Altus
Johanna Martzy - The Art of Johanna Martzy [CD] [Domestic Press] [Japanese Belt and Instructions Included] - Import CD
Johanna Martzy - The Art of Johanna Martzy [CD] [Domestic Press] [Japanese Belt and Instructions Included] - Import CD
CD
Classical Music
Symphony
September 18, 2020
Will usually ship within 1~5 business days of receiving cleared payment.
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Catalog No.: TALT070
JAN/ISBN: 4543638400706
Number of Discs: 1
Country/Region of Manufacture: Import
Credits:
Johanna Martzy
Description:
Featuring Marzi’s only recording: Brahms’s Sonata No. 3! This performance, taught directly by the premiere performer Hubay, is exceptionally rare. The two concertos are also masterful performances, rich in expression and full of lyricism!! ALTUS has licensed recordings from the long-defunct TAHRA label, remastered them, and released them. These precious historical recordings have been brought back to life. This release revives Marzi’s recordings, of which only a single title was originally released by TAHRA. All of these recordings are unique and cannot be heard elsewhere; in particular, this is the only existing recording of Brahms’s Sonata No. 3. Since Marzi’s teacher, Hubay, was the premiere performer of this sonata, it’s fair to say that we are hearing an interpretive approach passed down directly from this now-forgotten composer. The well-coordinated ensemble with Antonetti is also superb. Furthermore, the intense expression in the two concertos is truly overwhelming. Unfortunately, the first movement of the Brahms concerto is not included, but the beautiful phrasing of the second movement and the passionate drive of the third movement are captivating. Regarding the instruction “Un poco presto e con sentimento” (somewhat fast, and with feeling) in the third movement of the Brahms sonata—how much profound meaning Brahms imbued in it— —Marzi’s performance begins in a distinctly melancholic manner, weaving subtle dynamics while allowing the light and dark shades of her tone to shimmer. Her interpretation of the “Tranquilo” marking on the final page is also unique. Regarding this passage, a performance interpretation by Clara Schumann’s fourth daughter, Eugenie, has been preserved in writing. According to her, Brahms slowed the tempo considerably here and played “as if walking on eggshells.” Indeed, in this performance as well, the tempo is significantly slowed, and Antonetti plays “as if walking on eggshells”! (Excerpt from the commentary by Shigeo Itakura) King International
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