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Track(s) taken from CDH55133

Scherzo in G major, Op 4

composer

Seta Tanyel (piano)
Recording details: October 1992
St Martin's Church, East Woodhay, Berkshire, United Kingdom
Produced by John H West
Engineered by John Timperley
Release date: February 2003
Total duration: 5 minutes 24 seconds
 
1

Reviews

'the music here could hardly be more sympathetically presented than by Tanyel, whose performances are immaculate in their musicianship and virtuosity' (Gramophone)

'Tanyel's clear enthusiasm for this unhackneyed programme is utterly refreshing … The performance reminds us again just how well she understands the piano's Romantic repertoire' (Classic CD)
The Scherzo in G major, Op 4 (1869), was published by Breitkopf und Härtel following the success achieved with the Polish Dances, Op 3. It is a piece full of youthful exuberance and a good example of Scharwenka’s ability to compose effectively for his own virtuoso display without sacrificing true musical content. The pianist is given no respite as the piece hurries on, ending with a spectacular flurry of broken octaves.

from notes by Martin Eastick © 1992

Le Scherzo en sol majeur (1869) fut publié par Breitkopf & Härtel à la suite du succès des Danses polonaises, Op 3. Il s’agit d’un morceau débordant d’exubérance juvénile, parfait exemple de composition adaptée à la virtuosité de Scharwenka sans que pour autant le contenu musical en soit sacrifié. Le pianiste n’a aucun répit : le morceau allant sans cesse en s’accélérant pour se terminer sur une rafale d’octaves brisées.

extrait des notes rédigées par Martin Eastick © 1992

Das Scherzo in G-Dur (1869) wurde von Breitkopf & Härtel nach dem Erfolg der Polnischen Tänze, op. 3 veröffentlicht. Das Scherzo strotzt vor jugendlichem Überschwang und bietet ein gutes Beispiel, wie Scharwenka seine pianistischen Fähigkeiten zur Schau stellen konnte, ohne dabei den eigentlichen musikalischen Inhalt zu vernachlässigen. Dem Pianisten wird keine Entspannung gegönnt, das Stück eilt unablässig voran und endet mit einem spektakulären Getöse von gebrochenen Oktavakkorden.

aus dem Begleittext von Martin Eastick © 1992

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