Ana-Marija Markovina

Pianistin

Luise Adolpha Le Beau

Gesamtwerk für Klavier

4260036251777
Drei Klavierstücke, Op. 1
Original-Thema mit Variationen, Op. 3
Sonate, Op. 8
Acht Präludien für Klavier, Op. 12
Improvisata, Op. 30
Gavotte, Op. 32
Ballade, Op. 47
Tre Danze antiche, Op. 48
Deutscher Reigen, Op. 49
Trauermarsch, Op. 53 Op. 57
Barcarole, Op. 59
Abendklänge, Op. 64
Rezensionen

Piano devotees look forward to every new CD featuring Ana Markovina on the Genuin label, for the listening experience is always unexpected, thrilling and moving. For the fifth time the young and by now internationally recognized pianist presents an accomplished recording. After earlier recordings featuring works by, among others, Schumann and Carl Philipp Emmanuel Bach, she has now made the first complete recording of Luise Adolpha Le Beau’s piano works. The Romantic German composer was well acquainted with leading musicians such as Liszt, Clara Schumann and Brahms and composed delightful character pieces which are served up by Markovina like pearls on a string. Très beau!

http://pianoblog.altervista.org/2010/12/

05/19/2011 Toronto Star

The 25 pieces by Le Beau (1850-1927) turned out to be a fine listen. Judging from the opus numbers, the disc is arranged chronologically. The earliest pieces could be forgotten works by Franz Schubert. The composer gets harmonically and texturally more adventurous as time passes. Markovina plays with an easy technique and restrained elegance in this recording made in Belefeld, Germany last May.

John Terauds

Luise Adolpha Le Beau (1850 bis 1927) war die einzige Tochter eines Offiziers. Sie wurde zunächst im Elternhaus unterrichtet. Ihr Vater (…) erteilte ihr ab dem fünften Lebensjahr. (…) Zu ihren Lehrern gehör- ten Clara Schumann, Josef Gabriel Rheinberger und Franz Lachner.
Le Beau wirkte ihr ganzes Leben lang als Musikerin. Sie konzertierte, komponierte, gab Unterricht und schrieb auch Musikkritiken. Ein bedeutender Teil ihrer Werke entstand für das Klavier. Die kroatische Pianistin Ana-Marija Markovina spielte für Genuin das komplette Klavierwerk ein. Mit dieser CD ermöglicht sie eine Bestandsaufnahme und Neubewertung der Stücke von Le Beau, die – anders als beispielsweise eine Fanny Hensel – sich nicht in den Salon zurückziehen konnte, sondern auf dem von Männern dominierten Musikmarkt behaupten musste, wenn sie nicht nur Schülerinnen unterrichten wollte.
Markovina spielt ihre Werke im Kontext der Spätromantik, betont weich und sanglich; sie setzt nur selten harte Konturen und gibt so den meist kurzen Charakterstücken Innigkeit und Wärme. Sie sind keineswegs gefällige Salonmusik – und dennoch muss man beim Hören schmunzeln, denn mitunter finden sich Anklänge an das Schaffen von Zeitgenossen. Und man meint, kurz Schumann zu hören, Brahms oder auch Chopin. Es sind weniger Zitate als vielmehr Klangfarben, die Le Beau in ihren Stücken aufschimmern lässt.

http://ich-habe-gehoert.blogspot.com/2011/03/luise-adolpha-le-beau-complete-works.html

Like so many female composers of bygone centuries, the music of Luise Adolpha Le Beau has been slow to come to light. She was a composer/pianist of the late 19th century who toured throughout Europe and associated with the top echelon of musicians, composers, and critics of her day. Very few of her chamber works have been re-published in the early 21st century, but not much else of her music, nor information about her or her oeuvre overall, is widely available. Ana-Marija Markovina presents this recording of her piano music as just the second recording devoted to Le Beau’s work. From the first works, numbered Op. 1 and Op. 3, one hears that Le Beau was thoroughly trained and secure in the Germanic, Romantic tradition. In this earlier music, there is formalism in structure, but there is also a sense of melody and imagery. The Op. 3 Variations may not have the most interesting theme, but Markovina plays it with effective shaping, and it becomes more attractive in its different Mendelssohnian guises. The first movement of the Sonata, Op. 8, even quotes a couple of measures from Mendelssohn’s Song without Words, Op. 102/5, and it has some of Schumann’s heroism. As the opus numbers progress, the formalism does seem to loosen up a bit, and there is more of a sentimental sound. Could this be because Le Beau was maturing or because she wanted to appeal to a broader, salon- or home-music audience? Regardless, the music is lighter and flows a little more easily. The Opp. 53, 57, and 59 demonstrate Le Beau’s usage of Chopin’s forms — the funeral march, nocturne, mazurka, and barcarolle — and ornamentation. The final work Markovina performs is Abendklänge, Op. 64, which again evokes Schumann. Rather than ending in the same quiet thoughtfulness of its opening, it finishes in a celebratory way that gives the impression that the entire piece is more of an aubade than an evening song. Generally Le Beau’s music as offered by Markovina’s confident playing should appeal to anyone who favors the 19th century composer/pianists, and especially to those who have taken an interest in the female representatives of that group, such as Agathe Backer-Grøndahl and Cécile Chaminade.

Patsy Morita

http://www.allmusic.com/album/luise-adolpha-le-beau-complete-works-for-piano-w264102/review

Klangbeispiele

Drei Klavierstücke. Op.1 - Fantasie

Sonate Fur Clavier. Op. 8 - Allegro Ma Non Troppo

Drei Alte Tanze. Op. 48 - Sarabande

Abendklänge. Op. 64

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