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The Cleveland Orchestra, Gina Bachauer, Robert Casadesus & George Szell – Rachmaninoff: Piano Concerto No. 3 in D Minor, Op. 30 – Ravel: Piano Concerto for the Left Hand in D Major, M. 82 & Le tombeau de Couperin, M. 68a (Remastered 2024) (1959/2024)
FLAC (tracks) 24 bit/48 kHz | Time – 01:11:32 minutes | 721 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Archipel
Sergei Rachmaninoff’s Piano Concerto No. 3 in D minor, Op. 30, was composed in the summer of 1909. The piece was premiered on November 28 of that year in New York City with the composer as soloist, accompanied by the New York Symphony Society under Walter Damrosch. The work has the reputation of being one of the most technically challenging piano concertos in the standard classical piano repertoire.
The Piano Concerto for the Left Hand in D major was composed by Maurice Ravel between 1929 and 1930, concurrently with his Piano Concerto in G major. The piece was commissioned by Paul Wittgenstein, a concert pianist who had lost his right arm in the First World War.
Le Tombeau de Couperin (The Grave of Couperin) is a suite for solo piano by Maurice Ravel, composed between 1914 and 1917. The piece is in six movements, based on those of a traditional Baroque suite. Each movement is dedicated to the memory of a friend of the composer (or in one case, two brothers) who had died fighting in World War I. Ravel also produced an orchestral version of the work in 1919, although this omitted two of the original movements.
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Robert Casadesus, Géza Anda, Clara Haskil, Nathan Milstein, Herbert von Karajan, Schweizerisches Festspielorchester & Philharmonia Orchestra – Herbert von Karajan – The Early Lucerne Years (2023)
FLAC (tracks) 24 bit/48 kHz | Time – 03:44:53 minutes | 1,87 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © audite Musikproduktion
For the first time, this edition makes available Herbert von Karajan’s previously unreleased early live recordings from the Lucerne Festival, made in a decade during which Karajan was rebuilding his career. Included are legendary soloists such as Clara Haskil and Géza Anda, Robert Casadesus and Nathan Milstein.
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Robert Casadesus, George Szell – Mozart: Piano Concertos Nos. 26 & 27 (Remastered) (1963/2018)
FLAC (tracks) 24 bit/44,1 kHz | Time – 59:33 minutes | 576 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Sony Classical
Robert Casadesus plays Mozart: What Bach means for Glenn Gould, Mozart means for the French pianist Robert Casadesus. His Mozart shots continue to set standards.
Casadesus’ interpretations do not intrude on the listener, rather he lets Mozart’s fantastic music speak for themselves. Especially in the slow movements, his tasteful play with subtle dynamics and nuanced color design.
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Robert Casadesus – Mozart: Piano Concerto Nos. 21 & 24 (Remastered) (2018)
FLAC (tracks) 24 bit/96 kHz | Time – 57:59 minutes | 1,16 GB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Sony Classical
Robert Casadesus spielt Mozart: Was Bach für Glenn Gould ist, bedeutet Mozart für den französischen Pianisten Robert Casadesus. Seine Mozartaufnahmen setzen bis heute Maßstäbe.
Casadesus’ Interpretationen drängen sich dem Hörer nicht auf, vielmehr lässt er Mozarts fantastische Musik für sich sprechen. Insbesondere in den langsamen Sätzen zeigt sich sein geschmackvolles Spiel mit subtiler Dynamik und nuancierter Farbgestaltung.
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Clara Haskil, Robert Casadesus – Lucerne Festival Historic Performances Vol. I – Clara Haskil plays Mozart – Robert Casadesus plays Beethoven (2013)
FLAC (tracks) 24 bit/48 kHz | Time – 01:09:00 minutes | 427 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Audite Musikproduktion
MusicWeb Review by Blair John Quinn :: This is one of the first in what looks like being an important new series from Audite in association with the Lucerne Festival. Working, as they always do, from original tapes from broadcast archives, Audite plan a series of issues of concert performances from the festival, many of which, I suspect, will be appearing on disc officially for the first time. This series is launched auspiciously with two concerto performances by leading pianists of the last century.
In the booklet we learn that in a letter written in October 1959 Clara Haskil described her Lucerne collaboration with Klemperer as “unforgettable”. I’m not surprised for this disc preserves a very fine performance. After a strong, sinewy introduction by Klemperer and the Philharmonia Haskil’s first entry exudes graceful calm. Thereafter we are treated to much stylish, wonderfully subtle and tasteful playing. The pianism is carefully calibrated yet always a sense of spontaneity is evident. The balance of the recording favours the piano yet one can still hear that Haskil receives distinguished support from Klemperer and his orchestra: this is a real partnership. There’s often great delicacy from Haskil yet the music making has strength when required. Haskil uses her own cadenza, which is effective.