WAGNER - WWV22 Fantasia in f-sharp minor (Stephan Möller)
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- Опубликовано: 8 сен 2024
- Richard Wagner (1813~1883)
WWV22 _ Fantasia in F-sharp minor (1831)
00:01 Un poco lento
04:57 Recitativo
06:31 Allegro agitato
10:14 Recitativo
11:39 Adagio molto e cantabile
18:03 Recitativo
20:57 Un poco lento
Piano : Stephan Möller
Rec : 1992 Studio Thein, Bremen
■ Biography
first gained pianistic prominence as a prizewinner at the 1985 International Beethoven Piano Competition in Vienna. Since then his busy concert schedule has taken him to Japan, China, North and South America as well as all over Europe. Besides performing the entire standard repertoire, Stephan Möller has concentrated on the interpretation of the Viennese Classics, in particular Beethoven’s 32 piano sonatas, which he has frequently performed entirely in concert cycles, and his five piano concerti. For Beethoven’s 250th anniversary 2020, he planned a worldwide tour “Beethoven 32×32”, with Beethoven’s 32 sonatas played in 32 different cities!
Among Stephan Möller’s CD recordings, there are such rarities as Beethoven’s “Grosse Fuge”, played four-hands with himself on a computer-assisted Bösendorfer concert-grand, and the complete original piano works by Richard Wagner. His recording of Beethoven’s 32 piano sonatas is work in progress.
Born 1955 in Hamburg, Germany, Stephan Möller received his degrees as a pianist and conductor at the Mozarteum Academy in Salzburg, Austria. His important teachers were Peter Heilbut in Hamburg, Kurt Seibert in Bremen and Hans Leygraf in Salzburg. 1983 through 1989, he assisted Herbert von Karajan and other world-renowned conductors at the Salzburg Festival. From 1990 until 2020, Stephan Möller held a teaching position at the University for Music and Performing Arts in Vienna, Austria.
Since 2020, Stephan Möller, furthermore actively concertising, is on the piano faculty at the Richard Wagner Conservatory in Vienna. He is frequently invited to hold masterclasses and lectures, and to adjudicate at international piano competitions at home and abroad. Since 1998, he has been president of the “Vienna International Pianists” association and their successful festival, the “VIP Academy”. In 2009, he founded the “International Rosario Marciano Piano Competition”.
0:15 This is what a non-pianist would think writing "dramatic virtuoso passages" would sound like.
Permitting to tender, sweet drama in it's morsels of little unfolding melodies. And what a strong and exotic theme.
rare treasure
This treasure is so heavy, that no one can carry it
Apart from a "pro forma" admiration of Beethoven, there is an allure from "Rienzi" & "Tannhäuser". Wagnerius for ever.
Impressive work! I'm very happy to have discovered it
Sound's really like Schubert's works
Sounds like many composers of the time, that's why Wagner changed his style and developed his own language, and man, thanks for that.
Irónicamente algunas partes me suena a Mendelssohn, en particular en el min 6:49.
Suena a muchos de su época, por eso sepultó este estilo Bien hondo, no quería quedar como una mera somBra más de Beethoven u otros, quería ser recordado para toda la historia el viejo e inventó su propio lenguaje.
Decía que este estilo haBía sido completamente agotado por Beethoven y que lo único que podría salir son imitaciones mediocres. Decía que una oBra de Schumann Bien interpretada sonaBa como una oBra de Beethoven mal interpretada.
Y sí, para Wagner Brahms era excesivamente soBrevalorado, detestaBa mucha de su música la cual alguna que otra le causaBa increíBle repulsión, y tristeza, porque consideraBa que Brahms tenía muchísimo talento, pero que lo mal usaBa... de
SChumann decía que tenía un talento y gracia especiales pero se vio mal influenciado por Brahms y compañía de anticuados ultra conservadores, quienes wagner miraBa con tal desprecio al declararse Beethovenianos pero no seguir ningún verdadero ideal, ejemplo o valor de Beethoven, como es revolucionar. ConsideraBa que lo Beethoveniano en ellos era meramente superfluo, es decir, en la forma, en lo material, pero no en la esencia.
I'm three minutes and I'm already bored to tears. Luckily this is juvenilia and not representative of Wagner's later quality.
@@frederickthegreat4801 Man, why are there so many jerks like you online?
Granted, Wagners piano music is usually boring and lackluster compared to his orchestral work but, this is WAGNER you have to imagine every voice as an instrument in the orchestra or as a human voice, I dont think he knew how to right anything other than orchestral work but to be honest there is an awful lot of classical music that is sooooo boring, Brahms in particular.
@@james137Thank you zZzZz most of Brahm’s works.
@@james137 This Composition is long and boring. The figures (both LH and RH) almost look like Czerny’s educational music, without the melodics, theatrics, climaxes, singing, excitement, development, or demonstration of mastery of form, or interesting harmonic unrelated modulations. Even for a piece in F-sharp minor, sounds like Bb-major. #eRating (3/10)
@@ValseMelancolique Fair point, but you see what I mean, he can only create texture with a melody over the top, nothing remotley interesting like proper counterpoint. It does look like an ABRSM Grade 7 sight reading test LOL!!
It’s about 23 minutes too long.
But then, Wagner was never known for his pithyness
I give it a solid "Meh." Not for the pianist but for the composition. But I do love the orchestra music a lot.
and I believe it has something to with the pianist as well. like, this simplicity may sound organic if the phrasing and developing of the material are built carefully enough (and it is really difficult in this piece). but here... just notes. recitatives are just boring but they might not be!
I give a "meh" to the pianist for deciding to record it. There's so much better music by lesser known composers that would deserve it
He was 18 when he composed this. It’s very good considering.
@@Iocun Any examples for your thesis?
@@STEPHANM0ELLER Anatoly Alexandrov's sonatas by the way. I am still not sure if I have listened to all of them