Josef Hofmann - The Casimir Hall Recital WITH SCORE (Beethoven, Schumann, Chopin) скачать в хорошем качестве

Josef Hofmann - The Casimir Hall Recital WITH SCORE (Beethoven, Schumann, Chopin)

Josef Hofmann (1876 - 1957), piano April 7, 1938: Casimir Hall, Curtis Institute of Music, Philadelphia, Pennsylvania 0:00 - Introduction Beethoven - Piano Sonata No. 21 in C major, Op. 53 "Waldstein": 0:08 - 1. Allegro con brio 10:12 - 2. Introduzione: Adagio molto 13:10 - 3. Rondo: Allegretto moderato - Prestissimo Schumann - Kreisleriana, Op. 16 (abridged): 21:44 - 1. Äußerst bewegt 23:40 - 2. Sehr innig und nicht zu rasch 28:16 - 5. Sehr lebhaft 31:24 - 6. Sehr langsam 34:07 - 7. Sehr rasch 36:17 - 8. Schnell und spielend 39:10 - Preluding from Schumann to Chopin Chopin - Four Selected Works: 39:30 - Polonaise in E-flat minor, Op. 26, No. 2 46:38 - Preluding between Polonaise and Nocturne 46:55 - Nocturne in B major, Op. 9, No. 3 52:27 - Preluding before the Waltz 52:38 - Waltz in E-flat, Op. 18, "Valse Brilliante" 56:51 - Preluding from the Waltz to the Ballade using the ending measures of the Waltz 57:07 - (!!!!!!!!) Ballade No. 4 in F minor, Op. 52 Encores: 1:06:47 - Chopin-Hofmann: Waltz in D-flat, Op. 64, No. 1 "Minute" 1:08:29 - Stojowski: Caprice Orientale, Op. 10, No. 2 1:12:43 - Preluding between the Stojowski and Schubert-Godowsky 1:12:49 - Schubert-Godowsky: Moment Musical, Op. 94, No. 3 1:14:41 - Preluding between the Schubert-Godowsky and Hofmann 1:14:49 - Hofmann: Kaleidoskop, Op. 40, No. 4 1:18:59 - Hofmann: Penguin, No. 1 from "Three Impressions" Historical notes about this concert: The Curtis Institute of Music was founded in 1924 by the wealthy philanthropist Mary Louise Curtis Bok, encouraged by friends such as Leopold Stokowski, with an idealistic vision of a small elite conservatory to train the finest talent, following the revolutionary model of Anton Rubinstein. Hofmann was the head of the piano department and then, in 1927, the director of the institute. He had an immense influence on the school and expanded its endowment, managing to attract world famous musicians (such as Marcella Sembrich, Wilhelm Backhaus, Leopold Auer, and others) to become part of the faculty. During his administration, Curtis became a certain example of artistic excellence, respect for tradition, and also the nurturing of young musicians. He considered talent more important than anything else, so that financial difficulties would not stand in the way of a first-class education for the most gifted students. But Hofmann's leave of absence on his "Golden Jubilee" concert tour in 1937 gave an opportunity for rebellion. Mary Bok's younger son, Cary, persuaded his mother that salaries for Hofmann and his associates were too high. Upon Hofmann's return, he faced a severe budget cut, dismantling of his artistic policies, and humiliating salary reduction. This was, in effect, a forced resignation, and his last recital at Casimir Hall on April 7, 1938, was one burdened with emotion because of the fact that it would be his last performance there. It was not just a concert but a deeply personal and symbolic farewell masquerading as a faculty recital. Knowing full well that his artistic vision for the Curtis Institute was being dismantled and his directorship effectively terminated, Hofmann entered Casimir Hall aware that this was likely his last performance there, a place named after his father. The weight of this realization must have been immense. The recital was deeply personal and painful in expression of a man facing the loss of a lifetime's work. It was, in essence, a swan song played under compulsion. A "de-Hofmannization" of the institute ensued: Casimir Hall was renamed, his hand-picked faculty dismissed. A similarly short-lived award in his name was all that stood in the way of two decades of erasure...