Ludwig van Beethoven – Piano Concertos Nos. 1-5
Wilhelm Kempff, Berliner Philharmoniker, Ferdinand Leitner
Формат записи/Источник записи: [SACD-R][OF]
Наличие водяных знаков: Нет
Год издания/переиздания диска: 1961/2019
Жанр: Classical/Orchestral/Piano
Издатель (лейбл): Deutsche Grammophon Japan
Продолжительность: 02:51:03
Наличие сканов в содержимом раздачи: Только обложка альбомаТреклист:
DISC 1:
Piano Concerto No.1 in C major, Op.15
1.01 Allegro con brio – Cadenza: Beethoven/Wilhelm Kempff 14:32
1.02 Largo 12:06
1.03 Rondo. Allegro scherzando – Cadenza: Wilhelm Kempff 9:36
Piano Concerto No.5 In E Flat Major Op.73 -“Emperor”
1.04 Allegro 20:18
1.05 Adagio un poco mosso 7:35
1.06 Rondo (Allegro) 10:42
DISC 2:
Piano Concerto No.2 in B flat major, Op.19
2.01. Allegro con brio – Cadenza: Wilhelm Kempff 13:14
2.02. Adagio 9:02
2.03. Rondo (Molto allegro) 6:28
Piano Concerto No.3 in C minor, Op.37
2.04. Allegro con brio 16:13
2.05 Largo 9:00
2.06 Rondo. Allegro – Cadenza: Wilhelm Kempff 9:37
Piano Concerto No.4 In G major, Op.58
2.07. Allegro moderato 17:17
2.08. Andante con moto 4:50
2.09 Rondo. Vivace 10:32Musicians:
Wilhelm Kempff, piano
Berliner Philharmoniker
Ferdinand Leitner, conductingКонтейнер: ISO (*.iso)
Тип рипа: image
Разрядность: 64(2,8 MHz/1 Bit)
Формат: DSD
Количество каналов: 2.0Доп. информация: 2-disc SHM-SACD DGG Universal Music Japan UCGG-9158/9159 (2019)
SACD-rip via Cambridge Audio CXU to iso (2.99 & 3.85 GB)
Источник (релизер): AnnabelLee (PS³SACD) https://www.amazon.com/Beethoven-Concertos-SHM-CD-Wilhelm-Kempff/dp/B07XN49PH5 https://www.musicjapanet.com/Music/Product/Wilhelm-Kempff-Beethoven-Piano-SACD-4988031354865
Лог DR
foobar2000 1.5.5 / Dynamic Range Meter 1.1.1
log date: 2020-07-10 16:07:34
--------------------------------------------------------------------------------
Analyzed: Wilhelm Kempff / Beethoven: Piano Concertos
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DR Peak RMS Duration Track
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DR11 -6.85 dB -22.71 dB 14:32 01-Beethoven: Piano Concerto No.1 in C major, Op.15: 1. Allegro con brio - Cadenza: Beethoven/Wilhelm Kempff
DR14 -8.38 dB -27.63 dB 12:06 02-Beethoven: Piano Concerto No.1 in C major, Op.15: 2. Largo
DR10 -6.86 dB -22.42 dB 9:36 03-Beethoven: Piano Concerto No.1 in C major, Op.15: 3. Rondo. Allegro scherzando - Cadenza: Wilhelm Kempff
DR10 -6.85 dB -21.16 dB 20:18 04-Beethoven: Piano Concerto No.5 In E Flat Major Op.73 -"Emperor": 1. Allegro
DR14 -7.78 dB -26.88 dB 7:35 05-Beethoven: Piano Concerto No.5 In E Flat Major Op.73 -"Emperor": 2. Adagio un poco mosso
DR10 -6.85 dB -20.06 dB 10:42 06-Beethoven: Piano Concerto No.5 In E Flat Major Op.73 -"Emperor": 3. Rondo (Allegro)
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Number of tracks: 6
Official DR value: DR11
Samplerate: 2822400 Hz / PCM Samplerate: 88200 Hz
Channels: 2
Bits per sample: 1
Bitrate: 5645 kbps
Codec: DSD64
================================================================================
foobar2000 1.5.5 / Dynamic Range Meter 1.1.1
log date: 2020-07-10 16:12:33
--------------------------------------------------------------------------------
Analyzed: Wilhelm Kempff / Beethoven: Piano Concertos
--------------------------------------------------------------------------------
DR Peak RMS Duration Track
--------------------------------------------------------------------------------
DR13 -6.85 dB -24.28 dB 13:14 01-Beethoven: Piano Concerto No.2 in B flat major, Op.19: 1. Allegro con brio - Cadenza: Wilhelm Kempff
DR11 -7.06 dB -24.22 dB 9:02 02-Beethoven: Piano Concerto No.2 in B flat major, Op.19: 2. Adagio
DR10 -6.85 dB -21.79 dB 6:28 03-Beethoven: Piano Concerto No.2 in B flat major, Op.19: 3. Rondo (Molto allegro)
DR11 -6.84 dB -22.89 dB 16:13 04-Beethoven: Piano Concerto No.3 in C minor, Op.37: 1. Allegro con brio
DR12 -7.33 dB -24.67 dB 9:00 05-Beethoven: Piano Concerto No.3 in C minor, Op.37: 2. Largo
DR10 -6.85 dB -22.22 dB 9:37 06-Beethoven: Piano Concerto No.3 in C minor, Op.37: 3. Rondo. Allegro - Cadenza: Wilhelm Kempff
DR11 -7.56 dB -24.05 dB 17:17 07-Beethoven: Piano Concerto No.4 In G, Op.58: 1. Allegro moderato
DR11 -8.81 dB -27.11 dB 4:50 08-Beethoven: Piano Concerto No. 4 in G Major, Op. 58: 2. Andante con moto
DR11 -6.85 dB -22.74 dB 10:32 09-Beethoven: Piano Concerto No.4 In G, Op.58: 3. Rondo. Vivace
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Number of tracks: 9
Official DR value: DR11
Samplerate: 2822400 Hz / PCM Samplerate: 88200 Hz
Channels: 2
Bits per sample: 1
Bitrate: 5645 kbps
Codec: DSD64
================================================================================
Об альбоме (сборнике)
Wilhem Kempff has without doubt been regarded as one of the great pianists of the middle and latter part of the 20th century. Although not escaping the prevalent trend to be pigeon-holed into particular repertoire ... one thinks of Schubert, Schumann and Beethoven for example ....his particular strength of pellucid tone-colouring enhanced many works and much repertoire.
He recorded the Beethoven concertos twice complete, in the 1950s and early 1960s, as well as 78s of the last three concertos in the late 1940s. On all three occasions the recording company was the same, Deutsche Grammophon.
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Wilhelm Kempff had a long career which blossomed through two decades after the deaths of Artur Schnabel and Edwin Fischer in the 1950s. Yet he never carried the flame for the Austro-German repertory quite as they did, or as Alfred Brendel has done in our own time. Earlier he had worked with such conductors as Nikisch and Furtwängler, but among celebrated German players who were reestablishing themselves after World War II the brilliant and mercurial Gieseking and the ever reliable Backhaus were often preferred to him. Kempff was not renowned for reliability. As he admitted, there were times in his life when he was a casual worker and should have practised more.
In fact, he was very much his own man, enriching the tradition which had nurtured and nourished him in often surprising ways. You could never mistake him – his luminous sound was instantly recognisable – but he was variable and unpredictable. Above all he was spontaneous. He played a great deal and liked recording, but in an age which came to put such value on high polish he was sometimes undervalued. In his youth he had been quite dashing, but there is agreement that the full distinction of his musical personality emerged only in the 1950s, in his middle age. In Germany it was really only in his later years that he was venerated. Alfred Brendel told me that the critics had sometimes given him quite a hard time – that was the case in this country too. It was as though his face didn’t quite fit. As Yehudi Menuhin, one of his partners in chamber music, put it: ‘a pianist who remained true to the age when clock and metro-nome had not yet taken over the organic rhythm of the music and who was truer to our age in his self-discipline’. Through periods of changing ideologies, Kempff continued the lifetime’s work of being an artist, as he saw it. Menuhin thought him the noblest exponent of the German tradition.
His recording career spanned 60 years, all of it for DG save for an important period in the 1950s, in the early years of the LP, when he made records for Decca at its West Hampstead studios in London. My information is that his first 78 was of Beethoven’s Ecossaises and one of the Op 33 Bagatelles. I’ve heard another from the 1920s of the Schumann Toccata, slightly cut and driven flat out in order to fit a four-minute side. Schumann as well as Beethoven had been close to Kempff since his boyhood, but performing bravura pieces didn’t really interest him and they eventually fell from his repertoire.
Acclaim for his Beethoven playing came early: his début with the Berlin Philharmonic and Nikisch was in the Fourth Concerto, in 1918, and he had included the Hammerklavier Sonata in his first Berlin recital. A date of 1926 is given for the beginning of his first sonata cycle for DG, which if true would put it several years ahead of Schnabel’s enterprise for HMV. But Schnabel completed his cycle and Kempff didn’t, not quite. Two complete ones were to follow, however, the second a stereo remake in the mid-1960s. Unlike Schnabel and Fischer, Kempff was quite at ease in the studio, unperturbed by the technical processes. There, as on the platform, the inspiration of the moment was all-important and his performances sought to communicate new discoveries. Not that there was anything frivolous in his pursuit of spontaneity; what he did, if impulsive, was driven always by artistic will.
His Beethoven was magisterial but human – not god-like. He saw himself as the medium of the music’s transmission, and when on song it was the music itself which seemed to be playing. Favouring neither very slow nor very quick tempos, he could grade line and sound over wondrously long spans, as if bar-lines didn’t exist, and lay out a slow movement as if painting a canvas, inviting us into a space and making us aware of the highs and lows, the movement, the shadows and the quality of the light. He played like a composer, and indeed he was one. His colouring went always with the movement of the harmony and he kept larger shapes as sharply in focus as the detail. It is, I think, essentially an intimate, lyrical scale of performance, though far from a circumscribed one; his sonority had easy access to strong statements. He was a master at making his tone and cantabile carry even at the softest dynamic. Perhaps that is something his pupil Mitsuko Uchida got from him.
His exceptionally successful career as a concerto player reveals another side to him. Brendel remembers visits to Munich in the 1950s to hear him in the Beethoven concertos, which were ‘full of wonderful things’. His two Beethoven cycles with the Berlin Philharmonic from the 1950s and ’60s, respectively, have achieved near-classic status and rarely been absent from the catalogue. The stereo version with Ferdinand Leitner is the better known, but I’ve recently enjoyed renewing acquaintance with the earlier, conducted by Paul van Kempen. Kempff’s playing has a fine range of sound and does not lack power, but it is a complete rhetoric of persuasion and authority, vivid even when speaking quietly, and one senses the orchestra being led and inspired to make a discourse with him. It was in the 1950s that he produced some of his best work, and the concerto recordings from this decade also include a Schumann Concerto with the LSO and Josef Krips, treated as a delectable narrative from start to finish, two Mozart concertos, an impressive Brahms No 1 with Konwitschny and the Staatskapelle Dresden, and the two Liszt concertos. The Liszt were with the LSO again, on an occasion when his relaxed pianism and distinction in this composer did not find receptive partners, alas, and the performances come into focus only when Anatole Fistoulari isn’t trying to sex them up. Bad old days and an opportunity missed.
But they were good days for a player at the height of his powers who had a large repertoire, a phenomenal musical memory and a well-stocked mind. The long-playing record was a recent invention and new catalogues needed to be assembled, and later, of course, new stereo recordings as well. Kempff was just the kind of artist companies were keen to work with. The Liszt solo pieces he set down on LP for Decca in the ’50s, along with much Brahms, some Schumann and some Schubert, have found their way, many of them, into the three representations of Kempff in the Great Pianists of the 20th Century series. Brendel recalls that Kempff’s concerts and recordings of the ’50s ‘disclosed to me what Liszt’s music was about: no-one played the Legends or the Gondoliera like him. And no-one else at that time presented a Schubert sonata as a work that orchestrally filled large halls.’ In Liszt, as in Schumann, it was Kempff’s perception that their inspirations nearly always derived from a poetic or literary idea which it is the function of the pianist’s virtuosity to serve, not to exploit. Their compositions are hard for every pianist, but he did not regard the difficult numbers as virtuoso challenges to be confronted and despatched. Always the music had to be paramount, and beautiful sound, and a control of singing voices under the fingers that should follow Liszt, Schumann – anyone – instinctively in the exploration of the piano’s potential.
gramophone.co.uk
/1 
发表于 2021-4-13 14:09:41
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