Schumann: Piano Concerto/Carnaval

1. Piano Concerto in A minor, Op. 54
Composed by Robert Schumann
Performed by North German Philharmonic Orchestra with Ernst Groschel
Conducted by Hanspeter Gmur

2. Carnaval for piano, Op. 9
Composed by Robert Schumann
Conducted by Hanspeter Gmur

Tracks:

Symphony No. 3 In E-flat Major, Op. 97: 'Rhenish' - Lebhaft
Andante And Variations In B-Flat Major
Symphonic Etudes, Op. 13
Toccata In C Major, Op. 7
Kreisleriana, Op. 16
Piano Concerto In A Minor, Op. 54: Allegro Vivace
Carnaval, Op. 9
'Dedication', Op. 25/1
Symphony No. 4 in D Minor, Op. 120: Introduction - Vivace
Papilons, Op. 2
Op. 25-3: 'The Nut Tree'
Symphony No. 3 In E-flat Major, Op. 97: 'Rhenish' - Lebhaft-Schneller
Piano Quintet In E-flat Major, Op. 44: Allegro ma non troppo
Piano Concerto In A Minor, Op. 54: Allegro affettuoso
Carnaval, Op. 9: Waltz
Album For The Young, Op. 68: The Merry Farmer
Scenes From Childhood, Op. 15: Dreams
Cello Concerto In A Minor, Op. 129: Nicht au schnell
Symphony No. 3 In E-flat Major, Op. 97: 'Rhenish' - Feierlich
Peer Gynt Suite No. 1, Op. 46, No 1
Lyric Suite, Op. 54-2: Norwegian Rustic Dance
Op. 12 No. 4: Elf Dance
Op. 35, No. 1: Norwegian Dances
Elegiac Melodies
Op. 64, No. 4: Symphonic Dances
Op. 35, No. 2: Norwegian Dances
Op. 5-3: 'I Love Thee'
Op. 43, No. 1: Butterfly
Op. 65, No. 6: Wedding Day At Troldhaugen
Peer Gynt Suite No. 1, Op. 46, No. 3: Anitra's Dance
Peer Gynt Suite No. 2, Op. 55, No. 4: Solveig's Song
Peer Gynt Suite No. 1, Op. 46, No. 4: In The Hall Of The Mountain King
Piano Concerto In A Minor, Op. 16: Allegro moderato; Allegro marcato
Holberg Suite, Op. 40: Prelude: Allegro vivace
Lyric Suite, Op. 54, No. 3: Dance Of The Dwarfs
Homage To Chopin
Sigurd Jorsalfar Suite, Op. 56, No. 3: Homage March
Peer Gynt Suite No. 1, Op. 46: Morning Mood
Peer Gynt Suite No. 1, Op. 46: The Death Of Aase
Peer Gynt Suite No. 1, Op. 46: Anitra's Dance
Peer Gynt Suite No. 1, Op. 46: In The Hall Of The Mountain King
Peer Gynt Suite No. 2, Op. 55: III The Return Of Peer Gynt
Peer Gynt Suite No. 2, Op. 55: IV Solveig's Song

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Best of Schumann

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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Similar Items:

The Best of Haydn
The Best of Mendelssohn
Best of Schubert
The Best of Brahms
The Best of Liszt

ASIN: B0000014HD
Release Date: 1997-09-11

Tracks:

manfred, Op 115 - overture
kinderszenen, Op. 15 - traumerei (Dreaming)
Piano quintet In E Flat Major, Op.44 - scherzo : molto vivace - trio 1 - trio 2 - l'istesso tempo
fantasiestuke, Op. 73 - zart und mit ausdruck
Piano concerto In A Minor, Op. 54 - allegro affettuoso
carnaval Op. 9 - marche des davidsbundler cotre les philistins
Symphony No. 3 In E Flat Major, Op. 97, 'rhenish' - scherzo: sehr massig
waldeszenen, Op. 82 - Bird As prophet
Symphony No.1 In B Flat Major, Op. 38, 'Spring' - Andante un poco maestoso - allegro molto vivace

Average customer rating:

Stunning. . . .
PORTRAIT OF AN ARTIST
A world-changing musician
CZIFFRA - A Keyboard Phenomenon

Les introuvables de Cziffra

Manufacturer: EMI Int'l
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Liszt: Works For Piano
Rendez-vous de Senlis
Georges Cziffra Plays Chopin, Liszt & Franck (EMI Classic Archive)
Chopin: uvres pour piano
Liszt: Piano Concertos; Totentanz; Hungarian Fantasy

ASIN: B000002SBW
Release Date: 2002-08-12

Tracks:

La Campanella, Grande Etude De Paganini No. 3
Nocturne No. 3 In A Flat Major, Reve D'Amour
Mephisto Valse (D'Apres Le Faust De Lenau)
Les Jeux D'Eau A La Villa D'Este
Valse Oubliee No. 1
Rhapsodie Espagnole
Valse Impromptu
La Ronde Des Lutins, Etude De Concert No. 2
Grand Galop Chromatique
Apres Une Lecture Du Dante, Fantasie Quasi Sonata (Extrait From 'Les Annees De Pelerinage')

Tracks:

Polonaise D'Eugene Oneguine (Tchaikovsky)
Rigoletto, Paraphrase De Concert (Verdi)
Tarentelle De Bravoure Sur Des Theme De 'La Muette De Portici' (Auber)
Valse De Faust (Gounod)
Improvisation Sur Les Themes De Guillaume Tell (Rossini)
Valse Triste (Vecsey)
Tritsch Tratsch Polka (Johann Strauss)
Le Beau Danube Bleu, Paraphrase (Johann Strauss)
Danse Hongroise No. 5 (Brahms)
Fantaisie Roumaine (Improvisation Dans Le Style Tzigane)
Le Vol Du Bourdon (Rimsky-Korsakov)

Tracks:

Islamey, Fantaisie Orientale
Toccata In C Major, Op. 7
Andante Et Rondo Capriccioso In E Major, Op. 14
Rondo In E Flat Major, Op. 11
Polonaise In C Major, Op. 89
Rondo A Capriccio In G Major, Op. 129
Andantino In B Minor
Bourree In E Flat Major
Sonata In C Major, K159
Le Tic Toc Choc ,Ou Les Maillotins
Les Barricades Mysterieuses
L'Anguille
La Bandoline
Les Petits Moulins A Vent
Les Folies Francaises Ou Les Dominos
La Poule
Le Rappel Des Oiseaux
Gavotte En Rondeau

Tracks:

Variations In C Major, Sur 'God Save The King', WoO 78
12 Variations In A Major, Sur Un Theme Russe (Wranitzky), WoO 71
32 Variations In C Minor, WoO 80
Fantaisie In F Minor, Op. 49
Book 1 - Variations Sur Un Theme De Paganini, Op. 35
Book 2 - Variations Sur Un Theme De Paganini, Op. 35

Tracks:

I. Grave - Allegro Molto E Con Brio, Sonata No. 8 In C Minor, Op. 13
II. Adagio Cantabile, Sonata No. 8 In C Minor, Op. 13
III. Rondo, Sonata No. 8 In C Minor, Op. 13
I. Allegro - Sonata No. 10 In G Major, Op. 14
II. Andante - Sonata No. 10 In G Major, Op. 14
III. Scherzo -Allegro Assai - Sonata No. 10 In G Major, Op. 14
I. Andante Con Variazioni - Sonata No. 12 In A Flat Major, Op. 26
II. Scherzo (Allegro Molto) - Sonata No. 12 In A Flat Major, Op. 26
III. Marcia Funebre (Andante Maestoso) - Sonata No. 12 In A Flat Major, Op. 26
IV. Allegro - Sonata No. 12 In A Flat Major, Op. 26
I. Andante - Allegro -Allegro Molto Vivace - Sonata No. 13 In E Flat Major, Op. 27
II. Adagio Con Espressione - Sonata No. 13 In E Flat Major, Op. 27
III. Allegro Vivace - Sonata No. 13 In E Flat Major, Op. 27

Tracks:

Preambule Carnaval Op9
Pierrot Carnaval Op9
Arlequin Carnaval Op9
Valse Noble Carnaval Op9
Eusebius Carnaval Op9
Florestan Carnaval Op9
Coquette Carnaval Op9
Replique Carnaval Op9
Papillons Carnaval Op9
A.S.C.H., S.C.H.A., Lettres Dansantes Carnaval Op9
Chiarina Carnaval Op9
Chopin Carnaval Op9
Estrella Carnaval Op9
Reconnaissance Carnaval Op9
Pantalon Et Colombine Carnaval Op9
Valse Allemande - Intermezzo: Paganinni Carnaval Op9
Aveu Carnaval Op9
Promenade Carnaval Op9
Pause Carnaval Op9
Danse Des Davidsbundler Contre Les Philistins Carnaval Op9
I. Des Abends Fantasiestucke Op12
II. Aufschwung Fantasiestucke Op12
III. Warum? Fantasiestucke Op12
IV. Grillen Fantasiestucke Op12
V. In Der Nacht Fantasiestucke Op12
VI. Fabel Fantasiestucke Op12
VII. Traumeswirren Fantasiestucke Op12
VIII. Ende Vom Lied Fantasiestucke Op12
I. Allegro - Carnaval De Vienne, Op. 26
II. Romanze - Carnaval De Vienne, Op. 26
III. Scherzino - Carnaval De Vienne, Op. 26
IV. Intermezzo - Carnaval De Vienne, Op. 26
V. Final - Carnaval De Vienne, Op. 26

Tracks:

Fantaisie Hongroise In F Major For Piano And Orchestra
Totentanz, Paraphrase Sur Le 'Dies Irae' Pour Piano Et Orchestre
Variations Symphoniques Pour Piano Et Orchestre
I. Allegro Molto Moderato - Concerto For Piano And Orchestra In A Minor, Op. 16
II. Adagio - Concerto For Piano And Orchestra In A Minor, Op. 16
III. Allegro Moderato Molto E Marcato - Andante Maestoso - Concerto For Piano And Orchestra In A Minor, Op. 16

Tracks:

I. Adagio Sostenuto Assai - Concerto No. 2 For Piano And Orchestra In A Major
II. Allegro Agitato Assai - Concerto No. 2 For Piano And Orchestra In A Major
III. Allegro Moderato - Concerto No. 2 For Piano And Orchestra In A Major
IV. Allegro Deciso - Concerto No. 2 For Piano And Orchestra In A Major
V. Marziale, Un Poco Meno Allegro - Concerto No. 2 For Piano And Orchestra In A Major
VI. Allegro Animato - Concerto No. 2 For Piano And Orchestra In A Major
I. Allegro Maestoso - Concerto No. 1 For Piano And Orchestra In E Flat Major
II. Quasi Adagio - Concerto No. 1 For Piano And Orchestra In E Flat Major
III. Allegretto Vivace - Allegro Animato - Concerto No. 1 For Piano And Orchestra In E Flat Major
IV. Allegro Marziale Animato - Concerto No. 1 For Piano And Orchestra In E Flat Major
I. Allegro Non Troppo E Molto Maestoso - Allegro Con Spirito - Concerto No. 1 For Piano And Orchestra In B Flat Minor, Op. 23
II. Andante Semplice - Prestissimo - Tempo 1 - Concerto No. 1 For Piano And Orchestra In B Flat Minor, Op. 23
III. Allegro Con Fuoco - Concerto No. 1 For Piano And Orchestra In B Flat Minor, Op. 23

Customer Reviews:

Stunning. . . . .......2007-01-10

I bought this set with some trepidation, since I didn't know what to expect from Cziffra's playing of composers other than Liszt. I had only heard him in his mercurially brilliant Lisztian incarnation, and didn't know how he would do with a less flamboyant style.
I have been very pleasantly surprised, especially at his Beethoven and his Schumann. I found that he kept the spontaneity of his Lisztian interpretations, but channelled it chronologically into insightful and spontaneous Beethoven interpretations, while respecting most of the rules and performance practices of the Classic era.
His Schumann was mercurial and spontaneous in a Romantic fashion, also, and - of course - brilliantly digitally played. As to the Liszt, it's par excellence; I've never heard that music played with such spontaneity and
digital fluency.
The sound quality is surprisingly good, altho somewhat uneven. I highly recommend this set to anyone who loves great piano-playing. My favorite pianist is still Richter, but Cziffra takes first prize in his Liszt, and runs a close second with other composers' music.

PORTRAIT OF AN ARTIST.......2006-10-15

The eight discs making up this set are invaluable to anyone interested in this extraordinary musician and pianist. His career was cut tragically short, and while it lasted he was most in demand to display his astounding technique in Liszt. He did it because he could. Not being enormously attracted to Liszt I was slow in coming to know Cziffra, but when I did what struck me forcibly was that the picture I had been given of him was seriously misleading. Any suggestion that he was a wilful virtuoso who turned the standard classics into something of his own is 180 degrees wide of the mark, and this selection enables us to hear what his playing was really like in music ranging from Lully and Couperin to the late 19th century, taking in on the way Rameau, Scarlatti, C P E Bach, Beethoven, Hummel, Chopin, Mendelssohn and Schumann. Liszt is here in the shape of the two concertos, the Totentanz and the Hungarian Fantasy plus some solos, my collection of least favourite romantic concertos is enhanced with his renderings of the Grieg and Tchaikovsky, but relief from these is provided with Franck's symphonic variations. Among the non-Liszt solo pieces we are given a number usually thought to call for exceptional virtuosity, namely Schumann's toccata, Mendelssohn's rondo capriccioso and Brahms's Paganini variations. Balakirev's Islamey is here too, but in a version of Cziffra's own, and so are some of his own virtuoso arrangements including one of the Flight of the Bumblebee as well as four similar efforts from Liszt.

Cziffra himself didn't aid popular comprehension by saying that he couldn't play Beethoven. I already owned his Waldstein, but here we have four more sonatas plus some smaller pieces, all early works. If I have a fault to find with his Waldstein it's that it is rather understated. What I don't fault at all is his sense of Beethoven's idiom, and the only flash of Cziffra's phenomenal technique comes where there can be no objection in the up-and-down octaves near the end. These are normally played glissando, because to finger them in strict time is impossible, allegedly. Even Horowitz can't do that - but Cziffra can. This really sums up his way of doing things - the technique is exercised strictly when needed, and then not in a showy way unless the sense of the music demands that. Try the Mendelssohn rondo here - light-fingered in the main rondo theme, relaxed in the episodes - then hear Serkin on Aura in his 1957 recital in Lugano, high-tension and full-speed-ahead. Serkin brought the audience to its feet, Cziffra is simply enjoying the piece, and very Mendelssohnian he sounds. Or again the Schumann toccata. Richter won raptures from the critics for his handling of the rat-tat fortissimo chords near the end while making no concessions to the tempo. He does that no better than Cziffra, if as well. The difference is that Richter `makes more' of the supposedly virtuoso sequences earlier. Now how about Cziffra's Beethoven here? It is natural, idiomatic and kept within a certain volume-level. There is no showing off let alone messing around. If Cziffra recalls anyone it is Kempff, and these performances would be safe models for teachers. In Schumann it's the same story. Not everyone could play Traumeswirren like this, and here and there the finger-work had me rubbing my eyes, but I keep sensing that Cziffra is not even aware that he's doing anything exceptional. The idiom is dead right, the rubato is natural, the lyricism is spontaneous if less `warm' than some, the sense of the overall structure is effortless - and I could say all that about Chopin's F minor fantasy too.

I can't avoid Liszt, but some comparisons are interesting. This high-powered Totentanz has been rightly praised, but both in this work and in the first concerto I feel that Michelangeli beats Cziffra at what is supposedly Cziffra's own game. I hear Michelangeli as Cziffra's solitary equal as a technician, but in second-rate music like this spontaneity and dexterity are trumped by an above-it-all Olympian aloofness, and Cziffra undoubtedly does not take the ultra-care that Michelangeli takes over perfect evenness of touch, sublime poise in the rhythm and super-perfection in the trills. (In the matter of trills, you can hear what Cziffra can do when he puts his mind to it in the fiendish 4th variation in book 1 of Brahms's Paganinis). In the 2nd concerto Cziffra is the best I have yet heard. In sheer technical address neither he nor anyone surpasses Richter, but where I like Cziffra better is in an aspect of his playing that gets too little attention, namely his natural and unaffected lyricism. In the Hungarian Fantasy, the Liszt solos and the various arrangements I imagine Cziffra is unsurpassed and unsurpassable, not that I propose to research that matter much.

The Grieg and Tchaikovsky concertos are here too. Cziffra adopts moderate tempi in the outer movements of the Grieg as the composer directs. The first movement of the Tchaikovsky is done as I like it, insofar as I like it at all. The introduction is taken fast, rather as Horowitz and Toscanini take it although I miss Toscanini's direction. The last movement however is taken at a very moderate pace, with the excitement saved for the end. Later performances are of some French music. In these pieces, as in the Scarlatti sonata, I wouldn't say that Cziffra stands out particularly - with one telling exception, Couperin's Barricades Mysterieuses, atmospheric and bewitching. Was this what they told you to expect from Cziffra?

He was a natural, a child of the gods. The near-unbelievable technique was an important part of his gift, but what I prize most is his lyric manner - simple, innocent and clear-eyed. His actual touch is not one that you could identify within seconds, as you could identify that of Horowitz, Serkin, Richter or Michelangeli, but it is utterly free from affectation. The better you know him, the more you will love him.

A world-changing musician.......2006-01-30

I've not a lot to add to Alan Thorpe's review except to say that to be young when Cziffra burst upon the world in 1956 after he left Hungary & started playing in western Europe was sheer intoxication--and it wasn't all Liszt either! Like Richter, who appeared at the same time, he played Schumann in a way that opened up entire new fields of tonal & interpretive possibility. I must say, too, that from the start, I admired his Beethoven--I like lyrically played Beethoven! Why shouldn't Beethoven sing as well as growl? He did write some lovely songs, after all. Cziffra's versions of Op.13, Op.14/2 & Op.26 on this set are very satisfying--I just wish they had managed to include a recording of his version of the Waldstein, too.

CZIFFRA - A Keyboard Phenomenon.......2001-05-26

Issued in 1991 by EMI France to celebrate Cziffra's 70th birthday this 8 CD boxed set is a bargain. The first CD is all Liszt and contains some of the most spellbinding playing you are ever likely to hear. Fire and brimstone reign as Cziffra tears up the keyboard in the Dante Sonata's demonic moments; surely a whiff of sulphur as he spontaneously combusts during the Mephisto-Valse; the Rhapsodie espagnole and Grand Galop chromatique {see him sweat playing this on Philip's `Great Pianists of the 20th Century video.}. As a contrast, be seduced by his heart-melting rendering of the third Liebestraume; the caprice of the Valse-Impromptu; and have the waters of `Les Jeux d'eau a la Villa d'Este' ever cascaded so onomatopoeically and with such a transcendental variety of touch and nuance. More diablerie follows on disc 2 with transcriptions by Liszt and those {in} famous ones by Cziffra himself. I have never heard a more demonic Gounod/Liszt ` Valse de Faust'; Auber/Liszt `Tarantelle de bravura'; or Tchaikovsky/Liszt Polonaise from `Eugene Onegin'; as for Cziffra's playing of his own transcriptions and paraphrases, especially the Strauss `Tritsch-tratsch polka' and Rimsky-Korsakov `Flight of the Bumble-bee; well, they are in a class of their own. Both Katsaris and Volodos recorded the latter pieces but I'm afraid they cannot compare with Cziffra's sheer electricity and panache. You will now need an ice pack as disc 3 opens with Balakirev's Islamey which starts steadily enough compared to say Simon Barere's famous account {now on APR} but increases in excitement as Cziffra adds all kind of gypsy embellishments as he builds to a fiery conclusion. Excitement is also the key to the next piece; Schumann's Toccata, which Cziffra plays with effortless abandonment and joie de vivre as he also does Mendelssohn's Rondo Capriccioso. Cziffra loved to play Baroque music and the rest of this disc is taken up by mainly short but characterful pieces by Couperin, Lully, Rameau and Krebs. Many were recorded in the 1980s and sound better if played back at a reduced volume level as they were obviously too closely miked. Cziffra once said that he couldn't play Beethoven so preferred to leave it to others who could. He did record a number of sonatas and this selection includes very fine accounts of the `Pathetique'; No. 13 in E flat Op27/1 {companion to the `Moonlight'};and Op. 26 in A flat. He brings a full cantabile to the latter works opening movt. and to the Adagio of the `Pathetique'. Elsewhere he plays with refinement and elegance; everything is in the best possible taste and there is nothing to offend, but those who like their Beethoven a bit more rough and gruff could be a bit disappointed as they might also be with Cziffra's Brahm's Paganini Variations which are technically stunning but find Cziffra musically out of sorts. The Schumann disc finds him on top form. Like many great artists Cziffra loved to play Schumann and he was equally at home with Eusebius { the dreamer} as he was with Florestan { the impetuous side of his character} and this is self evident in his brilliantly characterful accounts of Carnaval, Fantasiestücke, and Carnaval de Vienne - the latter piece highly praised by Cortot after he heard Cziffra during a Paris radio broadcast in the late 1950s. Discs 7 and 8 are all concertante works and show Cziffra at the very height of his stupendous powers. Again Cziffra has his demon up in the most astounding Liszt Totentanz ever recorded; a Hungarian Fantasy with all the improvisational colours of a band of gypsy fiddlers and an ideally recreative performance of the second concerto to make all others sound four-square . To cap this there is a fabulous Grieg concerto in which Cziffra dares to improvise the end of the Lisztian style cadenza; a meltingly beautiful slow movt with an excitingly brilliant finale. Last but certainly not the least, a very poetic reading of Franck's Symphonic Variations and a Tchaikovsky first concerto which combines thrilling virtuosity with all those individual touches that only a genuinely recreative artist can bring to such a familiar masterpiece. This collection is a splendid tribute to one of histories greatest pianists - an artist who knew the authentic meaning of ` bravura'.

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Classical Highlights: Schumann

Manufacturer: St. Clair Entertainment
ProductGroup: Music
Binding: Audio CD

Trios | Chamber Music | Classical | Styles | Music

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ASIN: B0000CDLC1
Release Date: 2003-09-16

Tracks:

Concerto for Piano and Orchestra in a Minor: Allegro Affettuoso
Concerto for Piano and Orchestra in a Minor Intermezzo: Andante ...
Concerto for Piano and Orchestra in a Minor: Allegro Vivace
Carneval
Kinderszenen (Scenes from Childhood): From Foreign Lands and People
Kinderszenen (Scenes from Childhood): Perfect Happiness
Kinderszenen (Scenes from Childhood): Important Event
Kinderszenen (Scenes from Childhood): Ride of the Rocking Horse
Kinderszenen (Scenes from Childhood): Almost Too Serious
Kinderszenen (Scenes from Childhood): Bogeyman's Coming
Kinderszenen (Scenes from Childhood): Child Falling Asleep
Kinderszenen (Scenes from Childhood): Hark! The Poet Speaks
Concerto for Violoncello and Orchestra in a Minor: Nicht Zu Schnell
Concerto for Violoncello and Orchestra in a Minor: Langsam
Concerto for Violoncello and Orchestra in a Minor: Sehr Lebhaft
Symphony No. 4 in D Minor: Introduction
Symphony No. 4 in D Minor: Allegro
Symphony No. 4 in D Minor Romance
Symphony No. 4 in D Minor: Scherzo
Symphony No. 4 in D Minor: Finale
FantasiestFantasy Pieces) For Clarinet and Piano, Pt. 1
FantasiestFantasy Pieces) For Clarinet and Piano, Pt. 2
FantasiestFantasy Pieces) For Clarinet and Piano, Pt. 3
Waltz "Bunte Bler"
Waltz "Albumbler"

Tracks:

Symphony No. 1 in B Flat Major "Spring": Andante un Poco Maestoso, ...
Symphony No. 1 in B Flat Major "Spring": Larghetto, Attaca
Symphony No. 1 in B Flat Major "Spring": Scherzo - Molto Vivace
Symphony No. 1 in B Flat Major "Spring": Allegro Animato E Grazioso
Manfred Overture
Hermann und Dorothea Overture
Trio for Violin, Violoncello and Piano No. 2 in F Major: Sehr Lebhaft
Trio for Violin, Violoncello and Piano No. 2 in F Major Mit ...
Trio for Violin, Violoncello and Piano No. 2 in F Major in ...
Trio for Violin, Violoncello and Piano No. 2 in F Major: Nicht Zu ...
Symphony No. 3 in E Flat Major "Rhenish": Illegro
Symphony No. 3 in E Flat Major "Rhenish": Scherzo
Symphony No. 3 in E Flat Major "Rhenish" Intermezzo
Symphony No. 3 in E Flat Major "Rhenish": Andante
Symphony No. 3 in E Flat Major "Rhenish": Finale
Album F Jugend (Album for the Youth): Melodie (Melody)
Album F Jugend (Album for the Youth): Soldatenmarsch ...
Album F Jugend (Album for the Youth): Trerliedchen ...
Album F Jugend (Album for the Youth): Ein Choral (A Chorale)
Album F Jugend (Album for the Youth): Stn (Little Piece)
Album F Jugend (Album for the Youth): Armes Waisenkind (Poor ...)
Album F Jugend (Album for the Youth): Jrliedchen ...
Album F Jugend (Album for the Youth): Wilder Reiter (Wild ...)
Album F Jugend (Album for the Youth): Volksliedchen (Little Folk
Album F Jugend (Album for the Youth): Frcher Landmann ...

Average customer rating:

Hommage à Werner Haas

Manufacturer: MD&G Records
ProductGroup: Music
Binding: Audio CD

Ballads | Forms & Genres | Classical | Styles | Music

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ASIN: B00005O59D
Release Date: 2001-10-23

Tracks:

Son in E, Op.109: Vivace, Ma Non Troppo
Son in E, Op.109: Gesangvoll, Mit Innigster Empfindung Andante, Molto Cantabile Ed Espressivo
Son in E, Op.109: Var I.
Son in E, Op.109: Var II. Leggiermente
Son in E, Op.109: Var III. Allegro Vivace
Son in E, Op.109: Var IV. Etwas Langsamer Als Das Thema
Son in E, Op.109: Allegro Ma Non Troppo
Nocturne in F#, Op.15 No.2
Etude in g#, Op.25 No.9
Etude in G flat, Op.25 No.9
Scherzo in B flat, Op.31
Sonatine: Modere
Sonatine: Movt De Menuet
Sonatine: Anime
Estampes: Pagodes
Estampes: La Soiree Dans Grenade
Estampes: Jardins Sous La Pluie
Etude in A flat, Op.25 No.1
Ronde Les Lutins (Gnomenreigen): Etude De Conc No.2

Tracks:

Italian Con: (Ohne Bezeichnung)
Italian Con: Andante
Italian Con: Presto
Son in G, Op.14 No.2: Allegro
Son in G, Op.14 No.2: Andante
Son in G, Op.14 No.2: Scherzo. Allegro Assai
Phantasiestucke, Op.12: Des Abends
Phantasiestucke, Op.12: Aufschwung
Phantasiestucke, Op.12: Warum?
Phantasiestucke, Op.12: Grillen
Phantasiestucke, Op.12: In Der Nacht
Phantasiestucke, Op.12: Fabel
Phantasiestucke, Op.12: Traumes Wirren
Phantasiestucke, Op.12: Ende Vom Lied

Tracks:

Son in C, Op.2 No.3: Allegro Con Brio
Son in C, Op.2 No.3: Adagio
Son in C, Op.2 No.3: Scherzo. Allegro
Son in C, Op.2 No.3: Allegro Assai
Son in F, Op.10 No.2: Allegro
Son in F, Op.10 No.2: Allegretto
Son in F, Op.10 No.2: Presto
Son in d, Op.31 No.2: Largo-Allegro
Son in d, Op.31 No.2: Adagio
Son in d, Op.31 No.2: Allegretto
Son in E flat, Op.31 No.3: Allegro
Son in E flat, Op.31 No.3: Scherzo. Allegretto Vivace
Son in E flat, Op.31 No.3: Menuett. Moderato E Grazioso
Son in E flat, Op.31 No.3: Presto Con Fuoco

Tracks:

Kinderszenen, Op.15: Von Fremden Landern Und Menschen
Kinderszenen, Op.15: Curiose Geschichte
Kinderszenen, Op.15: Hasche-Mann
Kinderszenen, Op.15: Bittendes Kind
Kinderszenen, Op.15: Gluckes Genug
Kinderszenen, Op.15: Wichtige Begebenheit
Kinderszenen, Op.15: Traumerei
Kinderszenen, Op.15: Am Camin
Kinderszenen, Op.15: Ritter Vom Steckenpferd
Kinderszenen, Op.15: Fast Zu Ernst
Kinderszenen, Op.15: Furchtenmachen
Kinderszenen, Op.15: Kind Im Einschlummern
Kinderszenen, Op.15: Der Dichter Spricht
Carnaval, Op.9: Preambule
Carnaval, Op.9: Pierrot
Carnaval, Op.9: Arlequin
Carnaval, Op.9: Valse Noble
Carnaval, Op.9: Eusebius
Carnaval, Op.9: Florestan
Carnaval, Op.9: Coquette
Carnaval, Op.9: Replique
Carnaval, Op.9: Sphinxes
Carnaval, Op.9: Papillons
Carnaval, Op.9: Asch-Scha
Carnaval, Op.9: Chiarina
Carnaval, Op.9: Chopin
Carnaval, Op.9: Estrella
Carnaval, Op.9: Reconnaissance
Carnaval, Op.9: Pantalon Et Colombine
Carnaval, Op.9: Valse Allemande
Carnaval, Op.9: Intermezzo: Paganini
Carnaval, Op.9: Aveu
Carnaval, Op.9: Promenade
Carnaval, Op.9: Pause
Carnaval, Op.9: Marche Des Davidsbundler Contres Les Philistins
Sinfonische Etuden, Op.13: Thema. Andante
Sinfonische Etuden, Op.13: I - Un Poco Piu Vivo
Sinfonische Etuden, Op.13: II
Sinfonische Etuden, Op.13: III
Sinfonische Etuden, Op.13: IV
Sinfonische Etuden, Op.13: V
Sinfonische Etuden, Op.13: VI - Agitato
Sinfonische Etuden, Op.13: VII - Allegro Molto
Sinfonische Etuden, Op.13: VIII
Sinfonische Etuden, Op.13: IX - Presto Possible
Sinfonische Etuden, Op.13: X
Sinfonische Etuden, Op.13: XI
Sinfonische Etuden, Op.13: XII - Finale

Tracks:

Scherzo in b flat, Op.31
Scherzo in c#, Op.39
Scherzo in b, Op.20
Nocturne in b flat, Op.9 No.1
Nocturne in E flat, Op.9 No.2
Nocturne in B, Op.9 No.3
Ballade in A flat, Op.47

Tracks:

Son No.2 in d, Op.14: Allegro, Ma Non Troppo
Son No.2 in d, Op.14: Scherzo. Allegro Marcato
Son No.2 in d, Op.14: Andante
Son No.2 in d, Op.14: Vivace
Son No.4 in c, Op.29: Allegro Molto Sostenuto
Son No.4 in c, Op.29: Andante Assai
Son No.4 in c, Op.29: Allegro Con Brio, Ma Non Leggiero
6 Prlds, Op.13: Maestoso in c
6 Prlds, Op.13: Allegro in a
6 Prlds, Op.13: Andante in e
6 Prlds, Op.13: Allegro in e
6 Prlds, Op.13: Allegro in D
6 Prlds, Op.13: Presto in b
Etude in b flat, Op.8
Etude in c#, Op.42
Son No.3 Op.46: Allegro Con Moto
Son No.3 Op.46: Andante Cantabile
Son No.3 Op.46: Allegro Giocoso
Son 1924: I
Son 1924: II. Adagietto
Son 1924: III

Schumann: The Complete Piano Works (Box Set)

Average customer rating:

Good for the rare pieces.....but...
Mystery Solved
Mystery meat

Schumann: The Complete Piano Works (Box Set)

Manufacturer: Nuova Era
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Haydn: Complete Symphonies (Box Set)
Liszt: Piano Works
Schumann: Complete Chamber Music [Box Set]
The Complete Piano Music of Sergei Rachmaninov
Mendelssohn: Complete Piano Music

ASIN: B000058THK
Release Date: 2001-03-06

Customer Reviews:

Good for the rare pieces.....but..........2006-11-08

Overall, you will be hard up to find a more thoroughly complete two hand piano survey of Schumann's piano opus. However, for the more "popular" pieces such as the op 17, or the kinderszenen, these are decent to mediocre versions are best. They arent bad, Jorg Demus is a skilled pianist, though has always in my view been more successful in a supporting role, as evidenced by his masterful accompaniment in Dichterliebe and assorted Schubert lieder. If you are familiar with Richter's masterful Schumann interpretations-or Horowitz for many of the works, or Lupu, Argerich, these pale in comparison. If you are out for quantity-I would recommend the Ashkenazy set-though it is incomplete. Again, many of the works by schumann that you can only find here will only be of interest to the absolute Schumannaholic, which I am, but it is kind of a two way street because if you are a schumann madman, then you will know how third tier these performances truly are.

Mystery Solved.......2006-10-07

First off, thanks to WTA for his extremely thoughtful and comprehensive review, which helped me decide to purchase this Nuova Era set (his reasoning about the unlikelihood that Demus would record this huge corpus again was especially insightful).

I own the original 20-LP/6-volume Musical Heritage Society set issued between 1971 and 1973. Having seen the CD set in a store last year, I was puzzled about whether it was a transfer of these invaluable discs, which contain vast tracts of Schumann that you will be hard pressed to find elsewhere (included, for instance, are several posthumously issued works and even a few pieces played from unpublished manuscripts). WTA's review gave me enough clues to suspect that these discs were exactly what I'd been waiting for.

Having just received them, I'm happy to confirm that they are indeed the MHS performances (minus most of the four-hand works, however; see below). I instantly recognized the character of the piano sound and the recording acoustic (both much improved on CD), and a quick check of rhetorical gestures in a sonata movement that I especially value in Demus's hands showed the CD and LP versions to be identical. MHS did not always provide track timings for individual sections of the big piano suites. But where such detail exists, respective CD and LP timings are consistently mere seconds apart -- easily the result of different engineering choices for silent lead-ins and lead-outs to each track.

A further clue comes from a small note on the jewel-box tray inserts, indicating a 1989 digital remastering. I can think of no fully digital (DDD) recording that would be getting remastered so early in CD history. Anything from the '80s would almost certainly be making its first appearance in the new storage medium. Moreover, the sound has none of the hallmarks of DDD recordings (as WTA notes, for instance, Demus's recordings have detectable [but nonintrusive] background hiss).

So for all these reasons, I feel confident in declaring that this set is basically the old MHS offering. There are two sad omissions, however:

(1) The CD set includes all the solo pieces in the LP set, as well as a short, posthumously published F-minor Scherzo on CD 12 that MHS seems to have left out. Nuova Era, alas, omits the vast majority of the often-delightful four-hand works, for which Norman Shetler joined Demus (most of these items appeared in MHS's five-disc finale). The Sketches for Pedal Piano, Opp. 56 & 58, are here (perhaps because they were originally conceived for a now-forgotten solo instrument that had a pedalboard [Alkan was said to have been its greatest master]; on a modern instrument, Schumann's pedal-piano music thus takes two pianists), but -- shame on Nuova Era! -- Shetler gets no credit as the second pianist. If you'd like a fine but inexpensive tour of the four-hand output, try the three-disc VoxBox ("Schumann Complete Works For Piano 4-Hands") featuring Peter Frankl, Andras Schiff, et al.

(2) The CD set lacks the superb MHS album notes by Douglas Townsend. Also missing is Demus's own illuminating statement about recording these works across a span of about three years. These are thoroughly digested interpretations: Demus not only memorized every note but also played every last work in concert. Complete recordings like this one are not necessarily commercial gimmicks, as some so carelessly assert. A serious and sensitive musician who takes on such a task will uncover secrets and interconnections that only exposure to a composer's full output in a given area can progressively disclose. As Demus explains (in Herman Adler's translation from the German), "Only by knowing Schumann's creative output in its totality has it been possible to uncover fresh facets in overfamiliar standard works. [. . .] In the music of no other composer do we find as many cross-relations and associations throughout his work. Schumann likes to quote himself as well as other composers, as did, later, his French brother-in-spirit, Claude Debussy. [. . .] Only knowledge of this entire universe will result in something I would call *Stilsicherheit* (stylistic assurance)."

But let's not dwell on what's *not* here. As WTA observes, this is a deeply rewarding collection that every serious Schumann-lover will want to explore. Are these performances the last word on Schumann's poetic realm? Of course not: no such "last word" exists. The essential thing is that throughout this enormous journey, Demus never falsifies the music, and he plays with an honesty that can be far more illuminating than flashier approaches.

So, Schumann-lovers, get this set as cheaply as you can -- but one way or another, get it while you can!

Mystery meat.......2006-04-10

I don't think I've ever before experienced such frustration in trying to assess a product. Here a well-regarded and fairly well-known pianist sits down and records all (even that's up for grabs) the piano music of a pretty well-known and well-regarded composer and barely a peep out there in Internet land.

What I did encounter after a lot of searching, and according to different reviewers who deigned to barely mention this bulky and hard-to-ignore boxed set, was this dopey basketful of professional opinions:

1) The recording quality was poor according to one guy
2) The piano was out of tune according to some editor who happened to also be a piano tuner
3) The music was criminally recorded using a piano with beat hammers and strings
4) Demus may or may not have recorded the set with a period instrument that also may have had beat hammers and strings
5) Nobody should record Schumann on a period instrument according to another expert (without really letting us know if this was the case here)
6) The interpretations were wooden
7) The interpretations were fabulous despite the crappy sound and beat up old out-of-tune piano
8) Nobody was sure if this was his complete Schumann recorded in the 1970s and released on Musical Heritage or these were new DDD recordings as listed

OK--as the notes with this set absolutely stink and no one out in Internet land seems to have any consistent and coherent thing to say about it, this then is my judgement, based on careful listening and a few intelligent guesses.

1) The interpretations are great, wonderful, really enjoyable, idiomatic--some might consider them slightly wooden because there's next-to-no pedal which leads me to believe it is a period instrument he's recorded on. This isn't Argerich slamming away at these so don't expect that. Yamaha fans will be disappointed. Demus clearly knows his Schumann and plays crisply and accurately.
2) The sound quality, while hardly SACD, is just fine and, again if this is a period instrument and I sure tend to think so, what I'm hearing would be about right. I rather like the engineering as the result is intimate and warm
3) Honestly, did Demus record all these in the 1970s without them getting any attention and then do it all over again in the 1980s just to get ignored again? I hear distinct tape hiss if I listen closely, this doesn't sound like a 1989 DDD recording (which the box claims it to be) which is probably why the recording has some warmth and (audible tape hiss)
4) Who am I to argue with an editor/piano tuner but if this piano is out of tune I'm not noticing it one zot. Also, didn't they tune pianos a little differently way back in 1850 or so?

SO--I'll guess this is the complete piano music of Robert Schumann (perhaps minus one small piece according to yet another miffed commentator, although he keeps talking about a 12 CD set and this has 13 discs!)recorded in the 1970s with Jorg Demus playing a piano built around 1850 or so with everything that implies. I'll also guess that a lot of reviewers out there, left to fend for themselves without some promotional sheet from the label, maybe without even free promo copies, were really reaching a bit. Even if I'm wrong I seem to be doing better than the second-guessing I found elsewhere and anyway the result is really enjoyable. I simply like this set a lot even if someday I may discover it is, in fact, Ernest Borgnine playing a badly tuned pool hall upright in 1953. Less than no stars to Nuovo Era for never seeming to get the presentation of this delightful set right--license it to Brilliant and they'll do it up properly for Pete's sake and maybe you'll actually sell a few. They might even be able to kick down that DDD tape hiss a bit. It's also too danged expensive given even the putative late recording date--it shouldn't be more than $120 under any circumstances. I got mine for less than $40 at a classical cut-outs and deletions place.

Conclusion: This whole situation is sad. Jorg Demus is a great pianist and he obviously loves Schumann. Schumann's piano music is worth the effort. This should be a well-known and highly-regarded set and I'm happier with this than with any other big box of piano I may own, short of a Brahms set.

Liszt: Piano Concerto No. 1; Schumann: Carnaval; Arabesque

Average customer rating:

Liszt: Piano Concerto No. 1; Schumann: Carnaval; Arabesque

Manufacturer: Centurion Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B0001D0FZG
Release Date: 2003-01-01

Average customer rating:

Stunning musicality, one of the greatest recordings ever
Great Pianists of the 20th Century - Myra Hess

Myra Hess

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music

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Emil Gilels 3 (III) (Great Pianists of the Century series) - Brahms / Chopin / Clementi / Grieg / Schubert / Schumann (2 CDs)

ASIN: B00001IVPC
Release Date: 1999-09-14

Tracks:

Sonata In C Minor, K. 11
Sonata In G, K. 4
Carnaval, Op.9: Preamble
Carnaval, Op.9: Pierrot
Carnaval, Op.9: Arlequin
Carnaval, Op.9: Valse noble
Carnaval, Op.9: Eusebius
Carnaval, Op.9: Florestan
Carnaval, Op.9: Coquette
Carnaval, Op.9: Replique
Carnaval, Op.9: Papillons
Carnaval, Op.9: A.S.C.H. - S.C.H.A. (Letters dansantes)
Carnaval, Op.9: Chiarina
Carnaval, Op.9: Chopin
Carnaval, Op.9: Estrella
Carnaval, Op.9: Reconnaissance
Carnaval, Op.9: Pantalon et Columbine
Carnaval, Op.9: Valse Allemande
Carnaval, Op.9: Intermezzo: Paganini
Carnaval, Op.9: Aveu
Carnaval, Op.9: Promenade
Carnaval, Op.9: Pause
Carnaval, Op.9: Marche des 'Davidsbundler' contre les Philistins
Goyescas: Quejas o la maja y el ruisenor (from: Goyescas)
Lieder ohne Worte, Op. 102 No. 5
Waltz in A Flat,Op. 39 No. 15
Intermezzo in C, Op. 119 No. 3
Piano Concerto In A Minor, Op.54: Allegro affettuoso
Piano Concerto In A Minor, Op.54: Intermezzo. Andantino grazioso
Piano Concerto In A Minor, Op.54: Allegro vivace

Tracks:

Symphonische Etuden: Thema
Symphonische Etuden: Etude I
Symphonische Etuden: Etude II
Symphonische Etuden: Etude III
Symphonische Etuden: Etude IV
Symphonische Etuden: Etude V
Symphonische Etuden: Etude VI
Symphonische Etuden: Etude VII
Symphonische Etuden: Etude VIII
Symphonische Etuden: Etude IX
Symphonische Etuden: Etude X
Symphonische Etuden: Etude XI
Symphonische Etuden: Etude XII (Finale)
Piano Sonata In E, Op.109: Vivace, ma non troppo - Adagio espressivo - Tempo I
Piano Sonata In E, Op.109: Prestissimo
Piano Sonata In E, Op.109: Gesangvoll, mit innigster Empfindung
Piano Sonata In A-flat, Op.110: Moderato cantabile molto espressivo
Piano Sonata In A-flat, Op.110: Allegro molto
Piano Sonata In A-flat, Op.110: Adagio ma non troppo
Piano Sonata In A-flat, Op.110: Fuga. Allegro ma non troppo
'Jesu, Joy Of Man's Desiring'

Amazon.com

The famous images of Dame Myra Hess defying German bombs during World War II to organize National Gallery concerts or play in the shelters during the raids have become iconic for a time when music making really seemed a matter of life or death. But as integral a part of her time as she was, Hess also managed to distance herself from its penchant for extravagant, juicy, romantic style; she actually anticipated something of the "objective" stance to come from keyboard artists in the future. Her Schumann Carnaval--which has the earliest provenance (1938) on the set and was one of her own favorite recordings--sings its clarified beauties through the distractions of tape hiss with a marvelously clear-headed vision. Hess's limpidity of approach sketches a "Eusebius" and "Florestan" that are not frantic contrasts but surprisingly close in spirit, while Schumann's Bachian lineage is always in evidence (and just listen to her counterpoint in the two Scarlatti gems). Not quite so compelling are the sometimes too sober and controlled 1954 Symphonic Etudes, but a real treasure here is the highly regarded second recording Hess made of the Schumann Concerto (1952) under Rudolf Schwarz: exquisitely mellow and imbued with poetry. Hess was also a commanding Beethoven interpreter, with special insights into the late sonatas. The autumnal breath she weaves into the Opus 109, with its spectacularly executed trills in the quickening of the variations, makes this one of the lasting accounts. The set concludes with Hess's signature arrangement of the chorale from Bach's Cantata 147: sure, steadfast, of moving dignity. --Thomas May

Customer Reviews:

Stunning musicality, one of the greatest recordings ever.......2001-04-15

Myra Hess was a master of expression and artistry, all of her true gifts shining through beautifully in this incredible CD. It is now one of my most cherished posessions- I find it both moving and inspiring.

Great Pianists of the 20th Century - Myra Hess.......2000-06-25

Myra Hess has an exquisite singing tone on the piano... she interprets each composer's selection with sincerity and beauty... What a wonderful collection of various composers! This recording is a must-have in every classical music-lover's collection!

Average customer rating:

Piano Masters: Karol Szreter

Manufacturer: Pearl
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
ASIN: B00005NUP5
Release Date: 2001-09-25

Tracks:

Son No.8 in c, Op.13 'Pathetique': Grave - Allegro Molto E Con Brio
Son No.8 in c, Op.13 'Pathetique': Adagio - Cantabile
Son No.8 in c, Op.13 'Pathetique': Rondo (Allegro)
Son No.14 in c#, Op.27, No.2 'Moonlight': Adagio Sostenuto
Son No.14 in c#, Op.27, No.2 'Moonlight': Allegretto
Son No.14 in c#, Op.27, No.2 'Moonlight': Presto Agitato
Son No.15 in D Op.28 'Pastorale': Allegro
Son No.15 in D Op.28 'Pastorale': Andante
Son No.15 in D Op.28 'Pastorale': Scherzo
Son No.15 in D Op.28 'Pastorale': Rondo
Con No.4 in G Op.58: Allegro Moderato
Con No.4 in G Op.58: Andante Con Moto
Con No.4 in G Op.58: Rondo (Vivace)

Tracks:

Carnaval Ste Op.9: Preambule
Carnaval Ste Op.9: Pierrot
Carnaval Ste Op.9: Arlequin
Carnaval Ste Op.9: Valse Noble
Carnaval Ste Op.9: Eusebius
Carnaval Ste Op.9: Florestan
Carnaval Ste Op.9: Coquette
Carnaval Ste Op.9: Replique Sphinxes
Carnaval Ste Op.9: Papillons
Carnaval Ste Op.9: Lettres Dansantes
Carnaval Ste Op.9: Chiarina
Carnaval Ste Op.9: Chopin
Carnaval Ste Op.9: Estrella
Carnaval Ste Op.9: Reconnaissance
Carnaval Ste Op.9: Pantalon Et Colombine
Carnaval Ste Op.9: Valse Allemande
Carnaval Ste Op.9: Intermezzo: Paganini
Carnaval Ste Op.9: Aveu
Carnaval Ste Op.9: Promenade
Carnaval Ste Op.9: Pause
Carnaval Ste Op.9: Marche Des 'Davidsbundler' Contre Les Philistins
Hungarian Rhap No.12 in c#
Liebestraume No.3
Soiree De Vienne
Fruhlingssimmen
Kunstlerleben Op.316
Die Fledermaus: Waltz
Scherzo in e Op.16, No.2
Norwegian Dance No.2
Peer Gynt: Anitra's Dance
March Of The Dwarves
Boite A Musique
Venezia E Napoli: Tarantelle

Yves Nat plays Schumann: Piano Concerto in A minor, Op. 54 (recorded April, 1933); Fantasiestücke, Op. 12 (recorded March 1937); Kinderszenen, Op. 15; Carnaval de Vienne, Op. 26

Average customer rating:

Yves Nat plays Schumann: Piano Concerto in A minor, Op. 54 (recorded April, 1933); Fantasiestücke, Op. 12 (recorded March 1937); Kinderszenen, Op. 15; Carnaval de Vienne, Op. 26

Manufacturer: Dante Records Hpc
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
ASIN: B00000G2KF
Release Date: 1999-12-01

Music Review: