{"id":1020,"date":"2021-04-13T19:14:13","date_gmt":"2021-04-13T17:14:13","guid":{"rendered":"https:\/\/www.campanella-musica.com\/?post_type=avada_portfolio&p=1020"},"modified":"2021-05-31T19:29:45","modified_gmt":"2021-05-31T17:29:45","slug":"franz-schubert-die-impromptus","status":"publish","type":"avada_portfolio","link":"https:\/\/www.campanella-musica.com\/en\/archive\/katalog\/franz-schubert-die-impromptus","title":{"rendered":"Franz Schubert: Impromptus (complete)"},"content":{"rendered":"

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Catalogue No: C 130205<\/a>
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After many years of preparation Margit-Anna S\u00fcss has recorded on her own instrument the eight Impromptus written by Schubert in the final year of his life, and this world premi\u00e8re provides a potential enrichment of the repertoire that, however, demands the highest degree of technical expertise and musical mastery – all the more because this fine harpist has not made \u201carrangements\u201d of these eight perfect examples of early romantic piano music but has performed them on her harp straight from their original versions.<\/span><\/span><\/span><\/span><\/p>\n

As a work of art this succeeds because Margit-Anna S\u00fcss is using a technique of momentarily damping the individual strings, without which their continued vibrations would flow into each other like the colours in an Emil Nolde painting but without achieving comparable aesthetic effects in tonal music. Thanks to her special method the results are most convincing: clear, transparent voice-leading and distinct articulation produce in the silvery sound of the plucked instrument a timbre that is not far removed from that of many early pianos, and furthermore, for instance in the A flat major Impromptu op. 90 no. 4, discreetly carries the usual concept of \u201carpeggio\u201d back to its literal origin.<\/span><\/span><\/span><\/span><\/p>\n<\/div><\/div><\/div><\/div><\/div>

Tracklisting<\/h4>\n

4 Impromptus op. 90 (D. 899)<\/strong>
\n1 Nr. 1 c-Moll: Allegro molto moderato
\n2 Nr. 2 Es-Dur: Allegro
\n3 Nr. 3 Ges-Dur: Andante
\n4 Nr. 4 As-Dur: Allegretto<\/p>\n

4 Impromptus op. post. 142 (D. 935)<\/strong>
\n5 Nr. 1 f-Moll: Allegro moderato
\n6 Nr. 2 As-Dur: Allegretto
\n7 Nr. 3 B-Dur: Theme with Variations:
\nAndante Variationen 1-5
\n8 Nr. 4 f-moll: Allegro scherzando<\/p>\n

TT 76:58<\/p>\n<\/div><\/div><\/div>

Artist<\/h4>\n

Margit-Anna S\u00fc\u00df, Harp<\/p>\n

Reviews<\/h4>\n

\u261e \u00bb<\/strong>Was die Harfenistin Margit-Anna S\u00fc\u00df hier vorstellt, ist geradezu tollk\u00fchn: Sie hat die sp\u00e4ten Impromptus von Franz Schubert auf ihr Instrument \u00fcbertragen. Das kann nicht funktionieren? Kann doch. Und wie! Glasklar die Tongebung, punktgenau Stimm- und Melodief\u00fchrung.\u00ab Journal Frankfurt<\/em>, M\u00e4rz 2016<\/p>\n

\u261e \u00bbSie meistert die schon f\u00fcr Pianisten nicht unbetr\u00e4chtlichen H\u00fcrden mit fabelhafter Technik, musikalischem Feingef\u00fchl und subtiler Musikalit\u00e4t. Hier zeigt sich die wahre St\u00e4rke dieser Einspielung: Verglichen mit der Klavierfassung mag man zwar zuweilen etwas \u203aPower\u2039 vermissen, da die dynamischen Ressourcen der Harfe begrenzter sind, doch was man an subtilen Zwischent\u00f6nen dazugewinnt, ist enorm. Margit Anna S\u00fcss versteht es meisterlich, eben diese Nuancen ihres Instrumentes zu nutzen und nicht nur bei virtuosen Arpeggien und kleinsten Tonmodulationen einzusetzen. Das Ergebnis ist ein neuer Blick auf Schuberts Impromptus, der mehr deren empfindsame Seite betont, die virtuose dabei aber nicht vernachl\u00e4ssigt.\u00ab KlassikHeute<\/em>, 15. April 2016<\/p>\n

\u261e \u00bb … Dank ihrer speziellen Methode kommen sehr \u00fcberzeugende Resultate zu Stande: Klare, transparente Stimmf\u00fchrung und deutlich wahrnehmbare Artikulationen erzeugen im silbrigen Klang des Zupfinstruments eine Atmosph\u00e4re, die von manchen historischen Klavierbauartengar nicht so weit entfernt ist und mitunter \u2013 beispielsweise im As-dur-Impromptu op. 90 Nr. 4 \u2013 den Terminus Arpeggio mit gro\u00dfer Delikatesse auf seinen w\u00f6rtlichen Ursprung zur\u00fcckf\u00fchrt.\u00ab Der neue Merker<\/em>, 14. April 2016<\/p>\n

\u261e \u00bbDie M\u00fcnchnerin Margit-Anna S\u00fc\u00df hat Schuberts gesamte Impromptu eingespielt, und zwar in einer von ihr selbst erstellten Version f\u00fcr Harfe anstelle des Klaviers. Dadurch sind gem\u00e4\u00dfigtere Tempi n\u00f6tig, da die Schwingungen anders sind als bei einem Tasteninstrument, auch setzt die K\u00fcnstlerin eher auf leisere T\u00f6ne, die deshalb nicht weniger eindringlich sind. Gleichzeitig erhalten die St\u00fccke eine helle Leichtigkeit, die manchen Schmerz – wie im Impromptu Nr. 3 in Ges-Dur – noch verst\u00e4rkt.\u00ab APA<\/em>, 7. Juni 2016<\/p>\n

\u261e \u00bbShe leaves us with the feeling that she is depressing keys rather than pulling strings. There is a something peaceful\u2014and I agree with her own assessment\u2014something sacred in this music, and she honors that beautifully.\u00ab harpcolumn<\/em>, 4. Juli 2016<\/p>\n

\u261e \u00bbThis is a project that leaves me in admiration of S\u00fcss\u2019s daring and technique …\u00ab Fanfare<\/em>, Juli\/August 2016<\/p>\n

\u261e \u00bbGro\u00dfe Spielbrillanz zeigt S\u00fcss in den Impromptus …\u00ab das Orchester<\/em>, November 2016<\/p>\n<\/div><\/div><\/div><\/div><\/div><\/p>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":4,"featured_media":605,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","format":"standard","meta":{"footnotes":""},"portfolio_category":[60,57],"portfolio_skills":[],"portfolio_tags":[],"class_list":["post-1020","avada_portfolio","type-avada_portfolio","status-publish","format-standard","has-post-thumbnail","hentry","portfolio_category-harp","portfolio_category-solo-en"],"_links":{"self":[{"href":"https:\/\/www.campanella-musica.com\/en\/wp-json\/wp\/v2\/avada_portfolio\/1020","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.campanella-musica.com\/en\/wp-json\/wp\/v2\/avada_portfolio"}],"about":[{"href":"https:\/\/www.campanella-musica.com\/en\/wp-json\/wp\/v2\/types\/avada_portfolio"}],"author":[{"embeddable":true,"href":"https:\/\/www.campanella-musica.com\/en\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.campanella-musica.com\/en\/wp-json\/wp\/v2\/comments?post=1020"}],"version-history":[{"count":0,"href":"https:\/\/www.campanella-musica.com\/en\/wp-json\/wp\/v2\/avada_portfolio\/1020\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.campanella-musica.com\/en\/wp-json\/wp\/v2\/media\/605"}],"wp:attachment":[{"href":"https:\/\/www.campanella-musica.com\/en\/wp-json\/wp\/v2\/media?parent=1020"}],"wp:term":[{"taxonomy":"portfolio_category","embeddable":true,"href":"https:\/\/www.campanella-musica.com\/en\/wp-json\/wp\/v2\/portfolio_category?post=1020"},{"taxonomy":"portfolio_skills","embeddable":true,"href":"https:\/\/www.campanella-musica.com\/en\/wp-json\/wp\/v2\/portfolio_skills?post=1020"},{"taxonomy":"portfolio_tags","embeddable":true,"href":"https:\/\/www.campanella-musica.com\/en\/wp-json\/wp\/v2\/portfolio_tags?post=1020"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}