Monique Haas · Piano Recitals in Germany 1948-1951

9.99 €

Monique Haas’s recordings enjoy a cult status. In these historically, as well as artistically, important audio documents, her connection to the best features of the French piano tradition – to whom Haas belonged, having studied under Lazare-Lévy – can be surveyed, along with the charisma of an unusual personality, whose performances were once described by the critic Antoine Goléa with “France cannot boast a greater pianist.” She never recorded the Schumann, Mozart and Bach commercially, so this is an important addition to her CD discography. The four works on this disc preserve the special artistry of Monique Haas at the peak of her international career and make their first appearance on CD.

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MONIQUE HAAS plays Schumann, Mozart, Debussy and Bach

Schumann: Kreisleriana, Op 16
Recorded ∙ 20 November 1948 ∙ Frankfurt ∙ Altes Funkhaus Eschersheimer Landstraße ∙ Hessischer Rundfunk ∙ Radio Studio Recording

Mozart: Piano Sonata No 8 in A minor, KV 310
Recorded ∙ 13 June 1951 ∙ Stuttgart ∙ Altes Funkhaus ∙ Studio VI ∙ Süddeutscher Rundfunk ∙ Radio Studio Recording

Debussy: Pour le piano, L 95
Recorded ∙ 01 July 1951 ∙ Frankfurt ∙ Altes Funkhaus Eschersheimer Landstraße ∙ Hessischer Rundfunk ∙ Radio Studio Recording

Bach: Partita No 2 in C minor, BWV 826
Recorded ∙ 19 October 1951 ∙ Frankfurt ∙ Altes Funkhaus Eschersheimer Landstraße ∙ Hessischer Rundfunk ∙ Radio Studio Recording

Article number: MC 1024
UPC barcode: 791154054000
Recording dates: 1948-1951
Release date: March 2015
Total timing: 78:13
Booklet: 8 Pages
From the Original Masters ∙ © 2015 Meloclassic

May 2015 ∙ Artamag ∙ Jean-Charles Hoffelé ∙ Monique Haas plays Schumann, Mozart, Debussy and Bach
Monique Haas jouait un répertoire très ouvert que le disque documenta partiellement. A ces trois inédits de son répertoire, l’éditeur ajoute une lecture pleine d’ombres, incroyablement sombre de Pour le piano. Qu’il poursuive! Mais il suffit d’entendre le phrasé du premier thème de la Sonate KV 310, si ardent dans ses sonneries comme dans ses suspensions, pour comprendre que le grand répertoire classique déterminait et son jeu et l’esthétique de son style. Plus surprenant encore, l’entendre jouer Bach. Je ne connaissais sous ses doigts qu’un très alerte Concerto Italien. Sa Seconde Partita, filée et pourtant modelée, sans maniérisme, célèbre la danse. Dionysiaque, et dit avec un sens du rythme sostenuto qui était alors assez peu couru chez ses confrères et consœurs pianistes, sinon par Marcelle Meyer. Et comment ne pas admirer malgré ses limites de timbre – le clavier de Monique Haas est un rien trop « bref » pour Schumann – ses Kreisleriana sans fantasque mais si chantées et dont les épisodes réflexifs sont désarmants ? A ces trois inédits de son répertoire, l’éditeur ajoute une lecture pleine d’ombres, incroyablement sombre de Pour le piano. Qu’il poursuive!
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July 2015 ∙ Audiophile Audition ∙ Gary Lemco ∙ Monique Haas plays Schumann, Mozart, Debussy and Bach
A second document collated by MeloClassic celebrates the inexhaustible wealth of talent exhibited by French artist Monique Haas (1909-1987), here in recital materials inscribed by German radio, 1948-1951. Fluency, strength and poetic lyricism mark every measure of a Haas performance, often startling in the clarity and bold enthusiasm of her line. Even the liner notes by Charles Timbrell refer to the emotive similarity between the Haas 1788 Mozart A Minor Sonata (13 June 1951, Stuttgart) and famous EMI studio recording by Dinu Lipatti. er ability to present layered colors in nuanced shades of sound doubtless nods to her apprenticeship under Lazare-Levy and often makes this auditor compare her with the equally elegant Robert Casadesus.
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