Andante Varie in F Minor
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Access the complete album info 52 songs. Nadia Reisenberg Plays Haydn.
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Nadia Reisenberg - D. Arietta con variazioni in A Major, Hob. Arietta and 19 variations. Arietta con variazioni in E-Flat Major, Hob. Arietta and 12 variations. Nadia Reisenberg - Carnegie Hall Recital, Rondo Brilliante in E-Flat, Op. Access the complete album info 26 songs. Access the complete album info 83 songs. P Delos For theremin and piano. Hebrew Melody The Art of the There. Song of Grusia Arr. Le Cygne the Swan: Le carnaval des animaux: For theremin and piano].
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Andante And Variations In F Minor Hob 17 6 - Скачать mp3 бесплатно
By Franz Joseph Haydn. Edited by Franz Eibner. Arranged by Franz Eibner. Edited by Maurice Hinson. Published by Alfred Publishing. Late Intermediate grade 6. Nadia Reisenberg , who studied at the St. Her career as teacher and virtuosa spanned over 60 years.
Andante with variations for piano in F minor, H. 17/6
During her years at Juilliard, she produced many fine artists. She was a gifted performer with rare sensitivity and musical elegance. These historic and collectible performances are a testimonial to her illustrious career. Out of Print - no longer available.
Reinhold Glière, Natalie Dessay, Michael Schønwandt, Berliner Symphoniker, Berliner Philharmoniker
Nadia Reisenberg was born in Vilnius in She studied in St Petersburg with Leonid Nikolaev, who also taught Shostakovich, before leaving around the time of the Revolution, eventually making her way to New York. Concert soloist, recitalist and teacher Reisenberg died in Ivory Classics have here reissued her three Westminster LPs, originally recorded between and devoted to her Haydn readings.
They were made before the Christa Landon edition was published so the editions used were of their time. Nevertheless these are tremendously compelling examples of superior pianism? Her impulse toward precise articulation means that you will find few examples of exaggeration, either in matters of tempo or dynamics.
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The last emerges as perfectly natural and not at all mechanically constricted. She is a romanticist, certainly, but an astute one.
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Her first movements tend to be energetic but elegant, her slow movements vested with real expressivity, her finales full of verve. Indeed in almost all performances one finds examples of a consummately lyrical but immaculately aware mind at work. She can be robust, as in the Fantasia in C major, and she can charm? The contrasts she makes between forte passages in the opening movement of one of the most impressive of the sonatas, the E minor, No 53 is consistently illuminating.
And if the slow movement seems somewhat under inflected here it is nevertheless sensitive. The finale is certainly full of the most delicious voicings, rippling left hand, filigree right, marvellously alive and inventive. The sense of just momentum generated internally, as it were, is evident in the Rondo finale of the A flat sonata in which the melodic curve is splendidly delineated. Her trills in the E flat major Arietta con Variazioni are perfectly weighted and she abjures over-sentimentalising here and elsewhere.
Her pointing is superb and in the Allegro of the C major sonata, No 60, she can run from felicitous treble to a stuttering bombastic bass without cocking an eyebrow or turning a hair. And so in the finale she can turn her hand to a fine and sturdy Allegro, running the gamut of technical flourishes with utter security.