鋼琴大師肯普夫1923~1925年柏林錄音全集 / 包含多首貝多芬鋼琴奏鳴曲與鋼琴協奏曲錄音 (3CD)

一代鋼琴大師肯普夫在加盟DG後發行了無數錄音,一而再再而三的再版發行.但其實大師早在年輕時候就已經有著非常成熟的琴藝與輝煌的演奏經歷.這套1923~1925年大師在柏林留下的錄音全集經由Marston的細心整理與轉錄後終於以3CD發行.收錄大量貝多芬的曲目,包含鋼琴奏鳴曲第8,12,14,21,23,26,27,28號鋼琴奏鳴曲,以及第一號鋼琴協奏曲. 欣賞大師早年琴藝的一套夢幻發行!
 
Marston唱片公司以珍藏的寶貴音源,發行多套向偉大大師致敬的夢幻專輯.音源轉錄皆由歷史錄音轉錄的世界第一把交椅Ward Marston親自操刀.聲音生動且保有該有的細節.加上所有發行都是限量發行1000套.完售後不再重製.因此每套發行都極具收藏價值.此外每一套發行皆附上數十頁的解說冊.珍貴的紀載了音樂家的風格解說與生涯歷程.非常精心企畫的精品級發行!
 
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.
 
曲目:
CD1:
Bach: Prelude and Fugue in C-sharp, No. 3 from The Well-Tempered Clavier, Book 1
Bach: Prelude and Fugue in D, No. 5 from The Well-Tempered Clavier, Book 1
Bach: Presto, Third Movement from Italian Concerto in F, BWV 971
Bach-Kempff: Sinfonia from Cantata BWV 29
Bach-Kempff: Sicilienne from Sonata for Flute and Klavier in E-flat, BWV 1031
Gluck-Brahms: Gavotte from IPHIGÉNIE EN AULIDE
Beethoven: Sonata No. 8 in C Minor, Op. 13, “Pathétique”
Beethoven: Sonata No. 12 in A-flat, Op. 26
Beethoven: Sonata No. 14 in C-sharp Minor, Op. 27, No. 2, “Moonlight”
 
CD2:
Beethoven: Bagatelle in C, Op. 33, No. 5
Beethoven: Rondo in G, Op. 51, No. 2
Beethoven: Sonata No. 21 in C, Op. 53, “Waldstein”
Beethoven: Sonata No. 23 in F Minor, Op. 57, “Appassionata”
Beethoven: Sonata No. 26 in E-flat, Op. 81a, “Les Adieux”
Beethoven: Sonata No. 27 in E Minor, Op. 90
 
CD3:
Beethoven: Sonata No. 28 in A, Op. 101
Beethoven: Ecossaises in E-flat, WoO 86
Beethoven: Concerto No. 1 in C, Op. 15
Mendelssohn: Scherzo in E Minor, Op. 16, No. 2
Mendelssohn: Song Without Words, Op. 102, No. 5
Mendelssohn: Song Without Words, Op. 102, No. 6
Schumann: Toccata in C, Op. 7
Brahms: Rhapsody in E-flat, Op. 119, No. 4