German pianist Alexandra Oehler, whose name has come to stand for high keyboard skill and an extraordinarily varied repertoire, now turns to the music of Ferdinand Hiller. His piano sonatas represent a special case in that their three movements continue without a break. His contemporaries Robert Schumann and Felix Mendelssohn universally agreed that his sonatas and other piano compositions possessed a great wealth of imagination.
Five Piano Concertos and the Piano Sonata No. 32, opus 111, recorded in stereo in 1962 and 1964, respectively, by Wilhelm Kempff [1895-1991] and the Berlin Philharmonic Orchestra under Ferdinand Leitner [1912-96]. The sonata, the composer’s last, is certainly more than a mere filler, from the opening hesitancy of the ‘Allegro con brio ed appassionato’ to the extended closing section of the second movement.
Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. Ferdinand Povel's one of those players we never seem to get enough of – a tenorist who may not be one of the bigger stars on the European scene, but one who always finds a way to serve up something special! Povel's got a nice edge in his horn at times – a mode that's always inside, but often sharply spoken – even when he's going for some mellower moments too – a bit of old school bite in the way he approaches the reed, maybe – and a definite sense of attack that really comes on when he's in a more swinging mode! The group here has some great guitar from Wim Overgaauw, whose ringing tones bring a bright balance between Povel's horn and the piano of Frans Elsen – and the rest of the group features Victor Kaihatu on bass and Ruud Pronk on drums.
Wakeman and Italian drummer and singer Mario Fasciano co-wrote this album (along with one G. Castiglia), and recorded it in Naples in 1989…
This is the second disc devoted by the Chinese-German Trio Parnassus to the chamber music of Prince Louis Ferdinand of Prussia, the dedicatee of Beethoven's Piano Concerto No. 3. The prince was an aristocratic patron for whom the irascible Beethoven actually had musical respect, noting that he played not "in a princely or royal manner but rather like a competent piano player." Ferdinand, who was killed by Napoleon's troops in 1806, in turn venerated Beethoven, but the strongest tribute to his talent is that as a composer he wrote music that neither aped Beethoven's nor took refuge in Classical models.