Eckhardt-Gramatté - Piano Sonata No. 1 [Marc-André Hamelin] скачать в хорошем качестве

Eckhardt-Gramatté - Piano Sonata No. 1 [Marc-André Hamelin]

Piano Sonata No. 1, E. 45 (1923) I. Allegro moderato [0:00] II. Andante [3:39] III. Allegro [8:53] The first piano sonata by Russian, later Canadian, composer, virtuoso pianist and violinist Sophie-Carmen Eckhardt-Gramatté (1899-1974). "I was born for music." Sophie-Carmen Eckhardt-Gramatté made this comment following her debut as a pianist and violinist in Chicago. Despite numerous struggles against professional and social injustice, Eckhardt-Gramatté forged a brilliant career in composition and performance over the course of the 20th century. Her six piano sonatas (which can be found on my channel) are a testament both to her extraordinary musical creativity and her mastery of the instrument. These works owe a great deal to the tradition of the Romantic piano sonata, while sharing some characteristics with Ferruccio Busoni's "Neue Klassizität" and French neoclassicism, occasionally giving homage to the contrapuntal keyboard works of J.S. Bach and Max Reger. Sonata No. 1 (1923) This sonata was Eckhardt-Gramatté's first large-scale piece for solo piano. At this stage in her career, Eckhardt-Gramatté had not pursued any significant training in music theory or composition (this did not occur for another fourteen years); but despite her lack of formal instruction, this sonata contains many interesting contrapuntal and harmonic devices. A bright, confident and highly spontaneous work (despite the despair expressed in the composer's letters at the time), the sonata displays Russian and French influences, and its contrapuntal texture is derived from the Baroque two-part invention. Despite its heritage, the sonata unmistakably belongs among the piano works of early twentieth-century modernism. Eckhardt-Gramatté's unconventionally fluid conception of harmony and tonality is evident from the numerous modulations and shifts in key signature - in the last movement alone, the key signature changes sixteen times. The sonata demands vast technical abilities, with numerous hand-crossing arpeggios, leaps, scales in double thirds and similar techniques developed by the virtuoso pianist-composers of the 19th century. Biography Born Sonia Fridman-Kochevskaya in Moscow in 1899, Eckhardt-Gramatté quickly displayed prodigious musical talent as a child. She enrolled in the Conservatoire National in 1908 to study piano, violin and composition (her teachers included Vincent d'Indy and Camille Chevillard), eventually moving to Berlin to study with the Polish violinist Bronislaw Huberman. In 1920, she married the German expressionist painter Walter Gramatté, with whom she lived in Spain for nearly three years, taking the name Sonia Friedman-Gramatté. Her experience in Spain profoundly affected her musical development. After the death of her husband in 1929, which was quickly followed by a successful concert tour in America with Leopold Stokowski, she returned to Germany and devoted herself entirely to composition. In 1934, she married the art critic Ferdinand Eckhardt, with whom she moved to Vienna in 1939. From then on, she took the name Sophie-Carmen Eckhardt-Gramatté. In 1950, she was awarded the Austrian State Prize for Composition. Three years later, she moved to Canada with her husband, who was appointed Director of the Winnipeg Art Gallery. Increasingly successful as a composer and performer of her own piano works, Eckhardt-Gramatté was honoured in 1974 by a two-hour CBC radio documentary about her life and music. Her death occurred on December 2, 1974, while on a trip to Stuttgart, and she was buried in East Berlin. Piano: Marc-André Hamelin