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Artur Pizarro - Voříšek – Piano Works, Volume 2 (1996)

27-04-2016, 09:11
Classical Music | FLAC / APE


Artist:
Title: Voříšek – Piano Works, Volume 2
Year Of Release: 1996
Label: Collins Classics
Genre: Classical
Quality: FLAC (image+.cue)
Total Time: 01:14:58
Total Size: 268 Mb
WebSite:

Tracklist:

12 Rhapsodies
Rhapsody No.1
Rhapsody No.2
Rhapsody No.3
Rhapsody No.4
Rhapsody No.5
Rhapsody No.6
Rhapsody No.7
Rhapsody No.8
Rhapsody No.9
Rhapsody No.10
Rhapsody No.11
Rhapsody No.12

Le Désir: Andante Con Moto
Le Plaisir: Allegro

The Twelve Rhapsodies op. 1 are a mammoth cycle of over 50 minutes (it would have been much longer if Pizarro had taken all the repeats indicated by the composer), something like Vorisek's Transcendantal Studies. Stylistically they fall somewhere between Beethoven, Mendelssohn, with hints of Liszt and Schumann maybe. All these pieces are notated "Allegro", "allegro con brio", "vivace", "allegro furioso", but all are in A-B-A form, with, usually, a more lyrical and pensive middle section. Their uniformity of architecture may become somewhat wearing after a while, and Vorisek's middle sections aren't always as inspired and winning as his more agitated outer ones. Overall the Rhapsodies may not have the profundity of Beethoven or the inventivity of Liszt: they usually sound more superficial than that - there are even whiffs of the Bellini-inspired Chopin (or maybe it is Czerny) in the right-hand runs of the 6th Rhapsody -, but then, composed in 1812-13, they are the work of a 21-year old: Liszt was 2 years old! But what I find even more remarkable is not only how far away they are from the Classical model of Haydn and Mozart, but how removed they also are from any easy-to-pin-down model: they don't sound like Beethoven, they don't sound like Schubert (the Beethoven-Schubert reminiscences are much more obvious in the companion Vorisek recital recorded by Artur Pizarro, Piano Works). The score is available on the International Music Scores Library Project - how can they be lauded enough - and following the music with it has further enhanced my admiration and helped me become aware of beauties that had escaped my attention on first hearing. The superb 3rd Rhapsody, with its agitated and turbulent triplet runs, sounds like it could have been composed by Schumann, and likewise with the magnificent 4th, playful in an unruly manner. The 7th, with its ferocious broken chords, sounds uncannily Lisztian - Vorisek's Mephisto-Waltz, as it were. Listening to the enthusiastic and syncopated 8th and trying to find comparisons that could give the reader an idea of what's in store here, I'd say it is Berlioz' Benvenutto Cellini at the piano. And the 11th sounds like a Chopin study that would have been written by Beethoven.





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