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Robert Schumann: Album fuer die Jugend (Album for the Young), Op. 68 (extended version, I)
Claude Debussy: (Complete) Preludes. Book I, II [2-album set]
Ludwig van Beethoven: Piano Sonata No. 30, Op. 109; J. Brahms: Piano Sonata No. 3, Op. 5
Franz Schubert: Sonata in B flat major D 960, Allegretto D 910, Moments Musicaux D 780, Hungarian Melody D 817 [2-album set]
Enrique Granados: Chamber Music with Piano
Frédérich Chopin: Piano Works, III (Ballades Op. 23, 38, 52; Mazurkas Op. 50; Impromptu Op. 51; Polonaise Op. 53 'Eroic')
Frédérich Chopin: Piano Works, II (Sonata No. 3 Op. 58; Valses Op. 64; Mazurkas Op. 59; Polonaise-Fantasie Op. 61)
Frédérich Chopin: Piano Works, I (Ballade Op. 47; Mazurkas Op. 63; Nocturnes Op. 62; Prelude Op. 45)
Franz Liszt: Années de pèlerinage, S 161 - Italie
Franz Liszt: Ad nos ad salutarem undam; J. Reubke: Sonata on the 94th Psalm

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OC3Rv | 0/720189872907 | No HD-Audio @ 88.2 kHz * 24 bit

Robert Schumann: Album fuer die Jugend (Album for the Young), Op. 68 (extended version, II)
Marco Tezza

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Description:

Not satisfied with playing the whole Opus 68 Marco Tezza also investigated in German archives to find out the pieces Schumann composed for his daughter Marie’s seven birthday, and other pieces, printed in 1924 and 1958, revisited by Clara after her husband’s death.
This integral version is quite original. Says Cesare Galla: "Facing such a huge musical material, the pianist has chosen linear evidences in sound but great flexibility in phrasing. In this way he gets two goals: he underlines the essential poetry, but doesn’t banalize idiom, thus always supporting shapely phrases, not rethorical but full of nuances, impetuous when necessary, but also capable of a really significant tenderness. In this way the wide range of the recital is supported by a focused communicative tension, which hits the center of the style of this kind of music: not banalizing its semplicity, but not going beyond its intimate meaning. In a word Tezza gives an adult interpretation, but able to remind us of childhood on keyboard."
Recorded @: Teatro Accademico, Castelfranco Veneto, Treviso, 2005
Sound engineer: Alessandro Simonetto
Equipment used: DPA 4009
Instrument(s) used: N/A
Photo/paint on cover: N/A
Artwork: ©OnClassical
An OnClassical production, ©2005
   
 

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