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Jerome Lowenthal | Beethoven Concerto 4 | Cadenzas | 2CD Set


Carl Topilow, Conductor

CD 1

1. I. Allegro Moderato (15:18)
2. L. v. Beethoven cadenza (4:17)
3. II. Andante con moto (5:00)
4. III. Rondo: Vivace (8:06)
5. L. v. Beethoven cadenza (2:18)
6. Clara Schumann (1st mvmt Cadenza) (4:01)
7. Clara Schumann (3rd mvmt Cadenza) (3:51)
8. Anton Rubinstein (1st mvmt Cadenza) (5:30)
9. Anton Rubinstein (3rd mvmt Cadenza) (4:53)
10. Hans von Bülow (1st mvmt Cadenza) (5:12)
11. Hans von Bülow (3rd mvmt Cadenza) (2:49)
12. Johannes Brahms (1st mvmt Cadenza) (5:39)
13. Johannes Brahms (3rd mvmt Cadenza) (2:52)
14. Camille Saint-Saëns (1st mvmt Cadenza) (4:37)
15. Camille Saint-Saëns (3rd mvmt Cadenza) (2:00)

CD 2

1. I. Allegro Moderato (15:18)
2. Frederic Rzewski cadenza (11:12)
3. II. Andante con moto (5:00)
4. III. Rondo: Vivace (8:06)
5. Ferruccio Busoni cadenza (3:13)
6. Ferruccio Busoni (1st mvmt Cadenza) (3:42)
7. Leopold Godowsky (1st mvmt Cadenza) (5:22)
8. Leopold Godowsky (3rd mvmt Cadenza) (3:57)
9. Ernst von Dohnányi (1st mvmt Cadenza) (4:41)
10. Ernst von Dohnányi (3rd mvmt Cadenza) (3:23)
11. Nicolai Medtner (1st mvmt Cadenza) (4:13)
12. Nicolai Medtner (3rd mvmt Cadenza) (5:07)

SKU: LP1008A/B

Product Description

Notes by Jerome Lowenthal:

CADENZA (Harvard Dictionary of music): “A passage or section of varying length in a style of brilliant improvisation, usually inserted near the end of a composition, where it serves as a retarding element, giving the performer a chance to exhibit his technical mastery… In the 19th century, cadenzas to the famous concertos were written by the outstanding virtuosos, frequently without proper regard to style. There exist authentic cadenzas (written by the composers themselves) and judicious artists will probably find them preferable.”
Two rules, then, which well-schooled performers have learned from well-schooled teachers: If a composer has written a cadenza, don’t use another, and if he has not written a cadenza, use one with “proper regard of style,” i.e., in the style of the concerto. These rules are generally observed, and only performers who seem the embodiment either of authenticity (e.g., Schnabel) or eccentricity (e.g., Gould) are allowed to ignore them. And yet Clara Schumann, Brahms, Busoni, Saint-Saens, Von Bulow, Dohnanyi, Medtner, Liszt (in his cadenza for the Beethoven Third), Beethoven himself (in his unMozartean cadenzas for Mozart) – can we condemn them all as stylistic vulgarians?

One clear evening in June 2002, accompanied by my old friend Arie Vardi, I sat in a café on Red Square, admiring the outline of the Kremlin palaces against a moonlit sky. Vardi and I were discussing the Tchaikovsky Competition in process, but after a while, our talk drifted to nostalgic evocations of our earlier years. “In Tel Aviv,” reminisced Vardi, “there was a wonderful old-music store. Once there I found an extraordinary Russian Volume with a magnificent compilation of cadenzas written for the Beethoven Fourth Concerto. Of course I wanted to buy it, but my pockets were empty. The next day, “he sighed,” I returned to the store, but the book had been bought by someone else.”He sighed, but I shivered, despite the warm Moscow night. “The person who had bought it, “I said slowly,” was your friend and my brother-in-law Nahum Amir. He gave it to me as a birthday present, and I treasure it still. “ It was Vardi’s turn to shiver. No, I did not offer to give him the volume. But I will certainly send him these two discs, which include most of the cadenzas from the Russian volume, plus a cadenza-fantasy written at my request by Frederic Rzewski.


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