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Rudolf Buchbinder

Soiree de Vienne

Deutsche Grammophon
Release Date: November 18, 2022

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1 Soirée de Vienne, Op. 56 04:47  
2 No. 2, Pizzicato-Polka 03:32  
3 No. 1 in D Major (Arr. Tausig for Piano) 05:53  
4 Waltz in G-Flat Major, D.Anh.I/14 "Kupelwieser Walzer" 01:29  
5 No. 5, Allegro, ma non troppo. 03:15  
6 Fantaisie-impromptu, Op. 66 04:36  
7 No. 2 in E-Flat Major 03:49  
8 No. 2 in C-Sharp Minor 03:43  
9 No. 2 in B Minor 04:04  
10 No. 1 in A-Flat Major 02:34  
11 Liebeslied, S. 566 (After Schumann’s Widmung, Op. 25 No. 1) 03:27  
12 I. Allegro molto moderato 08:40  
13 II. Allegro 04:40  
14 III. Andante 06:01  
15 IV. Allegretto 07:51  
16 Frühlingsstimmen Walzer, Op. 57 06:19  
17 No. 6 in A Minor (After Schubert) 06:37  
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Rudolf Buchbinder – Soirée de Vienne sounds echoes of the celebrated Austrian pianist’s home city in the form of music closely associated with it. The recording, released by Deutsche Grammophon on 25 November, captures both the lost world of salon soirées and Vienna’s legendary attitude to life, with its heady blend of intensity and insouciance, earthiness and beauty.

“We all have impossible dreams,” says Buchbinder. “And one such dream gave rise to this album: I’d so much like to attend a Viennese soirée where all the composers on this recording are assembled: Strauss, Schubert, Chopin, Schumann and Beethoven.” His album brings them together in spirit, if not in person, and highlights 19th-century Vienna’s place as one of the world’s most important cultural crucibles. This is a matter of considerable pride for a performer and profound musical thinker who has lived in the city since early childhood, became the youngest ever student at its renowned Akademie für Musik at the age of five, and is an honorary member of the Wiener Philharmoniker, Wiener Symphoniker, Gesellschaft der Musikfreunde and Wiener Konzerthausgesellschaft.

His new album opens with Soirée de Vienne, a concert paraphrase of themes from Die Fledermaus and other Johann Strauss works created by Alfred Grünfeld, darling of imperial Vienna’s salon scene. It concludes with Soirées de Vienne: Valse-Caprice No. 6, Liszt’s reworking of melodies by Schubert. “These two pieces,” notes Buchbinder, “embody the spirit of a good evening get-together: inspiring, good-humoured, effervescent, but always probing the depths.”

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