Anda’s extremely introspective recording of Chopin’s Thirteen Waltzes in his later years may fascinate you. Compared with Romanian pianist Dinu Lipatti's recording, Anda quite boldly brought the speed and beat back to the throbbing of the pulse, and the song has a melancholy atmosphere of momentarily recalling the past. Of course, we do not believe that the prevailing trends in culture and the interpretive style chosen by musicians can be equated, although there will be some natural intersections between the two. But apart from specifically shaping the piano tone and allowing the music to flow completely naturally and smoothly, Lippardi and Anda are very similar.
Anda injects worldly elegance, grandeur and irrepressible vitality into Schumann's "League of David" No. 6. At the end of a quiet period of music, the piano burst out with the power to point directly to the deep void and external aspects of the music, which is quite unforgettable.
In terms of playing Schumann, Anda is considered a very bold pianist. He is very creative. In other words, he is a humble virtuoso whose music is natural and brilliant.
Anda's interpretation is almost unparalleled. He has a way to find a way of playing that is not affected by other people's interpretations. His spontaneous timbre reflects the "obscure" parts of music and the characteristics of Schumann's personal ideas. and daily conversations with each other. Schumann's works are like his autobiography. Music is always related to personal feelings and situation at that time. therefore. Anda found a way to enter the creative world of Schumann (and the world of the German Romantics) without having to codify a different interpretation of the repertoire (especially the recording), which is what many people with far less talented Anda's pianist Ang was distressed. Just like you can listen deeply and filter through thinking, you can repeatedly appreciate Anda's interpretation of "Kreisler Oddities" Op. 16, "Symphonic Etude" Op. 13, "Fantasia in C Major" Op. 17 or the previously mentioned "League of David" ” will feel that this is not like a performance by a “Schumann expert”. He would rather interpret Schumann from the perspective of a versatile musician. So in this broad musical range, Anda was able to feel and think about Schumann's music very freely. He regards music as his eyes and ears. Music becomes more general under his playing, and seems to have gone beyond the discussion of whether the timbre is beautiful or not, and only expresses his personal artistic concept. At the peak of his artistic interpretation, Anda was able to capture the simplicity and simplicity in the music without any difficulty. The musical expression was extremely elegant but not too soft, giving the music a surprising sense of transparency and his mature and flexible piano skills. . He played the role of a teacher and even took on the role of a conductor in his later years. However, this damaged his health. Listening to Adachi's recordings from the early '70s, it's still charming, but there's also a candle-burning-to-the-end surprise. If one were to point out the most absurd thing about Adachi, any well-informed reader would point out his excessively extravagant lifestyle. This sentence is not unreasonable.
Anda was born in Budapest, where his piano teacher was Du Nanyi. His musical style was established at the famous Liszt Conservatoire, and he settled in Switzerland in 1942. After making her debut in Budapest at the age of nineteen, Anda quickly launched an international performing career. The god of luck also smiled on Anda's private life. His economy has always been maintained at the level of the middle class, and his life is far beyond the word "comfortable". Anda works hard, and with the help of his own abilities and means, Anda is even more generous with material life. Much has been said about this artist who definitely doesn't let unnecessary frills dull his music. Unimaginable energy and enthusiasm allow Anda to be both a pianist and a musician.
Anda began to enjoy the taste of success in the late 1950s. He rose to fame and his flawless playing skills were always displayed at the most appropriate time. Liszt’s important piano works, such as the B minor Piano Sonata and Piano Concerto No. 1, Brahms’ Variations on a Theme of Paganini, several mature piano works from Schumann’s youth, Chopin’s standard repertoire (preludes and Etudes (focusing on etudes), Beethoven's concertos and several sonatas, the indispensable Tchaikovsky Piano Concerto No. 1 and Rachmaninoff Piano Concerto No. 2, and Balto, which Anda had already started playing in his early years. Gram is not only the cornerstone of the piano repertoire and a compulsory work for pianists, but also the most emphasized repertoire in the classical and romantic traditions. It is also recognized as an important repertoire in modern times. Despite this, Anda still has a unique musicality that stands out from other pianists of the same period, and even has a unique musicality. Of course, Anda's performance of Brahms' Piano Concerto No. 2 was also very successful, and all difficult chords and scales were easy for him. But at this time, Anda also became interested in Mozart's piano concertos. He and Clara Haskil performed Mozart's Concerto for Two Pianos K.365.
On the surface, the artistic temperaments of these two musicians are completely opposite, but they performed as a regular partner from 1953 to 1958. The collaboration between the two was facilitated by Rolf Liebermann, who later became the director of the Zurich Radio Orchestra Department. The program was Mozart's Piano Concerto in E flat major. The last time (1958) this piece was played at the Lucerne Music Festival. Bach's Concerto in C major BWV.1061 is a unique and important recording document. Anda's performance combined subtlety and elegance.
We can assume that the musicality of Anda's Mozart recordings from the 1960s was related to his collaboration with Haskell. Taking a step further, without the influence of Haskeel, we really cannot imagine Anda stepping onto the podium to interpret Mozart.
Anda bravely faced the incorrect way of interpreting Mozart in the music industry at that time and was affirmed. He believed that the complete collection of Mozart piano concertos is a set of works with rich connotations. And he regarded Mozart's four early piano concertos (the so-called Piano Concertos No. 1 to No. 4) as the end of this group of works. Like his Swiss teacher Edwin Fischer, Anda decided to play Mozart using his favorite historical method of combining conducting and playing. The most obvious example is of course the album of Mozart piano concertos recorded with the Chamber Orchestra of the Salzburg Conservatorium founded by Bernhard Paumgartner. The orchestra is composed of teachers and students from the Mozarteum Conservatoire in Salzburg and guest instrumentalists from the school. It is generally believed that this orchestra has considerable experience even in facing Mozart's less popular repertoire. The Piano Concerto in G major, K.453, and the Piano Concerto in C major, K.467, included in this album, are the earliest two works recorded in the entire collection. Anda has also made various new changes to these two pieces of music. try. Pianists such as Ingrid Haebler (Philips), Vladimir Ashkenazy (Descartes), Alfred Brendel (Philips), Annerose Schmidt (Eterna), Barenboy Daniel Barenboim (EMI) also recorded the complete Mozart piano concertos after Anda, Murray Perahia (Sinli), Schiff (Descartes), Rudolf Buchbinder (Calling) And so on (to name only important pianists) Lu Ji also joined the ranks of recording the complete works.
The first and last two movements of the gorgeous Mozart Piano Concerto in C major are full of energy. Under Anda’s conductor, the music exudes a dramatic personality. There is nothing pretentious about the music. Adachi slowly enjoys the possibilities of power and color in music, adding necessary vitality to the music with rhythm, intensity and comfortable enthusiasm. In the elegant Andante movement, Anda uses the piano to recreate the simple lyrical beauty of the human voice without being overly sad. It is rare to see such a cautious but vivid performance, which seems to be the original appearance of Mozart's piano concerto. And for this versatile and talented artist. Bartók's three piano concertos, rhythmically deft and percussive, seem as if they were written especially for him.
This is a new direction for Anda's career, and some people describe it as a major change in his musical aesthetics. From this new direction, we can appreciate the mysterious and psychologically introspective artistic perspective held by Anda’s recording of Chopin’s Thirteen Waltzes in his later years. After mastering the excitement of Bartók's Piano Concertos No. 1 and 2 and the bright Mozart tone and style, Anda's Bartók, recorded shortly before his death (June 1976), almost showed the same melancholic temperament as Chopin. , the listener will almost have the feeling of dying with the music.
If one is convinced that Bartók’s music is wild, the fervent religious style of the movement in the Third Piano Concerto will be irresistible - the solemn atmosphere of the piano and orchestra is like a prayer, The intimidating atmosphere in the music is there just to contrast and attract the attention of the average person. The final movement is like a poetic waltz echoing this feeling.
In this recording, Anda not only performs the famous "Farewell" waltz Op. 69-1 with realistic melancholy and depression, but the entire thirteen waltzes are like a waltz with "Farewell" as the focus. suite. These thirteen waltzes are like wordless songs without lyrics. Anda seems to lead the listener deep into the eternal essence of his music in his later years. Although superb performance skills are inevitable, it is no longer the most important.