Egon Petri, Vol.3
View record and artist detailsRecord and Artist Details
Composer or Director: Ferruccio (Dante Michelangiolo Benvenuto) Busoni, Johann Sebastian Bach, Fryderyk Chopin, Franz Schubert, Christoph Gluck, Wolfgang Amadeus Mozart, César Franck
Label: Appian Publications & Recordings
Magazine Review Date: 8/1995
Media Format: CD or Download
Media Runtime: 119
Mastering:
Mono
ADD
Catalogue Number: APR7027
Tracks:
| Composition | Artist Credit |
|---|---|
| Divertissement, Movement: Andantino varié |
Franz Schubert, Composer
Egon Petri, Piano Franz Schubert, Composer |
| (26) Preludes, Movement: No. 1 in C |
Fryderyk Chopin, Composer
Egon Petri, Piano Fryderyk Chopin, Composer |
| (26) Preludes, Movement: No. 2 in A minor |
Fryderyk Chopin, Composer
Egon Petri, Piano Fryderyk Chopin, Composer |
| (26) Preludes, Movement: No. 3 in G |
Fryderyk Chopin, Composer
Egon Petri, Piano Fryderyk Chopin, Composer |
| (26) Preludes, Movement: No. 4 in E minor |
Fryderyk Chopin, Composer
Egon Petri, Piano Fryderyk Chopin, Composer |
| (26) Preludes, Movement: No. 5 in D |
Fryderyk Chopin, Composer
Egon Petri, Piano Fryderyk Chopin, Composer |
| (26) Preludes, Movement: No. 6 in B minor |
Fryderyk Chopin, Composer
Egon Petri, Piano Fryderyk Chopin, Composer |
| (26) Preludes, Movement: No. 7 in A |
Fryderyk Chopin, Composer
Egon Petri, Piano Fryderyk Chopin, Composer |
| (26) Preludes, Movement: No. 8 in F sharp minor |
Fryderyk Chopin, Composer
Egon Petri, Piano Fryderyk Chopin, Composer |
| (26) Preludes, Movement: No. 9 in E |
Fryderyk Chopin, Composer
Egon Petri, Piano Fryderyk Chopin, Composer |
| (26) Preludes, Movement: No. 10 in C sharp minor |
Fryderyk Chopin, Composer
Egon Petri, Piano Fryderyk Chopin, Composer |
| (26) Preludes, Movement: No. 11 in B |
Fryderyk Chopin, Composer
Egon Petri, Piano Fryderyk Chopin, Composer |
| (26) Preludes, Movement: No. 12 in G sharp minor |
Fryderyk Chopin, Composer
Egon Petri, Piano Fryderyk Chopin, Composer |
| (26) Preludes, Movement: No. 13 in F sharp |
Fryderyk Chopin, Composer
Egon Petri, Piano Fryderyk Chopin, Composer |
| (26) Preludes, Movement: No. 14 in E flat minor |
Fryderyk Chopin, Composer
Egon Petri, Piano Fryderyk Chopin, Composer |
| (26) Preludes, Movement: No. 15 in D flat (Raindrop) |
Fryderyk Chopin, Composer
Egon Petri, Piano Fryderyk Chopin, Composer |
| (26) Preludes, Movement: No. 16 in B flat minor |
Fryderyk Chopin, Composer
Egon Petri, Piano Fryderyk Chopin, Composer |
| (26) Preludes, Movement: No. 17 in A flat |
Fryderyk Chopin, Composer
Egon Petri, Piano Fryderyk Chopin, Composer |
| (26) Preludes, Movement: No. 18 in F minor |
Fryderyk Chopin, Composer
Egon Petri, Piano Fryderyk Chopin, Composer |
| (26) Preludes, Movement: No. 19 in E flat |
Fryderyk Chopin, Composer
Egon Petri, Piano Fryderyk Chopin, Composer |
| (26) Preludes, Movement: No. 20 in C minor |
Fryderyk Chopin, Composer
Egon Petri, Piano Fryderyk Chopin, Composer |
| (26) Preludes, Movement: No. 21 in B flat |
Fryderyk Chopin, Composer
Egon Petri, Piano Fryderyk Chopin, Composer |
| (26) Preludes, Movement: No. 22 in G minor |
Fryderyk Chopin, Composer
Egon Petri, Piano Fryderyk Chopin, Composer |
| (26) Preludes, Movement: No. 23 in F |
Fryderyk Chopin, Composer
Egon Petri, Piano Fryderyk Chopin, Composer |
| (26) Preludes, Movement: No. 24 in D minor |
Fryderyk Chopin, Composer
Egon Petri, Piano Fryderyk Chopin, Composer |
| Prélude, choral et fugue |
César Franck, Composer
César Franck, Composer Egon Petri, Piano |
| Orfeo ed Euridice, Movement: Ballet in D minor (Dance of the Blessed Spirits): (flute solo) |
Christoph Gluck, Composer
Christoph Gluck, Composer Egon Petri, Piano |
| Orgel-Büchlein, Movement: In dir ist Freude, BWV615 |
Johann Sebastian Bach, Composer
Egon Petri, Piano Johann Sebastian Bach, Composer |
| Orgel-Büchlein, Movement: Ich ruf' zu dir, BWV639 |
Johann Sebastian Bach, Composer
Egon Petri, Piano Johann Sebastian Bach, Composer |
| (6) Schübler Chorales, Movement: Wachet auf, ruft uns die Stimme, BWV645 |
Johann Sebastian Bach, Composer
Egon Petri, Piano Johann Sebastian Bach, Composer |
| Chorale Preludes, Movement: Nun freut euch, lieben Christen gmein, BWV734 (spurious) |
Johann Sebastian Bach, Composer
Egon Petri, Piano Johann Sebastian Bach, Composer |
| Fantasia after J. S. Bach |
Ferruccio (Dante Michelangiolo Benvenuto) Busoni, Composer
Egon Petri, Piano Ferruccio (Dante Michelangiolo Benvenuto) Busoni, Composer |
| Don Giovanni, Movement: Deh! vieni alla finestra |
Wolfgang Amadeus Mozart, Composer
Egon Petri, Piano Wolfgang Amadeus Mozart, Composer |
| An die Jugend, Movement: No. 3, Giga, Bolero e Variazione (study after Mozart) |
Ferruccio (Dante Michelangiolo Benvenuto) Busoni, Composer
Egon Petri, Piano Ferruccio (Dante Michelangiolo Benvenuto) Busoni, Composer |
| Sonatina No. 3, `ad usum infantis' |
Ferruccio (Dante Michelangiolo Benvenuto) Busoni, Composer
Egon Petri, Piano Ferruccio (Dante Michelangiolo Benvenuto) Busoni, Composer |
| Sonatina No. 6, `Fantasia da camera sur Carmen' |
Ferruccio (Dante Michelangiolo Benvenuto) Busoni, Composer
Egon Petri, Piano Ferruccio (Dante Michelangiolo Benvenuto) Busoni, Composer |
| Indianische Tagebuch, Book I |
Ferruccio (Dante Michelangiolo Benvenuto) Busoni, Composer
Egon Petri, Piano Ferruccio (Dante Michelangiolo Benvenuto) Busoni, Composer |
| (3) Albumblätter, Movement: Berlin |
Ferruccio (Dante Michelangiolo Benvenuto) Busoni, Composer
Egon Petri, Piano Ferruccio (Dante Michelangiolo Benvenuto) Busoni, Composer |
| (7) Elegien, Movement: No. 2, All'Italia (in modo napoletano) |
Ferruccio (Dante Michelangiolo Benvenuto) Busoni, Composer
Egon Petri, Piano Ferruccio (Dante Michelangiolo Benvenuto) Busoni, Composer |
| Klavierbüchlein für W. F. Bach, Movement: Menuet in G, BWV841 |
Johann Sebastian Bach, Composer
Egon Petri, Piano Johann Sebastian Bach, Composer |
| Klavierbüchlein für W. F. Bach, Movement: Menuet in G minor, BWV842 |
Johann Sebastian Bach, Composer
Egon Petri, Piano Johann Sebastian Bach, Composer |
| Klavierbüchlein für W. F. Bach, Movement: Menuet in G, BWV843 |
Johann Sebastian Bach, Composer
Egon Petri, Piano Johann Sebastian Bach, Composer |
Author:
Egon Petri is one of music's dark horses, chiefly known and often admired by connoisseurs of the keyboard. This third and final volume of recordings dating from 1929-42 (Vols. 1 and 2, 11/93 and 3/94 respectively) both confirms and challenges his uncertain status. For APR's Bryan Crimp (he has lovingly supervised every aspect of this invaluable series) there are obvious reasons for such an enigma. Petri, he claims, was too unostentatious a virtuoso, too modest a musician to appeal to what he calls ''the gallery audience'', or to become fodder for ''the publicity merry-go-round''. Certainly his devotion to the more obscure outposts of the repertoire must have kept potential buyers at arm's length. For too many, sizeable chunks of Alkan and Busoni seemed foolhardy rather than enterprising additions to his programmes. Yet Busoni's austere genius is tailor-made for an artist of Petri's temperament and outlook and so, not surprisingly, it is the second of these two CDs that scores the major success. Here, each and every Busoni item is played with a magisterial ease and command, and with an awe-inspiring disregard for the obvious. Listen to Petri's lightness and vivacity in, for example, Busoni's Serenade on Mozart's Don Giovanni or to his no less authentic way in the same composer's An die Jugend No. 3, where Mozart's Gigue in G, K574 is sent dancing through the strangest assortment of hoops. In the more familiar territory of the Sonatina No. 6, based on themes from Carmen, Petri may prefer grand outlines to fine detail, but the grandeur remains and in Elegie No. 2 the relationship with the All'italiana from Busoni's Piano Concerto (a Petri speciality) is made abundantly clear.
My reservations are focused not on the Franck, which is spun off with great delicacy, fervour and luminosity (try 3'04'' in the fugue for a taste of Petri's virtuosity at its most lively and engaging), but on the Chopin Preludes. A fine Lisztian, Petri was clearly much less at home in Chopin and nearly all these performances suffer from a curious detachment and lethargy, a four-square contradiction of their poetry that makes short work of such ardently lyrical pieces as Nos. 11 and 13, and which does little for such virtuoso storms as Nos. 8 and 16. He sounds embarrassed by the morbidity of No. 2, where his tempo is a virtual negation of Chopin's prescribed Lento. Again, the popular C minor (No. 20) is too fast for its tragic and processional Largo to tell. In No. 23 Petri's indifference would hardly have provoked the ever-fanciful James Huneker to write of a Prelude that is ''aerial, imponderable, and like a sun-shot spider's web oscillating in the breeze of summer, its hues changing at every puff of air''. Overall, readers will find a more representative showing of Petri's gifts in Vols. 1 and 2 (Liszt and Tchaikovsky; Beethoven and Brahms).
The recordings are for the most part mellow and refined – remarkable for their period – and the accompanying notes are more than stimulating. All the same, I wish there had been space for a few words on the repertoire. Even the most avid collector will need a prompt when it comes to the Schubert/Tausig Variations, and virtually all the Busoni. R1 '9508134'
My reservations are focused not on the Franck, which is spun off with great delicacy, fervour and luminosity (try 3'04'' in the fugue for a taste of Petri's virtuosity at its most lively and engaging), but on the Chopin Preludes. A fine Lisztian, Petri was clearly much less at home in Chopin and nearly all these performances suffer from a curious detachment and lethargy, a four-square contradiction of their poetry that makes short work of such ardently lyrical pieces as Nos. 11 and 13, and which does little for such virtuoso storms as Nos. 8 and 16. He sounds embarrassed by the morbidity of No. 2, where his tempo is a virtual negation of Chopin's prescribed Lento. Again, the popular C minor (No. 20) is too fast for its tragic and processional Largo to tell. In No. 23 Petri's indifference would hardly have provoked the ever-fanciful James Huneker to write of a Prelude that is ''aerial, imponderable, and like a sun-shot spider's web oscillating in the breeze of summer, its hues changing at every puff of air''. Overall, readers will find a more representative showing of Petri's gifts in Vols. 1 and 2 (Liszt and Tchaikovsky; Beethoven and Brahms).
The recordings are for the most part mellow and refined – remarkable for their period – and the accompanying notes are more than stimulating. All the same, I wish there had been space for a few words on the repertoire. Even the most avid collector will need a prompt when it comes to the Schubert/Tausig Variations, and virtually all the Busoni. R1 '9508134'
Egon Petri, Vol.3
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