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# Copyright (C) 1993-1999  Ti Kan
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# Disc length: 3809 seconds
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# Revision: 8
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DISCID=ae0edf0d,af0edf0d
DTITLE=Evgeny Kissin / Bach, Beethoven, Schumann
TTITLE0=Bach/Busoni: Chaconne in D minor
TTITLE1=Beethoven: Rondo, Op. 51 no. 2 in G
TTITLE2=Beethoven: Rondo a capriccio (Rage over a Lost Penny)
TTITLE3=Schumann: Kreisleriana: uerst bewegt
TTITLE4=Schumann: Kreisleriana: Sehr innig und nicht zu rasch
TTITLE5=Schumann: Kreisleriana: Intermezzo I
TTITLE6=Schumann: Kreisleriana: Intermezzo II
TTITLE7=Schumann: Kreisleriana: Sehr aufgeregt; Etwas langsamer
TTITLE8=Schumann: Kreisleriana: Sehr langsam; Etwas bewegter
TTITLE9=Schumann: Kreisleriana: Sehr lebhaft
TTITLE10=Schumann: Kreisleriana: Sehr rasch; Etwas bewegter
TTITLE11=Schumann: Kreisleriana: Sehr rasch; Noch schneller
TTITLE12=Schumann: Kreisleriana: Schnell und spielend
EXTD=Bach/Busoni: Chaconne\nBeethoven: Rondo op.51 no.2\nBeethoven: Ron
EXTD=do a capriccio, op.129\nSchumann: Kreisleriana, op.16\n\nEvgeny Kis
EXTD=sin, piano\nSteinway piano from PianoHaus Lepthien, Freiburg, cou
EXTD=rtesy Sdwestfunk\n\nRCA Red Seal 09266-8911-2\n\nFrom the booklet:\n
EXTD=\nThe four works heard in Evgeny Kissin's harmonious but diverse 
EXTD=recital program\nhave little in common except for their longstand
EXTD=ing centrality in the affections of\npianists and music lovers - 
EXTD=but that connection is, of course, its own raison d'tre.\n\n...\n\n
EXTD=Evgeny Kissin was born in Moscow in October 1971 and began to pl
EXTD=ay and\nimprovise on the piano at the age of two. At six, he ente
EXTD=red the Moscow Gnessin\nSchool of Music where he was a student of
EXTD= Anna Pavlovna Kantor, with whom he\ncontinues his studies to thi
EXTD=s day. Kissin came to international attention in March\n1984 when
EXTD=, at age 12, he performed the two Chopin Concerti in the Great H
EXTD=all of\nthe Moscow Conservatory with the Moscow State Philharmoni
EXTD=c under the direction\nof Dmitri Kitaenko. He made his western Eu
EXTD=ropean debut in 1987 at the Berlin\nFestival and has subsequently
EXTD= concertized widely throughout Europe to sold-out\nhouses. Kissin
EXTD='s first appearances in the U.S. took place in the autumn of 199
EXTD=0\nwhen, within 10 days, he performed the two Chopin Concerti wit
EXTD=h the New York\nPhilharmonic under Zubin Mehta and gave the first
EXTD= recital of Carnegie Hall's\ncentenary season. This sold-out Carn
EXTD=egie Hall recital debut was recorded live\nfrom RCA Red Seal and 
EXTD=was subsequently nominated for a Grammy award. Kissin\nhas since 
EXTD=performed with the Vienna Philharmonic, Amsterdam's Concertgebou
EXTD=w,\nthe Bavarian Radio Symphony Orchestra, London's Philharmonia 
EXTD=and the Symphony\nOrchestras of London, Paris, Chicago, Cleveland
EXTD=, Boston and Philadelphia, under\nsuch notable conductors as Ashk
EXTD=enazy, Barenboim, Dohnnyi, Gergiev, Guilini,\nLevine, Muti, Ozaw
EXTD=a, Rostropovich, Solti, Spikakov, Svetlanov and Ternirkanov.\nAmo
EXTD=ng the numeros awards that Kissin has received are the 1997 Triu
EXTD=mph\nPrizes (Russia's highest cultural honor), Musical America's 
EXTD=1995 Instrumentalist\nof the Year, the 1994 Grand Prix of La Nouv
EXTD=elle Acadmie du Disque in Paris,\n1991 Musician of the Year from
EXTD= the Chigiana Academy (Siena, Italy) and Holland's\nEdison Klassi
EXTD=ek in 1990. His televised appearances include a December 1988 de
EXTD=but\nwith the Berlin Philharmonic and von Karajan in the Tchaikov
EXTD=sky Concerto, and a\n1991 appearance in Beethoven's "Choral Fanta
EXTD=sy" with the Berlin Philharmonic\nunder Claudio Abbado. In August
EXTD= of 1997, Kissin performed the first solo recital in\nthe 103-yea
EXTD=r history of the Proms at the Royal Albert Hall in London.
EXTT0=Ferrucio Busoni (1866-1924):\n\nChaconne in D Minor, arr. from J.S
EXTT0=.Bach's Partita No.2\nfor Violin solo, BWV 1004\n\nA half century a
EXTT0=go, the world's concert halls resounded with\nthe resplendent sou
EXTT0=nds of Bach-Busoni, Bach-Stokowski\nand a spate of other "hyphena
EXTT0=ted composers." Today their\narrangements are looked upon with di
EXTT0=favor by purists, but\nthe prevalling dogmatism should at least b
EXTT0=e questioned: we\ntend to forget that the art of arrangement is a
EXTT0= time-honored\nphenomenon; Bach himself recast six of Vivaldi's c
EXTT0=oncertos\nas keyboard vehicles, Mozart updated Hndel's Messiah,\n
EXTT0=and so forth all the way of Rachmaninoff's piano versions of\nhis
EXTT0= friend Fritz Kreisler's violin favorites. The issue, then, is\nn
EXTT0=ot that Busoni et al arranged, but rather how they went\nabout th
EXTT0=eur task.\nAgain, the issue of stylistic perception comes to the 
EXTT0=form,\nand it should be remembered that Busoni and Stokowski\nboth
EXTT0= came from a heritage that glamorized its recreative\nartists alm
EXTT0=ost as much as its creative ones. Busoni's\nresourceful recasting
EXTT0= of the great D minor Chaconne for\nunaccompanied violin as a pia
EXTT0=nistic tour de force provides\nan intriguing glimps into the man'
EXTT0=s musical mind; that glimpse\nis made more intriguing still by a 
EXTT0=comparision with the\nkeyboard version of the same piece by anoth
EXTT0=er musician of\nnote, Johannes Brahms. Brahms and Busoni both rev
EXTT0=ered\nBach, of that there can be no doubt -- the Finale of the\nE 
EXTT0=minor Symphony and the structuring of Busoni's concert\nrepertory
EXTT0= attest to that unmistakably -- but one was an ascetic,\nthe othe
EXTT0=r a hedonist.\nIt is no coincidence that Brahms's version is scor
EXTT0=ed for the\nleft hand alone, since that is how he closely approxi
EXTT0=mates\nthe technical format of the original; indeed, he comes\nrem
EXTT0=arkably close -- as close as a late 19th-century\ncomposer could 
EXTT0=-- to the essence of Bach's time.\n(Stravinsky and Hindemith, in 
EXTT0=the 20th century, came closer\nstill, but that is another story.)
EXTT0= Busoni, in sharpest contrast,\nthinks not of a lone fiddle but o
EXTT0=f a lavish organ with unlimited\ntonal resources. I personally fe
EXTT0=el that the sheer intricacy of\ndetail, the full-blown textures a
EXTT0=nd the prismatic shifts of tone\ncolor make the music's monumenta
EXTT0=l scope less austere, but\nthis is a purely subjective reaction. 
EXTT0=By any reasonable\nassessment, Busoni realized his transplant wit
EXTT0=h sublime\ncraftsmanship.\n\n- Harris Goldsmith
EXTT1=Ludwig van Beethoven (1770-1827):\nRondo, Op.51, No.2 in G major\n
EXTT1=\nBeethoven's G major Rondo is, with a C major companion,\nthe sec
EXTT1=ond of two graceful compositions published as\nOp. 51 and conject
EXTT1=ured to have been composed between\n1796 and 1798. Those with rea
EXTT1=sonable familiarity with\nBeethoven's legacy might mistake them f
EXTT1=or the composer's\n"Middle Period," the time of the "Waldstein" a
EXTT1=nd\n"Appassionata" sonatas. But, as is quite clear from their\ncon
EXTT1=tent, decorative style and emotional persona, they are\nvery obvi
EXTT1=ously stylistically of the master's earlier creativity\nand, like
EXTT1= the two easy sonatats, Op. 49 Nos. 1 and 2, they\nowe their dece
EXTT1=ptively high opus numbers to their belated\npublication dates.\n\n-
EXTT1= Harris Goldsmith
EXTT2=Ludwig van Beethoven (1770-1827):\nRondo a capriccio, Op. 129\n"Ra
EXTT2=ge over a Lost Penny"\n\nIf the New Grove Dictionary and other sch
EXTT2=olarly sources are\naccepted as authentic, the so-called "Rage Ov
EXTT2=erf a Lost\nPenny," otherwise known as the Rondo a capriccio, act
EXTT2=ually\npredates Op. 51 and bears a conjectural date of 1795. But,
EXTT2=\nindeed, if this scurrying, breathlessly virtuosic and lovably\nr
EXTT2=oguish tour de force was composed earlier, this writer feels\nobl
EXTT2=iged to report myriad stylistic aspects that strongly resemble\n-
EXTT2=- or at the very least anticipate -- the innovative pianistic\nan
EXTT2=d harmonic demands of the echt "Late Beethoven" (i.e. of\nthe las
EXTT2=t piano sonatas and the cryptic bagatelles of Opp. 119\nand 126).
EXTT2= Be that as it may, Beethoven's ingenious inclination\nto put his
EXTT2= seemingly guileless rondo theme through its frantic\npaces is au
EXTT2=daciously amazing, and I contend that certain\nnoteworthy feature
EXTT2=s -- such as the filigree at the end --\nlook ahead to (but to na
EXTT2=me just two examples) analogous\nconfigurations and pianistic flo
EXTT2=urishes parallel to ones\nencountered in  Chopin's F major Etude,
EXTT2= Op. 10 No. 8 and\nto the final flourishes of Traumeswirren from 
EXTT2=Schumann's\nOp. 12 Fantasiestcke. "Early Beethoven" indeed!\n\n- H
EXTT2=arris Goldsmith
EXTT3=Robert Schumann (1810-1856):\nKreisleriana, Op.16\n\nKreisleriana, 
EXTT3=indisputably one of its composer's richest and\nmost personal cre
EXTT3=ations, draws its name and inspiration from\nthe fictional, eccen
EXTT3=tric Kapellmeister, Johannes Kreisler,\nwho was the German noveli
EXTT3=st E.T.A. Hoffman's alter ego.\nHoffman (who likewise found poste
EXTT3=rity in Jacques Offenbach's\nopera Les Contes d'Hoffmann), write 
EXTT3=a highly autobiographical\nwork Lebens-Ansichten des Katers Murr 
EXTT3=(The Life and\nOpinions of Kater Murr), which also contains a "Fr
EXTT3=agmentary\nBiography of Kapellmeister Johannes Kreisler." In June
EXTT3= 1831,\nSchumann wrote in his diary, "One hardly dare breathe whe
EXTT3=n\nreading Hoffmann" and seven years later, in virtual white\nheat
EXTT3=e, the composer paid inspired tribute to Hoffmann and his\nquirky
EXTT3= "doppelgnger".\nThe magnificent suite takes the form of eight f
EXTT3=antasies, all\nwidely contrasted in tempo and mood, and mutually 
EXTT3=co-\ndependent (one cannot, as in Schumann's aforementioned\nFanta
EXTT3=siestcke, Op. 12, play them as fragments). The first\npiece -- E
EXTT3=xtremely quickly -- is a soaring, swirling,\nascending tonal port
EXTT3=rait of Kappellmeister Kreisler as\nperceived by Schumann. The se
EXTT3=cond piece -- With deepest\nfeeling, and not too quickly -- is ba
EXTT3=sed upon a tender melody\nwhich is, after two contrasing intermez
EXTT3=zi, developed upon\nand, after a poignant modulation, finally res
EXTT3=olved. The third\npiece -- Very agitated, a little more slowly; t
EXTT3=empo one; even\nfaster -- and its immediate aftermath -- Very slo
EXTT3=wly; a little\nmore quickly; tempo one -- heralds a fifht section
EXTT3= -- Very\nlively -- which is another essay in impetuosity. The si
EXTT3=xth\nsection -- Very slowly; a little more quickly; temp one --\nb
EXTT3=egins with a reference to the aria "Ombra adorata" and then\ntake
EXTT3=s the shape of a recitative. Interestingly, toward the end,\nther
EXTT3=e is a close reference to the swqying "hobby horse"\nmotion of Ch
EXTT3=opin's Ballade No. 3 in A-Flat, Op. 47. The\npenultimate section 
EXTT3=-- Very swiftly; even faster; a little more\nslowly -- is a drivi
EXTT3=ng, even reckless, hurtling vortex, replete\nwith contrapuntal de
EXTT3=tail. Its frenzy, almost without warning,\nrelaxes its propelling
EXTT3= gears with a final, touching epilogue\nthat is in fact a transfo
EXTT3=rmation of the thematic material. A\nwistful conclusion is then p
EXTT3=rovided by the final eighth\nmovement -- Fast and playfully. Schu
EXTT3=mann's delightfully\n"misplaced" bass notes impart an element of 
EXTT3=quirky humor\n(another aspect of the idiosyncratic Herr Kreisler)
EXTT3=.\n\n- Harris Goldsmith
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