Yves Nat – The French Piano Legend


15 CD 

Κλασική Μουσική 


28 Ιουλίου 2020Ερώτηση για το προϊόν




Yves Nat (Piano), Irène Joachim (Soprano)

Orchestre de la Société des Concerts du Conservatoire
Charles Munch (Conductor)

Orchestre National de la Radiodiffusion Française
Pierre Dervaux (Conductor)

Contents Beethoven: Piano Sonatas Nos. 1-32 Schumann: Toccata in C major, Op. 7 Schumann: Fantasiestücke, Op. 12 Schumann: Novelletten (8), Op. 21 Schumann: Fantasie in C major, Op. 17 Schumann: Humoreske, Op. 20 Schumann: Études symphoniques, Op. 13 Schumann: Papillons, Op. 2 Schumann: Arabeske in C major, Op. 18 Schumann: Kinderszenen, Op. 15 (two versions) Schumann: Faschingsschwank aus Wien, Op. 26 Schumann: Piano Concerto in A minor, Op. 54 Schumann: Kreisleriana, Op. 16 Schumann: Romances (3), Op. 94 Brahms: Variations and Fugue on a Theme by Handel, Op. 24 Brahms: Rhapsodies (2), Op. 79 Franck, C: Symphonic Variations for piano & orchestra, M46 Schubert: Moments Musicaux (6), D780, Op. 94 Chopin: Piano Sonata No. 2 in B flat minor, Op. 35 ‘Marche funèbre’ Chopin: Fantasia in F minor, Op. 49 Chopin: Barcarolle in F sharp major, Op. 60 Chopin: Waltz No. 14 in E minor, Op. post., KKIVa:15, B 56 Liszt: Hungarian Rhapsody, S244 No. 2 in C sharp minor Stravinsky: Danse Russe (from Pétrouchka) Beethoven: Variations (32) on an Original Theme in C minor, WoO 80 Nat: Piano Concerto Nat: Pour un petit moujik Nat: Cinq mélodies

This 15-CD set of recordings by the little-known but highly-regarded French pianist Yves Nat features the complete sonatas of Beethoven, as well as music by Brahms, Schumann, Schubert, Chopin and Franck. They were made between 1938 and 1956. Nat was also a composer and this collection concludes with a disc of his music, including the Piano Concerto.

The French pianist Yves Nat (1890-1956) is known only to a relatively small circle of music lovers. He shunned publicity, and instead devoted himself to piano playing and composition. It was characteristic of Yves Nat the soloist to maintain a certain reserve without false modesty. There are no uncontrolled eruptions. On the contrary, the volume of sound is deliberately turned down and above all there is a power that lends discipline to his interpretations. Already in his student days Yves Nat showed a preference for German piano music, and on many occasions he included Beethoven piano sonatas in his recital programmes. He played Schubert, Schumann and Brahms – all of whom as composers were considered heavy, inelegant, and not particularly entertaining in the France of the 1920s.