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Walter Gieseking - Walter Gieseking Plays Ravel & Debussy (2023)

Posted By: delpotro
Date: 17 Aug 2023 13:51:16
Walter Gieseking - Walter Gieseking Plays Ravel & Debussy (2023)

Walter Gieseking - Walter Gieseking Plays Ravel & Debussy (2023)
WEB FLAC (tracks) - 491 Mb | MP3 CBR 320 kbps - 485 Mb | 03:30:52
Classical | Label: Warner Classics

In 1998 an article appeared in The Times claiming the non-existence of talent. Just as the eminent psychologist R.D. Laing explained that ‘schizophrenia’ was a fabricated term for an analysable condition, so the Times writer stressed that talent was a fancy description for hard work. For him the success of a musical star – he took the violinist Anne-Sophie Mutter as his example – had more to do with perspiration than inspiration.

This curious and dogmatic statement came to mind as I listened once again to Walter Gieseking (1895–1956), an artist of inexplicable gifts. Few pianists have possessed more natural reflexes or a greater capacity to learn and memorise at lightning speed. His only official training came during his years at the Hanover Conservatoire (1911–16), where he had a two-year stint with Karl Leimer (a teacher who instilled in him a belief that playing was essentially a mental rather than a physical process). Stories of Gieseking’s ability to learn say Mozart’s Concerto K467 in five days and to perform Grieg’s complex Ballade after running through it a dozen times were supported by his own comments, such as ‘talent goes in inverse ratio to the necessity for practice’, ‘the dreamer’s intuition is far more sure than intellectual research’ and ‘I never do technical exercises for I consider them almost wholly superfluous’.

After his Berlin debut recital in 1920, Gieseking’s fame spread like wildfire. Already, and ironically as a German, he showed a rare sympathy for French music, for Debussy and Ravel. Indeed, Gieseking and Debussy are as synonymous as Schnabel and Beethoven or Rubinstein and Chopin. His phenomenal aural sensitivity resulted in performances of Debussy that led one commentator (writing in the American Record Guide in 1992) to describe Gieseking as being like "Monet in Giverny,", his playing seeming "to breathe fragrance". He achieved a "wealth of hues within a narrow dynamic compass" with "endless refinements of touch and pedalling". Indeed, my own first piano teacher, Ronald Smith, returned from one of Gieseking’s London recitals both bemused and elated ("I’m sure he pedalled a hundred times in one bar!"). Gieseking was in every sense a magician of the keyboard.

Gieseking’s childhood was spent in southern France and in Italy, and that had a profound bearing on his musical direction and choice of repertoire. His supremely natural talent developed largely unfettered by academic study and already in his German debut recital in 1920 his superfine artistry in Debussy and Ravel was such that he was invited to stay and give seven concerts rather than a single recital. An intensive successful international career followed immediately, though it was blighted by political factors: he was blacklisted as a Nazi sympathiser, a taint which, even as late as 1949, brought him continued hostility in America, and which made him confine his career for some time to Europe, South America and Japan. However, a return to America in 1955 (an all-Debussy programme at Carnegie Hall) was rapturously received. Gieseking also taught masterclasses at the State Conservatoire in Saarbrücken, where he passed on the philosophy of his teacher Karl Leimer.

Gieseking’s repertoire was immense (he gave a New York recital in 1930 devoted entirely to contemporary music) and he recorded the complete solo piano music of Mozart (1953–54) and Ravel (1954) and virtually the complete solo works of Debussy (1951–54). His Mozart has been criticised for its small-scale or miniaturist view, but his Debussy has never been surpassed. (A project to record all the Beethoven sonatas and much of Schubert’s piano music was left incomplete when, aged only 60, Gieseking died suddenly in October 1956.) Tchaikovsky and Rachmaninov also featured in his repertoire and his performances of the latter’s Second and Third Concertos (he performed the Second to great critical acclaim in New York in 1937) showed another facet of his extraordinary gifts: a wild, thunderous virtuosity far removed from the luminous delicacy of his Debussy.

No pianist has ever equalled Gieseking in the outer nonchalance but inner concentration of his Debussy, in his feel for colour and texture. His legendary pedal technique worked in faultless alliance with his arms and fingers, heart and mind, so that he could vary the colour, the light and the shade, the chiaroscuro, to a degree unknown to other pianists. Gieseking was also sufficiently pragmatic to realise that few composers marked their scores more meticulously than Debussy. By obeying Debussy at ground level, so to speak, Gieseking was free to respond to even the most subjective and elusive terms with an ease entirely his own. For him twin directions such as très égal and comme une buée irisée (from Cloches à travers les feuilles) were complementary and intimately connected.

Not surprisingly, Gieseking’s aristocratic strength and refinement provoked envy. But an overeager pointing at this or that momentary lapse, or belittling references by a formidably robust French lady pianist to playing more très joli than accurate or acute, are little more than what Shakespeare, through Titania, called the ‘forgeries of jealousy’. The French have never fully forgiven Gieseking his celebrity. Deeply sensitive and personal, virtuoso in the truest sense, Gieseking’s performances are quite without preening mannerisms or idiosyncrasy and are, from this point of view alone, instantly recognisable. An ideal medium, Gieseking could conjure Debussy’s pristine world of childhood and the potent immediacy of fantasy. In the extreme ecstasy and concentration of his playing, Paradise Lost became Paradise Regained.
Tracklist:
01. 2 Arabesques, CD 74, L. 66: No. 1, Andantino con moto
02. 2 Arabesques, CD 74, L. 66: No. 2, Allegretto scherzando
03. À la manière de…, M. 63: No. 1, Borodine
04. À la manière de…, M. 63: No. 2, Chabrier
05. Children's Corner, CD 119, L. 113: I. Doctor Gradus ad Parnassum
06. Children's Corner, CD 119, L. 113: II. Jimbo's Lullaby
07. Children's Corner, CD 119, L. 113: III. Serenade for the Doll
08. Children's Corner, CD 119, L. 113: IV. The Snow Is Dancing
09. Children's Corner, CD 119, L. 113: V. The Little Shepherd
10. Children's Corner, CD 119, L. 113: VI. Golliwog's Cakewalk
11. Valses nobles et sentimentales, M. 61: No. 1, Modéré et très franc
12. Valses nobles et sentimentales, M. 61: No. 2, Assez lent, avec une expression intense
13. Valses nobles et sentimentales, M. 61: No. 3, Modéré
14. Valses nobles et sentimentales, M. 61: No. 4, Assez animé
15. Valses nobles et sentimentales, M. 61: No. 5, Presque lent, dans un sentiment intime
16. Valses nobles et sentimentales, M. 61: No. 6, Vif
17. Valses nobles et sentimentales, M. 61: No. 7, Moins vif
18. Valses nobles et sentimentales, M. 61: No. 8, Épilogue. Lent
19. Suite bergamasque, CD 82, L. 75: I. Prélude
20. Suite bergamasque, CD 82, L. 75: II. Menuet
21. Suite bergamasque, CD 82, L. 75: III. Clair de lune
22. Suite bergamasque, CD 82, L. 75: IV. Passepied
23. Prélude, M. 65
24. Préludes, Livre I, CD 125, L. 117: No. 4, Les sons et les parfums tournent dans I'air du soir
25. Préludes, Livre I, CD 125, L. 117: No. 6, Des pas sur la neige
26. Préludes, Livre I, CD 125, L. 117: No. 8, La fille aux cheveux de lin
27. Préludes, Livre I, CD 125, L. 117: No. 12, Minstrels
28. Préludes, Livre II, CD 131, L. 123: No. 1, Brouillards
29. Préludes, Livre II, CD 131, L. 123: No. 4, Les fées sont d'exquises danseuses
30. Préludes, Livre II, CD 131, L. 123: No. 10, Canope
31. Sonatine M. 40: I. Modéré
32. Sonatine M. 40: II. Mouvement de menuet
33. Sonatine M. 40: III. Animé
34. Menuet sur le nom de Haydn, M. 58
35. Hommage à Haydn, CD 123, L. 115
36. Le Tombeau de Couperin, M. 68: I. Prélude
37. Le Tombeau de Couperin, M. 68: II. Fugue
38. Le Tombeau de Couperin, M. 68: III. Forlane
39. Le Tombeau de Couperin, M. 68: IV. Rigaudon
40. Le Tombeau de Couperin, M. 68: V. Menuet
41. Le Tombeau de Couperin, M. 68: VI. Toccata
42. Images, Livre I, CD 105, L. 110: No. 1, Reflets dans l'eau
43. Images, Livre I, CD 105, L. 110: No. 2, Hommage à Rameau
44. Images, Livre I, CD 105, L. 110: No. 3, Mouvement
45. Images, Livre II, CD 120, L. 111: No. 1, Cloches à travers les feuilles
46. Images, Livre II, CD 120, L. 111: No. 2, Et la lune descend sur le temple qui fut
47. Images, Livre II, CD 120, L. 111: No. 3, Poissons d'or
48. Miroirs, M. 43: I. Noctuelles
49. Miroirs, M. 43: II. Oiseaux tristes
50. Miroirs, M. 43: III. Une barque sur l'océan
51. Miroirs, M. 43: IV. Alborada del gracioso
52. Miroirs, M. 43: V. La Vallée des cloches
53. Pour le piano, CD 95, L. 95: I. Prélude
54. Pour le piano, CD 95, L. 95: II. Sarabande
55. Pour le piano, CD 95, L. 95: III. Toccata
56. Gaspard de la nuit, M. 55: I. Ondine
57. Gaspard de la nuit, M. 55: II. Le Gibet
58. Gaspard de la nuit, M. 55: III. Scarbo
59. Estampes, CD 108, L. 100: No. 1, Pagodes
60. Estampes, CD 108, L. 100: No. 2, La soirée dans Grenade
61. Estampes, CD 108, L. 100: No. 3, Jardins sous la pluie

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Conclusion: MPEG 89%
Signature: 210B94ED893DC49C2467326B7CD3EC5C9377F0DB
FILE: 10 Children's Corner, CD 119, L. 113_ VI. Golliwog's Cakewalk.flac
Size: 6909748 Hash: 3937248A2061AD5425DB8B23005B9264 Accuracy: -m8
Conclusion: CDDA 100%
Signature: 433F7EDD183963CA4896071BE74C75BAD44E99A1
FILE: 09 Children's Corner, CD 119, L. 113_ V. The Little Shepherd.flac
Size: 5089538 Hash: F785DFF61F9DE5CBF1C4111B02DAEF8F Accuracy: -m8
Conclusion: CDDA 100%
Signature: 086131BF1FD2CC7FFE3153C9686E33A834CC47AB
FILE: 08 Children's Corner, CD 119, L. 113_ IV. The Snow Is Dancing.flac
Size: 5194874 Hash: 85EB3D979DA80ACCD7CAC8977B330AEC Accuracy: -m8
Conclusion: CDDA 100%
Signature: 629AA5410A3624AE839523EFE2D723170C71658B
FILE: 07 Children's Corner, CD 119, L. 113_ III. Serenade for the Doll.flac
Size: 7129059 Hash: 434047A4376C7CC20EF58088E14E49D3 Accuracy: -m8
Conclusion: CDDA 99%
Signature: A7EFA90FAD74BFE83EAE1E54EB1C75E22DBA0EDE
FILE: 06 Children's Corner, CD 119, L. 113_ II. Jimbo's Lullaby.flac
Size: 7511785 Hash: 35A2994C5702E3D0E6A568702FA2B1D6 Accuracy: -m8
Conclusion: CDDA 100%
Signature: FB6D3D627AB2762D742B2AB3F2D2775AF1EDD1DA
FILE: 05 Children's Corner, CD 119, L. 113_ I. Doctor Gradus ad Parnassum.flac
Size: 5051605 Hash: 88B9FB1C9036546EC341082CB552F057 Accuracy: -m8
Conclusion: CDDA 100%
Signature: FCD91579208E82C5EDCDDDFDC723C777BA54478B
FILE: 04 À la manière de…, M. 63_ No. 2, Chabrier.flac
Size: 4721149 Hash: EDEFEC7246AC412E9C44ABE262CAF2E9 Accuracy: -m8
Conclusion: CDDA 100%
Signature: 671B67DF1CF27D01118EDC645AFF7472A715D34D
FILE: 03 À la manière de…, M. 63_ No. 1, Borodine.flac
Size: 3509333 Hash: AFF915AA3A5EA20FD03242C615FB12DD Accuracy: -m8
Conclusion: CDDA 100%
Signature: 9AA4F70DC1CC487C4EED5E86048464B1B88B192C
FILE: 02 2 Arabesques, CD 74, L. 66_ No. 2, Allegretto scherzando.flac
Size: 7070667 Hash: 5168D25C6E3B95925BA85759B963B901 Accuracy: -m8
Conclusion: CDDA 100%
Signature: E964570E55D059835AFBD9F49208CA8A3D9CCF60
FILE: 01 2 Arabesques, CD 74, L. 66_ No. 1, Andantino con moto.flac
Size: 9072917 Hash: 84684E494A4306F9A6AFD717D816F6E4 Accuracy: -m8
Conclusion: CDDA 100%
Signature: 1518082822BD9A4ACC6977591534F138A5672454
UPWARDS