William Kapell Vidéos
pianiste américain
- piano
- musique classique
- États-Unis
- pianiste classique, artiste d'enregistrement
Dernière mise à jour
2024-03-29
Actualiser
Chopin William Kapell Olga Samaroff Eugene Ormandy Leopold Stokowski Fritz Reiner Serge Koussevitzky Guido Cantelli Rudolf Serkin William Primrose Jascha Heifetz Artur Schnabel Khachaturian Prokofiev Horowitz Sergei Rachmaninov Landowska Toscanini Liszt Brahms Bach Glenn Gould Scarlatti Beethoven Schubert Mendelssohn Schumann Mussorgsky Debussy Albéniz Falla Shostakovich Paganini Copland Philadelphia Orchestra Carnegie Hall 1938 1940 1941 1945 1946 1947 1948 1951 1952 1953 2021
Urtext: (http•••) I. Grave - Doppio movimento 0:00 II. Scherzo (E♭ minor) - Più lento 5:42 III. Marche funèbre 11:20 IV. Finale. Presto 18:18 Bio written by Wojciech Bońkowski (Chopin Institute): "William Kapell was born to a family of Polish-Russian Jews; his parents run a bookshop on one of New York's main streets. Kapell studied piano playing with Dorothea LaFollette, and later +••.••(...)) with Olga Samaroff at the Philadelphia Conservatoire and the Julliard School of Music. In 1940 he won a young pianists' competition organised by the Philadelphia Orchestra, and made his debut under the direction of Eugene Ormandy. He became famous after winning the Walter Naumburg Prize in 1941. That same year, he played at Carnegie Hall, and soon became known as the best American pianist of the young generation, signing a recording contract with RCA. He played with the leading conductors of his time, including Eugene Ormandy, Leopold Stokowski, Fritz Reiner, Serge Koussevitzky and Guido Cantelli, and as a chamber musician with Rudolf Serkin, William Primrose, and Jascha Heifetz. He also studied with Artur Schnabel. He played in many concert halls in the US, and toured South America +••.••(...)), Australia +••.••(...)), and Europe (1947). He died in a plane crash at the age of 31. Kapell's legacy (letters and scores) is today held at the International Piano Archives, Maryland University. Kapell earned an early fame with his interpretations of Khachaturian's Concerto and Prokofiev's Concerto in C Major, stunning audiences with his incredible finger technique and pianistic might; he was seen as the next Horowitz. Yet Kapell came to feel at odds with the image of a virtuoso when he started offering deeper interpretations and a broader repertoire. This is evident in his renditions of Rachmaninov's Concerto in C minor and D minor, where he appears as a mature artist, linking with the classicist ideas of Landowska, Schnabel and Toscanini (his favourite musicians), understanding Rachmaninov as a great composer of the 20th century, not an heir to Romanticism. The main characteristics of these late recordings are a fine articulation, a sharp, percussive tone colour, a focus on rhythm and meter, and an emotional austerity or even purism that is reminiscent of Sergei Rachmaninov's own playing. Similar traits are to be found in recordings of works by Liszt, Brahms, Chopin and also Bach, where Kapell can be seen as a predecessor of Glenn Gould. Kapell's legacy on disc is fragmentary, interrupted as it was by his premature death. It includes isolated, often short pieces by Bach (Partita in D major), Scarlatti, Mozart, Beethoven, Schubert, Mendelssohn, Schumann, Mussorgsky (a fine Pictures from an Exhibition, 1953), Debussy, Albéniz (a phenomenal Evocación), de Falla, Shostakovich. A central role is occupied by Liszt (Sonetto 104 del Petrarca, Hungarian Rhapsody No. 11 and a famous Mephisto Waltz of 1945), Brahms (including the Concerto in D minor and the Violin Sonata in D minor with Jascha Heifetz), Rachmaninov (the above-mentioned concertos and the Rhapsody on a Theme by Paganini), American composers (including Copland's Sonata, which Kapell premiered), and Chopin. Of the latter, Kapell left recordings of the Polonaise-Fantaisie, Nocturne in E flat major Op. 55 No. 2, Waltz in E flat major Op. 18, 26 mazurkas +••.••(...)) and, crucially, the two sonatas, considered to be among the finest interpretations of these works. The massive sound and colossal technique of the Sonata in B flat minor of 1953 are an echo of Rachmaninov's own version, while in the Sonata in B minor (1952) Kapell reaches the heights of virtuosity (very fast tempos), but emphasises the lyrical third movement - although it is always a cold-blooded, opaque lyricism so typical of Kapell." Remastered By: Wayne Yang, USA-Taiwan
William Kapell Bach Liszt Busoni 1948
0:00 : William Kapell speaking.... 1:51 : Bach 3:15 : Bach 6:21 : Bach 7:52 : Albeniz - Triana (extract) 11:45 : Liszt - Rhapsodie hongroise n°6 (extract) 15:17 : Bach/Busoni -
ou
- chronologie: Compositeurs (Amérique du Nord). Interprètes (Amérique du Nord).
- Index (par ordre alphabétique): K...