Sigismund Thalberg: Fantasien über Opern von Bellini on CD
Fantasien über Opern von Bellini
CD
CD (Compact Disc)
Conventional CD, playable with all CD players and computer drives, but also with most SACD or multiplayers.
Item in stock
Previous price EUR 14.99, reduced by 66%
Current price: EUR 4.99
*Sonderpreis gültig solange Artikel am Lager
- Norma-Fantasie op. 12; I Capuleti-Fantasie op. 10; Beatrice di Tenda-Fantasie op. 49; La Straniera-Fantasie op. 9; La Sonnambula-Caprice op. 46
- Artists:
- Francesco Nicolosi, Klavier
- Label:
- Naxos
- Year of recording ca.:
- 1990
- Item number:
- 5976328
- UPC/EAN:
- 0747313549825
- Release date:
- 5.6.2001
- Overall sales rank: 6031
- Sales rank in CDs: 2758
Thalbergs Grande fantaisie sur des motifs de la Norma, op. 12, wurde von Schumann gelobt, der generell wenig Lust auf bloße technische Virtuosität hatte. Thalbergs Spiel und damit auch seine Klavierkompositionen waren ein Element des Klassizismus, und das gefiel Clara Schumann und anderen, denen die Effekthascherei Liszts und seine Gewohnheit, die Musik anderer in der Aufführung zu "verbessern", missfiel. Thalberg übte eine beträchtliche Disziplin über seine Darbietung aus, seine aufrechte Haltung, wie er behauptete, die das Ergebnis des Rauchens eines Meerschaums beim Üben technischer Übungen war. Chopin war jedoch nicht beeindruckt und behauptete, dass Thalberg das weiche Pedal für seine Effekte benutzte, anstatt einen weichen Ton durch Anschlag zu sichern, wie er es selbst getan hätte. Ein besonderer Effekt, den Thalberg verwendete, zeigte sich in der Vertonung einer Melodie, die von den Daumen der rechten und linken Hand gespielt werden sollte, oben und unten von Arpeggien umgeben, wodurch der Eindruck von drei statt zwei Händen entstand. Er erreichte dies zum Teil durch seinen subtilen Einsatz des Stützpedals. Kritiker kommentierten seine Läufe von perlenartiger Klarheit und den singenden Ton, zu dem er fähig war, wie er in seiner pädagogischen Arbeit L'art du chant appliqué au piano, in der er Beispiele aus der Oper verwendet, gelehrt wurde.
Thalberg's Grande fantaisie sur des motifs de la Norma, Op. 12, won praise from Schumann, who generally had little time for mere technical virtuosity. There was about Thalberg's playing, and in consequence about his compositions for the piano, an element of classicism, and this certainly appealed to Clara Schumann and others who disliked the showmanship of Liszt and his habit of "improving" the music of others in performance. Thalberg exercised considerable discipline over his performance, his upright posture, he alleged, the result of smoking a meerschaum while practising technical exercises. Chopin, however, was not impressed, claiming that Thalberg used the soft pedal for his effects rather than securing a soft tone by touch, as he himself would have done. One particular effect used by Thalberg was displayed in the setting of a melody to be played by the thumbs of right and left hand, surrounded above and below by arpeggios, giving the impression of three hands rather than two. He achieved this in part by his subtle use of the sustaining pedal. Critics commented on his runs of pearl-like clarity and the singing tone of which he was capable, as taught in his pedagogical work, L'art du chant appliqué au piano, in which he uses examples drawn from opera.
Product Information
Thalberg's Grande fantaisie sur des motifs de la Norma, Op. 12, won praise from Schumann, who generally had little time for mere technical virtuosity. There was about Thalberg's playing, and in consequence about his compositions for the piano, an element of classicism, and this certainly appealed to Clara Schumann and others who disliked the showmanship of Liszt and his habit of "improving" the music of others in performance. Thalberg exercised considerable discipline over his performance, his upright posture, he alleged, the result of smoking a meerschaum while practising technical exercises. Chopin, however, was not impressed, claiming that Thalberg used the soft pedal for his effects rather than securing a soft tone by touch, as he himself would have done. One particular effect used by Thalberg was displayed in the setting of a melody to be played by the thumbs of right and left hand, surrounded above and below by arpeggios, giving the impression of three hands rather than two. He achieved this in part by his subtle use of the sustaining pedal. Critics commented on his runs of pearl-like clarity and the singing tone of which he was capable, as taught in his pedagogical work, L'art du chant appliqué au piano, in which he uses examples drawn from opera.
Reviews
Fanfare: "Francesco Nicolosi spielt die virtuosen Passagen dieser Werke mit imponierendem Feuer." Classic CD: "Er ist brillanter Spieler."-
Tracklisting
-
Contributors
Disk 1 von 1 (CD)
-
1 Grande fantaisie et variations sur des motifs de la Norma, Op. 12
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2 Grande fantaisie et variations sur des motifs de I Capuletti, Op. 10
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3 Fantaisie sur des motifs de Beatrice di Tenda, Op. 49
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4 Fantaisie sur des motifs de La Straniera, Op. 9
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5 Grande caprice sur des motifs de La Sonnambula, Op. 46
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Sigismund Thalberg (1812-1871)
Fantasien über Opern von Bellini
Previous price EUR 14.99, reduced by 66%
Current price: EUR 4.99
