Artur Schnabel

路德維茲‧凡‧貝多芬獨奏鋼琴全集: 由亞圖爾‧施耐貝爾錄製於一九三零年代的倫敦艾比路錄音室 --
三十二首鋼琴奏鳴曲(包括"悲愴"、"月光"、"暴風雨"、"華德斯坦" 及 "鎚子鍵琴")、迪亞貝里變奏曲及其他作品。
Ludwig van Beethoven: intégrale des oeuvres pour piano solo, enregistrées par Artur Schnabel au studio Abbey Road de Londres dans les années 1930 - les 32 sonates pour piano (y compris la «Pathétique», le «clair de lune», le «Tempest», la «Waldstein» et la «Hammerklavier»), les Variations Diabelli, et d'autres pièces.

路德維茲‧凡‧貝多芬獨奏鋼琴全集: 由亞圖爾‧施耐貝爾錄製於一九三零年代的倫敦艾比路錄音室 --
三十二首鋼琴奏鳴曲(包括"悲愴"、"月光"、"暴風雨"、"華德斯坦" 及 "鎚子鍵琴")、迪亞貝里變奏曲及其他作品。
Ludwig van Beethoven: intégrale des oeuvres pour piano solo, enregistrées par Artur Schnabel au studio Abbey Road de Londres dans les années 1930 - les 32 sonates pour piano (y compris la «Pathétique», le «clair de lune», le «Tempest», la «Waldstein» et la «Hammerklavier»), les Variations Diabelli, et d'autres pièces.

Liner notes for Great Pianists: Artur Schnabel - Beethoven Sonata Society Recordings (1932-1935), an eleven-CD set of recordings released on the Naxos Historical Label (2003-2006). Remastered by Mark Obert-Thorn. The notes provide a reception history of the recordings, drawing on reviews as well as biographical and autobiographical works. Naxos recording numbers: 8.110671, 8.110694, 8.110695, 8.110756, 8.110759, 8.110760, 8.110761, 8.110762, 8.110763, 8.110764, 8.110765

The field of interactive music systems (IMSs), beginning in the 1980s, is still relatively young and fast moving. The field of music theory-analysis, during the same period (since 1980), has undergone a major transformation in terms of technological innovations, flexibility, and breadth. The two fields have not really caught up with each other. It will be interesting to see what arises as they do — especially as both fields have become more concerned with the role of the body and embodied cognition. Framed in terms of contrasting epistemological orientations, this essay considers some relevant developments in IMSs, music cognition, and music theory and analysis, leading up to the present.  The most popular approaches to music cognition and to IMS design are rationalist (Ashby 2010), exploiting the ‘correct’ embodiments of music (Godøy 2004, Leman 2007, Paine 2009) based on affordances (Gibson 1977, Kelso 1998). This essay, however, advocates a pragmatist (Ashby 2010) approach inspired by music analysis and exploiting the potential of kinesthetic learning (associative learning). Prompted by a progressive approach to music analysis, theory, perception, and cognition (Dubiel 1999, Mailman 2007), interactive music technology can also be constructive, flexible, and progressive, by exploiting kinesthetic learning from immersion in new and unusual motion-to-sound mappings derived from dynamic formal processes in analysed music. In this way, immersive interactive systems offer an opportunity systematically to learn new associations based on principles theorised in response to analysis. Experience of these systems essentially ‘rewires the brain’, thereby exemplifying what Korsyn (2004) has attributed to Lewin’s (1986, 1987) approach to music perception: the ironist approach, as formulated by Rorty (1989). Thus a pragmatist ironist experimental (PIE) approach is articulated. Rather than committing to any particular ways music is already embodied, this approach acknowledges the flexible nature of embodied musical experience. It forges and uses interactive music technologies continually to redescribe and therefore reform how music is embodied, thereby disembodying to re-embody music, expanding how music is heard, contemplated and experienced.

路德維茲‧凡‧貝多芬獨奏鋼琴全集: 由亞圖爾‧施耐貝爾錄製於一九三零年代的倫敦艾比路錄音室 --
三十二首鋼琴奏鳴曲(包括"悲愴"、"月光"、"暴風雨"、"華德斯坦" 及 "鎚子鍵琴")、迪亞貝里變奏曲及其他作品。
Ludwig van Beethoven: intégrale des oeuvres pour piano solo, enregistrées par Artur Schnabel au studio Abbey Road de Londres dans les années 1930 - les 32 sonates pour piano (y compris la «Pathétique», le «clair de lune», le «Tempest», la «Waldstein» et la «Hammerklavier»), les Variations Diabelli, et d'autres pièces.

Παρουσίαση των σημαντικότερων πιανιστών στο Βερολίνο του Μεσοπολέμου (Feruccio Busoni, Artur Schnabel, Claudio Arrau, Egon Petri, Eduard Steuermann, Philipp Jarnach, Leonid Kreutzer κ.ά), της αισθητικής της ερμηνείας της εποχής και των ιστορικών πιάνων Bechstein.
Presentation of the most important pianists in interwar Berlin (Feruccio Busoni, Artur Schnabel, Claudio Arrau, Egon Petri, Eduard Steuermann, Philipp Jarnach, Leonid Kreutzer a.o.), aesthetics of interpretation and historical Bechstein pianos.

路德維茲‧凡‧貝多芬獨奏鋼琴全集: 由亞圖爾‧施耐貝爾錄製於一九三零年代的倫敦艾比路錄音室 --
三十二首鋼琴奏鳴曲(包括"悲愴"、"月光"、"暴風雨"、"華德斯坦" 及 "鎚子鍵琴")、迪亞貝里變奏曲及其他作品。
Ludwig van Beethoven: intégrale des oeuvres pour piano solo, enregistrées par Artur Schnabel au studio Abbey Road de Londres dans les années 1930 - les 32 sonates pour piano (y compris la «Pathétique», le «clair de lune», le «Tempest», la «Waldstein» et la «Hammerklavier»), les Variations Diabelli, et d'autres pièces.

This paper examines Artur Schnabel’s gradual move from Berlin to London in the late 1920s and early ‘30s by exploring the critical reception of his performances and recordings. Although Schnabel was little known in Britain when he arrived for a recital in 1925, he was soon recognized as the leading expert on Beethoven’s piano music. Over the next six years, his following and performance opportunities grew steadily and HMV enlisted him to record all of Beethoven’s piano music.

Though an analysis of the reviews of Schnabel’s performances and recordings I explore issues of identity in this period of growing tension with Germany. Through reviews published in the main London dailies, The Musical Times, The Gramophone and other publications, we see that most British critics and listeners were highly receptive to his playing, accepting the austerity of his programmes and his refusal to play encores as sign of his integrity, while for a minority, by the early ‘30s, Schnabel had become a tyrant, with one commentator likening him to Bismarck and another going as far as to call him the “Hitler of the piano.”

路德維茲‧凡‧貝多芬獨奏鋼琴全集: 由亞圖爾‧施耐貝爾錄製於一九三零年代的倫敦艾比路錄音室 --
三十二首鋼琴奏鳴曲(包括"悲愴"、"月光"、"暴風雨"、"華德斯坦" 及 "鎚子鍵琴")、迪亞貝里變奏曲及其他作品。
Ludwig van Beethoven: intégrale des oeuvres pour piano solo, enregistrées par Artur Schnabel au studio Abbey Road de Londres dans les années 1930 - les 32 sonates pour piano (y compris la «Pathétique», le «clair de lune», le «Tempest», la «Waldstein» et la «Hammerklavier»), les Variations Diabelli, et d'autres pièces.

路德維茲‧凡‧貝多芬獨奏鋼琴全集: 由亞圖爾‧施耐貝爾錄製於一九三零年代的倫敦艾比路錄音室 --
三十二首鋼琴奏鳴曲(包括"悲愴"、"月光"、"暴風雨"、"華德斯坦" 及 "鎚子鍵琴")、迪亞貝里變奏曲及其他作品。
Ludwig van Beethoven: intégrale des oeuvres pour piano solo, enregistrées par Artur Schnabel au studio Abbey Road de Londres dans les années 1930 - les 32 sonates pour piano (y compris la «Pathétique», le «clair de lune», le «Tempest», la «Waldstein» et la «Hammerklavier»), les Variations Diabelli, et d'autres pièces.

路德維茲‧凡‧貝多芬獨奏鋼琴全集: 由亞圖爾‧施耐貝爾錄製於一九三零年代的倫敦艾比路錄音室 --
三十二首鋼琴奏鳴曲(包括"悲愴"、"月光"、"暴風雨"、"華德斯坦" 及 "鎚子鍵琴")、迪亞貝里變奏曲及其他作品。
Ludwig van Beethoven: intégrale des oeuvres pour piano solo, enregistrées par Artur Schnabel au studio Abbey Road de Londres dans les années 1930 - les 32 sonates pour piano (y compris la «Pathétique», le «clair de lune», le «Tempest», la «Waldstein» et la «Hammerklavier»), les Variations Diabelli, et d'autres pièces.

路德維茲‧凡‧貝多芬獨奏鋼琴全集: 由亞圖爾‧施耐貝爾錄製於一九三零年代的倫敦艾比路錄音室 --
三十二首鋼琴奏鳴曲(包括"悲愴"、"月光"、"暴風雨"、"華德斯坦" 及 "鎚子鍵琴")、迪亞貝里變奏曲及其他作品。
Ludwig van Beethoven: intégrale des oeuvres pour piano solo, enregistrées par Artur Schnabel au studio Abbey Road de Londres dans les années 1930 - les 32 sonates pour piano (y compris la «Pathétique», le «clair de lune», le «Tempest», la «Waldstein» et la «Hammerklavier»), les Variations Diabelli, et d'autres pièces.

路德維茲‧凡‧貝多芬獨奏鋼琴全集: 由亞圖爾‧施耐貝爾錄製於一九三零年代的倫敦艾比路錄音室 --
三十二首鋼琴奏鳴曲(包括"悲愴"、"月光"、"暴風雨"、"華德斯坦" 及 "鎚子鍵琴")、迪亞貝里變奏曲及其他作品。
Ludwig van Beethoven: intégrale des oeuvres pour piano solo, enregistrées par Artur Schnabel au studio Abbey Road de Londres dans les années 1930 - les 32 sonates pour piano (y compris la «Pathétique», le «clair de lune», le «Tempest», la «Waldstein» et la «Hammerklavier»), les Variations Diabelli, et d'autres pièces.

"This paper examines the place of Artur Schnabel in British music of the 1920s and ‘30s by exploring the critical reception of his
performances and recordings. From the late 1920s, Schnabel was known internationally as the leading authority on Beethoven’s piano music. Most British critics and listeners were highly receptive to his playing, accepting the austerity of his programmes and his refusal to play encores as the mark of a genius. For a minority within the musical community, however, Schnabel seemed a tyrant. One commentator went as far as to call Schnabel the ‘Hitler of the piano.’ The irony of such a statement would very soon become evident as the pianist was forced to flee Nazi Germany, and he spend much of his time in the United Kingdom. It was there that he finally agreed to make recordings, producing a complete cycle for the Beethoven Sonata Society. The paper will focus on reviews printed in periodicals such as The Gramophone, and in the major London dailies, with references to reviews published elsewhere around the same time. While occasionally reflecting the growing political tensions of the time, these writings will show the British to be prepared to accept Schnabel on his terms, both in the concert hall and on record."

路德維茲‧凡‧貝多芬獨奏鋼琴全集: 由亞圖爾‧施耐貝爾錄製於一九三零年代的倫敦艾比路錄音室 --
三十二首鋼琴奏鳴曲(包括"悲愴"、"月光"、"暴風雨"、"華德斯坦" 及 "鎚子鍵琴")、迪亞貝里變奏曲及其他作品。
Ludwig van Beethoven: intégrale des oeuvres pour piano solo, enregistrées par Artur Schnabel au studio Abbey Road de Londres dans les années 1930 - les 32 sonates pour piano (y compris la «Pathétique», le «clair de lune», le «Tempest», la «Waldstein» et la «Hammerklavier»), les Variations Diabelli, et d'autres pièces.