Geza Anda, Vol. III;  Fricsay;  Jochum  (St Laurent Studio YSL T-1070)
Item# P1370
$22.90
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Product Description

Geza Anda, Vol. III;  Fricsay;  Jochum  (St Laurent Studio YSL T-1070)
P1370. GÉZA ANDA, w.Fricsay Cond. Deutsches S.O.: Piano Concerto #3 in c (Beethoven), Live Performance, 5 Feb., 1961, Grosser Sendessal, Berlin; w.Jochum Cond. RTF S.O.: Piano Concerto #3 in E (Bartok), Live Performance 20 Sept., 1960, Montreux, Switzerland; 1967 Interview w.Anda in French. [Monumental performances; the Beethoven cadenza will grasp your breath!] (Canada) St Laurent Studio YSL T-1070. Transfers by Yves St Laurent.

CRITIC REVIEWS:

“Géza Anda was a Swiss-Hungarian pianist, a celebrated interpreter of classical and romantic repertoire, particularly noted for his performances and recordings of Mozart, he was also a tremendous interpreter of Beethoven, Schumann, Brahms and Bartók. In his heyday he was regarded as an amazing artist, possessed of a beautiful, natural and flawless technique that gave his concerts a unique quality.

Anda was born in 1921 in Budapest. He studied with some of the renowned teachers of the 20th century such as Imre Stefaniai and Imre Keeri-Szanto, and became a pupil of Ernst von Dohnányi and Zoltán Kodály at the Franz Liszt Academy in Budapest. In 1940 he won the Liszt Prize, and in the next year he made an international name for himself with his performance of Brahms' Piano Concerto #2. In 1941, he also made his debut with the Berlin Philharmonic under Wilhelm Furtwängler, who dubbed him ‘troubadour of the piano’. In 1943, he settled in Switzerland. In the mid-1950s, Anda gave masterclasses at the Salzburg Mozarteum, and in 1960 he took the position of director of the Lucerne masterclasses, succeeding Edwin Fischer.

As a performer, Anda was particularly noted for his interpretation of Schumann's and Brahms' piano music. The New Grove Dictionary cites his ‘charismatic readings of Bartók and Schumann’. He was regarded as the principal Bartók interpreter of his generation, even if other pianists since his death have made more obviously exciting recordings of that composer's concertos. Although he played very little Mozart in his early career, he became the first pianist to record the full cycle of Mozart's piano concerti; he recorded them between 1961 and 1969, conducting himself from the keyboard. His performance of the Andante from Mozart's Piano Concerto #21 in C on the soundtrack of the 1967 film ELVIRA MADIGAN led to the epithet ‘Elvira Madigan’ often being applied to the concerto.”

- Concours Géza Anda, Zürich





“In an age of well trained automata set to shine briefly on the competition circuit, Anda’s was a wholly personal voice backed by pianism and craftsmanship of a transcendental sheen and precision….Géza Anda’s…tragic death at the age of 54 extinguished a light that could never be replaced."

- Bryce Morrison, GRAMOPHONE, Aug., 2008





“Ferenc Fricsay's career lasted barely 20 years, but during that time, he became one of the most acclaimed conductors of his generation and left behind a body of recordings that are still admired. Fricsay studied at the Budapest Academy of Music under both Zoltán Kodály and Béla Bartók, whose music he later championed. His first conducting appointment came in 1936, in Szeged, where he remained until 1944. His début, conducting the Budapest Opera, was in 1939 and in 1945 he was appointed the company's music director, taking the parallel appointment with the Budapest Philharmonic. At the 1947 Salzburg Festival, when conductor Otto Klemperer was forced to withdraw from conducting the premiere of Gottfried Von Einem's opera DANTONS TOD, Fricsay stepped in, receiving international accolades for a sterling performance. The next year he conducted the world premiere of Frank Martin's ZAUBERTRANK, and the year after that Carl Orff's ANTIGONE. In 1948, Fricsay made his Berlin début with Verdi's DON CARLOS in a production that also featured the début of baritone Dietrich Fischer-Dieskau. Thereafter he served as a guest conductor throughout Europe, based in Berlin, where he served as music director of the Stadtische Oper and the American Sector Symphony Orchestra (RIAS), later renamed the Berlin Radio Symphony Orchestra. Fricsay was best known in Europe as an operatic conductor, acclaimed for his Mozart and Verdi, among other composers, but in America he made his début with the Boston Symphony Orchestra in 1953. He was conductor of the Houston Symphony Orchestra in 1954, but resigned after one season due to policy disagreements with the board of directors. In 1956, Fricsay became music director of the Bavarian State Opera and after two seasons, returned to Berlin to resume the music directorship of the Berlin Radio Symphony Orchestra. In 1961, Fricsay conducted a performance of Mozart's DON GIOVANNI to commemorate the re-opening of the Deutsche Oper.

Fricsay's approach to conducting was influenced heavily by Toscanini, whose relationship with the NBC Symphony he used as a model for his own work with the Berlin Radio Symphony. He emphasized strict tempos and precise playing, with a close adherence to the score. As an operatic conductor, however, he was not afraid to challenge customs and conventions, both in his conception of a work and his way of realizing performances of striking vitality.

Fricsay began developing serious health problems in the 1950s. The vivaciousness of his earlier performances was replaced by a more measured, reflective approach to music as his physical condition deteriorated, and by the end of the 1950s, when he would normally have been expected to be in his prime as a conductor and recording artist, his strength was beginning to fail him. When he died, Fricsay left behind a small, precious body of recordings.

Fricsay had signed an exclusive contract with Deutsche Grammophon in 1948 and during the next decade or so, delivered a body of work heavy with award-winning recordings. Fricsay's remarkable textural clarity was captured on record with the help of his close understanding of recording techniques. Perhaps his most-acclaimed record was Mozart's THE MAGIC FLUTE, made in 1955 with Rita Streich, Maria Stader, Ernst Haefliger, and Dietrich Fischer-Dieskau, which remains a highly recommended performance. His recording of DON GIOVANNI from 1958 is also considered a definitive performance. He was also one of the most-acclaimed interpreters of Bartók, his reputation (and those of his recordings) rivalling that of Fritz Reiner, whose work with the composer is often cited as definitive.”

- Bruce Eder, allmusic.com





"Eugen Jochum was perhaps best known as a Bruckner specialist, recording the cycle of the symphonies and serving as president of the West German Bruckner Society. His musical family included two prominent brothers, the composer and choirmaster Otto Jochum (1898-1969) and the conductor Georg Ludwig Jochum (1909-1970). Demonstrating musical talent from an early age, he studied at the Augsburg and Munich conservatories and began his conducting career in the traditional manner for Central European conductors, at small opera companies. After several such stints, Mr. Jochum succeeded Karl Muck and Karl Böhm in 1934 as music director of the Hamburg State Opera. In the meantime, Mr. Jochum had not neglected the symphonic repertory. He founded and led the Hamburg Philharmonic from 1934 to 1949. His breakthrough had come in 1926, when at the age of 23 he led a performance of Bruckner's Symphony #7. ‘This symphony made my whole career’, Mr. Jochum recalled in 1978. ‘I began playing the organ when I was 4 years old. I like very much Baroque churches. It was all very similar in feeling to Bruckner, so his style was never difficult for me’.

From his earliest recordings, Mr. Jochum's interpretive profile seemed well formed. He was neither an intense literalist like Arturo Toscanini nor a brooding mystic like Wilhelm Furtwängler, whom he much admired. His conducting - in Bach, Haydn, Beethoven and Brahms as well as Bruckner - flowed purposefully but genially forward, responding to the music without imposing his will upon it in a self-conscious way. He could be called the epitome of the German Kapellmeister tradition.

Mr. Jochum's career advanced steadily if unspectacularly during the Nazi regime, but he was not stigmatized as a Nazi sympathizer after the war. His relationship with the Amsterdam Concertgebouw Orchestra, which he had first conducted during the Nazi occupation of the Netherlands, remained close thereafter. He served as its co-conductor, with Bernard Haitink, from 1961 to 1964, and made his American debut with it in 1961.

His principal postwar engagement, however, was the Bavarian Radio Symphony; he founded it in 1949, elevated it to Munich's leading orchestra and led it until 1960. After that, he concentrated on guest appearances, in both orchestral and operatic repertory.”

- John Rockwell, THE NEW YORK TIMES, 28 March, 1987