Reicha also taught Berlioz and Liszt, for example, whose piano arrangements of symphonic poems receive a monumental interpretation on Risto-Matti Marin’s five-star record.
Classic / Album
Reicha Rediscovered 1-3. Ivan Ilic (piano). Chandos. ★★★★
Reicha Complete Piano Music 3-4. Henrik Löwenmark (piano). Toccata. ★★★
Liszt-Stradal. The Complete Symphonic Poems 1-4. Risto-Matti Marin (piano). Toccata. ★★★★★
Antoine Reichan (1770-1836), Ludwig van Beethoven (1770-1827), Carl Czernyn (1791–1857) and Franz Lisztin (1811–86) the roads intersected quite excitingly. Bohemian-born Reicha / Rejcha and Bonn-born Beethoven were peers – and also fellow-destinies. Both studied in Bonn C. G. Neefen (1748–98) in particular Bachin works. Beethoven served as organist in the election prince’s court, Reicha as flutist and orchestra conductor.
Reicha later wrote: “We spent 14 years together; as another Oreste and Pylade, we could not live apart in our youth. We met again in Vienna eight years from now; there we discussed everything new that we had achieved. ”
The buddies were united by the courage of the torchbearers of musical progress in harmony, variation, and fugue technique.
At no point can Beethoven be blamed for a lack of courage, but neither for the Reich. As a great improviser, Beethoven created fantastic variations, the first printed sample of which is Eroica variations (1802) and a masterpiece Diabetic variations (1823).
The Reich has a similar achievement L’art de varier (Art / Skill of Variation, 1803-04), which includes 57 variations. Their stylistic, characteristic and pianistic span is enormous.
From simple pattern variations we proceed to the wild eruptions of the Beethovenian, even the op. 111 “jazzy” rhythms, Chopin and Schumannia proactive textures and chords, even Alkanin inventions.
Ivan Ilic plays his third album without exaggerating the whole, but conveys the experimental innovativeness of the music in full.
Bach’s studies bore a slow harvest at Beethoven before the fugue surrendered completely. Hammerklavierin the Sonata (1818) and Große Fugessa (1826) he showed what this genre had to give to new music.
Reichasta in turn became the chief music theorist of the time in his four-part composition theory (1824), which was translated into German by Beethoven’s pupil Czerny.
Reicha settled in Paris in 1808 and in 1818 became professor of composition at the conservatory. The main contribution was – in addition to the compositions – the art of fugue, which he passed on to a whole generation of composers: Berlioz, Gounod, Franck and Liszt are his most famous disciples. In their productions one can hardly find an extensive work without a fugue.
Students could also learn from the Reicha fugue opuses: 12 fugues for piano (1800), 36 fugues for piano op. 36 (1803), 6 fugues for piano op. 81 (1810) and 34 etudes in fugue species op. 97 (1815–17).
Especially 12 fugues and op. 36 after Bach take fugue technology to a whole new dimension in their modern chromaticity and the audacity of their themes. To that extent, it is a pity that Ivan Ilić or Henrik Löwenmarkin the record series still contain these wildest wonders, although Ilić has half of the pedagogical lesson 97.
Liszt was not only a pupil of Beethoven’s student Czerny but also a student of the Reich. Liszt became the father of modern piano playing thanks to his orchestral technique, at the same time the founder of a new genre, the symphonic poem.
A late pupil of Liszt, born in Bohemia August Stradal (1860–1930) arranged symphonic poems for piano. Now Risto-Matti Marin has recorded a series of 13 works as the first pianist in the world. In addition, there are vocal arrangements from which Stradal creates completely new piano works.
Marinin the technology is firm and the sound sense is wide-ranging. In Festklänge he tunes gentle melodies with ornaments heartbreakingly beautiful.
The more infernal difficulties in reconciliation, the more Marin is at home. Mazeppa doesn’t feel any boring or secondary. In the cup the wrestling of just one player creates a huge effect. Prometheus Marin interprets it as a matter of life and death.
Marin is at its best when the technical challenges are the toughest – leaving only the listener to sweat. Marini’s achievement is monumental!
Critic’s Choices: Palmgren has plenty to enjoy
Classic / album
Palmgren: Complete Piano Works 1. Jouni Somero (piano). Toccata. ★★★★
Selim Palmgrenin (1878–1951) the time is now! He was one of the key composers of our golden age and our most internationally renowned musician Sibelius alongside. Biography obtained (Kimmo Korhonen, 2009), and Jouni Somero record the entire piano production. There are at least 374 works, so there will probably be half a dozen records. Most of the songs are miniatures and series, but already Somero’s opening album reveals that Palmgren as a composer is more versatile than you might think. Finnishness belongs, but so does Nordicness, Frenchness and Spanishness. So it’s enough to enjoy!
Classic / album
Romberg: violin concerts. Chouchane Siranossian (violin), Capriccio Baroque Orchestra. Alpha Classics. ★★★★
Andreas Romberg (1767–1821) has survived its slightly more famous cousin, the cellist composer Bernhard Rombergin (1767–1841) in the shadow. In Bonn at the same time Beethoven Andreas, who worked with Hamburg and Gotha, composed impressive productions. 20 Violin Concerts (1784–1812) are located between classicism and – in G minor Concerto No. 12 – Early Romance. The slow parts are expressive and the concluding parts are catchy melodic. Chouchane Siranossian increases the appeal of music with its spectacular cadences.
Classic / Album
Orgelfreude: Bach, Mendelssohn. Pauliina Hyry (organ). Fuga. ★★★
Pauliina Hyry is a good example of our ambitious and well-trained cantor guard. He plays the record on the baroque-style organ of Naantali Church JS Bachin music professionally. We hear a nice set of Bach’s delightful organ chorales as well as a large prelude and fugue in E flat major. It’s the basic software for an organist that runs respectably, but more blink and flammability is missed, especially when there are no benchmarks. Felix Mendelssohnin Sonata No. 4 brings both atmosphere and impetus to the whole.
Classic / album
Gravity Groove. Joonatan Rautiola (alto saxophone), Marko Hilpo (piano). ARS. ★★★★★
Gravity Groove strengthen the image Tuomas Turriagosta as an energetic and inventive composer whose pace is not dull. Charles Wuorisen Divertimento is more modern as a work. Paule Mauricen Tableaux de Provence contains nice dancing and picturesque pictures. Marko Hilpo has agreed Claude Debussyn Rhapsody orchestral part for piano in authentic sound. Jonathan Rautiola alto saxophone art is sheer pleasure, and miraculously well the instrument replaces Clarinet WA Mozartin Kegelstattin a trio where the viola part is responsible Barbora Hilpo.
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