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Issue 116
This article was last updated on
15 September, 2004

More Stuff:



To Bach Is To Be Human
A Tribute to the Master

A SELECTION OF REVIEWS:

  • Brandenburg Concerti
  • The Orchestral Suites
  • The Harpsichord Concerti
  • Solo Harpsichord Concerti (Levin/Hänssler)
  • Violin & Oboe Concerti
  • Oboe Concerti

  • Cello Suites (Wispelwey)
  • Cello Suites (Yo-Yo Ma)
  • Partitas & Sonatas for Solo Violin (Mela)
  • Partitas & Sonatas for Solo Violin (Podger)
  • Violin Sonatas (Complete) Podger/Pinnock (Channel).

  • Bach Transcribed for Piano (Lauriala)
  • Harpsichord Music by the Young Bach (Hill)
  • Anna Magdelena Notebook 1725. Behringer (Hänssler)
  • Klavierbüchlein for Wilhelm Friedemann Bach. Payne (Hänssler).
  • The Six Partitas (Leonhardt)
  • The Goldberg Variations
  • The Six Partitas (Leonhardt)
  • The Art of Fugue (ALSQ)

  • The Sacred Masterworks (Decca)
  • Sacred Music in Latin (Hänssler)
  • The Motets
  • The Magnificat
  • Mass in B minor
  • St. Matthew Passion
    (Klemperer/Veldhoven)
  • St. Matthew Passion (Gardiner/DG)

    For even more Bach reviews, check out the Inkvault!

  •  
    Frederic Chopin
    Waltzes
    Opp. 18, 34, 42, 64, 69, 90, 4 posthumous waltzes.


    Felicja Blumenthal
    Brana Records BR0017

    by Derek Lim

    I had not encountered the art of Felicja Blumenthal prior to listening to this CD. For those unfamiliar with the name, Blumenthal was born in Warsaw on 28 December 1908 and studied composition with Szymanowski and piano with Joseph Goldberg, settling subsequently in Brazil in 1942, from 1960 making a specialty of playing music outside the usual repertoire. Lutoslawski, Penderecki and Villa-Lobos wrote pieces specially for her. Her many recordings fell into obscurity and only selected parts of her repertoire have circulated with any regularity with pianophiles around the world.

    Brana Records, a small independant label, have taken it upon themselves to correct this, in a series that has already reached its sixteenth volume. This first volume showcases Blumenthal in Chopin and is as good a place as any to start if you are interested in exploring her art.

    Felicja Blumenthal with Dmitri Shostakovich

    Blumenthal doesn't treat Chopin's waltzes as "serious" introspective masterpieces in the way that Lipatti for example does. Nor are they taken as simply exercises in brilliant virtuosity the way Kocsis for example does (to stunning effect in some of the waltzes, one might add!). The best compliment I can pay is that for the duration of the disc, there was not one moment where I found myself bored (as even Rubinstein can make me) -- in fact I enjoyed every bit of it. Her Chopin is full of character, cavalier sometimes perhaps, but with superb control of rubato coupled with a fine sense of humour and a sparkle in the eye - a potent combination. Her style is large-boned and extroverted, reminiscent of an Annie Fischer, and in these Waltzes, full of her own individual touches that made these familiar works seem fresh again. It was as though I were listening to a recital. When I finished listening to it I reached for the play button and listened to it once through again!

    The recording quality is not the most perfect -- 1959, but it is really nothing to worry about. Joins are imperceptible except for one or two in the earlier waltzes. Bravo to Brana Records for making her art widely available, so that we might enjoy it!

    This CD may be purchased from www.branarecords.com Sample tracks are available for listening.

    The cover of this album, as well as those in the rest of this series was painted by Markus Mizne, Blumenthal's husband. They are beautiful and a moving tribute to Blumenthal.

    Felicja Blumenthal International Music Festival http://www.blumental-festival.org


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    From: ( / Sunday, September 19, 2004 at 14:21:59)

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