Ivory Classics Online

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Disc.Contnets

Carl Maria von Weber (1786-1826):

• [01] Rondo Brillante 'La Gaité' Op. 62 05:12 ('85)

Frederic Chopin (1810-1849):

• [02] Mazurka in C major, Op. 56, No. 2 01:38 ('77)
• [03] Mazurka in C sharp minor, Op. 63, No. 3 01:52 ('77)
• [04] Mazurka in C sharp minor, Op. 50, No. 3 05:25 ('77)

d'Albert Eugene

• [05] Scherzo in F sharp major, Op. 16, No. 2 04:42 ('73)

Maurice Ravel (1875-1937):

• [06] Pavane pour une Infante défunte (1899) 06:02 ('87)

Felix Mendelssohn (1809-1847):

• [07] Song without Words in C major ('Spinning Song') Op. 67, No. 4 01:37 ('73)

Gabriel Fauré (1845-1924):

• [08] Barcarolle No. 3 in G flat major, Op. 42 06:42 ('82)

Moritz Moszkowski (1854-1925):

• [09] Étincelles, Op. 36, No. 6 02:30 ('73)

Frederic Chopin (1810-1849):

• [10] Barcarolle in F sharp major, Op. 60 07:55 ('87)

Claude Debussy (1862-1918):

• [11] Tarentelle styrienne 'Danse' (1890/1903) 04:40 ('83)

Franz Liszt (1811-1886):

• [12] Hungarian Rhapsody No. 12 in C sharp minor (S244/R106) 09:47 ('86)
• [13] Hungarian Rhapsody No. 4 in E flat major (S244/R106) 05:05 ('86)
• [14] Hungarian Rhapsody No. 2 in C sharp minor (S244/R106) 09:30 ('86)

Disc.Reviews

Earl Wild in Concert: 1973-1987 reveals the pianist as the dazzling master of velocity, the consummate showman who has never failed to be inspired to great heights by the presence of a live audience. That "dazzleocity" (to coin a new word) is most apparent in pieces like Carl Maria von Weber's Rondo Brillante, Eugen d'Albert's Scherzo, and Moritz Moszkowski's Etincelles (Sparks), to say nothing of Felix Mendelssohn's "Spinning Song," in which the pianist brings out the subtle melody underlying the rapidly whirling circular figures.

But we see also Wild's mastery in Gabriel Faure's Barcarolle, a lilting 6/8 piece in which the relaxed tunefulness contrasts with dramatic episodes that give the lie to the hoary myth that Faure was not really interested in the piano (of course, his music has not always had an Earl Wild to champion it). In "Pavane for a Dead Princess" Wild is absolute master of Maurice Ravel's sturdy lines in parallel octaves and his delicate arpeggios leading to flavorful dissonances. In Chopin's own Barcarolle, Wild brings out the mounting emotion in the piece and the splendid sheen of sound created by the highly expressive trills in thirds as well as I've heard it done. In his hands, Debussy's robust Danse, with its vigorous melody in the tenor, comes to life with the greatest vividness.

Three Mazurkas by Chopin - in C Major, Op. 56/2, and Opus 63/3 and 50/3, both in C-sharp Minor - are by turns wistful, melancholy, and spirited, allowing the pianist to explore the mazurka's typical swing rhythm in two or four beats, its accents not indicated in the music, and its characteristic "swing." Three Hungarian Rhapsodies by Franz Liszt conclude the program: the ever-popular Numbers 12 and 2, both in C-sharp Minor, with No. 4 in E-flat Major, subdued but smoldering, springing suddenly into flame, as an intermediary. Every performance of these rhapsodies is different; Wild's are strongly characterized, his firm left hand bringing out strong syncopated beats that we seldom hear as well in other pianists' accounts.

Producer Michael Rolland Davis and engineer Ed Thompson have done a fine job of remastering in 24-bit/88.2 KHz recordings that were made in different venues and on seven separate occasions. Some of the tracks inevitably show the age of the sources, but the overall balance is well done, and the vibrancy and directness of the performances always come through.