Classical

Beethoven – Piano Concerto No. 3 in C Minor - Zimerman (2007)

2011-02-11T10:30:31Z

Beethoven – Piano Concerto No. 3 in C Minor - Zimerman (2007)


I. Allegro con brio
II. Largo
III. Rondeau. Allegro

Piano: Krystian Zimerman
Leonard Bernstein
Wiener Philharmoniker

Krystian Zimerman is my absolute No. 1 among the pianists of our time, not because he's Polish of course, but because he is a true magician. He is often accused, though, that his recordings lack passion, some kind of spontaneity etc. Indeed, it is a fact that Zimerman prepares each of them very carefully and releases them rarely. It is a fact that he studies the notes very long and corrects almost every phrase played before, in order to find even better way of interpretation. But I ask: what's the matter? Do this spontaineity really is necessary while buing a recording, especially a set of recordings? Or maybe one rather seeks his/her ideal, perfect in technique and deep in interpretation, and every "scratch" on these technique and interpretation makes him disappointed? Well, I know that I am such a person; when I buy a recording, I want it to be ideal. Absolute ideal. Whereas for Beethoven's e.g. Violin Concerto or Fidelio I haven't managed to find my ideal - I actually have for Missa Solemnis (Gardiner!), String Quartets (Alexander)... and for the magnificent Piano Concertos.

This set doesn't give me much place to write about, because, as I've just said, there is not even a scratch on this precious gem. Zimerman plays so wonderfully, that when I got the set and listened to all the pieces - I knew I'd immediately forget about my all 3 previous sets of the Concertos. And this happened. Now I listen to it no matter which movement of which concerto I want to hear, because here it is played far better than anywhere else. Do you imagine every note, every second played perfectly? I bet that in all recordings you have there are some moments you'd want to correct, play better. Not here. The cadenzas, brilliant. Parts in the foreground, as well as in the background, behind the orchestra, brilliant.

As for the orchestra, I can say with pleasure, that Bernstein is surely in his best form here. He doesn't conduct too slow, as he often does; he is the master of the orchestra, he controls them totally.

I should shut up, because it's getting too long, but one small thing: just listen to the samples. The comparison of small details in different recordings is great fun. I don't know whether it is in the sample, but try to compare e.g. the sound of the orchestra in the main theme of the Emperor Concerto's 1st movement in few recordings. Only here it is such a magnificent, sharp, clear melody. Or the beginning of Rondos in the 1st and 3rd. Or... OK, finished. This is the recording of your dreams. Believe me. –-Gustaw Jokiel

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Franz Liszt: Klavierkonzerte No. 1 - No. 2 - Totentanz (1988)

2014-01-29T17:22:00Z

Franz Liszt: Klavierkonzerte No. 1 - No. 2 - Totentanz (1988)

Piano Concerto No.1 In E Flat, S.124
1.	1. Allegro Maestoso	5:31
2.	2. Quasi Adagio - Allegretto Vivace - Allegro Animato	8:54
3.	3. Allegro Marziale Animato	4:02
Piano Concerto No.2 In A, S.125
4.	1. Adagio Sostenuto Assai - Allegro Agitato Assai	7:27
5.	2. Allegro Moderato - Allegro Deciso	8:19
6.	3. Marziale Un Poco Meno Allegro	4:23
7.	4. Allegro Animato - Stretto (Molto Accelerando)	1:44

8.	Totentanz, S. 525	15:12
 
Krystian Zimerman
Boston Symphony Orchestra
Seiji Ozawa – conductor

After listening to this CD repeatedly, I feel compelled to share my thoughts and responses about the outstanding performances of Krystian Zimerman and Seiji Ozawa.

To open Liszt's Piano Concerto No. 1, the orchestra gives a first-rate opening to usher in Krystian Zimerman. What follows is truly extraordinary! Zimerman plays the runs with a power that does not exceed beauty. Every note in his runs rings with clarity. Zimerman's sense of rhythm is impeccable, and he plays the soft sections with great sensitivity and poetry.

However, Zimerman also uses a sort of muscular playing for the louder, more aggressive playing, but it is not like the sometimes overly muscular playing of pianists like Horowitz or Argerich. Zimerman belongs to the class of self-effacing pianists like Radu Lupu and Murray Perahia who use their brilliant pianism to communicate the composer's intentions poetically.

The second concerto is full of the same graceful effort and attention to detail and poetry. Zimerman, Ozawa, and the Boston Symphony Orchestra create a nostalgic mood that escapes words. The stretto to end the concerto is brilliant and full of amazing energy!

However, I believe that the most impressive performance among those on this CD is that of the Totentanz. This is Zimerman at his most ferocious and virtuosic. He thunders away to open the Totentanz, and then he gives full attention to the urgent runs up and down the piano. Everything Zimerman does sounds terrific and makes so much sense musically. The virtuosity is incredible, and the orchestra is thrilling. The second-to-the-last variation is absolutely mind-blowing and sends chills up and down my back and arms!!

In short, this CD, I believe, is the definitive set of these works. ---Paul Rossi, amazon.com

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Franz Schubert - Impromptus D899 & D935 (Zimerman) [2005]

2010-04-09T09:58:00Z

Franz Schubert - Impromptus D899 & D935 (Zimerman) [2005]


1. Impromptus (4) for piano, D. 899 (Op. 90): No. 1 in C Minor 
2. Impromptus (4) for piano, D. 899 (Op. 90): No. 2 in E Flat Major 
3. Impromptus (4) for piano, D. 899 (Op. 90): No. 3 in G Flat Major 
4. Impromptus (4) for piano, D. 899 (Op. 90): No. 4 in A Flat Major 
5. Impromptus (4) for piano, D. 935 (Op. posth. 142): No. 1 in F Minor 
6. Impromptus (4) for piano, D. 935 (Op. posth. 142): No. 2 in A Flat Major 
7. Impromptus (4) for piano, D. 935 (Op. posth. 142): No. 3 in B Flat Major 
8. Impromptus (4) for piano, D. 935 (Op. posth. 142): No. 4 in F Minor

Krystian Zimerman, piano

Everything that Schubert wrote seemed to have melody as its starting point. His piano music, so different from that of Beethoven, pulsates with this innate lyricism. The two sets of impromptus, not fiendishly difficult to play, require a pianist who can make the piano sing. Such a pianist is Krystian Zimerman. Indeed, his use of rubato and minute tempo fluctuations might seem excessive to some, especially in D 899 No 1, but I find them well-judged. Noting also Zimerman's velvet touch, and the warm DGG acoustic as recorded in 1991, I count this CD a total success. --- John Austin, amazon.com

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K.Danczowska & K.Zimerman Play Cesar Franck, Karol Szymanowski (1981)

2009-10-23T13:15:35Z

K.Danczowska & K.Zimerman Play Cesar Franck, Karol Szymanowski (1981)

Cesar Franck - Sonata for Violin and Piano in A major 28:48

1.  Allegretto ben moderato
2.  Allegro
3.  Recitativo. Fantasia
4.  Allegretto poco mosso

Karol Szymanowski 
Mythes op.30 19:57
5.  La fontaine d'Arethuse 
6.  Narcisse
7.  Dryades et Pan

8.  Pieśń Roksany 5:05 
9.  Pieśń kurpiowska 4:16

Kaja Danczowska was a pupil of the Polish violinist, Eugenia Uminska, whose pioneering 78rpm records of the Szymanowski First Violin Concerto are still cherished by older readers, and I would not part with them (Parlophone R205635, 12/48). She was also a member of the late David Oistrakh's class and has a growing reputation in her native country. As far as I know, this is her debut on records—at least as far as the West is concerned.

Her account of the Franck Sonata is distinguished by a fine sense of line and great sweetness of tone, and she is admirably partnered by Krystian Zimerman. Indeed, in terms of dramatic fire and strength of line, this version can hold its own alongside the finest in the catalogue, and it is better balanced than Kyung Wha Chung and Radu Lupu on Decca. Chung is a little too much in the background for comfort here. Nor among recent competitors is the Grumiaux version (Philips) so freshly characterized as one 50 would like: his partner György Sebok is not at his most imaginative on this occasion.

Zimerman plays with virtuosity and keen sensitivity, and it would be difficult to imagine a more supportive partner. However, the chief attraction this disc enjoys over its rivals is the coupling for there is no alternative account of any of Szymanowski's violin and piano pieces in the current catalogue. The three Mythes were once available on Supraphon played by Karel Sroubek and Josef Hala (SUAST50580, 1/68—nla) but neither this nor any other performance I have heard surpasses the present issue. Danczowska brings genuine vision to the ecstatic, soaring lines of "The Fountain of Arethusa" and both she and Zimerman are scrupulous in observing the dynamic nuances of its companions. Her intonation is impeccable and she brings a beguiling sense of rapture to "Narcissus" and the remaining pieces here: the transcriptions by Paul Kochanski of Roxane's Aria from King Roger and the later, darker Pie§n Kurpiowska' (Kurpian Song), which I did not know before. The sound is truthful (there are really quiet pianopianissimi—for instance at fig. 6 in "Narcissus") and a wide dynamic range.

The acoustic is resonant and I wondered once or twice whether the piano would not have gained by being fractionally more distant (just a few bars before fig. 2 in "The Fountain") but this was a momentary doubt in what is a well-engineered disc. There is some occasional humming from Zimerman which is audible at times. However, this is a marvellous record and the Szymanowski is remarkably fine. -- Gramophone [6/1981]

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Liszt - Piano Sonata in B minor - Funerailles - La Notte (Zimerman)

2011-11-19T15:12:02Z

Liszt - Piano Sonata in B minor - Funerailles - La Notte (Zimerman)


1. Piano Sonata in B minor, S.178    30:36   
2. Nuages gris, S.199    3:12
3. La Notte, S.602    9:44   
4. La Lugubre Gondola, S.200 no.2    9:52   
5. Funérailles    12:18    

Krystian Zimerman – piano

This recording is just unbelievable! It is perhaps one of the most perfect recordings of the piece, combining the fire of Argerich, the musical insight of Richter, and the absolute command of sound and color comparable only to Horowitz. Under Zimerman's fingers, the piece becomes an organic whole from beginning to end. If you are a serious musician and collector of fine music, I highly recommend getting this recording. --- Jerico Vasquez (Houston, Texas), amazon.com

Krystian Zimerman comes from a family with rich music-making traditions. Musicians would meet almost daily in his home to play various works, mostly chamber music. These performances afforded Mr. Zimerman a most intimate, natural, everyday contact with live music and provided an early impetus to his musical career. He made his first steps in music under his father's supervision, and at the age of 7 started working with Andrzej Jasinski, a senior lecturer at the music conservatory in Katowice, Poland. This tutorship was crowned by Mr. Zimerman's graduation, 14 years later, from the conservatory there. Mr. Zimerman had no zest for contests, but he followed the common way of musical development for concert pianists, which brought him the highest prizes at several prestigious competitions devoted to Russian and Polish music and to the works of particular composers (Prokofiev and Beethoven). There followed the Grand Prix at the Chopin Competition of 1975, which paved the way for performances in concert halls worldwide.

The 25 years of Mr. Zimerman's artistic activity have been marked by regular meetings with his own dedicated audiences, which ardently look forward to every concert. Wherever his concert tours take him, in the music centers of Europe, Asia and America, he always recognizes familiar faces. During the last 10 seasons, since he has resolved to travel with his own concert piano, he has managed to accustom his audience and concert organizers to this unusual and only seemingly inconvenient gear. Mr. Zimerman has applied several technical inventions of his own which have made it possible for him, as for other musicians, to take his instrument along on tours. The confidence afforded by his own thoroughly familiar instrument, combined with his piano-building expertise--first acquired in Katowice and developed through permanent cooperation with the Steinway Company in Hamburg--allows him to eliminate, or reduce to the absolute minimum, everything that might distract him from purely musical issues.

Mr. Zimerman's comparatively early acquaintance with the main developments of European music--erman, Russian, French and others--precluded him from becoming a "Chopin specialist." Instead, it stirred in him the ambition, which he has achieved in the last 10 years, of performing music in the place and culture of its origin: French works in Paris; Beethoven, Mozart and Schubert in Vienna; Brahms in Hamburg; American music played in New York and, in one notable instance, conducted by the composer himself--Leonard Bernstein. "If I were an actor," he argues, "I would also set myself the aim of performing Shakespeare in London and Chekhov in Russia."

Witold Lutoslawski's honorable dedication of his Piano Concerto to Krystian Zimerman inspired the pianist to a similar treatment of that work: it was self-evident that it should be performed in Warsaw during the Warsaw Autumn Festival of Contemporary Music, with the composer as conductor. During each of his New York recitals, he has taken care to perform a Polish composition as part of the program or as an encore. For several consecutive seasons he performed Karol Szymanowski's works in principal music centers on three continents. His encounters with pre-eminent musicians--performers of chamber music and conductors--have been, he claims, his greatest luck. He has repeatedly performed with Kaja Danczowska, Kyung-Wha Chung, Gidon Kremer and about 40 other celebrities of the musical world..

The piano is not Mr. Zimerman's only musical passion: he has always remained an exceedingly keen organist. Playing the organ also allowed him to grasp and fashion the musical form in its horizontal dimension. He has also enriched his knowledge of conducting due to collaboration with the most illustrious conductors of his time: Leonard Bernstein, Herbert von Karajan, Seiji Ozawa, Riccardo Muti, Lorin Maazel, Andre Previn, Pierre Boulez, Zubin Mehta, Bernard Haitink, Stanislaw Skrowaczewski, Sir Simon Rattle and numerous others. In some instances (with Bernstein, Boulez, Karajan, Kondrashin and Ozawa), the cooperation was particularly close and sustained by friendship. Mr. Zimerman and Leonard Bernstein worked together for 13 years: Mr. Zimerman was the last--for some time also the only--pianist who performed under Bernstein, both during recording sessions and at concerts in many European countries and the United States. Working frequently and closely with an outstanding musical personality, a master of orchestral sound, was a formative experience for him. The same could be said about his close and long-time contacts with Herbert von Karajan. Mr. Zimerman also embraced the opportunity to meet and make a closer acquaintance of the older-generation masters: Claudio Arrau, Arturo Benedetti Michelangeli, Arthur Rubinstein and Sviatoslav Richter--all of whom exerted a powerful influence on his musical development.

During his 24-year collaboration with Deutsche Grammophon, Mr. Zimerman has made 22 records, for which he has frequently received the most prestigious record awards.

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