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 01. "16 Waltzes, Op. 39: No. 1 in B major" 02. "16 Waltzes, Op. 39: No. 2 in E major" 03. "16 Waltzes, Op. 39: No. 3 in G sharp minor" 04. "16 Waltzes, Op. 39: No. 4 in E minor" 05. "16 Waltzes, Op. 39: No. 5 in E major" 06. "16 Waltzes, Op. 39: No. 6 in C sharp major" 07. "16 Waltzes, Op. 39: No. 7 in C sharp minor" 08. "16 Waltzes, Op. 39: No. 8 in B flat major" 09. "16 Waltzes, Op. 39: No. 9 in D minor" 10. "16 Waltzes, Op. 39: No. 10 in G major" 11. "16 Waltzes, Op. 39: No. 11 in B minor" 12. "16 Waltzes, Op. 39: No. 12 in E major" 13. "16 Waltzes, Op. 39: No. 13 in B major" 14. "16 Waltzes, Op. 39: No. 14 in G sharp minor" 15. "16 Waltzes, Op. 39: No. 15 in A flat major" 16. "16 Waltzes, Op. 39: No. 16 in C sharp minor" 17. "10 Hungarian Dances, WoO 1: No. 1 in G minor" 18. "10 Hungarian Dances, WoO 1: No. 2 in D minor" 19. "10 Hungarian Dances, WoO 1: No. 3 in F major" 20. "10 Hungarian Dances, WoO 1: No. 4 in F sharp minor" 21. "10 Hungarian Dances, WoO 1: No. 5 in F sharp minor" 22. "10 Hungarian Dances, WoO 1: No. 6 in D flat major" 23. "10 Hungarian Dances, WoO 1: No. 7 in F major" 24. "10 Hungarian Dances, WoO 1: No. 8 in A minor" 25. "10 Hungarian Dances, WoO 1: No. 9 in E minor" 26. "10 Hungarian Dances, WoO 1: No. 10 in E major"
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| | Description: | The set of ten Hungarian dances opens with the famous G minor dance, followed by a D minor dance, with a central D major episode, and a third in D minor, with a lively D major middle section. The fourth dance, in F sharp minor, is of a more expressive cast, leading to a more passionate companion in the same key. The sixth of the set, in D flat major, frames a slower C sharp minor section in livelier outer sections, leading to the rhythmic seventh dance and an eighth in A minor in the rhythm of the first. A dance in E minor is succeeded by the final rapid E major that rounds of the work. The sixteen Waltzes that form Opus 39 were written in Vienna in 1864 and published two years later with a dedication to the critic Eduard Hanslick, who welcomed such an unexpected gift from a serious, North German composer, who might have been supposed incapable of such Viennese abandon. If the great symphonies of Brahms continue the tradition of Schubert, they may be imagined as a tribute to the city where the compose was now to make his home. The original version seems to be that for piano duet, a form that had an immediate popular commercial attraction and would have provided Hanslick with music to share with young ladies of his acquaintance, with whom he was accustomed to play duets. The Waltzes are in a simpler and shorter form than the slightly more complex Hungarian Dances. Idil Biret born in Ankara, Idil Biret began piano lessons at the age of three. She displayed an outstanding gift for music and graduated from the Paris Conservatoire with three first prizes when she was fifteen. She studied piano with Alfred Cortot and Wilhelm Kempff, and composition with Nadia Boulanger. Since the age of sixteen Idil Biret has performed in concerts around the world, playing with major orchestras under the direction of conductors such as Monteux, Boult, Kempe, Sargent, de Burgos, Pritchard, Groves and Mackerras. She has participated in the festivals of Montreal, Persepolis, Royan, La Rochelle, Athens, Berlin, Gstaad and Istanbul. She was also invited to perform at the 85th birthday celebration of Wilhelm Backhaus and at the 90th birthday celebration of Wilhelm Kempff. Idil Biret received the Lily Boulanger Memorial Fund Award (1954/1964), the Harriet Cohen/Dinu Lipatti Gold Medal (1959) and the Polish Artistic Merit Award (1974) and was named Chevalier de l'Ordre du Mérite in 1976., Runningtime: 00:00:00, Liner Notes: Keith Anderson (6), Producer, Engineer: Martin Sauer, Labelcode NXS8550355.2 (8.550355), Recorded At Clara Wieck Auditorium, Heidelberg | | | N° de titres: |
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| | N° de fabricant: |
8550355 |
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