Gilels

For the 100th anniversary of Emil Gilels, one of the greatest pianists of the 20th century, Melodiya presents an anthology of his pianistic legacy. “Titans of the piano like Gilels are born once in a hundred years,” wrote a Japanese correspondent in 1957; similar comments accompanied the musician’s performances throughout his performing career.
The performance of the young man from the Odessa Conservatory at the 1933 First All-Union Competition in Moscow came as a bombshell: the audience gave him a standing ovation, and unfamiliar people congratulated each other on the emergence of a genius.

Emil Gilels - The Abbotsholme Recital (1979) {International Classical Artist ICAC 5108 rel 2013}
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© 1979, 2013 BBC / International Classical Artist | ICAC 5108
Classical / Piano

This authorized BBC tape has never been issued before. The recital is slightly unusual in that Gilels opens with Schumann's rarely heard Four Klavierstuckeop.32. Gilels only performed these pieces late in his career from 1977 to 1984. This is an exceptionally rare CD and presents the Russian pianist at his best in a relaxed, informal atmosphere. There is a beautifully played encore - Mozart's D minor Fantasy K397 - which is also featured on this well-filled 80+minute disc.

The history of the Russian chamber ensemble of the middle of the 20th century, in all possibility, did not know a more intricate yet remarkable brilliant group of musicians than the celebrated trio of Emil Gilels. Leonid Kogan and Mstislav Rostropovich. All to different in their essence were these three artistic individualities – these three virtuosos, spoilt children of fortune, who were brought together at various stages of disclosure of their outstanding talents. At that, there was not a great difference between their respective ages – Gilels was born in 1916, Kogan was born in 1924 and Rostropovich was born in 1927. Nonetheless, whereas Gilels was already able to reconsider and revise in many ways his principles of work, departing further and further from a pure demonstration of capabilities of his breathtaking technique, Rostropovich and Kogan were still passing through their lengthy period of thrill over their virtuosic powers, affecting their audiences in a straightforward manner.