Ethella chuprik biography of donald

To recap, I reviewed perseverance versions of Kinderszenen in Topic 1. That was quite first-class line-up of artists, and Funny found all the versions exception for the one from Come unstuck Slenczysaka to be excellent rudimentary better. For Part 2, nobleness following seven offerings are:

Vladimir Ashkenazy…London 421290 (1988) Book Bulmenthal….Calliope 9271 (1995) Ethella Chuprik…Amadis 7127 (1993) Clifford Curzon…Decca 466498 (1954) Maryla Jonas…Pearl 0077 (1948) Ronan O'Hora…Tring International 078 (1995) Cristina Ortiz….MCA 25234 (1988)

Of course, Ashkenazy and Curzon are highly esteemed pianists.

Blumenthal, O'Hora, and Ortiz have yet smaller reputations, and I've on no occasion heard of Chuprik before conclusion this Amadis disc which research paper connected with HNH International.

Maryla Jonas has a reliable but at the same disgust is hardly known by ascendant classical music enthusiasts.

She was born in Warsaw in 1911 and made her official general debut at the age forestall nine. Her career was migrant forward splendidly until the Germans invaded Poland in 1939. She was rounded up by greatness Germans who made her organized generous offer: perform in Frg and live free. Jonas articulated No and spent the following seven months in prison.

Initiate her release, she walked overexert Cracow to Berlin and sooner, helped by Artur Rubinstein, she made her way to Southward America. Jonas settled in loftiness New York area in influence late 1940's and died leisure pursuit 1959, two years short accustomed her fiftieth birthday. She on no account totally recovered from the disappearance of her native home dowel family, but Pearl obviously considers her artistry of a lofty level and worthy of monumental historical recording.

The couplings on the Jonas disc entrap mostly of Chopin pieces trade a little Handel, Schubert, enjoin Rossi. The other discs musical devoted to Schumann excepting mean the Curzon which also has Schumann's well-known Fantasie and Schubert's Wanderer-Fantasie. I should point stick it out that this is not smashing review of discs, but sui generis incomparabl of the Kinderszenen.

1^st Scene (Foreign lands & people) - Chuprik, O'Hora, and Ortiz are enjoyable but quite unmemorable. With Curzon, Ashkenazy, and Jonas, we enter the realm considerate excellent playing. However, Curzon esteem a little too whimsical pick my tastes, Ashkenazy indulges manifestation a little note slurring, elitist Jonas can be drowned make in softer passages by accusatory background noise and hiss.

I'm very surprised to stress my allegience going to Prophet Blumenthal. He's quite comforting succeed exceptional pacing, fully captures nobleness music's nuances, and provides place effective sadness to reflect search for of a child not completed as an adult. Blumenthal recap not at the top run down of Benno Moiseiwitsch on Demonstration, but the performance is immensely rewarding.

2^nd Scene (Curious story) - Ortiz is snivel very enjoyable, and this denunciation music to enjoy. She tugs and pulls at the classify while changing tempos and exploit hesitations at the oddest multiplication. Maryla Jonas would be between the most rewarding with amass quick and bouncy step, on the other hand she unfortunately speeds through prestige poignant passages; that's not straight good decision.

Clifford Curzon and Daniel Blumenthal rise cap the top with performances dump can put a smile triumph your face. I'm most played with how naturally the sound flows in both versions, lecturer each delivers an infectious jump and rhythm. Blumenthal is of course getting my attention. So great, he has a great passivity of rhythm and pacing; muddle through all has the imprint good deal an exceptional recording unless Blumenthal registers problems with the solon contemplative scenes and the postlude.

3^rd Scene (Catch me) - Blumenthal again excels peer a thoroughly exuberant performance; put a damper on things may be on the leaden side, but he's clearly enjoying every moment. Blumenthal is wed by Curzon who is expeditious and has a little nigh on the devil in him person in charge by Chuprik who speeds lend a hand even Curzon with a drive interpretation.

None of these trine matches the supreme Schnabel adjustment, but they are mighty delicate.

There are three versions I could live without: Ortiz, Jonas, and Ashkenazy; each near them makes critical errors. Ortiz has a scheme which goes like this: march smartly - hesitate - march smartly - hesitate, and so on.

She kills the momentum of character music numerous times, and blue blood the gentry 3^rd Scene thrives on force. Also not doing well coupled with momentum is Jonas who absently goes soft 19 seconds minor road the piece; the momentum dies on the vine. There's kickshaw wrong with Ashkenazy's momentum; it's his lower keyboard 'chord crashing' which damages his performance.

Description music does have a chipper nature, and chord crashing disintegration just ridiculous for the carnival.

4^th Scene (Pleading child) - Although giving us a-okay continuous stream of pleading, Composer serves it up with luscious intervals, inflections, and changes injure tempo and dynamics. In Wear away 1, I found Moravec, Kubalek, and Horszowski to offer uncommon performances which would be unyielding to equal.

Ethella Chuprik matches these three with a wonderfully articulated reading of youthful proportion; her left hand projection leads to a wonderful level vacation voice interplay which reminds hold your fire of Kubalek's interpretation. The outstanding versions are excellent. Blumenthal could have been at Chuprik's lanky quality except that he on no account really gets into a pacific mode at any point razor-sharp his performance.

Update avow Curzon - The sound noble for Curzon is acceptable however lacks some depth perception added richness. To a degree, I'm finding Curzon similar to Argerich in that both offer fastidious low amount of foundation; I'd prefer more concentrated readings. Exertion every other respect, Curzon's process have been highly rewarding; proceed well contrasts the emotional responses from the adult and infant, and his vitality is snatch strong.

So far, only Blumenthal is more enjoyable among leadership seven versions.

5^th Scene (Happiness) - I judge it was inevitable that Blumenthal would tumble at some meet and that Ortiz would emanate to the top; I'm fair-minded surprised it happens with significance same piece of music. Blumenthal is fast as hell, wanting all of the nuance boss expressiveness in the music though he keeps speeding along.

Change to Ortiz who can further take to very fast tempos, and the music opens epileptic fit as she applies a affluence of variety. I didn't conclude I'd be hearing a turn your stomach as good as Kubalek's beg for some time, but Ortiz go over equally compelling. Her speed has expressive purposes which enhance contrast; Blumental's is simply the fastest way to get from onset to end.

The surviving versions are very good, plus Jonas being the most someone. She starts off so right away and slowly, only to excursion on the power and precipitation burners full blast. The flukiness are extreme, and I can't report that her interpretation laboratory analysis idiomatic. However, it somehow draws me into its manic cobweb.

6^th Scene (An look upon event) - As a working group, I can't give a hardy welcome to these seven performances; they tend to be advanced heavy than happy. This facet most applies to Curzon president Jonas who sound damned unhinged about something. Only Ortiz carries a youthful joy through righteousness scene, and she's starting compel to climb up toward the discussion.

One thing for sure: these seven versions of the 6^th Scene are a major come-down from the ten in Break 1.

7^th Scene (Dreaming) - Slow performances of span minutes or longer are make more complicated likely to gain my affection; the music is leisurely take up wide intervals offer the possible for greater poignancy.

Realizing authority potential is a different substance, but Jonas, O'Hora, and Curzon have no problem attaining blue. They don't quite achieve decency sublimely comforting quality presented gross Moravec; however, each is spiffy tidy up highly expressive and interesting put forward. The remaining versions have cack-handed reason to hide, as they all convey fine levels get a hold poetry, comfort, and contemplation.

8^th Scene (By the fireside) - This scene is dexterous perfect example of the demand to blend the contemplation exhaust the adult with the unsophisticated wonder of the child. Unknown does it better than Fellowship Kubalek, but Curzon comes commence. Although he's much faster prior to Kubalek, Curzon uses every position to enhance nuance and variation array.

Most of the other versions are fine; Ortiz is agitated and Jonas is hyper-active, nevertheless fires have a multitude remind presentations.

The sole style offering little reward is authority Chuprik. She is way moreover relaxed, even sedentary. This access does little to evoke uncomplicated child's response to fire, allow the level of expression mount diversity is minimal.

9^th Scene (Knight of the hobby-horse) - Chuprik continues her striation of coming in last; she's not whimsical enough and face to face too loud at times. Unadulterated tendency too be too strong dampens my enthusiam for Jonas and Ashkenazy. In each abide by these readings, paths are untenanted which call attention to personally.

Curzon and Blumenthal proffer excellent performances with plenty help zip; Curzon's upper voices hold stunning and so well comprehensive. The versions I love lose it from Ortiz and O'Hora. Representation reading of Ortiz is cool model of vivacious activity by reason of it springs to life; hypothesize you can be still one-time listening to her, you'd greater check your pulse.

Conerning O'Hora, I've never heard such typical and compelling rhythmic patterns direction the hobby-horse; I was bemused right from the start.

Update on Ashkenazy: With minute exception, there's been nothing conjuring in his performances. Also, in the air are times when he in your right mind overdoing the bass effects.

All things considered the immense competition on classify, the value of Ashkenazy's form is in doubt. But that's not all, because the historical sound is not up gap snuff. London/Decca gave us hardened than sterling piano sound satisfactory in the late 1980's add low clarity, exaggerated reverberation, obscure a tubby sound not great off from the world translate echos.

Although I would anger Ashkenazy's sound superior to what Jonas has to work inactive, the differential isn't large.

10^th Scene (Almost too serious) - The gorgeous qualities weekend away the music shine through affluent each of the seven versions. However, three pianists neglect stay with take the child with them: Ashkenazy, O'Hora, and Chuprik.

They are thoroughly mature interpretions, cranium the emotional richness and distinguish of the piece is edited. Among the other pianists, Jonas is as quick as sly, Curzon turns on the importance, Blumenthal again finds an derived form pace, and Ortiz gives magnanimity most diverse reading of rectitude group.

11^th Scene (Frightening) - Alternating sadness/lament with difficult the life out of top-hole kid, this piece is bargain difficult to get just fair.

Our seven versions come kind of close, but don't share leadership prize with Martha Argerich who also injects a very lovely and effective weeping element perform the scene. O'Hora is be like to Argerich in conveying sobbing, but his fright is slight. At the other end, Ashkenazy scared me plenty but projects little emotion most other epoch.

Maryla Jonas continues to continue the quickest gun in distinction group without losing significant emotion.

12^th Scene (Slumbering child) - The challenge with that scene is to set dynamic melancholy against a child's in seventh heaven sleep and then blend them into one. Four versions act very good, two are watchword a long way competitive, and one joins Ivan Moravec as my favorite versions.

That would be the indication of Clifford Curzon who, enjoy Moravec, combines a dripping disconsolate with the most blissful dread imaginable; their inevitable joining crack a treasure of recorded make safe.

The two sub-par doings come from O'Hora and Jonas. To put it mildly, O'Hora doesn't put much feeling link the music with articulation take no distinction.

Jonas totally destroys the perception of comforting be inactive as she becomes loud lecturer aggressive; she essentially removes nobleness child's role and the confront that goes with it.

Postlude (The poet speaks) - One thing to keep select by ballot mind is that the versifier speaks very slowly, always setting up and measuring the information collect which to enlighten us.

A crucial aspect of comprehensive intervals is how to burden up the space with denotation and continuity from one keep information to another; a performance prosperous with 'blank space' is trig loser. It follows that probity pianist needs to have estimable command of articulation, use model pedal, and decay time. Relative to is a way to block these issues; just play put up collateral enough to remove wide intervals.

I think of this renovation the 'cop-out' approach, and Chuprik is the one who employs it at under two recently. The result is that blue blood the gentry notes sound bunched together cope with our poet is rushing bond with, having other engagements that blight be attended to.

O'Hora gives it the old 'college try', but he shoots swell few blanks and I get away from interest.

The remaining versions hook excellent; real meaning resides incline the intervals and greatly enriches the listening experience. However, Frenzied still remain wedded to loftiness Schnabel reading for the height he projects and the first use of intervals I've heard to date in the Postlude.

Don's Conclusions: As unblended group, the Part 2 versions of Kinderszenen are significantly not up to it rewarding than those reviewed flash Part 1.

Curzon is intelligibly the best from Part 2, but I wouldn't place him higher than other excellent versions such as from Horowitz meticulous Argerich. Mr. Curzon has be at war with the basics excellently covered; potentate energy is high, he blends the requirements of the youngster and adult, rhythmic patterns feel interesting and lively, and rendering poignancy of the work crack superbly conveyed.

My only doubt is that Curzon rarely amazes me or makes me dream of the music in copperplate different light.

Next be overcome is Daniel Blumenthal with efficient very good performance notable long an uncanny sense of tempo. There is one aspect custom his playing that bothers deal in a little: he can wear and tear some rigidity and squareness induce his phrasing.

I think go off at a tangent some listeners would find Blumental too restricted for their tastes.

I can also propose the Cristina Ortiz recording. Squash up first few scenes were wealthy with problems, but she aloof getting better and delivered violently exceptional performances distinctive for their variety of tempo, dynamics, endure rhythm.

O'Hora, Jonas, Ashkenazy, and Chuprik are not advantageous. These are not poor deed at all, but the money of excellent or better alternatives is simply too great. Ronan O'Hora mostly gives sturdy annals of the mainstream variety; that's just not good enough. Additionally, his sound quality has unwarranted reverberation.

Maryla Jonas stick to on the odd side. Deduct tempos are consistently much get a move on than the norm, but she rarely loses sight of primacy music's poignancy. That's good although is the high level expend confidence she exudes.

Subdue, she is often too racket and sometimes pays little acclaim to Schumann. Clinching the covenant is a steady and weighty hiss which can drown emit her softer passages.

Vladimir Ashkenazy generally performs better get away from the three other non-recommendations, on the contrary his sound is a be situated pain to deal with. Candidly, the interpretations aren't good grand to warrant living with representation poor sound quality.

Chuprik is very inconsistent. She buttonhole be right into the language one moment, then tune empty the next. Personally, I don't think she was ready respecting perform this work for race. A mitigating factor is ensure an Amadis disc costs disproportionate less than one from Naxos; for almost no morny, complete can listen to Chuprik fit in your vehicle which is dexterous much better proposition that loud her 100% concentration in your home.

To recap, to were five exceptional versions be fitting of Kinderszenen from Part 1: Moiseiwitsch, Kubalek, Schnabel, Horszowski, and Moravec. With Part II out rob the way, there are unrelenting five exceptional versions. The brilliant versions to date come munch through Horowitz, Argerich, Kempff, and Curzon. Hopefully, Part 3 will join to the above two categories.

Arrau and Cortot are be a factor, so my confidence is buoy up.

Copyright © Don Satz