Géza Anda: The Telefunken Recordings Géza Anda

• 1 Préambule 02:30
• 2 Pierrot 01:13
• 3 Arlequin 00:49
• 4 Valse noble 01:14
• 5 Eusebius 01:41
• 6 Florestan 01:06
• 7 Coquette 01:08
• 8 Réplique 00:33
• 9 Papillons 00:49
• 10 A.s.c.h.-S.c.h.a. (Lettres dansantes) 00:40
• 11 Chiarina 00:57
• 12 Chopin 01:29
• 13 Estrella 00:35
• 14 Reconnaissance 01:56
• 15 Pantalon et Colombine 00:51
• 16 Valse allemande 00:58
• 17 Paganini 01:16
• 18 Aveu 00:59
• 19 Promenade 02:06
• 20 Pause 00:20
• 21 Marche des Davidsbündler contre les Philistins 04:03
• 22 Thema: Andante 01:17
• 23 Etude I: Un poco più vivo 00:44
• 24 Etude II 01:43
• 25 Etude III: Vivace 01:19
• 26 Etude IV 00:53
• 27 Etude V 00:42
• 28 Etude VI: Agitato 00:46
• 29 Variation posth. IV 02:07
• 30 Etude VII: Allegro molto 00:45
• 31 Variation posth. V 01:29
• 32 Etude VIII 02:18
• 33 Etude IX: Presto possibile 00:37
• 34 Etude X 00:37
• 35 Etude XI: Con espressione 02:03
• 36 Etude XII (Finale): Allegro brillante 05:44
• 37 I. Sinfonia 04:30
• 38 II. Allemande 01:56
• 39 III. Courante 01:06
• 40 IV. Sarabande 02:49
• 41 V. Rondeau 01:20
• 42 VI. Capriccio 03:30
• 43 I. Allegro 03:24
• 44 II. Adagio 03:05
• 45 III. Presto 03:34
• 46 I. Allegro 03:17
• 47 II. Adagio 04:33
• 48 III. Allegretto 03:38
• Total Runtime 01:26:59

Info for Géza Anda: The Telefunken Recordings

Géza Anda: The Telefunken Recordings - masterpieces of incisive poetry and brilliant technique.

These recordings are characterised by Géza Anda's distinctive balance of spontaneity and intellectual control, incisive poetry and brilliant technique. Géza Anda bestows upon his audience not only a pianistic and musical moment of glory, but also invites them to witness the birth of a pianistic aestheticism where objectivity and fantasy are no contradiction but are dependent on each other.

Following its 'Edition Géza Anda', audite now issues - for the first time on CD - Géza Anda's Telefunken recordings made in 1950 and 1951. This fifth audite release featuring the Swiss-Hungarian pianist closes a gap which has long been a source of regret to connoisseurs and admirers of Géza Anda's pianism. Chronologically, the Telefunken recordings are positioned between Anda's first recordings for Deutsche Grammophon and the later recordings for Columbia and DG. They document the pianist's transition from brilliant virtuoso to sophisticated musician. The objectivity of his Bach, Haydn and Mozart interpretations and the painstakingly worked out, fantastic world of the Schumann cycles complement each other in characteristic and fascinating fashion.

Comprising Robert Schumann's Carnaval Op. 9 and his Symphonic Etudes Op. 13, the Telefunken recordings represent two important pillars of Anda's repertoire. However, they also contain three works which he played only rarely: Johann Sebastian Bach's Partita No. 2 in C minor, BWV 826, Joseph Haydn's Sonata in F major, Hob. XVI/23, and Wolfgang Amadeus Mozart's last Piano Sonata in D major, K. 576. The recording of the Mozart sonata is a particular rarity and treasure as it is the only recording of Anda, the great Mozart interpreter, documenting a performance of a Mozart work for solo piano.

'These recordings demonstrate the warmth and the charisma of Anda's personality. The Schumann is crisp and direct, the Haydn and Mozart dance with rhythmic energy.' (BBC Music Magazine)

„These recordings demonstrate the warmth and the charisma of Anda's personality. The Schumann is crisp and direct, the Haydn and Mozart dance with…“ (BBC)

Géza Anda, piano

Géza Anda
was born in Budapest on November 19, 1921. He studied with Ernst von Dohnányi and Zoltan Kodály at the Budapest Academy of Music, and won the Liszt Prize in 1940. A year later, shortly after playing Brahms under Mengelberg, he made his debut in the Berlin Philharmonie, where Furtwängler dubbed him "the troubador of the piano". He was only 20 - and had already begun to teach piano. In 1943 he settled in Switzerland. From 1953 to 1955 he gave a masterclass at the International Summer Academy of the Mozarteum in Salzburg, and in 1960 he succeeded Edwin Fischer as director of the Lucerne Masterclasses. From 1969 he taught in Zurich. He died on 13 June 1976. Three years later, the first Concours Géza Anda was held, with the aim of encouraging a younger generation of pianists to develop in Anda's spirit.

Anda's early bravura displays in the Liszt, Franck, Tchaikovsky and Rakhmaninov repertoire, his pioneering Bartók interpretations, and his brilliantly captivating Chopin - all had the same power of expression as his performances of the German Romantics. His musical, technical and spiritual insights were based on a forging of form and substance within each work, as notable in Beethoven as in Schubert, Schumann and Brahms. It was his aproach that gave Anda's playing its renowned clarity, it lay at the heart of his "festive temperament". Thanks to Clara Haskil's encouragement, it also influenced his approach to Mozart.

From 1952 until his death, Anda made a solo appearance every year at the Salzburg Festival - a record matched by no other concert artist in Mozart's birthplace. He directed Mozart concertos from the keyboard with the Camerata Acadmica, and took it on tour. With the same ensemble he became the first interpreter to record all Mozart's piano concertos, an achievement which brought him numerous gramophone awards. For 16 of the 27 concertos, Anda wrote his own cadenzas.

Géza Anda's repertoire matched the breadth of his public. What people heard was a style of playing that struck to the human core of all great music.

Booklet for Géza Anda: The Telefunken Recordings