The only sour note here, so to speak, is the transfers, which are plagued with constant static-like surface noise that obscures what little there was of the treble register. Since the noise begins in the upper mid-range, attempts at home filtering wipe out too much of the music to be useful.
While surface noise often can be mentally tuned out in loud, dramatic music, it proves a near-fatal distraction for music of such subtle nuance.
All rights reserved. Like the two pianists most influenced by his example -- Sviatoslav Richter and Arturo Benedetti Michelangeli -- Gieseking's imaginative use of the pedal, combined with his sophisticated ear, permitted him to cultivate a tonal palette without antecedent in its range and subtlety of color and dynamics. And while Gieseking may not have been a profoundly emotional interpreter, he had a profoundly musical mind that rarely failed to bring music to life.
He was Walter Gieseking, come from Germany for another extended tour, and he played, as he has always played, music that he himself has tried truly and found good. No one, according to some, had ever played Bach like Gieseking, and they rhapsodized over an amazing technic, a style that was as fluent and easy as it was immaculate. But his Bach, others said, could not compare with his Debussy which surely was the essence of poetry. The controversy, as over most artistic matters, might have been endless, for Gieseking is not a specialist.
Time Magazine, February 24, He is, critics say unanimously, a great musician. Those three—unforgettable. You know, he wasn't a man to study much. However, he was later cleared by an Allied court in Germany and was able to resume his career in America, with the success it had formerly enjoyed. He appeared again at a Carnegie Hall recital in April , and until his death continued to give numerous performances in both hemispheres.
To this activity Walter Gieseking added a heavy schedule of recording, committing to disc the complete solo piano music of Mozart and the L. Beethoven concertos, as well as complete sets of Debussy's and Ravel's piano works. At the time of his death in London, Gieseking was engaged on a project to record all the L. Beethoven piano sonatas. He recorded L. Beethoven 's Piano Sonata No 15 for HMV, had completed the first three movements and, the following day, was due to record the fourth.
Sadly, he died during the night. HMV released the unfinished recording. This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. The New York Times. Retrieved Namespaces Article Talk. Views Read Edit View history. Help Learn to edit Community portal Recent changes Upload file. Download as PDF Printable version. Since one of his main purpose of playing was to exactly reconstruct a score, arbitrarily exaggeration cannot be found.
Mozart's lieder stereo is one of the most renowned recordings of Schwarzkopf and him, in which the piano sound is very round, soft, and individual in spite that he did not use the right pedal much.
It is said that he never selected the piano maker in concert very often. Horowitz conveyed his Steinway piano for any concerts , which is impossible unless he was totally confident in his technique and touch. Dean Elder, who was apprentice of Gieseking, contributed a chapter named 'Gieseking's Debussy and Ravel performances' to Joseph Banowetz's very good book The pianist's guide to pedaling.
He said about Gieseking's tone " Transparent, not percussive, with very large dynamic range". He told Gieseking to say "I should listen the beautiful sound from my piano", which I really agree to if it was said by Gieseking. His Ravel and Debussy will be not the only way but very refined one in his way really.
Dean Elder explains Gieseking's intention comparing to the records, which is very precious archive as it is nearly unprecedented that the intention of such a great virtuoso remains with his record and explanation. The chapter explains why Gieseking's pedalings are so long compared to his contemporaris in records. Gieseking's recordings are many though considering the era, but as I said above, unfortunately there are not many that capture his tone well.
More bad thing is irregular sound qualities of his recordings; Mozart's lied with Schwarzkopf , stereo , Mendelssohn's Songs without words , monaural , and Schubert's Impromptus , monaural each has pretty different sound quality. Mendelssohn was the latest recording but instable sound EMI international's references release has better sound than Japanese HS issue, but I can listen a trace of the problem at the former.
These trend are also found at Debussy and Ravel recordings. In spite of these problems, his Debussy and Ravel set are worth while to being listened. Both have relatively a bit fast tempo, and showed his individual sonority well - if we should imagine it to some extent!
Ravel set is a bit better, as far as I can say by listening my Pathe References LP since the international CD was released only on
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