Benno Moiseiwitsch;  Constant Lambert   (Naxos 8.110689)
Item# P0055
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Product Description

Benno Moiseiwitsch;  Constant Lambert   (Naxos 8.110689)
P0055. BENNO MOISÉIWITSCH: Ibert, Ravel, Debussy, Poulenc, Vallier, Godowsky, Prokofiev, Stravinsky & Palmgren; BENNO MOISÉIWITSCH, w.Constant Lambert Cond. Philharmonia Orch.: Piano Concert in c (Delius). (E.U.) Naxos 8.110689, recorded 1925-50. Transfers by Ward Marston. Final Copy! - 636943168929

CRITIC REVIEWS:

“Moiséiwitsch was a virtuoso in the most aristocratic sense….this issue is another indelible reminder of a sadly far gone age.”

- Bryce Morrison, GRAMOPHONE, Awards Issue, 2006



“[Moiséiwitsch] stands grander, traditional virtues on their head, replacing thunder and solidity with aristocratic rhetoric. Few pianists have responded to terms such as leggierement with a more winning charm. …nothing can dim the lustre of either performance. We can only beg Naxos for more Moiséiwitsch, especially in Beethoven and Chopin.”

- GRAMOPHONE, January 2005



“Though regarded as one of the most perceptive Chopin interpreters of his generation, Benno Moiséiwitsch, was somewhat choosy in the works that he included in his repertoire. Born in Russia in 1890, winner of the prestigious Anton Rubinstein prize at the age of nine, he was eighteen when he made his UK début. It was a country he made his home in his later life, and with a dearth of pianist talent in his adopted home, he became regarded as the country’s finest virtuoso. Unlike many other celebrated Chopin pianists, of which Cortot was the best known, Moiséiwitsch took a quite literal view, particularly in questions of dynamics, his only substantial deviation coming in a slowing at the end of decorative filigree passages.”

- David Denton





“If life were fair, Constant Lambert would be known as the English Leonard Bernstein. A staggeringly assured composer-conductor who became famous in his early 20s, he was irresistibly drawn to the ballet throughout his brief but brilliant career, collaborating as closely with Frederick Ashton as Bernstein did with Jerome Robbins….On top of all this, he tossed off in his spare time one of the shrewdest books ever written about modern music, MUSIC HO!: A Study of Music in Decline….But for all the significance of his other endeavors, it is Lambert’s music that will assure him a secure place in the history of modernism….He was the first composer since Mozart to show that seriousness is not the same as solemnity….”

- Terry Teachout, THE NEW YORK TIMES, 2 May, 1999