Schumann R., Franck C. - Ivan Moravec & Czech Philharmonic Orchestra - Neumann (1988)

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Schumann R., Franck C. - Ivan Moravec & Czech Philharmonic Orchestra - Neumann (1988)

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Schumann R., Franck C. - Ivan Moravec & Czech Philharmonic Orchestra - Neumann (1988)
EAC Rip | FLAC (img + cue), LOG | TT 49:01 | Covers (jpg 300 dpi) | RAR 221 MB (3% Recovery)
Supraphon | Czechoslovakia | 11 0650-2 111 | 1988

The two works on this recording illustrate, each in its own manner, the development of the variation principle during the Romantic era. The Concerto in A minor for Piano and Orchestra by Robert Schumann (1810-1856) underscores the composer's efforts to transfer his own variation models to the traditional forms which were somewhat removed from his poetic and lyrical emotional sphere. In 1839, for example, Schumann wrote: "I see that I cannot write a concerto for a virtuoso. I will have to think of something else." Schumann began this work in 1841, by writing a Piano Fantasy in one movement, whose monothematic structure makes it a memorable work. He completed the concerto in 1845 by adding two additional movements to the Fantasy, thus giving the work its final form. Clara Schumann first performed the concerto on 4 December 1845 in a concert conducted by Ferdinand Hiller, to whom the work is dedicated. The central idea of the entire work is constituted by the main theme of the introductory Allegro affettuoso, which appears in the woodwinds after energetic opening chords. A reminiscence of the ascending staccato part of the theme recurs in the dialogue of the piano with the strings in the following Intermezzo (Andantino grazioso), in which the poignant melodiousness of the violoncelli fully justifies its designation as a Romantic "song without words". The Finale (Allegro vivace) with its brilliantly worked-out piano part, also alludes to the central idea of the opening movement. The merry dance-like character of the whirling theme makes this movement the temperamental climax of the entire concerto.
The Symphonic Variations for Piano and Orchestra by Cesar Franck (1822-1890) were composed in 1885, three years before the completion of the Symphony in D minor, thus at a time in which every musical form took on the quality of a meditation on life and truth for Franck. In the "Symphonic Variations", Franck turned to the variation technique, which he was perfectly familiar with after his thorough study of classical models as an organist. This also influenced the final shape of the composition, which became a form with compact ideas and interesting sonorities, in which the romantically stylized piano part is integrated in a highly original manner in the symphonic development. The work is divided in two sections. The first (Poco allegro) is dominated by the piano's descending theme with its striking rhythm. The elegiac character of this theme foreshadows the world of the famous D minor Symphony. The actual variations (Allegretto), which are introduced by the solo piano in a free modification of the opening theme, abandon the meditative sphere of the opening section and heighten the optimistic mood of the composition up to the triumphant final variation which its fascinating contrapuntal interweaving of both main themes. Ivan Moravec (1930) ranks among the most eminent Czech performing artists of today Trained in the best Czech pianistic tradition, he acquired further important impulses for his artistic development in Arturo Benedetti-Michelangeli's master classes. His numerous recordings, produced above all in the United States, have won him an array of international prizes and awards.

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Schumann R., Franck C. - Ivan Moravec & Czech Philharmonic Orchestra - Neumann (1988)

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