Friedrich Gulda - Friedrich Gulda: The Early Rias Recordings '2009

Tracks list

Tracklist

CD1
1.01. Piano Sonata in G Major, Op. 14,2 I. Allegro
1.02. Piano Sonata in G Major, Op. 14,2 II. Andante
1.03. Piano Sonata in G Major, Op. 14,2 III. Scherzo. Allegro assai
1.04. Piano Sonata in E Major, Op. 109 No. 30 I. Vivace, ma non troppo  Adagio
espressivo
1.05. Piano Sonata in E Major, Op. 109 No. 30 II. Prestissimo
1.06. Piano Sonata in E Major, Op. 109 No. 30 III. Gesangvoll, mit innigster
Empfindung. Andante molto cantabile ed espressivo
1.07. Variations and Fugue for Piano in E-Flat Major, Eroica Variations, Op. 35
Introduzione col basso del tema. Allegro vivace
1.08. Variations and Fugue for Piano in E-Flat Major, Eroica Variations, Op. 35
Var. 1 - Var. 15
1.09. Variations and Fugue for Piano in E-Flat Major, Eroica Variations, Op. 35
Finale. Alla fuga. Allegro con brio.
1.10. 32 Variations in C Minor, WoO 80

CD2
2.01. Pour le Piano, L. 95 I. Prelude. Assez anime et tres rythme
2.02. Pour le Piano, L. 95 II. Sarabande. Avec une elegance grave et lente
2.03. Pour le Piano, L. 95 III. Toccata. Vif
2.04. Estampes, L. 100 II. La soiree dans Grenada. Mouvement de Habanera
2.05. Images, L. 111 (2eme Livre) III. Poissons d'or. Anime
2.06. Preludes, L. 117 (1er Livre) VI. Des pas sur la neige. Triste et lent.
2.07. Preludes, L. 117 (1er Livre) IX. La serenade interrompue. Moderement anime
- Quasi Guitarra.
2.08. Suite Bergamasque, L. 75 I. Prelude. Moderato
2.09. Suite Bergamasque, L. 75 II. Menuet. Andantino
2.10. Suite Bergamasque, L. 75 III. Clair de Lune. Andante tres expressif
2.11. Suite Bergamasque, L. 75 IV. Passepied. Allegretto ma non troppo
2.12. Gaspard de la nuit, Trois poemes pour Piano d'apres Aloysius Bertrand, M.
55 I. Ondine. Lent
2.13. Gaspard de la nuit, Trois poemes pour Piano d'apres Aloysius Bertrand, M.
55 II. Le Gibet. Tres lent
2.14. Gaspard de la nuit, Trois poemes pour Piano d'apres Aloysius Bertrand, M.
55 III. Scarbo. Modere

CD3
3.01. 24 Preludes, Op. 28 Prelude No. 1 in C Major. Agitato
3.02. 24 Preludes, Op. 28 Prelude No. 2 in A Minor. Lento
3.03. 24 Preludes, Op. 28 Prelude No. 3 in G Major. Vivace
3.04. 24 Preludes, Op. 28 Prelude No. 4 in E Minor. Largo
3.05. 24 Preludes, Op. 28 Prelude No. 5 in D Major. Allegro molto
3.06. 24 Preludes, Op. 28 Prelude No. 6 in B Minor. Lento assai
3.07. 24 Preludes, Op. 28 Prelude No. 7 in A Major. Andantino
3.08. 24 Preludes, Op. 28 Prelude No. 8 in F-Sharp Minor. Molto Agitato
3.09. 24 Preludes, Op. 28 Prelude No. 9 in E Major. Largo
3.10. 24 Preludes, Op. 28 Prelude No. 10 in C-Sharp Minor. Allegro molto
3.11. 24 Preludes, Op. 28 Prelude No. 11 in B Major. Vivace
3.12. 24 Preludes, Op. 28 Prelude No. 12 in G-Sharp Minor. Presto
3.13. 24 Preludes, Op. 28 Prelude No. 13 in F-Sharp Major. Lento
3.14. 24 Preludes, Op. 28 Prelude No. 14 in E-Flat Minor. Allegro
3.15. 24 Preludes, Op. 28 Prelude No. 15 in D-Flat Major Raindrop. Sostenuto
3.16. 24 Preludes, Op. 28 Prelude No. 16 in B-Flat Minor. Presto con fuoco
3.17. 24 Preludes, Op. 28 Prelude No. 17 in A-Flat Major. Allegretto
3.18. 24 Preludes, Op. 28 Prelude No. 18 in F Minor. Allegro molto
3.19. 24 Preludes, Op. 28 Prelude No. 19 in E-Flat Major. Vivace
3.20. 24 Preludes, Op. 28 Prelude No. 20 in C Minor. Largo
3.21. 24 Preludes, Op. 28 Prelude No. 21 in B-Flat Major. Cantabile
3.22. 24 Preludes, Op. 28 Prelude No. 22 in G Minor. Molto Agitato
3.23. 24 Preludes, Op. 28 Prelude No. 23 in F Major. Moderato
3.24. 24 Preludes, Op. 28 Prelude No. 24 in D Minor. Allegro appassionato
3.25. Nocturne in C Minor, Op. 48 No. 1
3.26. Barcarolle in F-Sharp Major, Op. 60
3.27. Piano Sonata No. 7 in B-Flat Major, Op. 83 I. Allegro inquieto - Andantino
3.28. Piano Sonata No. 7 in B-Flat Major, Op. 83 II. Andante caloroso
3.29. Piano Sonata No. 7 in B-Flat Major, Op. 83 III. Precipitato

CD4
4.01. Piano Concerto No. 24 in C Minor, K. 491 I. Allegro (Cadenza by Johann
Nepomuk Hummel)
4.02. Piano Concerto No. 24 in C Minor, K. 491 II. Larghetto (Eingang by Johann
Nepomuk Hummel)
4.03. Piano Concerto No. 24 in C Minor, K. 491 III. Allegretto (Eingang by
Johann Nepomuk Hummel)
4.04. Piano Sonata No. 28 in A Major, Op. 101 I. Etwas lebhaft und mit der
innigsten Empfindung. Allegretto ma non Troppo
4.05. Piano Sonata No. 28 in A Major, Op. 101 II. Lebhaft, marschma?ig. Vivace
alla marcia
4.06. Piano Sonata No. 28 in A Major, Op. 101 III. Langsam und sehnsuchtsvoll.
Adagio ma non troppo con affetto
4.07. Piano Sonata No. 28 in A Major, Op. 101 IV. Geschwind, doch nicht zu sehr
und mit Entschlossenheit. Allegro

The public image of Friedrich Gulda (1930-2000) is divided: for some, he is one
of the most important Beethoven interpreters of the 20th century, whereas others
perceive him as an enfant terrible whose battle against the cultural
establishment and the constraints of the music business, which limited his
multifaceted artistic interests and talents, became legendary.As ever, such
generalisations are both true and false. This compilation of hitherto unreleased
recordings made by Gulda for the RIAS Berlin between 1950 and 1959 enables us to
experience the pianist and musician Gulda in a more differentiated and
unprejudiced manner. For even here, the 'complete musician' - as Gulda saw
himself throughout his career - comes into view.The spectrum of recordings
which, given the almost frightening concert and recording activities Gulda
tackled during this decade, only represents the tip of the iceberg, speaks for
itself: it stretches from Mozart to Prokofiev and shows Gulda to be a universal
artist who, from the beginning, sought to combine the highest possible degree of
objectivity and authenticity with the greatest intensity of music-making.
Gulda's musical and pianistic foundations had been laid in Vienna by his teacher
Bruno Seidlhofer, who had formed nearly all the important pianists of the
'Viennese School'; the quality of Gulda's training was confirmed by his being
awarded the first prize at the Geneva Piano Competition in 1946 which Arturo
Benedetti Michelangeli had won before him. Gulda looked for role models who
displayed a spontaneous and at the same time controlled intensity in their
playing, and he found them in American Jazz, whose inexorable rise in post-war
Europe was to fascinate him throughout his career. The early Mozart and
Beethoven recordings, made in 1950, demonstrate Gulda's phenomenal analytical
understanding of compositional structures and his unerring sense of rhythm and
touch. His Chopin and Ravel recordings are sensational: on the highest pianistic
level, Chopin's Prélude Op. 28 and Ravel's Gaspard de la Nuit are presented
in a rare, incisive manner on both a musical and dramatic level.With his
interpretation of two important early works by Debussy, the Suite pour le Piano
and the Suite bergamasque, as well as a selection of the Préludes, Gulda also
proves to be one of the few non-French pianists who found a decidedly modern and
yet authentic access to these masterworks.The programme closes with single
pieces by Chopin (Nocturne in C minor,Op. 48 No. 1 and Berceuse Op. 60),
demonstrating Gulda's intensive exploration of romantic works, as well as a
spectacular recording of Prokofiev's Piano Sonata No. 7 Op. 83, made in 1950.
Prokofiev's music, whose wildness in the end proved incompatible with Gulda, did
not remain in his repertoire for long; he did, however, pass on important
impulses to his most famous pupil, Martha Argerich.

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