Bruno Maderna, Vol. V;      Ashkenazy;      Kempff    (St Laurent Studio YSL T-375)
Item# C1461
$19.90
Availability: Usually ships the same business day

Product Description

Bruno Maderna, Vol. V;      Ashkenazy;      Kempff    (St Laurent Studio YSL T-375)
C1461. BRUNO MADERNA Cond. Philadelphia Orch., w. VLADIMIR ASHKENAZY (Pf.): Piano Concerto #20 in d, K.466, Live Performance, 1971; BRUNO MADERNA Cond. L’Orchestre Résidence de la Haye, w. WILHELM KEMPFF (Pf.): Piano Concerto #24 in c, K.491, Live Performance, 11 Oct., 1967 (both Mozart). (Canada) St Laurent Studio YSL T-375. Transfers by Yves St Laurent.

CRITIC REVIEWS:

“Vladimir Ashkenazy is renowned for his performances of Romantic and Russian composers. Midway through his pianistic career, Ashkenazy branched into conducting. He has particularly been praised for his recordings of orchestral works by Sibelius, Rachmaninoff, Prokofiev, Shostakovich, Scriabin, Richard Strauss and Stravinsky. He was the principal conductor of the Royal Philharmonic Orchestra from 1987 to 1994 and was principal conductor of the Czech Philharmonic from 1998 to 2003. He became musical director of the NHK Symphony Orchestra in 2004, and a biography of Ashkenazy, BEYOND FRONTIERS, has been published.”

- Ned Ludd



“One of the twentieth century's most important pianists, Wilhelm Kempff found warmth in Beethoven where many others discovered only stress and passion. Concentrating on the composers of the late Classical and early-to-middle Romantic periods, Kempff achieved graceful, amiable results while not neglecting the sterner core of this music. His nobility of purpose was everywhere evident, made manifest through lucid textures, an adherence to a flowing legato, and tonal shading. In addition, he was a composer whose oeuvre included two symphonies, four operas, songs, and solo piano works.

In 1914, Kempff traveled to Potsdam for studies at the Viktoriagymnasium before returning to Berlin to finish his work at the Hochschule and enroll at the university. At age 20, Kempff served as organist and pianist on a tour of Germany and Scandinavia by the Berlin Cathedral Choir. A successful 1917 piano recital at the Berlin Singakademie led to an engagement the following year with the Berlin Philharmonic, the first of innumerable collaborations with that august ensemble. During the 1920s and 1930s, he toured South America and Japan, as well as many parts of Europe, adding to his reputation for uncompromising musicianship and personable interpretation. At the same time, he taught, serving first as director at the Stuttgart Musikhochschule from 1924 to 1929 and, later, as piano instructor at Potsdam's Mamorpalais for the decade before WWII. The war kept his activities confined to Germany, but with its end, Kempff once more resumed a busy performance schedule.

England and America heard Kempff only later. In London, the public, including a large number of German émigrés, applauded him upon his first appearance there in 1951. Not until 1964 did New York hear the pianist in person, although by then his many Deutsche Grammophon recordings had already established his stature for Americans. Indeed, Kempff's long and fruitful relationship with that label had brought to the market a long list of desirable recordings, among them the complete Beethoven piano concerti; the sonatas; a relaxed, but rewarding survey with Wolfgang Schneiderhan of the Beethoven violin sonatas; and various collections of Schubert, Schumann, Chopin, and Brahms.”

- Erik Eriksson, allmusic.com



“Maderna was a musician who couldn't write or conduct a note without wanting to communicate something essential, and essentially human. He is arguably the most underrated figure of the avant-garde; Maderna's music breathes an expressive freedom that makes it, I think, immediately compelling. His commitment to the modernist cause is unassailable. As well as Maderna's own music, there are a handful of recordings you need to hear. There's a white-hot Mahler 9th with the BBC Symphony Orchestra from 1971 - one of the most incandescent interpretations I've ever heard, and a thrilling LE MARTEAU SAN MAÎTRE on YouTube; on CD and download, you can find Maderna's Schönberg, Webern, Malipiero, Stravinsky, and even Mozart as well. The most eloquent revelation of how much Maderna meant to the whole generation of post-war composers is the music they wrote in his memory: Boulez's RITUEL IN MEMORIAM BRUNO MADERNA and Berio's CALMO. But the best tribute to Bruno you can give him is to listen to his own music. Enjoy.”

- Tom Service, THE GUARDIAN, 13 Nov., 2013



“Italian composer and conductor Bruno Maderna was one of the preeminent figures in contemporary European music in the mid-twentieth century. By the age of 20 Bruno Maderna had already earned his degree in composition from the Conservatory of Rome and returned to Venice to continue under composer Gian Francesco Malipiero.

In 1948 Maderna took a conducting class with legendary maestro Hermann Scherchen and probably through him got to know Wolfgang Steinecke, the founder of the Darmstadt Festival. Maderna had already met composer Luigi Nono at Ricordi, and would meet Luciano Berio in Milan after leaving the Venice Conservatory in 1952. Steinecke engaged Maderna as a conductor at the Darmstadt Festival, a post that made Maderna a celebrity in postwar European avant-garde and one that he would hold until the end of his days.

As the 1950s gave way to the 1960s, Bruno Maderna's work as a composer began to take a back seat to his activity as a conductor. He was named principal guest conductor with the Chicago Symphony Orchestra, appeared frequently with the Juilliard Ensemble, and was musical director for two years at the Berkshire Music Center in Tanglewood. He also spent a great deal of time in the recording studio and produced many fine albums of contemporary music, although in concert Maderna was equally well known for conducting the symphonies of Mahler and other well-worn repertoire of the Viennese classics. Perhaps this had some effect on Maderna's personality as a composer, as well, for by the end of his life he'd turned his back on the serial aesthetic espoused by the Darmstadt Festival and his colleague Pierre Boulez.

When the end came for Maderna at age 53, it did so swiftly - he was diagnosed with lung cancer during the rehearsals for his SATYRICON, which premiered in March 1973, and was dead by that November. His celebrity in America was so short-lived that by 2004 Maderna's name was largely forgotten there, but not so in Europe, where he is yet regarded as one of the giants of postwar modernism.”

- Uncle Dave Lewis, allmusic.com