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Cathy Krier joue Berg, Schoenberg et Zimmermann : Œuvres pour piano. [Vinyle]
5 de Diapason
Diapason de mars 2016
Critique de Patrick Szersnovicz
Page n° 111
4 de Classica
Classica de mai 2016
Critique de Stéphane Friédérich
Page n° 112
Format : 1 Vinyle 33T
Durée totale : 00:57:51

Enregistrement : 01/05/2015
Lieu : Luxembourg
Pays : Luxembourg

Label : AVI Music
Référence : AVI8553342
EAN : 4260085533428
Code Prix : DM029B

Année d'édition : 2015
Date de sortie : 04/10/2017

Genre : Classique
Alban Berg (1885-1935)
Sonate pour piano, op. 1

Arnold Schoenberg (1874-1951)
Trois pièces pour piano, op. 11
Pièces pour piano, op. 33a
Pièces pour piano, op. 33b

Bernd Alois Zimmermann (1918-1971)
Enchiridion Part I, petites pièces pour piano
Echidirion Part II, petites pièces pour piano

Cathy Krier, piano

The early 20th century is a period that fascinates me. The prevalent musical aesthetic was disrupted by a new generation of composers who maintained their roots in tradition, but felt a great desire to expand music’s horizons: they formed a multitude of currents and embarked on a number of different paths, all driven by the idea of transfiguring everything they had previously known. For this disc I have chosen to retrace the path originally taken by Arnold Schoenberg. Born in Vienna in 1874, Schoenberg had an atypical career. Upon his father’s death, he had to leave school as the eldest sibling at the age of sixteen to take up a profession. As an autodidact he learned the essentials of composition by sight-reading great repertoire and by playing chamber music on the cello and the violin. Married to the sister of Alexander Zemlinsky, Schoenberg took somecounterpoint lessons from that composer and soon started teaching harmony and counterpoint himself, from 1903 on. His teaching activity remained central throughout his life, both in Europe and after having immigrated to the US. Profoundly aware of the continual evolution of Art as a historical necessity, Schoenberg introduced an important change into composition at the beginning of the 20th century. He took it over the brink into the unknown by dissolving the classical functions of harmony, then by eliminating all familiar points of melodic and thematic reference. Schoenberg’s Op. 11 is the first truly atonal work for piano ever written….” (from the Liner Notes by Cathy Krier).

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