Emil Gilels Legacy, Vol. 6
Editorial Reviews
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
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
 All Works by Beethoven
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Similar Items:
- Emil Gilels Legacy, Vol. 6
ASIN: B00005RGKX
Release Date: 2002-01-08 |
Tracks:
- Sonata In C Minor, K 457: Molto Allegro
- Sonata In C Minor, K 457: Adagio
- Sonata In C Minor, K 457: Allegro Assai
- Sonata In F Minor Op.57, Appassionata: Allegro Assai
- Sonata In F Minor Op.57, Appassionata: Andante Con Moto
- Sonata In F Minor Op.57, Appassionata: Allegro Ma Non Troppo
- Sonata No. 2 In D Minor, Op. 14: Allegro, Ma Non Troppo
- Sonata No. 2 In D Minor, Op. 14: Scherzo (Allegro Marcato)
- Sonata No. 2 In D Minor, Op. 14: Andante
- Sonata No. 2 In D Minor, Op. 14: Vivace
- Moment Musical In D Flat, Op.16/5: Adagio Sostenuto
- Islamey (Oriental Fantasy)
- Recuerdos De Viaje, Op.71/6: Malaguena
- Navarra
Amazon.com
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
All Works by Beethoven
| Beethoven, Ludwig van
| ( B )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Chopin
| Chopin, Frédéric
| ( C )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Liszt
| Liszt, Franz
| ( L )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Wolfgang Amadeus Mozart
| Mozart, Wolfgang Amadeus
| ( M )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Shostakovich
| Shostakovich, Dmitri
| ( S )
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| Classical
| Styles
| Music
All Works by Debussy
| Debussy, Claude
| ( D )
| Featured Composers, A-Z
| Classical
| Styles
| Music
All Works by Prokofiev
| Prokofiev, Sergei
| ( P )
| Featured Composers, A-Z
| Classical
| Styles
| Music
Etudes
| Forms & Genres
| Classical
| Styles
| Music
Fugues
| Forms & Genres
| Classical
| Styles
| Music
Bagatelles
| Short Forms
| Forms & Genres
| Classical
| Styles
| Music
General
| Sonatas
| Forms & Genres
| Classical
| Styles
| Music
Sonatinas
| Sonatas
| Forms & Genres
| Classical
| Styles
| Music
Chamber Music
| Forms & Genres
| Classical (c.1770-1830)
| Historical Periods
| Classical
| Styles
| Music
General
| Classical (c.1770-1830)
| Historical Periods
| Classical
| Styles
| Music
Chamber Music
| Forms & Genres
| Romantic (c.1820-1910)
| Historical Periods
| Classical
| Styles
| Music
General
| Keyboard
| Instruments
| Classical
| Styles
| Music
Gilels, Emil
| ( G )
| Featured Performers, A-Z
| Classical
| Styles
| Music
General
| Classical
| Styles
| Music
General
| Chamber Music
| Classical
| Styles
| Music
Classical
| Imports
| Stores
| Music
Similar Items:
- Legacy, Vol. 5: First Recital in the West
- Emil Gilels Legacy, Volume 3: Helsinki Festival, 1975
- Emil Gilels: 3 Sonatas for Violin and Piano
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
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