S'il y avait une justice musicale, alors le trop discret Ivan Moravec aurait dû être considéré à l'égal d'un Benedetti-Michelangeli ou d'un Claudio Arrau.
La maîtrise du clavier, la variété du toucher, le sentiment donné de contrôler et de penser de A à Z l'oeuvre jouée tout en lui conservant une spontanéité non feinte.... voilà bien quelques unes des principales qualités de cet immense artiste, si rare au disque.
Interprete d'élection de Chopin et de Debussy (probablement les deux compositeurs dans lesquels son art subtil se sera le mieux incarné), Moravec à également excellé dans Beethoven et dans Brahms.
Ce récital capté lors d'un concert donné à Bruxelles en 1983 en atteste de façon éloquente.
La sonate Pastorale aura rarement autant chanté un bonheur sans nuage. La mobilité des coloris et des affects sont dignes de Kempff, tout en conservant un absolu contrôle des phrasés.
Les extraits des cycles de klavierstucke de Brahms laissent songeur devant la capacité qu'à Moravec avec de concilier énergie et subtilité (voir la rapshodie op 79 - 2, si loin des habituelles fureurs virtuoses creuses).
Notons la bévue de l'éditeur qui nous annonce le premier klavierstucke de l'op 118, alors que Moravec interprète en fait la deuxième pièce de l'op 116 !!!!
Le récital (trop court) se conclue avec un magnifique bouquet de Chopin, dont un premier scherzo d'une dignité dans l'epanchement mélodique à faire passer pour un affreux larmoyant Rubinstein lui-même.
Parfaite introduction à l'art de Moravec, ce disque est dangereux : après l'avoir écouté bien des pianistes plus célèbres et célébrés paraîtront affreusement frelatés.
Moravec était né en 1930 et s'est éteint en juillet 2015.
Commentaires client les plus utiles sur Amazon.com (beta)
38 internautes sur 39 ont trouvé ce commentaire utile
Welcome performances from a master30 septembre 2009
- Publié sur Amazon.com
Anything new from Ivan Moravec must be heard, but while this does qualify as "new"--all tracks never before appeared on LP or CD--the recordings were made more than a quarter century ago. Until now, I was unaware that this material even existed.
Moravec made two recordings of the Beethoven Pastoral sonata for Connoisseur Society back in 1969, one in a New York studio, the other in a concert in Italy. The latter was chosen for its particular excitement to accompany some other Beethoven on LP. However, though VAI and Nonesuch and others have re-released virtually all of Moravec's Connoisseur Society output on CD, neither 1969 Pastoral ever made it to silver disc.
So we finally have a Moravec Pastoral on CD, and it's very fine in every way, a little more pianistically oriented, a notch more Romantic, and faster in the finale than the 1969 Italy performance. It is thoroughly enjoyable, full of energy and beautiful phrasing, with Moravec's infinitely variable touch gloriously on display.
Moravec had committed the four Brahms pieces to LP not long before this concert in Brussels, so it is clear that he was thinking about them in that era. These certainly join a number of fine recorded performances. I do enjoy how Moravec can make a miniature seem as if it's the centerpiece of the concert. The G minor rhapsody is given a big Romantic treatment, similar to Kovacevich's on Philips, if you know that one.
That Moravec gave the world towering performances of the Chopin nocturnes is well known, so the question is, How do the two on this disc compare to the 1966 recordings? There's a bit more spontaneity in the new B-major, it's played slightly faster; the old one digs a little deeper. The new C sharp minor is very different. Much faster, disappearing into the moonlight at 4:35 as compared to 5:42 for the 1966 version. But overall I prefer the studio recordings of 1966 for their absolute background silence, their close-up sound, and the superb engineering by E. Alan Silver. I want to be alone in quiet when I hear a Chopin nocturne, not among other people. I can't remember which great pianist said that the late bagatelles of Beethoven should be played only privately, not in concert, but I feel the same way about the nocturnes. My personal prejudice, I admit.
Moravec had recorded these two Mazurkas in 1965 and again in 1969, so this is his third go-round. Nevertheless, I'm glad to have them. And if he wants to play the same two again on his next disc, that's fine with me, too. This is characteristic of Moravec, who recorded the C# minor op. 25 etude in 1969, ruminated over it for 20 years, and recorded it again in 1989. This musician is not out to complete as many cycles as he can of this or that.
It's harder for me to review the B minor scherzo. Much of it is quite furious, terrifying difficult to play, and I tend to prefer a slower, more expansive reading that dwells longer on the beauty of the moment. Moravec plays it the way Chopin apparently wanted it, so I guess I shouldn't argue with that. The performance is unquestionably superb, very much like the one on Dorian, recorded six years later, and the one on VAI, recorded 14 years earlier. Interesting that all three clock within one second of each other. I find it amazing that anyone can get through this piece at such tempos without missing a note, but that's what I hear on this disc.
A note on the recording. With concerts, you always run the risk of capturing intrusive coughing, rustling of programs, and other distracting noise. Luckily, this Belgian audience was quite respectful, and there's not a whisper or crackle to be heard throughout. You wouldn't know this was a concert until you heard the applause, and the audience was refined enough to wait until the last notes had faded away. These are analog 1983 recordings analog remastered in 2009, and they sound just fine.
9 internautes sur 12 ont trouvé ce commentaire utile
Limpid, clean, flowing, musical - an absolute master at play8 décembre 2009
- Publié sur Amazon.com
Moravec is one of my favorite pianists. He has a way of disappearing into the music and pulling the listener in as well. His playing reduces me to silence. One perfect beautiful phrase after another. Not one to bang the doors down he creates magical moods that massage my soul.
Want music to fall in love to? This is it. Meditative, romantic, pure. For me his Chopin even tops Rubinstein -just that added touch of yearning. Wonderful, wonderful, wonderful.
2 internautes sur 2 ont trouvé ce commentaire utile
Just as good, if not better, Live..22 juillet 2013
- Publié sur Amazon.com
I've only recently been introduced to Moravec and can't imagine that I wasn't aware of him. In all of the recordings of his I've heard so far, he manages a combination of strength and gentleness that just transform music I've heard played many different ways, but never quite like this. Gorgeous!
One that will thrill followers of this superb musician and performer7 août 2013
- Publié sur Amazon.com
This program , recorded in Brussels in 1983 and now re-mastered (2009), is in many ways typical of a Moravec recording. By this I mean that there is one major work surrounded or supplemented by other shorter or smaller works grouped together and which individually seem so much bigger than they actually are.
In this case the major work is Beethoven's sonata 15, the Pastoral, which serves to set the scene for what is a program of much inherently gentle music. At this point it might be worth while to attempt a description, or a guide, to Moravec's very unique way of making music.
Descriptions of his playing contain such words as 'searching' (Joan Chissell in The London Times) and phrases such as 'Not since Alfred Cortot ...... has there been a Chopin player of comparable elegance.' (Scott Cantrell) and these ideas are appropriate when considering how to describe the current disc even when the music is by Brahms or Beethoven.
Moravec has a playing style that combines an unusual degree of gentleness with climaxes of great passion. This is based on a technique in which he makes constant use of an astonishing and subtle range of touch and of rubato underpinned by a tight control of rhythm which combine to create an impression of interpretive strength and flexibility all delivered with a suggestion of improvisation.
The Beethoven has a lyrical elegance and natural flow and this leads nicely into the group of Brahms works. The nature of these works as played here is very much along the lines of a Brahmsian Chopin with all the characteristics mentioned above in the previous paragraph. None of these are long pieces but each one seems to have grown in stature in these performances.
The same can be said of the Chopin group. The two nocturnes become extended tone poems far exceeding the emotional expectations of 4-5 minutes of music. The mazurkas are a wistful pair, but as always with Moravec, there is a clear reminder of their dance origins. The Scherzo 1 which concludes the concert is taken at speed with absolute clarity of articulation. This is a piece that has been featured before on Moravec's discs and is remarkably similar despite the strong sensation of improvisatory playing.
Throughout the concert there is the feeling of inward communication between the pianist and the composers/music and that we, the audience, is somehow able to eavesdrop on a very private world. The audience is remarkably silent with barely a single stifled cough to disturb the concentration. The sound as recorded is just a touch cavernous without being in any way a hindrance to enjoyment. It falls just a bit below studio standards but not enough to be a problem. There are far too many positives about this disc to be concerned about that level of problem.
I would suggest that this is a very satisfying recital with much musical interest to offer and which is therefore well worth considering as a potential purchase. Moravec was a pianist of considerable stature and his discs are few in number. For that reason, those who value his music making will not need further encouragement to obtain a copy of this disc.
1 internautes sur 1 ont trouvé ce commentaire utile