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Martin Stadtfeld - Klaviekonzerte Nr. 20 &(Martin Stadtfeld)
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..#. ..Trackname. ..Length.
01 klavierkonzert nr. 24 c-moll kv 491, 1. alle 14:44
02 klavierkonzert nr. 24 c-moll kv 491, 2. larg 06:27
03 klavierkonzert nr. 24 c-moll kv 491, 3. alle 08:56
04 klavierkonzert nr. 20 d-moll kv 466, 1. alle 13:53
05 klavierkonzert nr. 20 d-moll kv 466, 2. roma 07:24
06 klavierkonzert nr. 20 d-moll kv 466, 3. alle 07:11
.Total.. 58:35 min
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ôbrilliantly playedö (Hr2 Klassikzeit)
ôa good hour of pleasurable listeningö (Hr2 Klassikzeit)
ôStadtfeld brings his trenchant and clearly structured
approach to both the Baroque and the Romantic works. His
music-making is playfully light in touch, without lapsing
into frivolity, while the range of expression extends
from dance-like elegance to arioso intimacy, but always
with the necessary drive and, where need be, with a
forward-thrusting impetus.ö (Frankfurter Neue Presse)
Students of the piano occasionally struggle through
BachÆs preludes in strict sequence, their only solution
being to discover some personal element in them by
romantically transfiguring them. But it is clear from
Martin Stadtfeld that the freedom and vitality of this
music are to be found precisely in the strict observance
of lucid form. With his responsiveness to detail, the
pianist uses structure as a means of providing the
listener with a sense of orientation. Ornaments and
changes of rhythm seem all the more surprising and full
of life. In his unorthodox way Stadtfeld unobtrusively
yet unmistakably throws open the score so that every
listener can follow it and sees what lies inside it.
BachÆs architectural form and delight in mathematical
proportions become a fascinating background, and the
individual details stand out like a diagram that one
contemplates, its precise details becoming increasingly
fascinating, the longer one looks. What a difference in
character when we turn to Schumann! We hear what
Romanticism in music really means, mellifluous without
being saccharine. We stop, almost afraid to breathe, so
delicate is the touch. Whether fast or resolute, whether
serenade or scherzo, SchumannÆs Bunte BlΣtter are turned
into character studies, into brief yet delightful
sketches. (Rondo, February 2006)
Hot Young Pianist Knocks CriticÆs Socks Off
by Paul Moor
BERLIN. - Martin Stadtfeld, born 1980 in Koblenz, has had
a comet-like career since winning first prize in
Leipzig's International Bach Competition four years ago,
but he remains sufficiently new on even the German scene
for the Berliner Morgenpost to misspell his surname as
ôStadtfeldtö
after his most recent Berlin appearance Jan. 27. His
blazing talent would almost certainly have prevailed
sooner or later, but what launched him into international
orbit reinforced the fact that a bit of ôchutzpaö rarely
does any harm in such situations.
Entirely on his own, but supported by his veterinarian
father, he not only went into a professional studio and
recorded J. S. Bach's daunting "Goldberg" Variations but
also mailed the results in to the Berlin branch of Sony,
undeterred by the fact that that major label already had
two formidable "Goldberg" recordings in its catalog, by
Murray Perahia and the legendary Canadian Glenn Gould.
Improbably, almost incredibly, Sony bought it, rushed it
out, and immediately nailed him down with an exclusive
contract. Wolfgang Fuhrmann's recent review in the
Berliner Zeitung opens thus: "As young as he is, a legend
has already entwined itself around" Stadtfeld. On my own
experience, I would not hesitate to say he manifests the
potential to restore the international reputation of
German pianism to the glory days of such titans as
Wilhelm Backhaus and Walter Gieseking.
In this 250th anniversary year of Mozart's birth, we in
this part of the world have his music almost coming out
of our ears as well as besieging them, and on this
occasion Stadtfeld departed from his Baroque specialty to
give us a pristine realization of Mozart's C-minor
concerto K. 491 - in its own patrician way as impressive
as his Bach, which he takes coltish delight in gingering
up with such thoroughly legitimate fireworks as zipping
into the left-hand part a startling flight of
lightning-like octaves. At all points his Mozart remained
Classically pure, just short of severe (with noticeably
spare and discrete use of the sustaining pedal), except
for the first movement's cadenza where an invigorating
infusion of Stadtfeld even included a fleeting tip of his
hat to thoroughly American jazz. His audience reacted
with such explosive enthusiasm that he had no recourse
but to play not one but two encores - something that
almost never happens in a Berlin symphony concert, but
which on this occasion became an inevitable necessity, to
which he responded with almost apologetic body-language.
Sebastian Weigle appeared as guest conductor. He set the
scene with the overture to Mozart's opera "La clemenza di
Tito," but he came into his own in the second half, when
he had a vastly enlarged orchestra at his disposal for
the early Arnold Schoenberg tone poem (opus 5) that paid
tribute to the same drama that had inspired Claude
Debussy's masterpiece, the Belgian mystic Maurice
Maeterlinck's "PellΘas and MΘlisande." The Komische Oper
has a pit orchestra to match almost any of Berlin's seven
other symphony orchestras, and at no point did it sound
less than impressive, but not even that excellence could
camouflage the fact that at least for my musical
sensibilities this sprawling work, which contains some
ravishingly lush Romantic music, would have profited from
considerable pruning before its composer turned loose of
it.
We got a delicious taste of Stadtfeld in his primary
element with his second encore, Ferruccio Busoni's showy
transcription of J. S. Bach's chorale prelude "Nun freut
euch liebe Christen G'mein," although he did tend to let
the fleet right-hand rippling overshadow the original
Bach melody sounded primarily by the pianist's left
thumb.
Already at 14 Martin Stadtfeld had become exposed to the
Russian school of pianism when Lev Natochenny accepted
him as a pupil at Frankfurt's Musikhochschule. At 17 he
won first prize in Paris's International Nikolai
Rubinstein Competition; four years later he made it into
the finals of Bolzano's especially demanding Busoni
Competition. Before his 2002 Leipzig victory, the Bach
Competition there had for 14 years awarded no first
prize. Especially since the widespread central European
whoop-te-do over his "Goldberg" coup, his career has
taken off on a global scale.
The immediate future has him busy in important cities in
Germany, Austria and The Netherlands, and shows him
spreading his musical wings. On Feb. 15 in Leipzig's
historic Gewandhaus he will venture afield with the early
Alban Berg Sonata, and later this month he will offer
Dalmenhorst and Bremen a
major departure, Rachmaninoff's Sonata No. 2; in May he
will give Coburg concert-goers the Liszt Sonata. Next
month: Tokyo and Vienna; August will bring a pinnacle
Salzburg Festival gig: a recital in the hallowed
Mozarteum.
If you haven't yet had the opportunity to hear this
thrillingly gifted young atist, I feel confident in
predicting that you soon will.
(Musical America.com, February 8th, 2006)
ôMy editor in chief knows that not many concerti are able
to satisfy my enthusiasm. But the ôGoldberg Variationsö
played by 23 year old Martin Stadtfeld on a concert piano
are completely overwhelming. [à] The way in which this
young pianist handles those momuments of BachÆs genius,
has something miraculous about it.ö
(Il Venerdi/ La Repubblica, Feb. 15th, 2006)
The 25 year-old has become well known in Germany for his
interpretation of Bach. At the international Johann
Sebastian Bach Music Competition in Leipzig in 2001 he
not only came away with the first prize, which had not
been awarded since 1988 û he was also the youngest
finalist in the history of the competition.
Stadtfeld studied at the Music Academy in Frankfurt,
where he still lives. He has performed all over the world
including concerts in Brazil, New York, London, Paris,
St. Petersburg and Geneva. He has also recorded three
albums on Sony Classical û two CDs of music by Bach and a
recent disc of Mozart concertos with the North German
Radio Symphony Orchestra.
(MUSO MAGAZINE 10/2005)
World Star from the Westerwald
The young pianist Martin Stadtfeld became the new German
piano ace overnight. His debut CD with the Goldberg
Variations of Bach is a magnificent outrage.
What an odd duck he was. He walked up to CBS Studios on
30th Street in New York on a hot, humid summer day,
wearing an incredibly thick pullover, on top of that a
tweed jacket and over that a winter coat, with a woollen
scarf wrapped round his neck. He had a cap pulled down
over his head and thick gloves on his hands. Enter Glenn
Gould, 22.
Back then, in June 1955, the Canadian pianist dipped his
hands in boiling hot water to warm up for his recording
debut, nibbled arrowroot cookies which he had supposedly
dunked in skim milk, finally took his place on an
extremely low folding stool and in this position, like a
beanpole-sized gnome, made his first studio recording.
GouldÆs first effort was a hit right off the bat and has
remained, for more than a half century now, a first-class
evergreen: the Goldberg Variations of Johann Sebastian
Bach, 38 minutes and 30 seconds of piano artistry.
How the pictures resemble each other: At the beginning of
October 2003, once again a 22-year-old pianist went into
the studio and made his first recording, he too played
BachÆs Goldberg Variations, and he too, at the time known
only to the initiated few, achieved an instant coup: his
recording shot to second place on the latest German
classical charts. There Martin Stadtfeld was, directly
behind the Russian diva, soprano Anna Netrebko, still
ahead of Bartoli, Mutter and Muti.
Measured against the oddball Gould, Martin Stadtfeld
comes across as plain and normal; Distinctive marks:
none. Instead of a wool pullover and tweed waistcoat, an
elegant shirt under a dark jacket; instead of wildly
dishevelled hair, an artistically tousled cut, carefully
styled and spiffily gelled; instead of arrowroot cookies
in skim milk, filtered Gauloises.
But again, this doublet is strange: Just as CBS would
rather have recorded big hits by Liszt or Chopin with
Gould (1932-1982) than the öAria With 30 Variationsö
written by the cantor of St. ThomasÆ Church Leipzig, Sony
was not exactly enthusiastic when Stadtfeld suggested a
recording of the Goldberg Variations.. After all, the
company already had the Baroque masterpiece of ölistening
pleasureö in its catalogue several times over, three
different versions by Glenn Gould alone, among them even
his legendary debut LP from 1955. By Godfather Bach, ┤was
the company now supposed to do one with Stadtfeld?
But he wasnÆt to be so easily shaken off. He went into
the studio on his own and then sent the edited track to
the people at Sony. He was sure that would make them
prick up their ears.
öNaturally IÆve known GouldÆs recordings for a long
timeö, Stadtfeld says today. öOf course, no one opened my
senses to the Goldberg Variations in as educational and
impressive a way as he did.ö
But with all due respect, and with all the self-assurance
of a contemporary youth: öNonetheless, I believe I still
have essential things of my own to say with the piece.ö
No sooner was the disc in circulation than the feature
pages began calling Stadtfeld the new boy Gould of the
Bach factory. He was, according to the F.A.Z., an
öexceptional talentö who öblows away all listening
expectationsö and who öin stylistic mannerö has much in
common with Gould.
Stadtfeld, pronounced Zeit, öhas proven himself as a
talent in a special classö, with Gould as his
ösurreptitious tutor.ö Here, trumpeted Die Welt with a
patriotic tremolo, öGermany has its Bach superstarö, even
one with öa real chance at an international careerö.
Careful. That much crowing is a bit dubious. ThereÆs a
great danger, meanwhile, that in the ailing recording
industry every above-average minstrel will be praised to
the skies as a musical artist. Moreover, the craving
seems altogether too tingling with the desire finally to
grant the pianistic genius from Toronto a worthy
successor: the Gould of the 21st century.
It is clear that Stadtfeld doesnÆt feel particularly good
about being the CanadianÆs clone. Whatever the virtuoso
from the Westerwald and his colleague from Toronto might
have in common, StadtfeldÆs digital Goldberg cycle is,
all in all, cheekier, more suspenseful and more
adventurous then GouldÆs legendary monaural shocker. It
is a disturbance of the finest.
In the end, their craftsmanship makes the two players
equal: the decorative passages are played with
brilliantly purring elegance and the chord work is simply
first class. Swing and intoxication and ecstasy are in
play here, well thought out and cleverly apportioned, and
even the trickiest trill hits home; there is no bumbling
in the building of this colossal keyboard work.
And no hypocritical meditation where Bach asks for
silence. Both of them, Gould as well as Stadtfeld,
immerse themselves deep in magical fervour in the more
otherworldly of the Goldberg numbers, both disseminate
the magic of stillness and the comfort of silence with
pianistic authority.
But then Stadtfeld dares to do the unheard-of. He
desecrates Bach. He manipulates the notes.. Simply put,
he fiddles around with the well-tempered construct of the
Goldberg Variations, setting individual notes up or down
an octave, doubling sequences of notes; he shifts whole
melodies and hits every purist over the head with his own
Bach, con fuoco. However: he thinks through his heinous
deeds, he sins with style.
Suddenly one of StadtfeldÆs hands plays its part a full
octave higher than scored.. There! For a few measures a
phrase lies a whole octave lower than Bach intended..
There! What actually belongs in the descant, the highest
register of the piano, all at once sounds all the way
down in the bass. In exchange, that which is in that bass
springs high up into the descant at the next opportunity.
There the hands are shifted, crossed and really unwieldy,
badly tangled up in each other. Is this Stadtfeld in his
right mind?
You bet. Because the Goldberg Variations were not written
for the modern piano, let alone a Steinway concert grand,
Martin Stadtfeld can, in his music-dramaturgical
undertaking, refer with confidence to the playing and
register characteristics of the two-manual clavichord
used by Johann Sebastian Bach. He plays harpsichord on
the concert piano, as it were, and it is to this
circumstance that he owes the freedom to carry out his
fantastic impudence.
From BachÆs music, states the pianist, he feels that the
composer was a sensory experimenter with sound, and this
knowledge gives him the right as an interpreter öto
uncover new structures through varied registrationö. Thus
he savours the ösensory enjoyment of experiencing sounds
anewö..
And the listener can enjoy it too, because no harm is
ever done to the revered cantor of St. Thomasæ. Stadtfeld
plays the aria which opens and closes the Goldberg
Variations, as well as all 30 variations in between, once
through absolutely to the letter.. There he obeys BachÆs
every word, exactly like Gould: faithful to the original.
But in the repetitions - and in all 32 sections of the
work the played da capos are stipulated - time and again
Stadtfeld allows himself a few personal notes, in which
he illuminates BachÆs sound in an unusually bold and
newly measured way, through strengthened contrasts, tonal
broadenings and doublings. In doing so, he also doubles
the fun: he plays Bach and plays with Bach. The result is
pure class.
And from this point? Is Stadtfeld now stamped: oh yes,
the guy with the Goldbergs; ah, that youngster whoÆs
Bach-mad, the new Gould from the Gackenbach in the
Westerwald? öGod forbidö, says the appalled young
virtuoso. öAt 23 I canÆt yet be forced into any kind of
box.ö
What is there that he hasnÆt planned in order to escape
that fate? Fine - other Bach, more Bach, that much is
clear. But also övery soonö, the last Beethoven sonatas,
ömaybe the first, tooö, or the öHammerklavierö sonata,
that colossus which can barely be grasped. The only thing
not present is false modesty.
Then Shostakovich, Mozart, Mendelssohn, Schumann, Liszt,
Chopin, even Rachmaninov, the Man in Minor - the whole
western world of music, to be exact - how it opens itself
before this damned gifted daredevil.
All he needs, so he believes, to help himself. No, he
doesnÆt have to practice öterribly muchö in order to
progress and stay in form. So ötwo, three hoursö a day
suffice, very laid-back, öupstairs in the attic at
GrandmaÆs houseö, in the Rhenish city of Boppard, öwhere
no one can hear me and I canÆt disturb anyone.ö
No matter what he does, no matter how it goes, one thing
Stadtfeld has sworn to himself: If he pursues this
career, he would publish only concert excerpts on CD: öIt
has to be live. The studio is so sterile, as cold as an
institute for anatomy.. There the music has no life.
Music has to breathe.
A famous comrade-in-arms of StadtfeldÆs was of an
entirely different opinion. At 32, he pulled himself out
of the live music business entirely and for the rest of
his life occupied himself strictly with working in the
studio - his colleague Gould.
(DER SPIEGEL, 09.06.2005)
The Talent
Stimulation instead of Valium--one thinks about that yet
again upon hearing Martin StadtfeldÆs extremely agile
fingers making their way through these Goldberg
Variations. The 23-year-old goes about it coolly, as if
the intimidating recordings of Glenn Gould and the
astounding later derivatives of Murray Perahia and Andrßs
Schiff had never existed. StadtfeldÆs talent is in a
special class, and this talent makes itself known in the
freedom with which it evades the limitations of following
previous models. Nevertheless, Gould remains his private
master.
What does Martin Stadtfeld do in the Goldberg Variations
that others donÆt? He confounds the listener. He
innocently plays the original--and then in the repeat a
daring variation. Here and there he shifts the hands an
octave outward, changing registers so that the treble
moves downward and the bass upward.
StadtfeldÆs Bach can crackle, roar, sparkle, he can
jovially play the brilliant artist. But he can also be so
still that itÆs frightening. Naturally he fears being
tied down to Bach. ItÆs true that the composer is the
Alpha and the Omega of his thoughts, but in no way is he
the entire alphabet. The young German is capable of far
more still.
(DIE ZEIT, 11.3.2004)
The Designer at the Back Door Replaces the Sewing Machine
More than [Till] Fellner, Martin Stadtfeld, currently
studying with Lev Natochenny at the Frankfurt
Musikhochschule and winner of prominent worldwide
competitions, doesnÆt only play Bach, but plays with him.
The Goldberg Variations become an area of
experimentation: he sets the bass an octave lower, the
descant goes upward, and in the exchange of voices it
winds up below the bass. In this way the repeats of the
variations are always new and unpredictable, because the
voices are not moved around mechanically, but instead in
a well-thought-out way, sometimes for only two measures,
sometimes for an entire section. In addition, the
decision of whether to play the repeats or leave them out
happens according to a plan. In the return of the aria at
the end Stadtfeld omits the repeat (and with it the
changing of registers) and the piece, after all the
adventure that went before, has a truly innocent effect.
From an ultramodern Bach mannerism, about which there is
something "designerish", a perpetual-motion metrics slips
in through the back door which seems to have been
banished from the realm of Bach. At the same time, this
exceptional talent with his own view evades the
artificial reworking of the countless brilliant models
who preceded him. That is why it would be regrettable if
Stadtfeld were to be portrayed as a Bach specialist
following in the footsteps of Glenn Gould -- with whom
his stylistic manner is definitely connected.
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▄ Not much to say here:
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▄██▀ REDRUM is the nonelectronic sidegroup of DRUM
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▀▓▓▓▄▄ since we felt that we have more to contribute than
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▀▀▓▓▄ electronic music. Enjoy :)
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█ ▀▀▀▀▀▓▓▄▄▄▄▄ ▄▓▓▀ to our friends from :
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kiNKy kW mbs miso MGC MPX MYCEL OSC PsyCZ PPX sb sour SSR TR UBE UKi UPE
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▄▓ THE END ! ▀▓█▀▄ ▐▌ ▐▌ ▄▀██▀
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.Drum 2007.