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Beethoven:Ct4,32,Var

Ivan Moravec Audio CD
5.0 out of 5 stars  See all reviews (1 customer review)
Price: CDN$ 19.39 & FREE Shipping on orders over CDN$ 25. Details
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1. Pno Con No.4 In G, Op.58: Allegro moderato
2. Pno Con No.4 In G, Op.58: Andante con moto
3. Pno Con No.4 In G, Op.58: Rondo (Vivace)
4. Pno Son In e,Op.90: Mit Lebhaftigkeit und durchaus mit Empfinung und Ausdruck
5. Pno Son In e,Op.90: Nicht zu geschwind und sehr singbar vorzutregen
6. 32 Var On An Original Theme In c

Product Description

Amazon.ca

The Concerto is one of the recordings that made Ivan Moravec's reputation as a great pianist. It's just as impressive-sounding today. Moravec and the excellent Martin Turnovsky seem to have given this great music an intense reexamination. They play it with attention to every detail, making it sound as though it were a new piece. Frequently you will hear details pointed out in illuminating ways, but never at the expense of musical continuity. This performance is a revelation. Although Moravec's conception of the Variations is a bit outsize, his playing of the solo works is equally convincing. The mid-60s recordings sound excellent. --Leslie Gerber

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Most helpful customer reviews
5.0 out of 5 stars Great Beethoven concerto Feb. 8 2003
By A Customer
I'm amazed no one else at Amazon has reviewed this wonderful recording. Moravec's performance of Beethoven's fourth concerto is simply one of the best. I have owned the Connoisseur Society's LP version for many years. It's a record I truly cherish. Moravec's playing is outstanding. His interpretation of the fourth concerto has both beauty and spiritual depth. This is a recording you will not forget.
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Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com: 4.2 out of 5 stars  4 reviews
18 of 19 people found the following review helpful
5.0 out of 5 stars sublime, transporting and enlightened!! :D Aug. 9 2003
By yuka michitaka - Published on Amazon.com
No matter what Mr Moravec plays, he is simply astonishing - but the 4th concerto is simply to die for. From the famously impossible and elusive first chord, the balancing and color is exquisite. he continues with the often-dryly-played opening using various degrees of the tre corde, masterfully blending the colors and preparing for the orchestra's awesome "common-tone" modulation. needless to say, his second movement is unparelled; he collaborates WITH the orchestra in order to convey the ageless saga of "The Man (solo piano) vs. the World (orch.)". The third movement is a triumphant jubilation, but he manages to play it with elegance (unlike many of the other comercially recorded artists, who exaggerate the Forte markings and running notes passages to the point where it begins to get vulgar.) although this piece requires a highly sophisticated degree of digital agility, he never exploits these opportunities, and is faithful to the effects the composer is trying to convey through his markings; he truly a "virtuoso" in the original sense.
15 of 17 people found the following review helpful
5.0 out of 5 stars Great Beethoven concerto Feb. 8 2003
By A Customer - Published on Amazon.com
Verified Purchase
I'm amazed no one else at Amazon has reviewed this wonderful recording. Moravec's performance of Beethoven's fourth concerto is simply one of the best. I have owned the Connoisseur Society's LP version for many years. It's a record I truly cherish. Moravec's playing is outstanding. His interpretation of the fourth concerto has both beauty and spiritual depth. This is a recording you will not forget.
7 of 7 people found the following review helpful
4.0 out of 5 stars buyer beware! Jan. 11 2012
By classicalmusiclover - Published on Amazon.com
i agree with the reviews below praising moravec for his excellent piano playing. he is truely one of the greatest pianists of the 20th century. i am writing this review to warn potential buyers that the cd they will receive is a CDR issued by VAI and not the conventional "pressed cd".
3 of 4 people found the following review helpful
3.0 out of 5 stars *** 1/2 Moravec is generally fine, but there are other drawbacks Aug. 17 2011
By Santa Fe Listener - Published on Amazon.com
Before approaching what Ivan Moravec has to say in the Beethoven Fourth Cto., let me clear up some issues. I appreciate the almost delirious praise from the previous reviewers, and when I heard various defects, I doubted if we were on the same page. But the Gramophone reviewer from 1977, covering a reissue of the 1963 LP, also noted the foursquare conducting, recessive miking of the orchestra, and the generally lackluster performance of the Vienna Sym., which was no great shakes back then and probably barely rehearsed the music, given that the original label devoted to Moravec, Connoisseur Society, was a small and no doubt restricted outfit when it came to paying orchestras.

there are glaring defects in ensemble, such as the cello accompaniment at the beginning of the finale, which lags by half a beat at one point. The horns hang back to much in the first movement, and everyone plays it safe throughout. Turnovsky isn't competitive with any rival conductor of note, not even Alexander Schneider for Serkin on Sony, who wasn't a full-time conductor but an extremely talented violinist. In addition the recorded sound places us right under the lid of the piano, and since Moravec is shy of using the pedal, there are moments of uncomfortable ping in the upper registers.

As for Moravec himself, his devotees walk on air, as they have since he was a cult pianist in the Sixties. Even by 1977 the Gramophone noted that he was all but unknown in Britain. Of course, a coterie can be right in its enthusiasm, and I respect anyone who loves Moravec's touch, is purity of line, his assurance, and above all his individuality. for me, those virtues don't add up to something exceptional in this concerto. Moravec, like Rubinstein, is a touch pianist when it comes to Beethoven; Chopin's nuances are never far away. He can be mannered, to my ears, although not here. What strikes me is very beautiful, precise, somewhat detached playing that is refreshing but not, I think, equal to Serkin or Pletnev in this music. As a touchstone, listen to the finale, and you will hear a certain sameness in the way Moravec approaches episodes where the other two find more variety, contrast, and drama. Heard at his best moments, Moravec is a delight, yet too many drawbacks keep me from sounding completely enthusiastic. By the way, the shorter and rarer of Beethoven's first-movement cadenzas is played.

As for the rest of the program, I don't have the Op. 90 Sonata but only the great C minor Variations. Moravec begins by punching out the theme, at a quick pace, to rival Richter at his most impetuous. The headlong rush doesn't continue, but he constantly leans into the phrase, insuring maximum momentum at all times. It's a thrilling approach that elevates one of Beethoven's less-played works. Here I can appreciate the originality and charisma that Moravec's fans hear at all times. But with such dynamic expressions of personality in this work, their lack in the concerto stands out. Too bad that the piano sounds brittle and clangy by turns.
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