(Classical) Complete Edition of all Elly Ney late recordings, 1960-68: Mozart, Beethoven, Schubert, Mendelssohn, Brahms, Schumann, Chopin, Bach, etc., - 12 CDs [Box Set], 2003, Colosseum Schallplatten, APE (tracks) lossless

Complete Edition of all Elly Ney’s late recordings, 1960-68, incl. Mozart, Beethoven, Schubert, Mendelssohn, Brahms, Schumann, Chopin, Bach, etc., - 12 CDs [Box Set], 2003, Colosseum Schallplatten

Tracklist:

CD 1 (72' 47'')

Beethoven.

01-03. Sonate Nr. 30
04-07. Sonate Nr. 31
08-09. Sonate Nr. 32

CD 2 (45' 10'')

Beethoven.

01. Andante favori
02. Albumblatt fur Elise
03. Sechs Variationen
04-05. Sonate Nr. 32

CD 3 (76' 49'')

Beethoven.

01-03. Konzert fur Klavier und Orchester Nr. 3
04-06. Konzert fur Klavier und Orchester Nr. 4
with Nurnberger Symphoniker & Willem van Hoogstraten

CD 4 (64' 30'')

Schubert. Schumann.

01-04. Schubert - Wanderer-Fantasie
05-17. Schumann - Symphonische Etuden
18-22. Schumann - Anhang zu den Symphonischen Etuden

CD 5 (75' 32'')

Beethoven.

01-04. Sonate Nr. 4
05-07. Sonate Nr. 8
08-11 Sonate Nr. 12

CD 6 (66' 38'')

Beethoven.

01-03. Konzert fur Klavier und Orchester Nr. 5
with Nurnberger Symphoniker & Willem van Hoogstraten

04-06. Sonate Nr. 23

CD 7 (68' 34'')

Beethoven.

01-03. Sonate Nr. 14
04-06. Sonate Nr. 17
07-09. Sonate Nr. 21

CD 8 (76' 48'')

Beethoven.

01-04. Sonate Nr. 18
05. Variationen op. 34
06. Adagio aus der Sonate Nr. 29
07. 32 Variotinen WoO 80
08. Rondo a capriccio op. 129
09. Sechs Ecossaisen

CD 9 (69' 42'')

Mendelssohn. Schubert. Chopin.

01. Mendelssohn - Lieder ohne Worte - op. 62 Nr. 3
02. Mendelssohn - Lieder ohne Worte - op. 19 Nr. 1
03. Mendelssohn - Lieder ohne Worte - op. 102 Nr. 5
04. Mendelssohn - Lieder ohne Worte - op. 62 Nr. 6
05. Mendelssohn - Lieder ohne Worte - op. 67 Nr. 4
06. Schubert - Impromtu op. 90 Nr. 3
07. Schubert - Impromtu op. 90 Nr. 4
08. Schubert - Moment Musical op. 94 Nr. 2
09. Schubert - Moment Musical op. 94 Nr. 3
10. Schubert - Moment Musical op. 94 Nr. 4
11. Schubert - Impromtu op. 142 Nr. 4
12. Chopin - Fantasie op. 49
13. Chopin - Ballade op. 47

CD 10 (64' 32'')

Mozart. Schubert.

01. Mozart - Rondo KV 511
02-04. Mozart - Sonate Nr. 11
05-07. Mozart - Sonate Nr. 10
08. Schubert - 15 Deutsche Tanze

CD 11 (BONUS I) (69' 31'')

Brahms.

01-05. Sonate Nr. 3
06. Romanze op. 118, 5
07. Intermezzo op. 118, 6
08. Intermezzo op. 117, 1
09. Rhapsodie op. 119, 4

10. Es ist ein Ros' entsprungen, Choralvorspiel op. 122 Nr. 6

11. Kurzer Kommentar von Elly Ney

12. Sonate Nr. 1 - II. Andante
13. Kurzer Kommentar von Elly Ney
14. Sonate Nr. 1 - III. Scherzo

CD 12 (BONUS II) (77' 03'')

Brahms, Schubert, Mozart, F. Bach, Mendessohn, Schumann, Gluck, J. S. Bach, Chopin.

01. gesprochen von - spoken by Elly Ney (1960): „Wie ich zu Beethoven kam“
02. gesprochen von - spoken by Elly Ney (1960): „Heiligenstädter Testament“ von Ludwig van Beethoven

03. Brahms - Sandmännchen
04. Schubert - „Schlafe holder, süßer Knabe“,
05. Schubert - Frühlingsglaube
06. Schubert - „Weißt du wieviel Sternlein stehen“,
07. Schubert - „Gold’ne Abendsonne“
08. Mozart - „Agnus Dei“,
09. Mozart - Andantino
10. F. Bach - „Kein Hälmlein wächst auf Erden“
11. Mendelssohn - Andante Sostenuto
12. Schumann - Wiegenlied
13. Schumann - Kind erwacht
14. Schumann - Träumerei
15. Schumann - Schlummerlied
16. Schumann - Novelette op. 21 Nr. 1 F-dur
17. Schumann - Warum? Fantasiestück op. 12,3
18. Gluck - Gavotte
19. J. S. Bach - Vorspiel C-dur
20. J. S. Bach - Präludium Nr. 1 C-dur
21. J. S. Bach - Fuge Nr. 1 C-dur
22. J. S. Bach - Präludium Nr. 21 B-dur
23. J. S. Bach - „Ertödt‘ uns durch dein‘ Güte“
24. Einleitende Worte von - Introduced by Eleonore van Hoogstraten
25. Chopin - Nocturne op. 48, 1
26. Rainer Maria Rilke „Das Karrussell – Jardin du Luxembourg“ (gesprochen von Eleonore van Hoogstraten)
27. Chopin - Nocturne op. 37, 2
28. Rainer Maria Rikle „Spanische Tänzerin“Nocturne Fis-dur
29. Chopin - Nocturne po. 15, 2
31. Brahms - Guten Abend, gute Nacht

Total Time: 13h 46' 11''

P0544. ELLY NEY: Complete Edition of all Elly Ney’s late recordings, 1960-68, incl. Mozart, Beethoven, Schubert, Mendelssohn, Brahms, etc., plus previously unpublished material and a reading of Beethoven’s ‘Heiligenstдdter Testament’. (Germany) 12-Colosseum Mono / Stereo COL 9025-12, in Boxed Set, w.Brochure in German & English. - 4005939902520

AUDIOCHECKER v2.0 beta (build 457) - by Dester - opdester@freemail.hu
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Started at: четверг, 23. 09. 2010. - 4:16.01
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127 -===- C:\Users\SVN\Desktop\Ney bonus2\Track No15.ape
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Conclusion: this track is CDDA with probability 100%
Tempfile successfully deleted.

128 -===- C:\Users\SVN\Desktop\Ney bonus2\Track No16.ape
Extracted successfully
Conclusion: this track is CDDA with probability 100%
Tempfile successfully deleted.

129 -===- C:\Users\SVN\Desktop\Ney bonus2\Track No17.ape
Extracted successfully
Conclusion: this track is CDDA with probability 100%
Tempfile successfully deleted.

130 -===- C:\Users\SVN\Desktop\Ney bonus2\Track No18.ape
Extracted successfully
Conclusion: this track is CDDA with probability 100%
Tempfile successfully deleted.

131 -===- C:\Users\SVN\Desktop\Ney bonus2\Track No19.ape
Extracted successfully
Conclusion: this track is CDDA with probability 99%
Tempfile successfully deleted.

132 -===- C:\Users\SVN\Desktop\Ney bonus2\Track No20.ape
Extracted successfully
Conclusion: this track is CDDA with probability 100%
Tempfile successfully deleted.

133 -===- C:\Users\SVN\Desktop\Ney bonus2\Track No21.ape
Extracted successfully
Conclusion: this track is CDDA with probability 100%
Tempfile successfully deleted.

134 -===- C:\Users\SVN\Desktop\Ney bonus2\Track No22.ape
Extracted successfully
Conclusion: this track is CDDA with probability 99%
Tempfile successfully deleted.

135 -===- C:\Users\SVN\Desktop\Ney bonus2\Track No23.ape
Extracted successfully
Conclusion: this track is CDDA with probability 100%
Tempfile successfully deleted.

136 -===- C:\Users\SVN\Desktop\Ney bonus2\Track No24.ape
Extracted successfully
Conclusion: this track is CDDA with probability 99%
Tempfile successfully deleted.

137 -===- C:\Users\SVN\Desktop\Ney bonus2\Track No25.ape
Extracted successfully
Conclusion: this track is CDDA with probability 100%
Tempfile successfully deleted.

138 -===- C:\Users\SVN\Desktop\Ney bonus2\Track No26.ape
Extracted successfully
Conclusion: this track is CDDA with probability 100%
Tempfile successfully deleted.

139 -===- C:\Users\SVN\Desktop\Ney bonus2\Track No27.ape
Extracted successfully
Conclusion: this track is CDDA with probability 100%
Tempfile successfully deleted.

140 -===- C:\Users\SVN\Desktop\Ney bonus2\Track No28.ape
Extracted successfully
Conclusion: this track is CDDA with probability 100%
Tempfile successfully deleted.

141 -===- C:\Users\SVN\Desktop\Ney bonus2\Track No29.ape
Extracted successfully
Conclusion: this track is CDDA with probability 100%
Tempfile successfully deleted.

142 -===- C:\Users\SVN\Desktop\Ney bonus2\Track No30.ape
Extracted successfully
Conclusion: this track is CDDA with probability 99%
Tempfile successfully deleted.

143 -===- C:\Users\SVN\Desktop\Ney bonus2\Track No31.ape
Extracted successfully
Conclusion: this track is CDDA with probability 100%
Tempfile successfully deleted.

Finished at: четверг, 23. 09. 2010. - 7:55.24 (operation time: 3:39.22)

"Около Мюнхена живет старая дама, которая лучше, чем Микеланджели и Гульд чувствует, как надо играть Бетховена..." Эта фраза, как бы вскользь брошенная И. Кайзером в его книге, относится к 1965 году и, конечно, может показаться преувеличением. В те дни "старая дама" (так, с оттенком восхищения и снисходительности одновременно, прозвали Элли Ней соотечественники) была еще не только жива, но и продолжала выступать на эстраде: последний свой концерт она дала за несколько недель до смерти, в возрасте 85 лет! Уже это - достаточное свидетельство, что она вовсе не принадлежит далекому прошлому, свидетельство, убедительно подтверждаемое многочисленными записями, сделанными ею на протяжении нескольких десятилетий. Другое дело, что эта выдающаяся артистка олицетворяла для многих наших современников типичный пианизм XIX века, и олицетворяла (в отличие, скажем, от Малцужиньского) естественно, ибо ее незаурядный талант сформировался еще на рубеже столетий.

Она родилась в Дюссельдорфе, в семье фельдфебеля, выросла в Бонне, городе Бетховена, который стал для нее и местом открытия мира музыки. Затем пианистка получила фундаментальное образование в Кельнской консерватории под руководством К. Беттхера и И. Зейсса, совершенствовалась в Вене у Э. Зауэра и Т. Лешетицкого. Ее успехи были отмечены здесь премией имени Мендельсона и наградой фирмы "Ибах", а затем в 1906 году началась концертная деятельность, которую она лишь недолгое время совмещала с преподаванием в Кельнской консерватории.

На протяжении шести десятилетий Элли Ней давала сольные концерты, выступала с лучшими дирижерами, много играла в камерных ансамблях, а в 1911-1927 годах - также со своим первым мужем, голландским скрипачом Вилли ван Хоогстратеном. В молодые годы Ней поражала слушателей мужественной силой игры, страстным темпераментом, заслужившим ей прозвище "Валькирии рояля" (именно такой облик артистки сохранили нам ее ранние записи, в том числе "Бурлеска" Р. Штрауса). Но постепенна к ней пришли углубленность и уравновешенность, поставившие ее в ряд выдающихся интерпретаторов романтической музыки, и прежде всего принесшие ей славу тонкой бетховенистки. Конечно, в техническом плане, да и по мощи своей игры, она не могла конкурировать с великими виртуозами. В ее искусстве привлекало теперь иное: глубокая погруженность в музыку, значительность и осмысленность каждой фразы, царственное спокойствие и поэтичность. Эти качества придавали неповторимое обаяние ее трактовке медленных частей бетховенских сонат с их философской задумчивостью и неторопливым течением мысли.

Высокую простоту искусства Элли Ней сохранили для нас ее лучшие записи. Трудно поверить, что многие из них сделаны в середине нашего столетия; трудно по двум причинам: с одной стороны (несмотря на определенные технические огрехи), они поражают уверенным пианизмом, столь редким в этом возрасте, с другой - той "старомодностью", которая делает их похожими на архивные записи игры великих виртуозов эпохи зарождения грамзаписи. Но так же, как и последним, ей нельзя отказать в жизненной силе, убедительности замыслов и полном отсутствии штампов, рутины. Это относится к сонатам Бетховена, запечатленным в середине 50-х годов, к концертам Брамса и Симфоническим этюдам Шумана, сочинениям Моцарта и Шуберта.

Немецкий музыковед Ю. Мейер-Йостен так определил место этой артистки в пианистическом искусстве нашего столетия: "Ее образ казался многим представителям музыкальной общественности (но отнюдь не публике) уже давно поблекшим, ее концерты - чистой формальностью, а ее игра - недостаточно техничной. Но так думали или говорили те, кто не слышал Элли Ней, те, кто повторял старые анекдоты о "вдове Бетховена", кто вовсе не хотел серьезно и объективно оценить деятельность этой значительной артистки. Конечно, у нее были свои особенности, определенная наивность, которая давала повод кое-кому объявить ее в наш технический век чуть ли не „живым анахронизмом"; но действительно непреходящими оставались и остаются ее сила высказывания, творческая фантазия, к счастью закрепленная на целом ряде пластинок. Она относилась к тем, естественно, редким личностям, которые олицетворяли непрерывность традиции, восходящей к истокам многих из исполнявшихся ею замечательных сочинений".

Элли Ней была не только выдающейся артисткой, но и крупным музыкально-общественным деятелем. Еще в 1931 году она основала в Бонне бетховенские фестивали, ставшие традиционными, а после войны немало сделала для восстановления "Бетховенского зала", превратившегося в крупный центр музыкальной жизни. Недаром жители Бонна избрали ее почетной гражданкой города, а местное Общество друзей музыки - своим почетным президентом. Еще при жизни артистки вышло несколько посвященных ей монографий и сборников. И тому, кто познакомится с жизнью и наследием Элли Ней, приведенные в начале очерка слова И. Кайзера уже не покажутся столь неожиданными. Ее искусство и сегодня может служить для многих - особенно молодых пианистов - образцом подлинного музицирования.

Цит. по книге: Григорьев Л., Платек Я. "Современные пианисты". Москва, "Советский композитор", 1990 г.