Julius Katchen - Julius Katchen Plays Brahms (2022)
Artist: Julius Katchen
Title: Julius Katchen Plays Brahms
Year Of Release: 2022
Label: UMG Recordings, Inc.
Genre: Classical
Quality: FLAC (tracks)
Total Time: 11:59:47
Total Size: 2.92 GB
WebSite: Album Preview
Tracklist:Title: Julius Katchen Plays Brahms
Year Of Release: 2022
Label: UMG Recordings, Inc.
Genre: Classical
Quality: FLAC (tracks)
Total Time: 11:59:47
Total Size: 2.92 GB
WebSite: Album Preview
01. 1. in B
02. 2. in E
03. 11. in B Minor
04. Hungarian Dance No. 18 in D Major, WoO 1, No. 18
05. 3. Variations 7-8
06. Hungarian Dance No. 13 in D Major, WoO 1, No. 13
07. 15. in A flat - "Wiegenlied"
08. Hungarian Dance No. 21 in E Minor, WoO 1, No. 21
09. 3. Intermezzo in C Major
10. Hungarian Dance No. 14 in D Minor, WoO 1, No. 14
11. Hungarian Dance No. 7 in A Major, WoO 1, No. 7
12. Hungarian Dance No. 9 in E Minor, WoO 1, No. 9
13. Hungarian Dance No. 19 in B Minor, WoO 1, No. 19
14. Hungarian Dance No. 10 in F Major, WoO 1, No. 10
15. 1. Intermezzo in A Minor
16. 1. Capriccio in D Minor
17. Hungarian Dance No. 20 in E Minor, WoO 1, No. 20
18. Hungarian Dance No. 12 in D Minor, WoO 1, No. 12
19. Hungarian Dance No. 16 in F Minor / Major, WoO 1, No. 16
20. 2. Variations 5-6
21. Hungarian Dance No. 11 in D Minor, WoO 1, No. 11
22. Hungarian Dance No. 5 in G Minor, WoO 1, No. 5
23. 4. Intermezzo in B Flat Major
24. Hungarian Dance No. 3 in F Major, WoO 1, No. 3
25. 3. Intermezzo in A Flat Major
26. 7. Intermezzo in A Minor
27. 4. Intermezzo in F Minor
28. Hungarian Dance No. 8 in A Minor, WoO 1, No. 8
29. 7. Capriccio in D Minor
30. Hungarian Dance No. 15 in B-Flat Major, WoO 1, No. 15
31. 7. Variations 22-25
32. 3. Capriccio in G Minor
33. III. Un poco presto e con sentimento
34. 3. Un poco presto e con sentimento
35. Brahms: Hungarian Dance No. 1 in G Minor, WoO 1 No. 1
36. Hungarian Dance No. 17 in F-Sharp Minor, WoO 1, No. 17
37. 1. Intermezzo in B Minor
38. 3. Ballade in G Minor
39. 6. Variations 19-21
40. Hungarian Dance No. 2 in D Minor, WoO 1, No. 2
41. Hungarian Dance No. 6 in D-Flat Major, WoO 1, No. 6
42. 5. Capriccio in C Sharp Minor
43. 2. Capriccio in B Minor
44. 2. Presto non assai
45. 4. Intermezzo (Andante molto) (1964 Recording)
46. 8. Capriccio in C Major
47. 5. Intermezzo in E Minor
48. 4. Variations 9-12
49. 1. Capriccio in F Sharp Minor
50. No.3 in B Minor
51. 2. Intermezzo in A Minor
52. 6. Intermezzo in A Major
53. 3. Scherzo. Allegro
54. 6. Intermezzo in E Major
55. 3. Andante grazioso
56. 5. Romance in F Major
57. Hungarian Dance No. 4 in F-Sharp Minor, WoO 1, No. 4
58. 1. Theme, Variations 1-4
59. 4. Intermezzo in E Major
60. 4. Allegro molto
61. 2. in B Flat Minor
62. 3. Scherzo (Presto)
63. 2. Intermezzo in E Minor
64. 3. Scherzo (Allegro energico) (1964 Recording)
65. 5. Variations 13-18
66. II. Adagio
67. 8. Fugue
68. No.1 in D Minor
69. 6. Intermezzo in E Flat Minor
70. 4. Rhapsody in E Flat Major
71. 2. Adagio
72. Brahms: Scherzo in C Minor (from the FAE-Sonata)
73. III. Allegretto grazioso, quasi andante
74. 1. in E Flat Major
75. 3. Scherzo (Allegro molto e con fuoco)
76. 3. in C Sharp Minor
77. 3. Allegretto grazioso (Quasi andante)
78. No.4 in B Major
79. 1. Allegro non troppo, ma energico
80. 4. Allegro molto
81. IV. Presto agitato
82. 2. Andante
83. No.2 in D Major
84. Brahms: Rhapsody in G Minor, Op.79, No.2 (1964 Recording)
85. 4. Presto agitato
86. Brahms: Variations on a Hungarian Song in D Major, Op.21, No.2
87. 2. Andante con espressione
88. 2. Intermezzo in A Major
89. 4. Finale (Allegro giocoso)
90. 4. Finale (Allegro con fuoco)
91. 2. Scherzo (Allegro molto)
92. 4. Allegro
93. II. Andante tranquillo - Vivace - Andante - Vivace di più - Andante vivace
94. 2. Andante tranquillo - Vivace - Andante - Vivace di più - Andante vivace
95. 5. Finale (Allegro moderato ma rubato) (1964 Recording)
96. I. Allegro
97. 2. Adagio affettuoso
98. 3. Allegro appassionata
99. 1. Allegro
100. 1. Allegro energico
101. II. Adagio
102. 2. Adagio
103. III. Allegro molto moderato
104. I. Allegro amabile
105. 1. Allegro
106. 3. Allegro molto moderato
107. 2. Allegro appassionato
108. 3. Adagio
109. 1. Allegro amabile
110. Scherzo in E Flat Minor, Op. 4
111. 2. Andante con moto
112. 1. Allegro vivace
113. Book 2 (1965 Recording)
114. 4. Allegretto grazioso - Un poco più presto
115. Brahms: Rhapsody in B Minor, Op.79, No.1
116. 1. Allegro
117. I. Vivace ma non troppo
118. 1. Vivace ma non troppo
119. 1. Allegro maestoso (1964 Recording)
120. 4. Finale (Introduzione. Sostenuto - Allegro non troppo e rubato)
121. Book 1 (1965 Recording)
122. 3. Rondo (Allegro non troppo)
123. 3. Andante - Più adagio
124. 2. Andante espressivo (1964 Recording)
125. 2. Adagio
126. 1. Allegro con brio
127. Brahms: Variations on an Original Theme in D, Op.21, No.1
128. 1. Allegro non troppo
129. Brahms: Variations on a Theme by Schumann, Op. 9
130. 1. Maestoso - Poco più moderato
A child prodigy of startling promise, Julius Katchen matured into a solo and chamber music pianist of broad interests and probing artistry. His death from cancer at age 42 denied a discerning public the presence of a pianist especially well-equipped to penetrate to the center-most meanings of those works he favored.
Born to a musical family, Katchen was instructed in the musical arts from his earliest years. His grandmother, formerly a faculty member at the Warsaw Conservatory, was his first piano instructor, while his grandfather taught him theory (his mother, a pianist, had trained at the Fontainebleau School of Music and had made concert appearances in both Europe and America). In 1937, Katchen presented himself to Eugene Ormandy and requested that he be permitted to play for him. Ormandy was sufficiently impressed to engage the lad for an appearance with the Philadelphia Orchestra. The October 21, 1937, concert found Katchen performing Mozart's Concerto in D minor to high praise. Following this glowing reception, the 11-year-old pianist was invited to perform at a pension fund concert with the New York Philharmonic the following month. Critic Lawrence Gilman was moved to recall the debut of Josef Hofmann as a prodigy a half century before. "His fingers are fleet, his conceptions clear and intelligent," wrote Gilman of Katchen. "He has a musicianly feeling for the contour and flow and rhythm of a phrase and a sense of what is meant by Mozartean style." A New York recital a year later brought even more enthusiastic praise for the youth's musical understanding.
Before his career advanced, however, Katchen's parents chose to place a hold on further public appearances and enroll him instead at Haverford College, where he majored in philosophy and English literature. His break, Katchen often insisted, developed in him the intellectual curiosity that fed his interest in the more mentally challenging works in the repertory.
A fellowship extended by the French government permitted Katchen to travel to Paris in 1946; that cosmopolitan city became his home for the remainder of his life and he lost no time in making himself a formidable presence there and in the rest of Europe, respected for his commanding interpretive thoughtfulness and virtuoso technique. He undertook several highly successful tours of the Continent, winning acclaim in each center he visited. Decca Records signed him to an exclusive contract and he began recording a bracing cross-section of the repertory with Brahms always at the core. He presented concert performances of Brahms' complete solo piano works in New York, London, Amsterdam, Vienna, and Berlin and was heard with major orchestras in the two piano concertos. In addition to solo appearances, Katchen often took part in chamber music performances, again concentrating on Brahms, but certainly not neglecting other aspects of an extensive personal repertory. Ned Rorem and Benjamin Britten were just two contemporary composers to benefit from Katchen's advocacy. To say, as some have, that Katchen never achieved the success in America that was his in Europe fails to account for the far greater portion of his mature years that were spent on the Continent where other cultural stimulations prompted his most involved and productive work. Katchen was also acutely aware of the need to extend the exposure of classical music well beyond its existing ranks -- on December 11, 1968, he was one of a large group of musicians, all but one of them from the rock and blues fields, to perform as part of the Rolling Stones' Rock & Roll Circus, and a segment that was introduced by Brian Jones, no less; alas, due to production and post-production problems, no one got to see any part of Katchen's performance until over three decades later; the pianist himself, terminally ill with cancer, didn't live another six months after this extraordinary event. His tragic death was keenly felt on both sides of the Atlantic. ~ Erik Eriksson
Born to a musical family, Katchen was instructed in the musical arts from his earliest years. His grandmother, formerly a faculty member at the Warsaw Conservatory, was his first piano instructor, while his grandfather taught him theory (his mother, a pianist, had trained at the Fontainebleau School of Music and had made concert appearances in both Europe and America). In 1937, Katchen presented himself to Eugene Ormandy and requested that he be permitted to play for him. Ormandy was sufficiently impressed to engage the lad for an appearance with the Philadelphia Orchestra. The October 21, 1937, concert found Katchen performing Mozart's Concerto in D minor to high praise. Following this glowing reception, the 11-year-old pianist was invited to perform at a pension fund concert with the New York Philharmonic the following month. Critic Lawrence Gilman was moved to recall the debut of Josef Hofmann as a prodigy a half century before. "His fingers are fleet, his conceptions clear and intelligent," wrote Gilman of Katchen. "He has a musicianly feeling for the contour and flow and rhythm of a phrase and a sense of what is meant by Mozartean style." A New York recital a year later brought even more enthusiastic praise for the youth's musical understanding.
Before his career advanced, however, Katchen's parents chose to place a hold on further public appearances and enroll him instead at Haverford College, where he majored in philosophy and English literature. His break, Katchen often insisted, developed in him the intellectual curiosity that fed his interest in the more mentally challenging works in the repertory.
A fellowship extended by the French government permitted Katchen to travel to Paris in 1946; that cosmopolitan city became his home for the remainder of his life and he lost no time in making himself a formidable presence there and in the rest of Europe, respected for his commanding interpretive thoughtfulness and virtuoso technique. He undertook several highly successful tours of the Continent, winning acclaim in each center he visited. Decca Records signed him to an exclusive contract and he began recording a bracing cross-section of the repertory with Brahms always at the core. He presented concert performances of Brahms' complete solo piano works in New York, London, Amsterdam, Vienna, and Berlin and was heard with major orchestras in the two piano concertos. In addition to solo appearances, Katchen often took part in chamber music performances, again concentrating on Brahms, but certainly not neglecting other aspects of an extensive personal repertory. Ned Rorem and Benjamin Britten were just two contemporary composers to benefit from Katchen's advocacy. To say, as some have, that Katchen never achieved the success in America that was his in Europe fails to account for the far greater portion of his mature years that were spent on the Continent where other cultural stimulations prompted his most involved and productive work. Katchen was also acutely aware of the need to extend the exposure of classical music well beyond its existing ranks -- on December 11, 1968, he was one of a large group of musicians, all but one of them from the rock and blues fields, to perform as part of the Rolling Stones' Rock & Roll Circus, and a segment that was introduced by Brian Jones, no less; alas, due to production and post-production problems, no one got to see any part of Katchen's performance until over three decades later; the pianist himself, terminally ill with cancer, didn't live another six months after this extraordinary event. His tragic death was keenly felt on both sides of the Atlantic. ~ Erik Eriksson
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