It is important to Yunus Kaya to let his interpretation seem spontaneous, almost improvisational, with all the care of rehearsal. Ilona Eibenschütz, a student of Clara Schumann who met Brahms personally and visited him during his summer stay in Bad Ischl, was allowed to hear his Opera 118 and 119 by the composer himself. In her memoirs, she describes his piano playing as "very free-spirited - as if he were improvising - with heart and soul..." During the recording, Kaya wanted to make these two aspects palpable: the loneliness and introversion on the one hand, and the openness to the spontaneous in sound and tempo shaping on the other. No feeling, no pain can be felt and described in the same way every day. From this basic attitude, Yunus Kaya has sought the balance between fidelity to the musical text and artistic freedom of the performer.
It is important to Yunus Kaya to let his interpretation seem spontaneous, almost improvisational, with all the care of rehearsal. Ilona Eibenschütz, a student of Clara Schumann who met Brahms personally and visited him during his summer stay in Bad Ischl, was allowed to hear his Opera 118 and 119 by the composer himself. In her memoirs, she describes his piano playing as "very free-spirited - as if he were improvising - with heart and soul..." During the recording, Kaya wanted to make these two aspects palpable: the loneliness and introversion on the one hand, and the openness to the spontaneous in sound and tempo shaping on the other. No feeling, no pain can be felt and described in the same way every day. From this basic attitude, Yunus Kaya has sought the balance between fidelity to the musical text and artistic freedom of the performer.
4260052385869

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Format: CD
Label: ARSP
Rel. Date: 04/16/2021
UPC: 4260052385869

Klavierstucke 116-119
Artist: Yunus Kaya
Format: CD
New: Not in stock
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DISC: 1
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1. 7 Fantasien, Op. 116: No. 1, Capriccio. Presto Energico
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2. 7 Fantasien, Op. 116: No. 2, Intermezzo. Andante
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3. 7 Fantasien, Op. 116: No. 3, Capriccio. Allegro Passionato
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4. 7 Fantasien, Op. 116: No. 4, Intermezzo. Adagio
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5. 7 Fantasien, Op. 116: No. 5, Intermezzo. Andante Con Grazia Ed Intimissimo Sentimento
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6. 7 Fantasien, Op. 116: No. 6, Intermezzo. Andantino Teneramente
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7. 7 Fantasien, Op. 116: No. 7, Capriccio. Allegro Agitato
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8. 3 Intermezzi, Op. 117: No. 1, Andante Moderato
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9. 3 Intermezzi, Op. 117: No. 2, Andante Non Troppo
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10. 3 Intermezzi, Op. 117: No. 3, Andante Con Moto
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11. 6 Klavierstücke, Op. 118: No. 1, Intermezzo. Allegro Non Assai
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12. 6 Klavierstücke, Op. 118: No. 2, Intermezzo. Andante Teneramente
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13. 6 Klavierstücke, Op. 118: No. 3, Ballade. Allegro Energico
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14. 6 Klavierstücke, Op. 118: No. 4, Intermezzo. Allegretto Un Poco Agitato
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15. 6 Klavierstücke, Op. 118: No. 5, Romanze. Andante
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16. 6 Klavierstücke, Op. 118: No. 6, Intermezzo. Andante, Largo E Mesto
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17. 4 Klavierstücke, Op. 119: No. 1, Intermezzo. Adagio
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18. 4 Klavierstücke, Op. 119: No. 2, Intermezzo. Andantino Un Poco Agitato
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19. 4 Klavierstücke, Op. 119: No. 3, Intermezzo. Grazioso E Giocoso
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20. 4 Klavierstücke, Op. 119: No. 4, Rhapsodie. Allegro Risoluto
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More Info:

It is important to Yunus Kaya to let his interpretation seem spontaneous, almost improvisational, with all the care of rehearsal. Ilona Eibenschütz, a student of Clara Schumann who met Brahms personally and visited him during his summer stay in Bad Ischl, was allowed to hear his Opera 118 and 119 by the composer himself. In her memoirs, she describes his piano playing as "very free-spirited - as if he were improvising - with heart and soul..." During the recording, Kaya wanted to make these two aspects palpable: the loneliness and introversion on the one hand, and the openness to the spontaneous in sound and tempo shaping on the other. No feeling, no pain can be felt and described in the same way every day. From this basic attitude, Yunus Kaya has sought the balance between fidelity to the musical text and artistic freedom of the performer.