Editorial Reviews In his studio recording of Chopin's "Funeral March" Sonata, for example, Gilels, despite his singing tone and big style, seems afraid to let himself go, and the interpretation sounds inhibited. There is nothing sober or restrained about the way he played the piece in Paris. The interpretation is willful, imperious, and careless of risk. Doremi's versions of the Mozart sonata and the Shostakovich preludes and fugues make those on the Testament disc seem pickled in formaldehyde. The encores on this disc include an electrifying performance of the Busoni edition of Liszt's La Campanella. --Stephen Wigler
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Within a year of Emil Gilels's debut in Paris in 1954 (most of which is captured for posterity on Emil Gilels Legacy, Vol. 6), the pianist recorded the major items on the program in the studio for EMI. Comparison of those recordings (of sonatas by Mozart and Chopin and three preludes and fugues of Shostakovich), reissued a few years ago on Testament, with these live, unedited performances suggests that Gilels sounded much less interesting in the studio than he did in the concert hall.
Emil Gilels Legacy, Vol. 6, Music, Ludwig van Beethoven, Fryderyk Chopin, Claude Debussy, Franz Liszt, Wolfgang Amadeus Mozart, Sergey Prokofiev, Dmitry Shostakovich, Emil Grigoryevich Gilels, Bagatelle for Keyboard, Chamber Music & Recitals, Classical, Classical Composers, Classical Music, Classical Sonata/Sonatina for Keyboard, Etude for Keyboard, Keyboard, Keyboard Work with Descriptive or Unclassified Title, Prelude and Fugue for Keyboard, Romantic Sonata/Sonatina for Keyboard, Transcription for Keyboard
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Legacy, Vol. 5: First Recital in the West
Manufacturer: Doremi Records ProductGroup: Music Binding: Audio CD Similar Items:
ASIN: B00005RGKX Release Date: 2002-01-08 |
Tracks:
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When Emil Gilels made his first appearance in the West--in Florence on June 11, 1951--at the height of the Cold War, he must have felt the weight of history riding on his shoulders. He was the first Soviet musician sent to perform for Western audiences since Sergei Prokofiev had been entrusted with a similar mission 30 years earlier. As we can judge from Volume 5 in Doremi's Emil Gilels Legacy series, Gilels rose to the occasion magnificently. He opens Beethoven's "Appassionata" with great (though unexaggerated) pathos and progresses to climaxes of tremendous grandeur. His gale-force tempos in the finale may not scrupulously observe the composer's cautionary "Allegro ma non troppo," but Gilels never shortchanges the music's passion. He accelerates to an even more phenomenal tempo for the "Presto" in the coda, while negotiating it with laser-beam accuracy. The pianist plays the Russian works (by Prokofiev, Rachmaninov, and Balakirev) with his characteristic beauty of sound and magisterial command. Even in the furious onslaught of Islamey, Gilels still manages to make Balakirev's exotic textures luminous, glinting with colors that seem to come from another galaxy. The then 35-year-old pianist was not yet the stylish Mozartean he was to become 20 years later. Nevertheless, he invests each note in Mozart's anguished C Minor Sonata with a wealth of emotion. The result is a magical web of sounds--not authentically Mozartean by current standards, perhaps, but a performance in which the composer's profound humanity is palpable in its tenderness. --Stephen Wigler
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Emil Gilels Legacy, Vol. 6
Manufacturer: Doremi Records ProductGroup: Music Binding: Audio CD Similar Items:
ASIN: B00005YDHB Release Date: 2002-02-05 |
Amazon.com
Within a year of Emil Gilels's debut in Paris in 1954 (most of which is captured for posterity on Emil Gilels Legacy, Vol. 6), the pianist recorded the major items on the program in the studio for EMI. Comparison of those recordings (of sonatas by Mozart and Chopin and three preludes and fugues of Shostakovich), reissued a few years ago on Testament, with these live, unedited performances suggests that Gilels sounded much less interesting in the studio than he did in the concert hall.In his studio recording of Chopin's "Funeral March" Sonata, for example, Gilels, despite his singing tone and big style, seems afraid to let himself go, and the interpretation sounds inhibited. There is nothing sober or restrained about the way he played the piece in Paris. The interpretation is willful, imperious, and careless of risk. Doremi's versions of the Mozart sonata and the Shostakovich preludes and fugues make those on the Testament disc seem pickled in formaldehyde. The encores on this disc include an electrifying performance of the Busoni edition of Liszt's La Campanella. --Stephen Wigler
Music Review:
Music Review
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