Eckhardt-Gramatté - Piano Sonata No. 6 [Marc-André Hamelin] скачать в хорошем качестве

Eckhardt-Gramatté - Piano Sonata No. 6 [Marc-André Hamelin]

Piano Sonata No. 6, E. 130 "Drei Klavierstücke" (1951-52) I. For the left hand alone: Prestissimo, e molto preciso [0:00] II. For the right hand alone: Lustig und mit Witz [3:36] III. For both hands: Vivo assai e marcato [8:20] The sixth 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. 6 (1951-52) Apart from an abandoned first movement of a projected Seventh Sonata, this is Eckhardt-Gramatté's last piano sonata. The American pianist Andrew Heath approached Eckhardt-Gramatté in Vienna in 1951 about including one of her compositions in a recital. For a number of years, at the suggestion of pianist Robert Wallenborn, the mostly left-hand third movement from the Fourth Sonata (called "La corrida de ratas del campo") had been paired a piece for right hand alone. Jokingly, Heath suggested that she superimpose the two pieces, combining them as a single work. Eckhardt-Gramatté took him at his word, composed a piece for the right hand to pair with "La corrida", and created the present sonata. (In the end, Heath decided to play the Fifth Sonata at his recital instead.) Eckhardt-Gramatté undertook this project partly to prove that she could compose a piece for the right hand alone, which is considerably more difficult than writing for the left hand because of the absence of the thumb in the top voice. The first movement is a perpertuo mobile toccata in F sharp minor for the left hand alone, which creates a rather grotesque, macabre impression, and the second is an even more bizarre and impulsive free atonal fantasy for the right hand alone. In the third movement, Eckhardt-Gramatté successfully combined the two contrapuntally by slightly extending one measure to allow the other hand to catch up, or almost imperceptibly shifting a few pitches to maintain the desired harmonies. The sonata is brought to a close with a tumultuous coda, which combines the final bars of the first two movements with the effect that both hands move apart symmetrically until they reach the topmost and lowermost notes of the piano (the low A and high C). 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