{"id":8297,"date":"2014-06-04T00:00:00","date_gmt":"2014-06-03T23:00:00","guid":{"rendered":"https:\/\/www.musikzeitung.ch\/allgemein\/ein-freundeskreis-in-paris\/"},"modified":"2024-10-07T12:18:49","modified_gmt":"2024-10-07T10:18:49","slug":"ein-freundeskreis-in-paris","status":"publish","type":"post","link":"https:\/\/www.musikzeitung.ch\/en\/rezensionen\/tontraeger-rezensionen\/2014\/06\/ein-freundeskreis-in-paris","title":{"rendered":"A circle of friends in Paris"},"content":{"rendered":"<div class=\"text-section\">\n<figure id=\"attachment_8298\" aria-describedby=\"caption-attachment-8298\" style=\"width: 554px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-8298 size-full\" src=\"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/Lipsi.jpg\" alt=\"\" width=\"554\" height=\"291\" srcset=\"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/Lipsi.jpg 554w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/Lipsi-300x158.jpg 300w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2023\/01\/Lipsi-333x175.jpg 333w\" sizes=\"auto, (max-width: 554px) 100vw, 554px\" \/><figcaption id=\"caption-attachment-8298\" class=\"wp-caption-text\">Excerpt from the CD cover<\/figcaption><\/figure>\n<p>A producer once told me that he would no longer make project CDs with works by several composers - they would simply get lost in the mass of music that is thrown onto the market every month and would at best end up under \"miscellaneous\" even in specialist shops. Understandable, but unfortunately not in line with reality. For at all times, so-called collector's editions or joint works were created, in which several composers participated with mostly short pieces. And it is often precisely these editions that say more about a period, a style or a school than some great works.<\/p>\n<p>This is also shown by Gabrielle Beck-Lipsi's complete recordings of the <em>Treize Danses<\/em> (1929). Performed as intelligently as it is brilliantly and wittily, it is a first-rate group portrait. It is complemented by seven more extensive works by Conrad Beck, Tibor Hars\u00e1nyi, Bohuslav Martin\u016f, Alexandre Tansman and Alexander Tscherepnin, all of whom belonged to the \"\u00c9cole de Paris\" - a circle of friends of foreign composers in the 1930s, with whom the pianist also has a family connection. In this way, far more resonates in the anything but dry interpretation than the mere notes are able to reveal, which makes the recording itself a document that is also captured acoustically in an outstanding way.<\/p>\n<p>This makes it all the more incomprehensible that production outside Switzerland (especially in the age of cross-border \"click and buy\") is not only difficult to find, but also inconvenient to obtain.<\/p>\n<p>&nbsp;<\/p>\n<p><em>CD 1: \"Ecole de Paris\"<br \/>\nAlexander Cherepnin (1899-1977): Bagatelles, op. 5 &amp; 5 Concert Etudes, op.52<br \/>\nConrad Beck (1901-1989): Two Dance Pieces &amp; 1st Sonatina<br \/>\nBohuslav Martinu (1890-1959): Trois Esquisses<br \/>\nAlexander Tansman (1897-1986): Sonatine transatlantique<br \/>\nTibor Harsanyi (1898-1954): Blues<\/em><\/p>\n<p><em><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-59240\" src=\"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2014\/06\/treize-danses-cover.jpg\" alt=\"\" width=\"180\" height=\"180\" srcset=\"https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2014\/06\/treize-danses-cover.jpg 180w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2014\/06\/treize-danses-cover-12x12.jpg 12w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2014\/06\/treize-danses-cover-175x175.jpg 175w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2014\/06\/treize-danses-cover-150x150.jpg 150w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2014\/06\/treize-danses-cover-100x100.jpg 100w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2014\/06\/treize-danses-cover-24x24.jpg 24w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2014\/06\/treize-danses-cover-48x48.jpg 48w, https:\/\/www.musikzeitung.ch\/wp-content\/uploads\/2014\/06\/treize-danses-cover-96x96.jpg 96w\" sizes=\"auto, (max-width: 180px) 100vw, 180px\" \/><br \/>\nCD 2: \"Treize Danses\"<br \/>\nConrad Beck (1901-1989): Danse<br \/>\nMarcel Delannoy (1898-1962): Rigaudon<br \/>\nPierre-Octave Ferroud (1900-1936): The Bacchante, Blues<br \/>\nTibor Harsanyi (1898-1954): Fox-Trot<br \/>\nJacques Larmanjat (1878-1952): Valse<br \/>\nNikolai Lopatnikoff (1903-1976): Gavotte<br \/>\nBohuslav Martinu (1890-1959): La Danse<br \/>\nGeorges Migot (1891-1076): La S\u00e8gue<br \/>\nMarcel Mihalovici (1898-1985): Chindia<br \/>\nManuel Rosenthal (1904-2003): Valse des P\u00eacheurs \u00e0 la Ligne<br \/>\nErwin Schulhoff (1894-1942): Boston<br \/>\nAlexander Tansman (1897-1986): Burlesque<br \/>\nJean Wi\u00e9ner (1896-1982): R\u00eave<\/em><\/p>\n<p><em> M\u00fcller &amp; Schade 5080 (2 CDs) <\/em><\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p><strong>The piano works of these composers, who met in the 1920s, reflect a stylistically diverse period. <\/strong><\/p>","protected":false},"author":1,"featured_media":8298,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","pgc_sgb_lightbox_settings":"","footnotes":""},"categories":[29,1420],"tags":[],"class_list":["post-8297","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-rezensionen","category-tontraeger-rezensionen"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.4 - 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