Mendelssohn - Lieder ohne Worte - Daniel Barenboim - 1974, 2018 (FLAC, 24BIT – 96KHZ)

Mendelssohn – Lieder ohne Worte – Daniel Barenboim – 1974, 2018 (FLAC, 24BIT – 96KHZ)

Composer: Felix Mendelssohn
Performer: Barenboim – piano
Audio CD
Number of Discs: 1 CD
Format: FLAC (tracks)
Bit Depth: 24bit / 96kHz
Number of channels: 2.0
Label: Deutsche Grammophon
Size: 2.03 GB
Recovery: +3%
Scan: yes
Server: rapidgator

Felix Mendelssohn – Lieder ohne Worte

01. – 06. Lieder ohne Worte, Op.19
07. – 12. Lieder ohne Worte, Op.30
13. – 18. Lieder ohne Worte, Op.38
19. – 24. Lieder ohne Worte, Op.53
25. – 30. Lieder ohne Worte, Op.62
31. – 36. Lieder ohne Worte, Op.67
37. – 42. Lieder ohne Worte, Op.85
43. – 48. Lieder ohne Worte, Op.102
49. – 54. 6 Kinderstücke op.72

Gondellied (Barcarolle) in A major

55. Allegretto non troppo, MWV U 136
56. – 57. 2 Klavierstücke
58. Albumblatt In E Minor, Op.117, MWV U134

When in 1973 the 22-year-old Daniel Adni first recorded the Songs without Words (as part of a three-LP Mendelssohn recital) he had the field to himself. Nowadays things are rather different, with notable competition coming from the searching Livia Rev, and in sharper contrast, the volatile Daniel Barenboim, whose characterization does yet more to emphasize the variety of the set as a whole.

The obvious difference between the two Daniels is choice of tempo. Almost always, and so often in blander contexts, Adni favours a more leisurely approach, robbing his phrasing of an element of longer forward flow, and causing several Andante numbers to outstay their welcome since he includes every repeat. The three delightful gondola songs are certainly too static to convey the liquidity of water. And he surely takes too solemn a view of the engaging Duet at the end of Book 2, marked Andante con moto. Conversely, I sometimes thought Barenboim just a shade too hasty for the music’s good, not just in agitato contexts but also in a piece such as the meditative D major Adagio in the final book. Yet there is always a stronger sense of motivation behind his spontaneous phrasing, and always his melody sings and soars in response to the connotation of Mendelssohn’s title.

All that said, there is much that is very pleasing in Adni’s self-effacing, caring, truly serious musicianship. As I remarked when the record first emerged, such emotional as well as pianistic composure is not encountered every day of the week from one so young. And the round, mellow warmth of his tone is never for a moment in doubt in this very clear, albeit close, recording.

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