仍需要考，甚至到老還在鑽研，足見作品的難度。 I have struggled mightily to find words to describe Backhaus's interpretation of the Beethoven PIano Sonatas. The effort has not been helped by reading various online reviews that curiously describe Backhaus's playing as "calm", "restrained", "monochromatic", even "bland". Some cite his "dry directness" and "lack of emotion". As poorly as these words and phrases describe Backhaus, the one descriptor that annoys me the most is "granitic". Reviewers and critics who use this term may be referring to a sort of authority that is indeed present, but "granitic" to me implies a sort of inflexibility, lifelessness, and weightiness that simply isn't borne out by the experience of listening. So, while I am unprepared to say what Backhaus's playing is, I am happy to say that it is not "dry" or "restrained" or "calm" or "monochromatic". And it is certainly not "granitic". Just compare the 4th movement of the Pastoral sonata as played by Backhaus with any number of other recordings. Backhaus's treatment is playful and good-humored whereas most interpretations come off as far more structured, classical, or even (as in the case of Ashkenazy) plodding. It is (here and elsewhere) as if Backhaus has been influenced by Jazz (so natural as to seem improvised) or by Post-Impressionism (reminiscent of Van Gogh's Starry Night, Backhaus paints with broad strokes and great swirls of color and movement, not abstract but certainly not literal). Backhaus doesn't just play the notes, he unfurls a great canvas full of color, movement, and vibrancy, leaving the listener with an indelible impression of each piece in its entirety. Reviewers too often describe this as an understanding of the "architecture" of the sonatas, which to me again invokes images of blueprints and sliderules (more appropriate to Gulda), not the color and fluidity that I hear and feel in these performances. Backhaus can be aggressive (witness the third movement of the Tempest) without resorting to savagery, and he can be gracefully lyrical (listen to his Andante from the Cuckoo Sonata). His play seems to me generally "masculine" -- but then so does Annie Fischer's. One senses in Backhaus's playing a love for this body of work that could easily cause Backhaus to stray into subjectivity and bombast, but a simultaneous respect for Beethoven's ideas that yields an always exciting (and occasionally mind-blowing) dynamic tension. Simply put, these performances seem completely natural, never punctilious or deliberate or even careful. They are full of the confidence that comes only with experience. They just sound right. Remember, these 1960's performances are the work of a man who was born in 1884 and who made his first recording in 1907. Backhaus was Schnabel's contemporary, born just two years after the legendary pianist but surviving him by eighteen years -- a period that happily intersects with the advent of high fidelity stereo. We are fortunate that Backhaus lived and performed long enough to re-record all but one of the sonatas (the Hammerklavier) with the new technology, so what we have in this set is a serendipitous hi-fi glimpse of a prolific performer with 19th century roots and a ton of 20th century experience. Despite our good fortune, Backhaus has remained relatively obscure compared to Schnabel, though his interpretations are (to my ear, at least) at least as worthy of our attention and praise. In fact, when Backhaus died in 1969, Time Magazine referred to him as "the century's foremost interpreter of Beethoven." The sound is quite good throughout the set, slightly dated only on the mono Hammerklavier. The Bosendorfer adds depth and breadth to Backhaus's characteristic richness of tone. I own or have owned complete cycles by Annie Fischer, Gulda (who seems to me the anti-Backhaus), Kempff, and Schnabel, and numerous individual performances from Ashkenazy, Pollini, Gieseking, Rubinstein, and Solomon. If one accepts that record labels do not wantonly immortalize the playing of hacks, then each of these players must have something worthwhile to say. Annie Fischer's wonderful set is currently my second choice, with Kempff a close third, and I will continue to explore other interpretactions. But I am reasonably confident that no one will ever displace Backhaus as the premier interpreter in my collection, and the most consistently satisfying. Please don't miss the collection of his Brahm's piano concertos and sonatas playing as well. A must for every pianist lovers! George1977  |
george1977 正式會員 203.xxx.xxx.94 |
2007-07-18 17:24 |
| [#6681] Backhaus's Beethoven piano sonatas Try to post the cover again!  |
george1977 正式會員 203.xxx.xxx.94 |
2007-07-18 17:27 |
| [#6682] Backhaus's Beethoven piano sonatas Hello George1977, Many thanks for your essay. I've read it with great interest, and will certainly re-listen to the Backhaus Beethoven piano sonatas that I have, with your words in mind. Backhaus's Beethoven Piano Concerto No.4 (r.1962) is one of his finest Beethoven recordings. This is a reading of immense freshness and poetry, despite the pianist's sphinx-like expression. Thank you again George. I am sure we all hope you would write a great deal more soon.  |
trollope 正式會員 202.xxx.xxx.133 |
2007-07-18 19:56 |
| [#6683] Backhaus's Beethoven piano Concertos Thanks trollope & George for those inputs! My limited collection of Backhaus. Reissued 2004 Recorded 1958-1959 Hans Schmidt-Isserstedt Vienna Philharmonic Orchestra Decca uccd-9164-9166  |
trazom 正式會員 203.xxx.xxx.57 |
2007-07-18 21:48 |
| [#6684] Backhaus's Beethoven piano Concertos Dear Trollope & Trazom Thanks for your photos, Trazom! Where did you get this japanese version of Backhaus CDs? Never seen before in HK. I just have the old german-made CDs and one Japanese paper sleeve CD (just bought it last month) for Beethoven Piano Concertos No.4 & 5, what an awesome performance. George1977 |
george1977 正式會員 203.xxx.xxx.127 |
2007-07-18 23:22 |
| [#6685] Backhaus's Beethoven piano sonatas hi trollope, yes, that's the entry set that i have in mind as well. will also try gilels. |
wal 正式會員 203.xxx.xxx.207 |
2007-07-19 01:04 |
| [#6686] Backhaus's Beethoven piano sonatas Hi Wal, will also try gilels ＞ The 9-CD set? Or Nos. 28 & 29 in "The Originals" series? Or, consider these 2nd hand CDs, which I saw at "Collectables" in Central this afternoon: DG's "Galleria" series - Nos. 27, 28, 30, & 31 ($48) DG's "Beethoven Masterpieces" series - Nos. 13, 21, 23 ($55) Not cheap at all though. Good luck then. |
trollope 正式會員 202.xxx.xxx.133 |
2007-07-19 18:14 |
| [#6687] Seiji Ozawa Sometimes I cannot help wondering whether he will be remembered as a conductor associated chiefly with dramatic programme music.  |
trollope 正式會員 202.xxx.xxx.133 |
2007-07-23 00:50 |
| [#6688] Seiji Ozawa Totally agree! |
trazom 正式會員 203.xxx.xxx.242 |
2007-07-23 01:26 |
| [#6689] Seiji Ozawa Totally agree! from Decca  |
trazom 正式會員 203.xxx.xxx.242 |
2007-07-23 01:27 |
| [#6690] beethovens sonaten hello trollope, yes i am aware of the recent generous sale of the 'originals'. gilels's playing 28 + 29 is one of them, but alas there's no bargain albums of the famous and titled ones. right now i may not be so generous to treat myself a complete set ... |
wal 正式會員 219.xxx.xxx.84 |
2007-07-25 13:15 |
| [#6691] Sa Chen Recital (NYC) 21/07/2007 Sa Chen Recital Mannes College of Music Mannes' mammoth International Keyboard Festival comprises the "Prestige" series at 6 pm and the "Masters" series at 8 pm. Some of the names I recognize: Boris Giltburg, Olga kern, Eteri Andjaparidze, Matti Raekallio, Michel Beroff, Marc-Andre Hamelin. Sa Chen's recital is part of the former series. The auditorium has excellent acoustics, seats about 300 and is filled by mostly teachers, students and insiders. Admission is a reasonable $20, with student discount available. Programme opens with 2 Inspirations from Chinese Paintings. Sa Chen colors the Impressionistic first beautifully and showcases her considerable power in the Stravinsky-like second. Commendably, her ferocious attacks always sound musical, never brittle. In Bach's French Suite No. 5, BWV 816, Sa Chen delivery is astonishingly mature, well-colored and well-balanced between illuminations of counterpoint and pointing of the dance rhythms. It is rare one hears Bach as fluid, rich and entertaining. I am truly impressed. The ensuing Beethoven Op 31/2 fares not as well. Sa Chen takes the nickname "Tempest" literally, tearing into the piano at many points with little inhibition, resulting in a reading that lacks balance and repose. After the intermission comes another contemporary piece, one Sebastien Currier's somewhat pretentiously named "Scarlatti Cadenzas and Brain Storm". One does recognize fragments of the old master, but it is mostly modern deconstruction, very well characterized by Sa Chen. Chopin's Bacarolle and Scherzo No. 3 receive bold readings. Sa Chen's tempestuous quality is never boring, and she makes a great case for modern works. I suspect she will make a great player of the Impressionists and "moderns". But she knows enough to temper her Bach. A little more dynamic gradation and temperamental control will not be amiss for composers who came in between. As a whole, she's never boring and I look forward to hearing her again.  |
doctorjohn 正式會員 207.xxx.xxx.253 |
2007-07-26 06:34 |
| [#6692] Brahms Violin Concerto I consider this 1990 recording on LP media a rare item. And it is the slowest Brahms violin Concerto (1st movement) I've encountered. Below is extracted from http://mypaper.pchome.com.tw/news/lhcgoson/3/1289658034/20070630003848/ 第一樂章往往是眾多版本之中, 演奏速度分野最大的一個樂章 (很快的有Jascha Heifetz一九七四年錄音的18:55, 很慢的有Nigel Kennedy一九九零年錄音的26:17, 而大部分錄音都是徘迴於二十一至二十三分鐘).  |
erictang 正式會員 219.xxx.xxx.155 |
2007-08-01 00:30 |
| [#6693] Brahms Violin Concerto hello eric, my all-time favourite of this piece will be ... Klemperer + Oistrakh the other stereo recording with Szell on EMI is a bit too much 'speedy' (perhaps because of Szell) for me.  |
wal 正式會員 219.xxx.xxx.108 |
2007-08-05 00:21 |
| [#6694] Brahms Violin Concerto My favourite too.  |
erictang 正式會員 219.xxx.xxx.155 |
2007-08-07 00:52 |
| [#6695] CDs from Milan & Paris 1 Here are some of the CDs I bought during the last two weeks. Comments & opinions are most welcome. Thanks. David Oistriakh (violin) / Sviatoslav Knushevitzky (cello) / Lev Oborin (piano) Preiser PR90596: AAD (mono) 2004 Intimate and ravishingly beautiful readings, with each player matching the glories of the others. No information is given on the recording dates. Surface hiss is never obtrusive, and so the music is heard clear and full.  |
trollope 正式會員 202.xxx.xxx.133 |
2007-08-09 15:31 |
| [#6696] CDs from Milan & Paris 2 Bach: English Suite No. 6, BWV 811 / French Suite No. 5, BWV 816 / Prelude & Fugue, BWV 860 / Prelude & Fugue, BWV 94 Haydn: Fantasia in C major, Hob. XVII: 4 / Anadante con variazioni in F minor, Hob. XVII: 6 / Piano Sonata in E minor, Hob. XVI: 34 Wilhelm Backhaus [1956 & 1957] One need have no qualms about the sound quality, even in mono (or limited stereo, not sure) it is beautifully open and immediate. About the playing: a great deal of heart and soul underneath the unsmiling granite. A great disc, released in 1992.  |
trollope 正式會員 202.xxx.xxx.133 |
2007-08-09 15:33 |
| [#6697] CDs from Milan & Paris 3 Gershwin: Porgy and Bess Ella Fitzgerald / Louis Armstrong / Russell Garcia Orchestra [1957] Perhaps a CD for fans of the two giants (but are they a bit unrelaxed here I wonder) rather than Gershwin's work. Good remastering.  |
trollope 正式會員 202.xxx.xxx.133 |
2007-08-09 15:34 |
| [#6698] CDs from Milan & Paris 4 Wilhelm Kempff Plays Bach (arr. Kempff): Transcriptions for Piano This French DG Double have remained my desert island discs since I bought them twelve years ago. For some years I have been trying in vain to get another pair, in case they get damaged or lost. My prayer is now answered.  |
trollope 正式會員 202.xxx.xxx.133 |
2007-08-09 15:36 |
