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Edvard Grieg : Concerto pour piano, Pièces lyriques (extraits)
Shani Diluka
Classical - Released January 31, 2007 | Mirare
Booklet
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Grieg: Lyric Pieces
Walter Gieseking
Classical - Released November 11, 2022 | Warner Classics
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Grieg: Lyric Pieces
Janina Fialkowska
Classical - Released May 1, 2015 | ATMA Classique
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Janina Fialkowska's 2015 release on ATMA Classique is a selection of Edvard Grieg's Lyric Pieces, drawn from the full set of 66 miniatures, which were published between 1867 and 1901. Her choice of the most popular character pieces reflects a common practice among pianists to fit a representative sample on a single disc, necessarily leaving out less familiar numbers along the way. As a result, her CD of 25 tracks is comparable to other highlights albums that typically feature such favorites as the Berceuse, Butterfly, March of the Trolls, Sylph, Wedding Day at Troldhaugen, Evening in the Mountains, and Remembrances. While Fialkowska's long career has yielded many fine recordings of Chopin, Schubert, and Liszt, this sensitive exploration of Grieg is a welcome addition to an impressive catalog that has been focused almost exclusively on the early Romantic period.© TiVo
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Grieg : Lyric Pieces
Leif Ove Andsnes
Classical - Released September 22, 2023 | Warner Classics
Was so lovely a recording of such sweet-souled music expected from modernist virtuoso Leif Ove Andsnes? Was it expected that the sharp-cornered and hard-edged Andsnes -- the player whose Schumann is tart, whose Brahms is bitter, whose Chopin is cruel -- could have played Grieg's delightful and delectable Lyric Pieces with such beauty of tone, gentleness of touch, suppleness of phrasing, and such deep and abiding affection? Sure. Andsnes has recorded works of Grieg before, notably on a splendid disc of Lyric Pieces for Virgin, and this EMI recording of more Lyric Pieces is cut from the same soft, silken cloth. But as splendid as that disc was, this one is even better. Not only has Andsnes matured as a player -- listen to his restraint even in such showstoppers as March of the Trolls -- but he is playing Grieg's piano in Grieg's living room in his home at Troldhaugen. In other words, he is playing the instrument upon which these pieces were written played in the room in which they were written. Grieg's Steinway is a mellow-toned instrument with a singing middle range and a ringing upper register, and it perfectly suits his music. As do Andsnes' performances. From the early delicate Arietta (1867) through the sensuous Notturno (1883) and the aching Homesickness (1893) to the shimmering Evening in the Mountains (1898), Andsnes seems in complete sympathy with Grieg's exquisite miniatures. And when Grieg does ask for virtuoso technique as in the rapturously joyous Wedding Day at Troldhaugen, Andsnes, the model of a modernist virtuoso, tears through it with ecstatic abandon.© TiVo
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Nielsen - Grieg
Daniel Ottensamer
Classical - Released May 26, 2023 | Sony Classical - Sony Music
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Sgambati: Complete Piano Music, Vol. 1
Gaia Federica Caporiccio
Miscellaneous - Released March 25, 2022 | Piano Classics
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Piano Classics presents the first volume in a major new series which promises to become the most comprehensive recorded survey of a central but now little-known figure in 19th-century Italian music. Born in Rome in 1841, Giovanni Sgambati cut an impressive but relatively familiar figure as a prodigious young virtuoso until, as a 21-year-old keyboard lion in the making, he was introduced to Franz Liszt. The encounter changed Sgambati’s life. Liszt, perhaps the single most influential figure in European musical life in the middle of the 19th century, took the young Sgambati under his wing, and his faith was richly repaid. Still in his 20s, Sgambati conducted the Italian premiere of the Dante Symphony and even the premiere of the first (lengthy) part of the Christus oratorio. There is an irony that the single piece through which his name has travelled worldwide is a piano Melodie, a sensuously achieved transcription of the Dance of the Blessed Spirits from Gluck’s opera Orfeo ed Euridice. Guaranteed to hush a rapturous audience into silence, it became the much-loved encore piece for the late Nelson Freire, among others. Too little of Sgambati’s music for his own instrument is known beyond the Melodie. This neglect is being redressed in style by the Italian pianist Gaia Federica Caporiccio, born in Florence in 1988. The first volume of a projected complete series of Sgambati’s piano works proceeds in mostly chronological fashion. Thus the curtain is drawn back with a flourish in the Gothic, Bachian arpeggios of the Prelude and Fugue Op. 6. The two Etudes de concert Op. 10 already show Sgambati’s gift for sketching a tone-painting while focusing on a particular piece of technique. While Sgambati made considerable use of patterned keyboard figurations to seize an audience’s imagination, he was scarcely less adept than Schumann or Chopin at outlining a mood and then drawing a veil over it. Thus there are no sonatas or even long-form ballades here, but a series of evocative impromptus, lyric pieces and nocturnes, each of them memorable in their own right, adding up to an absorbing portrait of a young pianist-composer with Romantic-era Europe at his feet. © Piano Classics
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Pièces romantiques favorites pour violoncelle
Janos Starker
Concertos - Released January 1, 1989 | Delos
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5 de Diapason
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Grieg: Lyric Pieces, Vol. 1
Peter Donohoe
Classical - Released June 10, 2022 | Chandos
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If Chopin "invented" the Mazurka, then surely by the same token Grieg "invented" the Lyric Piece. Over his lifetime he published ten volumes of Lyric Pieces, containing sixty-six individual works. Born in Bergen, Grieg studied in Leipzig and became established as Norway’s leading composer, successfully synthesising Norwegian folk music with the forms and conventions of the German tradition. While he was internationally acclaimed for his Piano Concerto and the incidental music to Peer Gynt, the vast majority of his output lies not in large-scale works, but in smaller, more intimate forms, especially songs and, of course, his Lyric Pieces. Peter Donohoe writes: "as a teenager I expanded my knowledge of the music of Grieg to include many solo piano pieces as well as the better-known orchestral works. I was beguiled by his style, and the reason remains somewhat intangible. Although one is able to identify the originality of Grieg as a composer – the Norwegian folk element in his music, his natural gift for memorable melodic lines, his occasional diversions into unique and extraordinarily forward-looking harmonies, and, to some degree, his emotional naïveté – there is a unique, unidentifiable kernel in his output that defies analysis, as is true of the work of all the great composers... All these works are pristine examples of his diverse and original style – Norwegian with a Germanic flavour – and it has been a huge and satisfying pleasure to return to them to create this and future recordings". © Chandos
6 Lyric Pieces, Op. 62: No. 5, Phantom
Oliver Schnyder
Classical - Released July 14, 2023 | Martin Korn t - a Martin Korn Music Production
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Grieg: Cello Sonata op.36
Emmanuelle Bertrand, Pascal Amoyel
Classical - Released October 28, 2008 | harmonia mundi
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Silvestrov: Melodies of Silence
Tomasz Kamieniak
Classical - Released September 27, 2019 | Brilliant Classics
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Grieg. Piano Works
Mikhail Pletnev
Classical - Released March 1, 2016 | CDK Music Classical
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Pièces lyriques (Intégrale)
Håkon Austbø
Classical - Released January 1, 2001 | Brilliant Classics
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5 de Diapason -
Recommandé par Répertoire
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Ballades
Leif Ove Andsnes
Classical - Released August 27, 2007 | Warner Classics
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Grieg: Holberg Suite, Poetic Tone, Lyric Pieces: Piano Music
Katya Apekisheva
Classical - Released January 1, 2008 | Quartz Music Ltd
Russian pianist Katya Apekisheva is a veteran of the festival and competition circuit; Grieg Piano Music is her second CD for the English label Quartz and her first for the company as soloist. The selection is well chosen, containing Grieg's piano solo version of Holberg Suite, the Poetic Tone-Pictures, and a dozen pieces drawn from the Lyric Suites that form a good representation of that series as a whole, containing many of the best-known works therein. Apekisheva is an ideal competition-grade pianist; she gets all of the notes in where they belong, follows tempi with care, and transmits what's on the page in a literal, not a figurative, sense. As such, these recordings would be excellent for student pianists trying to learn the ropes in this literature. However, from a purely listening standpoint, this is also Apekisheva's greatest drawback. Grieg's music needs to sing, to breathe; while virtuosic elements in the music come off with precision here, slower, less difficult melodic passages are quiet, pristine, and rather lacking in poetry. One hopes for the personality of the pianist to raise Grieg's music to the realm of the exalted; the expected and score-faithful just isn't enough as Grieg cannot be eaten cold. Quartz's recording is at its best in loud passages, where the weight and power of Apekisheva's grand rings out in full display; otherwise the short reverb in the room, combined with the digital sound, adds a metallic sheen to the sound of the piano that's less than unattractive, but not to the point where its consistently bothersome.
© TiVo
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Intégrale des 66 Pièces lyriques pour piano
Setrak
Classical - Released July 1, 1993 | Solstice
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6 Lyric Pieces, Op. 62: No. 2, Gratitude
Oliver Schnyder
Classical - Released June 30, 2023 | Martin Korn t - a Martin Korn Music Production
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Grieg: Pièces lyriques, Sonate, Op. 7 & Ballade, Op. 24
Aldo Ciccolini
Classical - Released December 1, 2020 | Warner Classics
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Edvard Grieg: Lyric Pieces
Paul Crossley
Classical - Released October 1, 2014 | CRD Records
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Discovering Mendelssohn
Christian Li
Classical - Released June 16, 2023 | Decca Music Group Ltd.
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Teenage violinist Christian Li has thus far recorded mostly well-trodden repertory, and the Mendelssohn Violin Concerto in E minor, Op. 64, certainly falls into that category. It is the centerpiece of Discovering Mendelssohn, but the program is filled out with a variety of materials that trace the cosmopolitan Mendelssohn's travels and also revive the 19th century type of concert, with orchestral and violin-and-piano pieces cheek by jowl, as well as a few audience-friendly arrangements of songs with and without words that include Yinuo Mu's harp and Xuefei Yang's guitar (in the charming concluding Venetian Gondola Song). This shows growth on Li's part, as does his confident rapport with the Melbourne Symphony Orchestra under Sir Andrew Davis, but really, the key to the album's success is that Li's performance of the Violin Concerto stands out from the crowd. He gets but does not overdo the sentiment in the big tunes, and he has an attractive precision in the high notes. Li places proper emphasis on the unusually placed cadenza in the concerto's first movement, loosening up and giving it improvisatory flair. He includes pieces by Mozart, Bach, and Schubert, all of which have more or less definite connections to Mendelssohn; this, too, supports the effort to create the atmosphere of a concert of Mendelssohn's time. An exciting young player takes a definite step forward with this enjoyable release. This album landed on classical best-seller charts in the summer of 2023.© James Manheim /TiVo
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