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Alfred Reisenauer (1863-1907): Schumann - Carnaval (complete) 

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Alfred Reisenauer was a significant pupil of Franz Liszt. However, the fact that he left no acoustic recordings has meant that he has tended to be forgotten today. He was in fact one of the most important pianists of his time, acclaimed both as teacher and performer, achieving directorship of the Leipzig Conservatoire.
The only remaining recorded documents of his playing are ten piano rolls recorded for the Welte system in 1905.
This work was recorded complete onto three rolls released in 1905, and is therefore a substantial example of his craft. This rendition from Ian WIlliamson came from an original file courtesy of Christopher Neave, derived from his Welte Mignon Vorsetser playing the roll onto his Yamaha Grand Disklavier.
Finally, the picture used in this video is an interesting shot of Reisenauer. He is marked on the photo seated amongst some of Liszt's other pupils. Front row - Saul Liebling, Alexander Siloti (holding the Dante Symphony), Arthur Friedheim, Emil (not quite yet 'von') Sauer, Alfred Reisenauer. Alexander W. Gottschalg Back row - Moriz Rosenthal, Viktoria Drewing, Mele Paramanoff, Liszt, Friedheim's mother, Hugo Mansfeld (also with the Dante Symphony!)

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6 май 2020

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Комментарии : 8   
@saltburner2
@saltburner2 4 года назад
I first heard of him when I was a student in Philadelphia over 50 years ago - his Welte rolls were often aired on WFLN's series: Keyboard immortals play again in Stereo.
@lauryverner9403
@lauryverner9403 2 месяца назад
I also heard of Reisenauer on the same program on WFLN ~60 years ago. The "Chopin" section was the theme song of the program. The host was "Mr. Joseph Tushinsky." WFLN was such a gift.
@jamesmiller4184
@jamesmiller4184 7 месяцев назад
There also was a nice clutch he recorded for Hupfeld's "DEA" reenacting piano. That repertoire was supplemental to that left to the Welte-Migonon, and is of exceeding importance. If recollection serves me, one as supplementing was Chopin's Bolero! The reenaction abilities of Hupfeld's instrument were/are every bit as fine as that of the Weltes'. Unfortunately they are breathtakingly rare. As taken all together, Reisenauer's reenacting records might nicely fill two evenings of Reisenauerean Seance -- 'bring 'em back alive' -- for that always was the purpose of the entire endeavor to the recording pianists, so that they might play to the Public once again, was it not?
@miguelleiton3645
@miguelleiton3645 Год назад
Tal vez apreciemos algunas notas, acordes, tiempos no acostumbrados, pero considero que el interprete viene de manos como las de Liszt...!!! Y de acuerdo a las fechas pudo tener partituras fieles de los autores............. Lo considero una bella interpretacion......!!!
@innocenzobarrera1505
@innocenzobarrera1505 2 года назад
Tra le più belle ascoltate ! (Welt-Mignon ?). Resa acustica formidabile !
@PetrichorAllegory
@PetrichorAllegory 3 года назад
Pierrot was so interesting....his interpretation of the portato. Schumann does have a pedal marking, but most pianists play it I think as essentially legato. I wonder if what Reisenauer is doing is closer to Schumann's intent.
@RabidCh
@RabidCh Год назад
I do also find Pierrot interesting but doubt its closeness to Schumann's intent. Of Clara Schumann's pupils, only Adelina De Lara recorded the Carnaval. The Pierrot in that recording is also quite different from most pianists, but in a quite the opposite way from Reisenauer!
@jamesmiller4184
@jamesmiller4184 7 месяцев назад
"Houston, we've got a problem!" Yes they did but also as here too . . . Anyone (besides myself) detect that there is featuring zero dynamic differentiation as present? 'Sounds to me like the mezzo-forte hooks are locked under their catchs! HOW could any with a modicum of musical awareness let such a thing pass and go out, as being any THING representative of any THING short of awfulness ??? Well, since I have been asked, I can from more than fifty years of experi- ence, observation and listening, state to certitude that most collectors of such instruments and their record-rolls POSSESS LITTLE-TO-NONE !! As setting aside from their teeming numbers the connoisseurs of them, their value is mostly found in serving as conservators, which is nothing really small of import but, when it comes to musical judgments, leave such attending matters to those fewer first. Here, obviously, none were consulted. And, as further I can attest to the fact that this record as well as all of Reisenauer's others, just bristle with expression-dynamical as well as the tempic/agogic. Assertions? Rejoinders? Questions? Opinions? Puffs? Pans?
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