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Track(s) taken from CDA68040

Praeludium and Allegro

composer
'in the style of Pugnani', to whom it was originally attributed; Classical Manuscript No 5

Jack Liebeck (violin), Katya Apekisheva (piano)
Studio Master FLAC & ALAC downloads available
CD-Quality:
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CD-Quality:
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Recording details: April 2013
St George's, Brandon Hill, United Kingdom
Produced by Rachel Smith
Engineered by Ben Connellan
Release date: April 2014
Total duration: 5 minutes 5 seconds

Cover artwork: The Violin Case (1923) by Marie Clementine Valadon (1865-1938)
Musée d'Art moderne de la Ville de Paris / Giraudon / Bridgeman Art Library, London
 
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Reviews

'Jack Liebeck is a fine player—no doubt about that—with a firm tone and rock-solid technique. The 1785 ‘Ex-Wilhelmj’ Guadagnini he plays fills St George’s, Bristol, with commanding ease … he is best in Kreisler’s transcriptions (a touching Gluck Mélodie, thrilling bravura in Falla’s Danse espagnole and a forthright, confident account of the 'Devil's Trill' Sonata, which ends the disc in style)' (Gramophone)» More

'This cracking box of Fritz Kreisler fireworks marks the beginning of young violinist Jack Liebeck's partnership with Hyperion … these are so refreshingly bright and zestful they feel like new pieces. The instantly familiar Praeludium and Allegro, for example, is dismissed with exhilarating haste, as is Kreisler's immensely demanding transcription of Dvořák’s E minor Slavonic Dance. But perhaps the most impressive performance in the entire collection is the conquering of Kreisler's adaptation of Tartini's 'Devil's Trill' sonata, which surrenders completely to Liebeck and Katya Apekisheva's formidable technique' (The Observer)

'This estimable Kreisler compilation from the young British violinist Jack Liebeck heralds his new alliance with Hyperion, and one could hardly imagine a more propitious start to their relationship … these disarmingly affectionate and often brilliant accounts of these Kreisler favourites prove unusually satisfying … particularly superb are the transcriptions of Dvořák’s E minor Slavonic Dance, Op 72 No 2 and the ‘Danse espagnole’ from Falla’s La vida breve, both of which are hugely demanding for the violinist and played with élan and bravura here by Liebeck … this is unquestionably a Kreisler disc to which I’ll be returning often and always with pleasure, for these spirited and discerning readings have so much to commend them as to make even minor qualms seem churlish. Liebeck and Apekisheva are heard at their brilliant best in Kreisler’s own formidably taxing reworking of the G minor ‘Devil’s Trill’ Sonata by Tartini. There is indeed something of the Mephistophelean about this astounding account and Liebeck sounds stunning in Kreisler’s intimidating cadenza' (International Record Review)» More

'Quite superb accounts of the Recitative and Scherzo, and Kreisler’s arrangement of Tartini’s ‘Devil’s Trill’ Sonata … the engineers provide an ideal balance and pleasing sound to complete an outstanding release' (The Strad)
The Praeludium and Allegro (Classical Manuscript No 5, attributed to Gaetano Pugnani) is Kreisler’s finest achievement. The Prelude is memorable, the Allegro marvellously virtuosic. When playing it at the Paris Opéra in 1923, Kreisler saw Vincent d’Indy wag a finger at him from the front row and thought he had been found out. Afterwards d’Indy told him: ‘Pugnani would not have played the Allegro in that tempo.’ Sadly Kreisler never recorded it.

from notes by Tully Potter © 2014

Le Praeludium et Allegro (Manuscrit classique nº 5, attribué à Gaetano Pugnani) est la plus belle réalisation de Kreisler—le Prélude est mémorable, l’Allegro une merveille de virtuosité. En 1923, alors qu’il jouait ce dernier à l’Opéra de Paris, Kreisler vit Vincent d’Indy le menacer du doigt depuis le premier rang et il se crut découvert. Après coup, d’Indy lui dit: «Pugnani n’aurait pas joué l’Allegro dans ce tempo-là.» Hélas, jamais Kreisler ne l’enregistra.

extrait des notes rédigées par Tully Potter © 2014
Français: Hypérion

Präludium und Allegro (Klassische Manuskripte Nr. 5, nach Gaetano Pugnani) ist Kreislers gelungenstes Werk. Das Präludium ist eindringlich, das Allegro von wunderbarer Virtuosität. Als Kreisler das Werk 1923 in der Pariser Opéra spielte, sah er, wie Vincent d’Indy ihm aus der ersten Reihe mit dem Finger drohte, und dachte, der französische Komponist wäre ihm auf die Schliche gekommen. Hinterher meinte d’Indy zu ihm: „Pugnani hätte das Allegro nicht so schnell gespielt.“ Bedauerlicherweise hat Kreisler das Stück nie aufgenommen.

aus dem Begleittext von Tully Potter © 2014
Deutsch: Christiane Frobenius

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