Ivan Moravec
Compilations
- Helmuth Rilling, Dmitry Sitkovetsky, Academy of St. Martin in the Fields, Bach-Collegium Stuttgart, Grand Symphony Orchestra of All-Union National Radio Service and Central Television Networks, Heidelberg Symphony Orchestra, Homburg Chamber Orchestra, Ivan Moravec, Klaus-Peter Hahn, Ingo Goritzki, Dieter Stumm, Thomas Fey, Neville Marriner, Stuttgart Collegium Musica Rara, Graf Murzha, Iona Brown, Czech Philharmonic, Oregon Bach Festival Orchestra, Ian Watson, Uli Leibrock, Peter Thalheimer, Helfried Steckel, Gächinger Kantorei Stuttgart, Christopher Czaja Sager
- Schlierbacher Chamber Orchestra, South West German Radio Symphony Orchestra, Ivan Moravec, SWR Symphonieorchester, Heidelberg Symphony Orchestra, Sir Roger Norrington, Neville Marriner, Thomas Fey, Zdenek Divoky, Leipzig Mendelssohn Chamber Orchestra, Czech Chamber Orchestra, Academy of St. Martin in the Fields, Peter Thalheimer, Ondrej Kukal, Peter Bruns, Stuttgart Collegium Musica Rara, Iona Brown
- Bach-Collegium Stuttgart, Stuttgart Arcata Chamber Orchestra, Christoph Poppen, Verdi Quartet, Ivan Moravec, Academy of St. Martin in the Fields, Florian Henschel, Pavlos Hatzopoulos, Helmuth Rilling, Roglit Ishay, Neville Marriner, Dirk Altmann, Isabelle Faust, Patrick Strub, Evgeni Koroliov, Peter Bruns, Iona Brown, François Benda
- Ivan Moravec, Marion Kokott, Sebastian Silvestra, Moscow State Radio and Television Symphony Orchestra, Academy of St. Martin in the Fields, Gordon Schultz, Klaus-Peter Hahn, Thomas Fey, Iona Brown, Neville Marriner, Heidelberg Symphony Orchestra, Eden Stell Guitar Duo
- Ivan Moravec, Alfred Brendel, Academy of St. Martin in the Fields, Neville Marriner, Christopher Czaja Sager, Keiko Wakamatsu, Eduard Stan, Junko Wakamatsu, Garrick Ohlsson
Biography
Czech pianist Ivan Moravec's firm, pearlescent legato and the intelligent use of his hands formed the basis for a unique sound. Moravec made his formal debut, a small recital on a radio broadcast in 1946. In 1957 Moravec learned more about surmounting the mechanical reality of his instrument and producing a flowing legato sound from Michelangeli. Moravec made his London debut in 1959 and his New York debut in 1964. He developed a following among those who valued musical integrity, beautiful sound, and a devotion to a conservative but full repertory. Smetana and Dvorák, held a central position among the composers he played regularly, which also included Mozart, Beethoven, Schumann, Brahms, Debussy, and Ravel, and he was considered one of the foremost Chopin artists of the day. A frequent, though reluctant visitor to the recording studio, Moravec placed on disc many performances prized by discerning listeners. ~ Erik Eriksson