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24 Préludes Op. 11 - Sonata No. 1 Op. 28
Sergei Rachmaninoff, Alexander Scriabin

Peter Orth

24 Préludes Op. 11 - Sonata No. 1 Op. 28

Price: € 19.95
Format: CD
Label: Challenge Classics
UPC: 0608917268423
Catnr: CC 72684
Release date: 11 September 2015
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Label
Challenge Classics
UPC
0608917268423
Catalogue number
CC 72684
Release date
11 September 2015

""In summary a well-filled disc of two major but hardly well known works of the Russian piano literature, in what I think is a unique coupling. If you don’t know either, Peter Orth will be a valuable guide to these contrasted masterworks. There is very good sound and a booklet note which has the relevant background to each composer and his opus, but is a bit skimpy on the actual music.""

Musicweb International, 19-2-2016
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Artist(s)
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About the album

As for these pieces I can tell you, I did not know anything about the Rachmaninoff Sonata at all until my friend Dietmar Falke told me to take a serious look at the score, which I did. To my surprise I found it most thrilling and decided to learn it.
From the beginning of its premier in 1908 it has gotten a bad rap. It was not well received, and Rachmaninoff abandoned it. On top of that, Horowitz’s performance of the Second sonata in the 1960’s so captured the imagination of the public, that the D minor Sonata really never had a chance. I, for one, find it neither ponderous nor too much and whenever I have been playing it, the public goes along with this music quite happily.
I first heard the Scriabin Preludes in a Carnegie Hall concert of Gina Bachauer’s, back in my school days. The next day I bought a score and ever since they have been a constant companion in my repertoire.
We recorded this music at the Wuppertal’s Imanuelskirche in March of 2014. Dietmar Falke was my wonderful piano technician and I brought my own Steinway D from my studio in Bad Meinberg. We set up on a Monday, and had everything in the can by late Thursday afternoon.
Peter Orth

Een eerbetoon aan Scriabin, begeleid door Rachmaninov
Dit album, ter gelegenheid van het honderdjarige overlijden van Alexander Scriabin, bevat zijn 24 Preludes op. 11, en daarnaast de Sonata no.1 van Sergej Rachmaninov.

Pianist Peter Orth schreef over het album: “ Wat deze stukken betreft, ik kende de Sonate van Rachmaninov nog niet, totdat mijn vriend Dietmar Fake me vertelde om met een serieuze blik naar de partituur te kijken, wat ik gedaan heb. Tot mijn verbazing vond ik het opwindend, en besloot ik het werk te leren spelen.”

Vanaf zijn première in 1908 heeft het werk al een slechte reputatie. Het werd niet goed ontvangen, en Rachmaninov liet het achter. Daar kwam nog bovenop dat de uitvoering van de Tweede Sonate door Horowitz in de jaren 60 zo tot de verbeelding sprak, dat de Sonate in D klein nooit een kans had gehad. De muziek is echter niet te langdradig, noch te veel, en het publiek gaat altijd in de muziek op wanneer Peter Orth het speelt.

Orth hoorde de Preludes van Scriabin voor het eerst tijdens een concert van Gina Bachauer in Carnegie Hall, toen hij nog op school zat. De dag erna kocht hij een partituur, en sinds die tijd is het werk een vast onderdeel van zijn repertoire. Deze werken zijn in maart 2014 opgenomen in de Imanuelskirche in Wuppertal. De fantastische pianotechnicus Dietmar Falke bracht Orths eigen Steinway D uit zijn studio in Bad Meinberg mee. De opnames begonnen op maandag, en dinsdagmiddag laat was alles voor elkaar.

Skrjabin zum 100. Todestag mit Rachmaninoff in bester Begleitung

Skrjabin und Rachmaninoff - zwei große Komponisten und Kollegen, die auf den ersten Blick unterschiedlicher nicht sein könnten. Gemeinsam studierten sie in den 1880-er Jahren in Moskau, jedoch begann erst mit dem Jahrhundertwechsel und mit Skrjabins Suche nach einer neuen Tonalität die starke Abgrenzung beider Komponisten.
So klingen die Préludes von Skrjabin, die Peter Orth auf dieser Aufnahme interpretiert, noch nach dem jungen Skrjabin (sie entstanden zwischen 1888 und 1896), der sich vor allem von Chopin inspirieren lies. Glaubt man Daniel Grimmwood, so "könnte man denken, dass sie als Fortsetzung von Chopins op. 28" konzipiert waren. Für Peter Orth sind sie eine Kindheitserinnerung: Während seiner Schulzeit sah er Gina Bachauer die Préludes in der Carnegie Hall spielen, seit dem sind sie fester Bestandteil seiner Repertoires.
Rachmaninoff stand 1907 hingegen unter dem Einfluß von Goethes Faust als er in Dresden seine Sonate Nr.1 op. 28 schrieb und so beschreiben die drei Sätze der Sonate Faust, Gretchen und Mephisto. Besonders eindrücklich sind dabei die neun Takte am Ende des dritten Satzes in dreifachem Forte, in denen Faust zur Hölle fährt.

Artist(s)

Peter Orth (piano)

First Prize in the 1979 Naumburg International Piano Competition, held in memory of William Kapell, catapulted Peter Orth into the American musical mainstream with a highly acclaimed recital debut in Alice Tully Hall.  Not long afterwards he was awarded the Shura Cherkassky Prize by the 92nd Street Y in New York and the Fanny Peabody Mason Award in Boston.  Since that time, he has been heard as soloist with the Philadelphia Orchestra and the New York Philharmonic, the Chicago Symphony, as well as the orchestras of Detroit, Montreal, Pittsburgh, and Saint Louis.  Recently he has performed with such European orchestras as the Residentie Orkest Den Haag, the Orchestre National de Lyon and the Nord Deutsche Philharmonie. In February 2010, he...
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First Prize in the 1979 Naumburg International Piano Competition, held in memory of William Kapell, catapulted Peter Orth into the American musical mainstream with a highly acclaimed recital debut in Alice Tully Hall. Not long afterwards he was awarded the Shura Cherkassky Prize by the 92nd Street Y in New York and the Fanny Peabody Mason Award in Boston. Since that time, he has been heard as soloist with the Philadelphia Orchestra and the New York Philharmonic, the Chicago Symphony, as well as the orchestras of Detroit, Montreal, Pittsburgh, and Saint Louis. Recently he has performed with such European orchestras as the Residentie Orkest Den Haag, the Orchestre National de Lyon and the Nord Deutsche Philharmonie. In February 2010, he gave a solo recital at the Metropolitan Museum of Art.
His recent recital at Alice Tully Hall was greeted by three standing ovations and praise in both the The New York Times and The New York Sun. This success brought Orth back to New York to Zankel Hall for another recital in October of 2007. Writing in the New York Times, Anthony Tommasini spoke about the tenderness and fervor of his playing, describing it as “...one long arc of inspiration.” In The New York Sun, Fred Kirshnit commented that “... the experience seemed like one continuous essay in profundity ….a commanding presence…..for sheer excitement, he is difficult to surpass.” Mr. Orth has played under conductors Charles Dutoit, Zubin Mehta, James Conlon, Leonard Slatkin and Aldo Ceccato, performing in Carnegie Hall, Avery Fisher Hall, Kennedy Center, Chicago’s Orchestra Hall and the Pasadena Ambassador Auditorium. Peter Orth has also visited the well-known festivals of Marlboro, Ravinia, Caramoor, Aspen, Bad Kissingen and Kuhmo/Finland. He returned to Siena for four performances of the Brahms’ Second Piano Concerto with the State Orchestra of the Ukraine. His recent performance of the work with the Rostock Philharmonie was described by Musical America as a “technically and musically impressive performance of the cruelly difficult Brahms Second Piano Concerto.” In 2004, he was presented in recital by Steinway and Sons in New York and presented with a gold medal in honor of Steinway’s 150th birthday.
Besides his activities as a soloist, Peter Orth has a close artistic relationship with the Auryn Quartet with whom he tours the major European musical centers. With the Auryn Quartet and Dietrich Fischer-Dieskau, he recently performed Schoenberg’s Ode to Napoleon. He has also made several tours with Music from Marlboro.
Peter Orth began his studies in Philadelphia with Benjamin Whitten. At the Juilliard School where he was a student of Adele Marcus, Orth was the first recipient of the prestigious Petschek Award. After graduation he received an invitation from Rudolf Serkin to participate at the Marlboro Festival and a subsequent offer to study privately at the maestro’s Institute For Young Performing Musicians in Guilford, Vermont. Later Orth encountered Sergiu Celibidache in Germany, for whom he played much of his repertoire. In Boston he coached for several years with Paul Doguereau who knew Ravel and had studied with Egon Petri and Emil von Sauer.
Since moving to Cologne in 1992, Mr. Orth’s European reputation has grown apace by appearing in such distinguished venues as Amsterdam's Concertgebouw, London's Wigmore Hall, and the Klavier Festival Ruhr in Germany. He maintains a special relationship with Italy where he plays regularly. He conducted two concertos from the keyboard with the Orchestra of the Ukraine at Tignano Castle outside Florence where he has been the director of Friends of Music at Tignano. He was re-invited for the 2009 annual Incontri Internazionali di Musica da Camera in Este founded by the Auryn Quartet where, besides playing a solo recital, he collaborates in chamber music performances.
Peter Orth can be heard on three compact discs: the two Piano Quintets of Gabriel Fauré with the Auryn String Quartet on the CPO label which was awarded Best Chamber Music recording 1998 by London's CD Classic magazine, a Brahms/Schumann album, and a Brahms album that includes the F Minor Piano Quintet and the Handel Variations, released in 2003 on the Tacet label. In Alfred Beaujean’s STEREOPLAY review, Orth’s playing of Brahms’ Handel Variations was praised for a “rich tonal palette greater than the Deutsche Gramophone recording of the same work by Daniel Barenboim.” Orth’s recording of the Schumann Quintet and Quartet with the Auryns has received the Best Classical Recording Award from STEREOPLAY for March 2010.
He has been appointed Professor of Piano and Chamber Music at the Hochschule for Music in Detmold, Germany
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Composer(s)

Alexander Scriabin

Alexander Scriabin was a Russian composer and pianist. He began playing the piano at the age of five, but received his first lessons only at the age of eleven. He could not play from sight, but studied the score and played the compositions by heart afterwards. He was also a gifted improviser. During the rest of his live Scriabin made a living as a composer and concert pianist.He established contracts with publishers and also had a patron in his former student Margarita Morozova for some time. In addition, he annually won a money prize in the context of the Glinka-prize for new compositions that was set up by Beljajev. Scriabin primarily wrote for solo piano and orchestra. His music progressively evolved over...
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Alexander Scriabin was a Russian composer and pianist. He began playing the piano at the age of five, but received his first lessons only at the age of eleven. He could not play from sight, but studied the score and played the compositions by heart afterwards. He was also a gifted improviser.
During the rest of his live Scriabin made a living as a composer and concert pianist.He established contracts with publishers and also had a patron in his former student Margarita Morozova for some time. In addition, he annually won a money prize in the context of the Glinka-prize for new compositions that was set up by Beljajev.
Scriabin primarily wrote for solo piano and orchestra. His music progressively evolved over the course of his life, although the evolution was very rapid and especially brief when compared to most composers. His earliest piano pieces resemble those of Frédéric Chopin. The works from his middle and late period use very unusual harmonies and textures.
From 1904 till 1910 Scriabin lived in western Europe, primarily in Switzerland, but also in northern Italy, Paris and Brussels. After his return to Russia he found himself in the middle of a circle of admirers who were attracted to his exalted and mystic ideas. During the last years of his life he worked on a grandiose manifestation, a Gesamtkunstwerk, Mysterium, in which all arts and all people would have been united. He left only sketches of the prelude to this piece (L'action préalable) and large amounts of text.

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Sergei Rachmaninoff

Sergei Vasilievich Rachmaninov was a Russian pianist, composer, and conductor of the late-Romantic period, some of whose works are among the most popular in the classical repertoire. Born into a musical family, Rachmaninov took up the piano at age four. He graduated from the Moscow Conservatory in 1892 and had composed several piano and orchestral pieces by this time. In 1897, following the critical reaction to his Symphony No. 1, Rachmaninoff entered a four-year depression and composed little until successful therapy allowed him to complete his enthusiastically received Piano Concerto No. 2 in 1901. After the Russian Revolution, Rachmaninov and his family left Russia and resided in the United States, first in New York City. Demanding piano concert tour schedules caused...
more
Sergei Vasilievich Rachmaninov was a Russian pianist, composer, and conductor of the late-Romantic period, some of whose works are among the most popular in the classical repertoire.
Born into a musical family, Rachmaninov took up the piano at age four. He graduated from the Moscow Conservatory in 1892 and had composed several piano and orchestral pieces by this time. In 1897, following the critical reaction to his Symphony No. 1, Rachmaninoff entered a four-year depression and composed little until successful therapy allowed him to complete his enthusiastically received Piano Concerto No. 2 in 1901. After the Russian Revolution, Rachmaninov and his family left Russia and resided in the United States, first in New York City. Demanding piano concert tour schedules caused his output as composer to slow tremendously; between 1918 and 1943, he completed just six compositions, including Rhapsody on a Theme of Paganini, Symphony No. 3, and Symphonic Dances. In 1942, Rachmaninov moved to Beverly Hills, California. One month before his death from advanced melanoma, Rachmaninov acquired American citizenship.
Early influences of Tchaikovsky, Rimsky-Korsakov, Balakirev, Mussorgsky, and other Russian composers gave way to a personal style notable for its song-like melodicism, expressiveness and his use of rich orchestral colors.[3] The piano is featured prominently in Rachmaninov's compositional output, and through his own skills as a performer he explored the expressive possibilities of the instrument.

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Press

"In summary a well-filled disc of two major but hardly well known works of the Russian piano literature, in what I think is a unique coupling. If you don’t know either, Peter Orth will be a valuable guide to these contrasted masterworks. There is very good sound and a booklet note which has the relevant background to each composer and his opus, but is a bit skimpy on the actual music."
Musicweb International, 19-2-2016

["].. The American pianist Peter Orth, who as a boy of six knew he wanted to be a pianist after he heard a recital by Arthur Rubinstein, played the Preludes of Scriabin with the perfect balance between form and content, an expressive and melodious toucher, flexible tension and organic phrasing."
Klassieke Zaken, 01-12-2015

Play album Play album
01.
24 Preludes Op. 11 : Vivace C major
01:03
(Alexander Scriabin) Peter Orth
02.
24 Preludes Op. 11 : Allegretto a minor
02:10
(Alexander Scriabin) Peter Orth
03.
24 Preludes Op. 11 : Vivo G major
00:55
(Alexander Scriabin) Peter Orth
04.
24 Preludes Op. 11 : Lento e minor
02:20
(Alexander Scriabin) Peter Orth
05.
24 Preludes Op. 11 : Andante cantabile D major
02:05
(Alexander Scriabin) Peter Orth
06.
24 Preludes Op. 11 : Allegro b minor
00:53
(Alexander Scriabin) Peter Orth
07.
24 Preludes Op. 11 : Allegro assai A major
01:15
(Alexander Scriabin) Peter Orth
08.
24 Preludes Op. 11 : Allegro agitato f# minor
01:45
(Alexander Scriabin) Peter Orth
09.
24 Preludes Op. 11 : Andantino E major
01:36
(Alexander Scriabin) Peter Orth
10.
24 Preludes Op. 11 : Andante c# minor
01:06
(Alexander Scriabin) Peter Orth
11.
24 Preludes Op. 11 : Allegro assai B major
02:08
(Alexander Scriabin) Peter Orth
12.
24 Preludes Op. 11 : Andante g# minor
01:27
(Alexander Scriabin) Peter Orth
13.
24 Preludes Op. 11 : Lento G flat Major
01:55
(Alexander Scriabin) Peter Orth
14.
24 Preludes Op. 11 : Presto e flat minor
01:12
(Alexander Scriabin) Peter Orth
15.
24 Preludes Op. 11 : Lento D flat major
02:42
(Alexander Scriabin) Peter Orth
16.
24 Preludes Op. 11 : Misterioso b flat minor
01:33
(Alexander Scriabin) Peter Orth
17.
24 Preludes Op. 11 : Allegretto A flat major
00:36
(Alexander Scriabin) Peter Orth
18.
24 Preludes Op. 11 : Allegro agitato f minor
01:05
(Alexander Scriabin) Peter Orth
19.
24 Preludes Op. 11 : Affettuoso E flat major
01:30
(Alexander Scriabin) Peter Orth
20.
24 Preludes Op. 11 : Appassionato c minor
01:17
(Alexander Scriabin) Peter Orth
21.
24 Preludes Op. 11 : Andante B flat major
01:34
(Alexander Scriabin) Peter Orth
22.
24 Preludes Op. 11 : Lento g minor
01:09
(Alexander Scriabin) Peter Orth
23.
24 Preludes Op. 11 : Vivo F major
00:51
(Alexander Scriabin) Peter Orth
24.
24 Preludes Op. 11 : Presto d minor
01:18
(Alexander Scriabin) Peter Orth
25.
Sonata No.1 D minor: Allegro moderato
15:23
(Alexander Scriabin) Peter Orth
26.
Sonata No.1 D minor: Lento
09:55
(Alexander Scriabin) Peter Orth
27.
Sonata No.1 D minor: Allegro molto
16:01
(Alexander Scriabin) Peter Orth
show all tracks

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