Clara Haskil;  Ferenc Fricsay;  Dean Dixon   (2-Audite 23.421)
Item# P0706
$18.90
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Product Description

Clara Haskil;  Ferenc Fricsay;  Dean Dixon   (2-Audite 23.421)
P0706. CLARA HASKIL: Bunte Blätter – Drei Stücklein; Albumblätter; Abegg-Variations (all Schumann); w.Fricsay Cond.: RIAS S.O.: Piano Concerto #19 in F, K.459; Piano Concerto #20 in d, K.466 (the latter a Live Performance) (both Mozart); w.Dean Dixon Cond.: RIAS S.O.: Piano Concerto #4 In G (Beethoven). (Germany) 2-Audite 23.421, recorded 1953-54. Specially priced. - 402143234210

CRITIC REVIEWS:

“Audite's historic archive releases enjoy an excellent reputation worldwide. The high quality of their content is due to their long-term cooperation with radio archives, permitting a continuous exploration of archive collections. The high sound quality of the releases is achieved by using only original tapes from these archives. Audite acquires licences from the broadcasting companies even for public domain archive recordings. In addition, there is the process of re-mastering using numerous new technological post-production possibilities to achieve optimal sound quality while, at all times, remaining faithful to the principles of historical documentation. Only those productions which fulfil all these criteria are labelled with Audite's seal of quality, ‘1st Master Release - Original Tapes’. Audite is, in every aspect, oriented towards high quality.”

- Audite

"Haskil's return visit [to Boston] surpassed all expectations. A series of concerts with the Boston Symphony Orchestra under Charles Münch and an appearance at Carnegie Hall created a sensation and were reported in TIME magazine. Rudolf Eli wrote in the Boston Herald, ‘One of those most magical revelations that occurs in music once in a generation ... the most beautiful performance of Beethoven’s Third Concerto I have ever heard or expect to hear again’.

I first heard Clara Haskil’s name mentioned by Dinu Lipatti after a recital he gave in Switzerland. When I congratulated him on his Mozart playing, Lipatti said, ‘In two weeks’ time you must hear Clara play Mozart. Then you will realize how far the rest of us are from the truth’. I was young at the time, but the name stuck in my mind. Who was this mysterious Clara?

As Clara sat down the music materialized as if from nowhere. Her arm seemed to glide over the keyboard without preparation, just as a flat stone skims across the water. This was so typical of her playing; nothing seemed to start or end, and everything became timeless. Admiration and international fame came late in life for Clara Haskil, in a career beset by poor health and the adversities of a world war. Dinu Lipatti described her playing as ‘the sum of perfection on earth’, Wilhelm Backhaus called it ‘the most beautiful in the world’, Tatyana Nikoleyeva burst into tears when she first heard Haskil...."

- Peter Feuchtwanger