Please wait...

Hyperion Records

Click cover art to view larger version
Track(s) taken from CDH55206
Recording details: May 1991
Doopsgerinde Kerk, Amsterdam, Netherlands
Produced by C Jared Sacks
Engineered by C Jared Sacks
Release date: September 1991
Total duration: 12 minutes 3 seconds

'A musical as well as a technical revelation … de Waal's virtuosity is awe-inspiring, and he's complemented throughout by a beautifully natural and wide-ranging recording' (Gramophone)

'This disc is amazing … wild stuff, to which Rian de Waal does ample justice' (BBC Music Magazine)

'Pure delight! And one of this year's outstanding recordings' (Fanfare, USA)

'Thunderously exciting pianism' (CDReview)

'De Waal offers a dumbfounding version of the Kunstlerleben 'symphonic metamorphosis', with its virtiginously virtuosic rethinking of the Strauss waltz, as well as several Schubert transcriptions and the equally astonishing 'contrapuntal arrangement' of Weber's Invitation to dance. All of these are thrown off with a fine sense of style—the wit and exactitude of de Waal's phrasing in Kunstlerleben have to be heard to be believed' (International Piano)

'Outstanding performances of transcendentally virtuoso music by a renowned virtuoso recorded superbly and presented immaculately' (MusicWeb International)

Aufforderung zum Tanz, J260 Op 65
circa 1905; contrapuntal paraphrase

Introduction  EnglishFrançaisDeutsch
The two Godowskian commentaries on Weber’s celebrated pièce d’occasion and Johann Strauss II’s Künstlerleben provide taxing fare for the intrepid keyboard adventurer. Though the skill and dedication required to master these pianistic pyramids might deter all but a few, the delights for both artist and listener abound in the clever combination of themes and mounting technical challenges. The intoxicating Aufforderung zum Tanze (‘Invitation to the Dance’) has appeared in several guises. Weber’s Op 65, composed in 1819, was subsequently (and most famously) orchestrated by Berlioz. But it was the extended keyboard version by the Liszt pupil Carl Tausig (1841–1871) that undoubtedly inspired Godowsky’s contrapuntal concert paraphrase. It was in his repertoire from as early as 1897, and probably before. The ingenuity of the thematic juxtapositions and the tongue-in-cheek élan of the conception has, in this writer’s experience, been known to elicit gasps of amused amazement from the audience. Godowsky’s terpsichorean devilment was published in 1905 and dedicated to Ferruccio Busoni. It was later amplified further by Godowsky for two pianos. When the composer and teacher Rubin Goldmark saw the score and told Godowsky admiringly that he could see nothing in the way of contrapuntal possibilities that had been omitted, Godowsky smiled and said: ‘Well, I shall show you that you are wrong.’ A few days later he invited Goldmark to hear the amended version of the work—with an optional third piano part added.

from notes by Jeremy Nicholas © 1991

   English   Français   Deutsch