Schubert: The Complete Piano Sonatas | Wilhelm Kempff

00:00:00 - Piano Sonata No. 1 in E major, D. 157

00:20:03 - Piano Sonata No. 2 in C major, D. 279

00:38:58 - Piano Sonata No. 3 in E major (Five Piano Pieces), D. 459

01:07:16 - Piano Sonata No. 4 in A minor, D. 537

01:25:52 - Piano Sonata No. 5 in Ab major, D. 557

01:38:05 - Piano Sonata No. 6 in E minor, D. 566

01:54:29 - Piano Sonata No. 7 in Eb major, D. 568

(Piano Sonata No. 8 in F-sharp minor, D.571 was left unfinished)

02:23:42 - Piano Sonata No. 9 in B major, D. 575

(Piano Sonata No. 10 in C major, D.613 was left unfinished)

02:49:03 - Piano Sonata No. 11 in F minor, D. 625

(Piano Sonata No.12 in C-sharp minor, D 655 was left unfinished)

03:11:48 - Piano Sonata No. 13 in A major, D. 664

03:32:41 - Piano Sonata No. 14 in A minor, D. 784

03:51:21 - Piano Sonata No. 15 in C major "Relique", D. 840

04:15:08 - Piano Sonata No. 16 in A minor, D. 845

04:44:47 - Piano Sonata No. 17 in D major "Gasteiner", D. 850

05:24:13 - Piano Sonata No. 18 in G major "Fantasy", D. 894

05:55:28 - Piano Sonata No. 19 in C minor, D. 958

06:25:37 - Piano Sonata No. 20 in A major, D. 959

07:01:42 - Piano Sonata No. 21 in Bb major, D. 960

“Winter Journey” at the Greek Festival 2014

By Thanassis Vavlidas

14/7/2014, “Winter Journey” in the Summer (D. Mitropoulos Concert Hall at Megaron Moussikis of Athens – Greek Festival 2014)

In its summer program, Greek Festival 2014 included only a few concerts of classical and contemporary (not pop) music. However, all concerts were more or less of high quality as far as interpretation standards are concerned.

Hans Zender (Wiesbaden 1936 - ) is an esteemed German composer and conductor who composed, under the title “Winterreise - eine komponierte interpretation for tenor and small orchestra” (1993), a new version of the well-known song cycle composed by Franz Schubert in 1827, one year before his death. The cycle was published as Opus 89 in 1828 and was based on 24 poems written by Wilhelm Mueller, who followed the romantic style of his time, paying much attention to the inner self and its sentimental reflections to Nature. This cycle is considered as a “colossal peak in art song” and audiences always confirm its great appeal.

Hans Zender’s version managed to filter the romantic spirit of the cycle into a summary of the twentieth century’s conquests concerning the art of composition. He also managed to produce a transcription from piano to a small orchestra, although he changed a few key tones and created new sounds. One of Zender’s aims was the accurate description of natural, as well as psychological, phenomena through these new sounds. And although one might object to the need for such an expression of the original composer’s feelings, we must admit that these sounds revealed new paths to the wanderer of music. Zender’s composition was recorded for the first time by RCA with Hans Peter Blochwitz (tenor) and the Ensemble Modern, the composer himself conducting.

At the concert we attended in July, the famous Greek conductor Theodoros Kourentzis collaborated with the Afro–American tenor Keith Stonum and the music group “Kyklos Ensemble” which was founded in 2013 and consists of experienced Greek musicians. “Kyklos Ensemble” has already given performances of classical and avant–garde music and is taking part in educational programs. The conductor, Th. Kourentzis, is currently living in Russia. He is the artistic director of the Opera House of Perm and the principal conductor of the orchestra “MusicAeterna”.

The collaboration of the above-mentioned musicians led to an interpretation of high level, which has undoubtedly imposed new standards for the performers of such music in Greece. It was obvious from the start that accuracy and clarity were the main characteristics of their interpretation. The conductor took care of every single detail and no mistake was detected, even when some of the musicians had to change positions playing from different sides of the music hall.

Keith Stonum (tenor) also sang with clarity and his voice seemed to be closer to the original score’s demands. But he did not hesitate to use a... loudspeaker when there was a need to emphasize on extreme desperation arising from the verses!

The verses were translated by the poet Alexandros Issaris and the translation was shown, with adequate synchronization, on a board above the musicians.

We are confident that conductor Kourentzis can perform even the most complicated contemporary compositions and make them attractive to a wider audience, since his great abilities are combined with a strong image promotion.

Thanassis Vavlidas
Member of the “Union of drama and music Greek critics”