Nella Maissa invests this music with meaning and profound musicality, and I heartily recommend that you hear her. The sound is acceptable considering its provenance, although I suspect the studio piano was less than a regulation concert grand. Some listeners may find this distracting, but it actually helps you focus your attention more sharply and individually on each piece. And I don’t think I’ve heard the arpeggio sequences in the Praeludium and Postludium (the latter is the Praeludium played backwards) so ravishingly shaded.Įach movement is announced (in Portuguese) before it is played. The Valse (Interludium 23) nonchalantly trickles off the pianist’s fingers–and leaves you bewitched. The Ludus is a graphc example of the composers delight in the. And Maissa always unearths the music’s underlying wit, as revealed in her skittish, light-fingered virtuosity in the Ninth Interludium, or in the playfulness she brings to the usually banged out March (Interludium 13). Intellectual achievement and sheer delight in playing are shown not to be mutually exclusive. What a fabulous pianist she is! The fugues are delineated with intimate drama, intelligently scaled dynamics, and mesmerizing, dry-point articulation that recalls Glenn Gould’s contrapuntal keyboard mastery. Those who consider (not without justification) the work to represent Hindemith’s dryer, more doctrinaire side may well change their minds after hearing Maissa. Hindemith - Ludus Tonalis (1943) part 1 Sviatoslav Richter 1985 The spirit of the Well Tempered Clavier is reincarnated in the 20th century in Hindemith's Lu. She recorded Ludus Tonalis for radio broadcast in 1958, and that transmission is preserved here. Among Maissa’s Portuguese premieres were the third piano concertos of Prokofiev and Bartok and Hindemith’s 1942 piano cycle Ludus Tonalis. Hindemith wrote ‘Ludus tonalis’ in 1942 while staying in the US as a refugee from Nazi Germany. She devoted much of her career to championing both new music and lesser-known older repertoire by Portuguese composers, like Bomtempo. A 20th-century counterpart to ‘The Well-Tempered Clavier’ in a landmark recording, long unavailable, newly remastered and transferred to CD from the original tapes for the very first time. By clicking the button Submit you submit your data, which are checked by the. Paul Hindemiths Ludus Tonalis is a little-known gem written in response to Bachs famous collection of preludes and fugues, The Well-Tempered Clavier. Born in Turin in 1914, pianist Nella Maissa settled in Portugal in 1939. The license as well as our terms and conditions are available in writing.
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