霍洛维茨钢琴协奏曲：Brahms Piano Concerto No.2 /Tchaikovsky: Piano Concerto No.1 雷神无损古典音乐打包下载

清水伊伊 · 发表于 2018-6-16 11:39:27

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勃拉姆斯第二钢琴协奏曲&柴可夫斯基第一钢琴协奏曲
Album: Brahms Piano Concertos No.2 & Tchaikovsky Piano Concerto No.1
Artist: Vladimir Horowitz
Orchestra: NBC Symphony Orchestra
Conductor: Toscanini
Date: 1940-1941\2002(CD)
Version: Naxos
Serial Number: 8.110671

Introduction:
Vladimir Horowitz held a singular place in twentieth-century music. He was both an international celebrity and serious artist whose performances and recordings were anxiously anticipated and widely discussed. His recordings of Brahms's Second Concerto (1940) and Tchaikovsky's First Concerto (1941) are among the most influential piano recordings ever produced and they helped to propel his career into the 1940s and beyond.

In 1940 the thirty-seven-year-old Horowitz was rebuilding his career in the United States. He had led a charmed life up until only four years earlier. He had been a professional musician since 1922, when he completed his studies at the Kiev Conservatory. In 1924, the twenty-one-year-old pianist performed throughout Western Europe, where the critics hailed him as the greatest pianist of his generation. In 1928 he gave a concert tour of the United States, making his American debut on January 12th with the New York Philharmonic, conducted by Sir Thomas Beecham. He began his association with Arturo Toscanini in 1932, performing Beethoven's 'Emperor' Concerto with the New York Philharmonic, and in December 1933 marrying Toscanini's daughter, Wanda. His hectic schedule, however, began to take its toll. Suffering from mental exhaustion and a variety of physical ailments, in 1936 he stopped performing and remained out of sight for so long that reports of his death began to circulate. He made a gradual return to the concert stage in 1938, first in Switzerland, and then elsewhere in Europe. Finally, in 1939, he emigrated to the United States, making his first appearance with Toscanini and the NBC Symphony Orchestra in May 1940, performing and then recording Brahms's B flat Piano Concerto.

When he completed his Second Piano Concerto, in the summer of 1881, Brahms mockingly referred to the sprawling work as 'a tiny, tiny piano concerto, with a tiny wisp of a scherzo.' It's four-movement structure has caused some critics to refer to the B-flat Concerto as a 'symphony with piano obbligato'. By the 1930s it was firmly established in the concerto repertoire. Horowitz had known it for quite some time. He had heard Artur Schnabel perform it with Furtwangler and the Berlin Philharmonic in the mid 1920s and soon thereafter added the work to his own repertoire. Its daunting passages of double octaves were already legendary and Horowitz was fond of telling the story of practising them at an upright piano in a Dortmund brothel prior to a concert in that German city.

Horowitz's May 6, 1940 performance of the B-Flat Concerto in New York was a sensation. The event was an all-Brahms charity concert at Carnegie Hall with Toscanini and the NBC Symphony Orchestra. New York Times' critic Olin Downes wrote that "Mr. Horowitz played what is probably the greatest of piano concertos with all the sincerity, the virility and fire of his young heart, and the abundant virtuosity and power which are phenomenally at his command, and...one ventures to say that this was playing of a breadth, a masculinity, a poetry and withal a heroic spirit which would have satisfied the composer." Downes reported the audience to have applauded each movement and cheered at the end. On May 9 he recorded the concerto at the RCA Victor studios in Camden, New Jersey.

Soon after making the recording, Toscanini and the NBC Symphony Orchestra began a tour of 'goodwill' tour of South American. Horowitz, however, was sidelined through much of this time after catching his finger in a door. He was forced to cancel his engagements and spend many weeks recovering close to his doctor in Chicago. Meanwhile, the Brahms recording hit the shops and was an enormous commercial and critical success. RCA Victor executives were thus anxious to follow up the Brahms with Horowitz's showpiece, Tchaikovsky's First Concerto.

In 1941 Americans had long been familiar with Tchaikovsky's First Concerto, and with Horowitz's interpretation of it. Hans von Bulow gave the first performance on 25 October 1875, not in Europe but in Boston's Music Hall, with a free-lance orchestra conducted by B.J. Lang. Adele aus der Hohe played the concerto at the opening of Carnegie Hall in 1891, conducted by the composer himself. Horowitz had made the concerto a central part of his repertoire early in his career. He performed it at his American debut, in January 1928, and featured it throughout the tour that followed. On 19 April 1941 Horowitz played the concerto with Toscanini and the NBC Symphony Orchestra at an all-Tchaikovsky concert at Carnegie Hall, marking the fiftieth anniversary of the dedication of the famous auditorium. Noel Straus, writing in the New York Times, called Horowitz's playing "brilliant, poetic and vital...a truly stupendous exhibition of pianism, as emotionally expansive as it was amazing in its tonal hues and subtlety of nuance." Once again, the studio recording took place a few days later and, as with the Brahms, the Horowitz-Toscanini version quickly became the one to own.

These recordings had serious competition at mid-century. Many considered Schnabel's recording of the Brahms the definitive version while others favoured Arthur Rubinstein's 1932 recording-and his 1929 release of the Tchaikovsky First Concerto. Still, Horowitz's versions won the most converts. Young pianists listened with wonder at the power and expression and the recordings remained the benchmarks for these concertos. The American pianist, Seymour Bernstein, writes that at the age of fifteen his passion for music was "derived from two recordings I owned, the Concerto in B-flat minor by Tchaikowsky and the Concerto in B-flat by Brahms, both played by Horowitz and conducted by Toscanini. To me, those old 78-rpms were like living things. Thus I tenderly lifted them out of their albums, being careful not to scratch them, or-the worst of horrors-to break them. For that would have been tantamount to injuring Horowitz himself. And, finally, when I positioned the discs on the turntable of our old Magnavox console and subsequently listened to those demoniacal phrases and thundering chords and octaves emanating from the mono speaker, goose flesh broke out over my entire body, and my hair stood straight up on end. Awestruck though I was, that sound kindled a fire within me: 'I can play like that,' I thought. 'I only need more time to work things out.'"

Tracks:
01. Brahms Piano Concerto No.2 in B flat major Op.83 - I. Allegro non troppo [0:16:19.00]
02. - II. Allegro appassionato [0:08:11.15]
03. - III. Andante [0:11:09.00]
04. - IV. Allegretto garzioso [0:08:29.62]
05. Tchaikovsky Piano Concerto No.1 in B flat minor Op.23 - I. Allegro non troppo [0:17:39.38]
06. - II. Andantino [0:05:51.45]
07. - III. Allegro con fuoco [0:06:11.65]

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