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Anton Urspruch : Œuvres pour piano seul. Markovina.
Format : 3 CD
Total Time : 02:52:24

Recording : 01/07-30/09/2016
Location : Munich
Country : Allemagne
Sound : Studio / Stereo

Label : Haenssler Classic
Catalog No. : HC16015
EAN : 0881488160154
Price Code : DM031A

Publishing Year : 2017
Release Date : 04/10/2017

Genre : Classical
Anton Urspruch (1850-1907)
5 Fantaisies, op. 2
Fantaisie n° 1 en ré bémol majeur
Fantaisie n° 2 en la majeur
Fantaisie n° 3 en la majeur
Fantaisie n° 4 en mi majeur
Fantaisie n° 5 en sol dièse majeur
Danses allemande, op. 7
Thème et Variations, op. 10
Cinq pièces pour piano, op. 19
"Cavatine", op. 20 n° 1
"Arabeske", op. 20 n° 2
Prélude, op. 22 n° 1
Capriccio, op. 22 n° 2

Ana-Marija Markovina, piano

First of all, this is a composer, pianist and conductor who has wrongly been marginalised from contemporary awareness. He was born in Frankfurt on February 17, 1850, and died there on January 11, 1907. These dates show him to be an artist of an era characterised by a multidimensional intellectual climate and a psychological outlook that harked back to traditional values on the one hand whilst holding out revolutionary prospects on the other. As an artist, Urspruch was respected by his contemporaries and well established on the music scene. He began teaching at Dr Hoch’s Conservatory at just 28 years of age, at a time when Clara Schumann was teaching there too. The director there was Joachim Raff, who was also his teacher. After Raff’s death in 1882, Urspruch moved to the newly founded Raff Conservatory and taught there for the rest of his life. He dedicated his piano concerto to Raff. His works encompass many genres, from piano pieces through song cycles, chamber music, symphonies, choral works and his comic opera Das Unmöglichste von allem (the most impossible thing of all), which was premiered in Karlsruhe in 1897. His life was centred around his family (he had four daughters with his wife Emmy, the daughter of music publisher August Cranz). His close personal friendship with Franz Liszt brought him a level of support that went far beyond the usual kind of appreciation shown by the more famous and older composer.

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