The Beethoven Collection, Vol. 3

1. Leonore Overture No. 3 in C major, Op. 72b
Composed by Ludwig van Beethoven
Performed by Philharmonic Orchestra
2. Symphony No. 5 in C minor ("Fate") Op. 67
Composed by Ludwig van Beethoven
Performed by Philharmonic Orchestra
3. Egmont, incidental music, Op. 84 Overture
Composed by Ludwig van Beethoven
Performed by Philharmonic Orchestra

Customer Reviews:

Nothing but hits.......2001-01-31

As with their first collection of label highlights, Hyperion's new two-disc collection provides a broad sampling of their exceptional catalogue and performers. Particularly rewarding are the selections from Beethoven (Scherzo from String Trio in C minor, op 9 no 3, performed by the Leopold Trio) and Thomas Tallis (Salvator mundi I, performed by the Winchester Cathedral Choir), but experienced and novice listeners alike will find much to enjoy on these discs. It's also a good value--more than 2 1/2 hours of music for less than $10.

Average customer rating:

Ruby has two faces
Schubert for the evening hours...
Ponderous Beethoven and Fussy Schubert
Rubinstein's Schubert -- a revision

Rubinstein Collection, Vol. 55

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

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Rubinstein Collection, Vol. 79
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Rubinstein Collection, Vol. 8
Rubinstein Collection, Vol. 77

ASIN: B00005427J
Release Date: 2001-03-06

Tracks:

Allegro Con Brio
Adagio
Scherzo: Allegro
Allegro Assai
Molto Moderato
Andante Sostenuto
Scherzo: Allegro Vivace Con Delicatezza
Allegro Ma Non Troppo

Customer Reviews:

Ruby has two faces.......2002-04-07

We're used to think of Rubinstein as of a cheerful guy... I mean, reading his autobiography, or other people's opinion on him, we get the portrait of an old but always youngish man with a lot of energy, who doesn't take "everything" for serious, and enjoys life in all its beauty. That's the Rubinstein we often hear on disc: compare his Beethoven Concertos with performances by Backhaus or Schnabel; with Ruby you get "Latin" rhythm and passion not immediately associated with those works. His performance of Sonata n. 3 is no exception; the energy heard in the fast movements and the tone clarity of the slow one are without match in the whole discography of the Sonata.

But there is another Rubinstein: a man who's faced death and sadness, war and loss, a man who watched the world he loved falling apart; most of all, an artist always able to express such different feelings as pain and melancholy. That's the Rubinstein we hear in the latest Chopin recordings (vol. 44-50 and 69), in Spanish music (vol.7 and 18) and in unforgettable performances of Brahms' late piano works. The present recording of Schubert's Sonata shows this face of Rubinstein's artistry; slow tempi, controlled rubato, dark and full sound; we're not used to hear him playing this way, and maybe we're not used to hear the Sonata played this way, either. But I think nobody has ever shown so many ghosts flying through Schubert's classical perfection.

There might be better discs in the Collection, but this one is the best and most complete available portrait of Arthur Rubinstein.

Schubert for the evening hours..........2002-04-03

For me, the Schubert B-flat is a brooding introspective work. Rubinstein spoke of how it reminded him of death. I didn't know that the first time I heard this recording, but that is certainly how I felt about it as well.

Rubinstein recorded it several times before he found a version that he was happy with. Unfortunately, in 1987 when RCA went to release the CD version, they decided to go with a more conventional performance that Rubinstein had recorded a few years earlier rather than the version he authorized for release.

And most folks nodded their head and said, "yes, this is as it should be..." Except, Rubinstein and a handful of us prefer this version.

So, why? Because it captures the darkness that Schubert intended for the work. Rubinstein plays the opening a bit slower than most though thankfully not as slowly as Richter. Listen to the ending of the first movement, it just withers away. The second movement is - mournful, gentle -- as beautiful as the movement has ever been played. The third movement brings hope -- and is intended to balance some of what has preceded it.

I've performed this sonata and own a goodly number of the recordings of this work including 3 Brendel performances, Uchida, Hough, Goode, Schnabel, Afanassiev, Kempf, Dalberto, Cooper, Schiff, Barenboim, Weichert, Richter (3), Kovocivich, Lupu, Pires, and perhaps a dozen others...

While I love a few of these and a couple are technically better performed, this Rubinstein recording is a performance that really touches the heart. Rubinstein liked it. I think you would too. Just be aware that a lot of "experts" disagree.

Since, this a minority view, you might be well advised to purchase this version of the sonata while you still can. The "experts" will likely dictate that this performance be once again hidden from the world.

Oh yes, and the Beethoven...the performance has a Rubinstein stamp on it...but this recording you want for the Schubert.

Ponderous Beethoven and Fussy Schubert.......2001-03-07

William Hupfer, for many years Steinway's chief piano tuner, liked to use baseball analogies when talking about pianists. Vladimir Horowitz, said Hupfer, was like Babe Ruth, hitting a home run. Arthur Rubinstein, on the other hand, was more like Lou Gehrig, always dependable, playing every day he was scheduled. Rubinstein's "batting-average" as a pianist was extraordinarily high--he seemed suited to a very wide range of music. Although he is successful in the works of Beethoven and Schubert elsewhere in this collection, this disc represents his occasional shortcomings.

The Beethoven Sonata, Op. 2, No. 3 is lacking two elements crucial to this early work--charm and humor. Rubinstein's playing throughout is rather bogged-down, ponderous, and lacking in imagination. The wit of Kempff's version (on DG) is sorely missing. Rubinstein seldom played this Sonata in public (he much preferred the Appassionata, which was better suited to him) and listening to this recording one can imagine why.

Rubinstein had a troubled relationship with Schubert's final Piano Sonata. He attempted a recording in the Autumn of 1963, just before embarking on a concert tour which featured the work. His conception of the work changed during the tour, and in the spring on 1964, he tried again in Carnegie Hall. But Rubinstein and his producer, Max Wilcox, were dissatisfied with the recorded sound. A third recording, made at RCA's Italiana Studios in Rome in 1965 satisfied pianist and producer, but was held back because Rubinstein wished to add more music to the LP. Finally, in 1969, Rubinstein tried again. However, the morning of the session, the pianist had a very upsetting telephone conversation with his oldest son, Paul, which preceded an estrangement which lasted until the pianist's death in 1982. It is hard to blame Rubinstein, then, for sounding distracted in this version. The phrasing does not flow, rubato seems contrived, and the performance as a whole fails to cohere. While preparing Rubinstein's recordings for their first CD release in 1986, Max Wilcox pulled the tape of the 1965 version and immediately realized it was a far better performance. That was the performance released, with the permission of Rubinstein's widow, on CD in 1987. The 1965 version is available as Volume 54 of the Rubinstein Collection.

No complaints about the sound, but due to the aforementioned performance issues, this CD is for Rubinstein completists only.

Rubinstein's Schubert -- a revision.......2001-03-07

This review is from a non-musicologist, which may explain why the opinions expressed differ from those of the 'experts'.

My first introduction to the Schubert sonata was a radio-discussion on the BBC in which the old recording by Schnabel was played. When I eventually came to buy the piece on LP in the 1970s, I was only interested in acquiring Rubinstein's interpretation. I gave the LP away and kept a taped copy, whose quality was somewhat less than satisfactory. So, starting a CD collection in the late 80s, this was the first CD I sought. The very first bars, however, indicated that this was not the version to which my ears had grown accustomed, and a perusal of the accompanying notes revealed that the LP-release, recorded in 1969 and approved by the pianist, was substituted on the CD by an earlier recording because (i) the LP-version had been poorly reviewed at the time, and (ii) the recording-engineer preferred the earlier one anyway. Only now has the recording company seen fit to re-release the 1969 version on CD, and to my mind it is the canonical version amongst all those that I have heard.

For me, recordings of this sonata stand or fall on the performance of the first two movements. Schubert was facing death when he composed this masterpiece, and one naturally expects agony to be reflected through tempo and phrasing of the beautiful melody that (typically for this composer) characterises the first movement. Whilst the majority of listeners are not in the same predicament as Schubert, nevertheless most of us are faced by various travails, and it is musing over the darker side of life that seems to be captured in the 2nd movement with the rising theme starting at 3'12" suggesting an assertion of the indomitability of the human spirit. No other performance I know quite speaks to me in this way as does the Rubinstein 1969 recording (that on volume 54 of the Rubinstein Collection is simply too fast and smooth in both these crucial movements). How it can be described as 'dry' or 'detached' is beyond my comprehension.

Given the interpretation of the music offered above, imagine my surprise at reading the dramatic family-circumstances that lay behind this particular recording, as detailed in Harvey Sachs' gripping Rubinstein biography! The pianist had a long, heated and virtually final conversation that morning with one of his children. And so, one can only imagine his mood as he sat down at the piano in Rome, reflected perhaps by the halting rhythm in his 1st movement interpretation but stating his own (well-known) indomitable spirit at that crucial moment in the 2nd.

Tracks:

Concerto No. 2, Op. 18 In C Minor: Moderato; Allegro
Concerto No. 2, Op. 18 In C Minor: Adagio sostenuto
Concerto No. 2, Op. 18 In C Minor: Allegro scherzando
Concerto No. 3, Op. 30 In D Minor: Allegro ma non tanto
Concerto No. 3, Op. 30 In D Minor: Intermezzo: Adagio
Concerto No. 3, Op. 30 In D Minor: Finale: Alla breve

Tracks:

Concerto No. 1, Op, 1 In F Sharp Minor: Vivace
Concerto No. 1, Op, 1 In F Sharp Minor: Andante
Concerto No. 1, Op, 1 In F Sharp Minor: Allegro vivace
Concerto No. 4, Op. 40 In G Minor: Allegro vivace
Concerto No. 4, Op. 40 In G Minor: Largo
Concerto No. 4, Op. 40 In G Minor: Allegro vivace
Rhapsody On A Theme Of Paganini, Op. 43: Introduction: Allegro vivace
Rhapsody On A Theme Of Paganini, Op. 43: Variation I: (Precedente)
Rhapsody On A Theme Of Paganini, Op. 43: Tema: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Variation II: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Variation III: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Variation IV: Piu vivo
Rhapsody On A Theme Of Paganini, Op. 43: Variation V: Tempo precedente
Rhapsody On A Theme Of Paganini, Op. 43: Variation VI: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Variation VII: Meno mosso, a tempo moderato
Rhapsody On A Theme Of Paganini, Op. 43: Variation VIII: Tempo I
Rhapsody On A Theme Of Paganini, Op. 43: Variation IX: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Variation X: Poco marcato
Rhapsody On A Theme Of Paganini, Op. 43: Variation XI: Moderato
Rhapsody On A Theme Of Paganini, Op. 43: Variation XII: Tempo di minuetto
Rhapsody On A Theme Of Paganini, Op. 43: Variation XIII: Allegro
Rhapsody On A Theme Of Paganini, Op. 43: Variation XIV: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Variation XV: Piu vivo scherzando
Rhapsody On A Theme Of Paganini, Op. 43: Variation XVI: Allegretto
Rhapsody On A Theme Of Paganini, Op. 43: Variation XVII: (Allegretto)
Rhapsody On A Theme Of Paganini, Op. 43: Variation XVIII: Andante cantabile
Rhapsody On A Theme Of Paganini, Op. 43: Variation XIX: A tempo vivace
Rhapsody On A Theme Of Paganini, Op. 43: Variation XX: Un poco piu vivo
Rhapsody On A Theme Of Paganini, Op. 43: Variation XXI: Un poco piu vivo
Rhapsody On A Theme Of Paganini, Op. 43: Variation XXII: Un poco piu vivo (Alla breve)
Rhapsody On A Theme Of Paganini, Op. 43: Variation XXIII: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Variation XXIV: A tempo un poco meno mosso

Tracks:

Isle Of The Dead, Op. 29
Vocalise, Op. 34, No. 14
Symphony No.3, Op. 44 In A Minor: Lento; Allegro moderato
Symphony No.3, Op. 44 In A Minor: Adagio ma non troppo
Symphony No.3, Op. 44 In A Minor: Allegro

Tracks:

Sonata, Op. 30, No. 3 In G: Allegro assai
Sonata, Op. 30, No. 3 In G: Tempo di minuetto, ma molto moderato e grazioso
Sonata, Op. 30, No. 3 In G: Allegro vivace
Sonata D. 574 In A: Allegro moderato
Sonata D. 574 In A: Scherzo: Presto; Trio
Sonata D. 574 In A: Andantino
Sonata D. 574 In A: Allegro vivace
Sonata, Op. 45 In C Minor: Allegro molto ed appassionato
Sonata, Op. 45 In C Minor: Allegretto espressivo alla Romanza
Sonata, Op. 45 In C Minor: Allegro animato

Tracks:

Partita No. 4, BWV 828: Sarabande
Harpsichord Suite No. 5: Air And Variations - 'Harmonious Blacksmith'
Sonata, K. 331: III: Turkish March
32 Variations, WoO 80 In C Minor: Thema: Allegretto
32 Variations, WoO 80 In C Minor: Variation I
32 Variations, WoO 80 In C Minor: Variation II
32 Variations, WoO 80 In C Minor: Variation III
32 Variations, WoO 80 In C Minor: Variation IV
32 Variations, WoO 80 In C Minor: Variation V
32 Variations, WoO 80 In C Minor: Variation VI
32 Variations, WoO 80 In C Minor: Variation VII
32 Variations, WoO 80 In C Minor: Variation VIII
32 Variations, WoO 80 In C Minor: Variation IX
32 Variations, WoO 80 In C Minor: Variation X
32 Variations, WoO 80 In C Minor: Variation XI
32 Variations, WoO 80 In C Minor: Variation XII
32 Variations, WoO 80 In C Minor: Variation XIII
32 Variations, WoO 80 In C Minor: Variation XIV
32 Variations, WoO 80 In C Minor: Variation XIX
32 Variations, WoO 80 In C Minor: Variation XXII
32 Variations, WoO 80 In C Minor: Variation XXIII
32 Variations, WoO 80 In C Minor: Variation XXIV
32 Variations, WoO 80 In C Minor: Variation XXV
32 Variations, WoO 80 In C Minor: Variation XXVI
32 Variations, WoO 80 In C Minor: Variation XXVII
32 Variations, WoO 80 In C Minor: Variation XXVIII
32 Variations, WoO 80 In C Minor: Variation XXXI
32 Variations, WoO 80 In C Minor: Variation XXXII
Return Home
Polish Songs: The Maiden's Wish
Die schone Mullerin: Das Wandern
Schwanengesang: Serenade
Polonaise No. 2 In E
Songs Without Words, Op. 67: Spinning Song
Impromptu, Op. 90, No. 4 In A Flat
Concert Etude No. 2: Gnomenreigen
Orfeo ed Euridice: Melodie
Etude, Op. 104b, No. 2 In F
Etude, Op. 104b, No. 3 In A Minor
Spanisches Liederspeil: The Smuggler
Minuet, Op. 14, No. 1 In G
Liebesfreud

Tracks:

Sonata No. 2, Op. 35 'Funeral March': Grave; Doppio movimento
Sonata No. 2, Op. 35 'Funeral March': Scherzo
Sonata No. 2, Op. 35 'Funeral March': Marche funebre
Sonata No. 2, Op. 35 'Funeral March': Presto
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: A. S. C. H. - S. C. H. A. (Letteres dansantes)
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: Pganini (Intermezzo)
Carnaval, Op. 9: Aveu
Carnaval, Op. 9: Promenade
Carnaval, Op. 9: Pause
Carnaval, Op. 9: Marche des 'Davidsbundler' contre les Philistins
Nocturne, Op. 9, No. 2 In E Flat
Waltz, Op. 64, No. 2 In C Sharp
Waltz, Op. 64, No. 3
Ballade No. 3, Op. 47 In A Flat
Mazurka, Op. 68, No. 2
Waltz, Op. Posth. In E Minor

Tracks:

Partita No. 3, BWV 1006: Preludio
Partita No. 3, BWV 1006: Gavotte
Partita No. 3, BWV 1006: Gigue
A Midsummer Night's Dream: Scherzo
Liebersfreud
Die schone Mullerin: The Brooklet
Polka de V.R.
Etude-tableau, Op. 39, No. 6 In A Minor
Prelude, Op. 3, No. 2 In C Sharp Minor
Sorochintsy Fair: Hopac
Lullaby, Op. 16, No.1
Tsar Saltan: Flight of the Bumblebee
The Ruins Of Athens: Turkish March
Scherzo In A Flat
The Seasons: November: Troika
Prelude No. 8, Op. 11, No. 8 In F Sharp
One Lives But Once
Powder and Paint
Polka italienne (Piano 4 Hands)

Tracks:

Concerto No. 2, Op. 18 In C Minor: Maderato; Allegro
Concerto No. 2, Op. 18 In C Minor: Adagio sostenuto
Concerto No. 2, Op. 18 In C Minor: Allegro scherzando
Prelude, Op. 23, No. 10 In G Flat
Prelude, Op. 32, No. 3 In E Major
Prelude, Op. 32, No. 7 In F Major
Prelude, Op. 32, No. 6 In F Minor
Etude-tableau, Op. 33, No. 2 in C Major
Etude-tableau, Op. 33, No. 7 In E Flat
Daisies, Op. 38, No. 3
Oriental Sketch
Melodie, Op. 3, No. 3 in E
Serenade, Op. 3, No. 5 In B Flat
Humoresque, Op. 10, No. 5 In G
Lilacs, Op. 21, No. 5
Moment Musical, Op. 16, No. 2 In E Flat

Tracks:

Mazurka, Op. 63, No. 3 In C Sharp Minor
Nocturne, Op. 15, No. 2 In F Sharp
Waltz, Op. 18 'Grande valse brilliante' In E Flat
Waltz, Op. 34, No. 3 'Valse brilliante' In F
Waltz, Op. 64, No. 1 'Minute'
Waltz, Op. 69, No. 2 In B Minor
Waltz, Op. 70, No. 1 In G Flat
Scherzo No. 3, Op. 39 In C Sharp Minor
Waltz, Op. 64, No. 1 'Minute' In D Flat
Le coucou
L'Arlesienne Suite No. 1: Minuet
Carnival Of The Animals: The Swan
Songs Without Words, Op. 67: Spinning Song
Waltz
Lyric Pieces, Op. 12: Elfin Dance
Etude, Op. 28, No. 6 In F Minor
If I Were a Bird
La jongleuse
Dr. Gradus ad Parnassum
Children's Corner: Golliwogg's Cakewalk
The Seasons: November: Troika
Humoresque, Op. 10, No. 2 In G
Waltz, Op. 40, No. 8 In A Flat

Tracks:

Prelude, Op. 23, No. 5 In G Minor
Prelude, Op. 32, No. 12 In G Sharp Minor
Prelude, Op. 3, No. 2 In C Sharp Minor
Prelude, Op. 32, No. 5 In G
Serenade, Op. 3, No. 5 In B Flat
Lilacs, Op. 21, No. 5
Polichinelle, Op. 3, No. 4 In F Sharp Minor
Polka de V.R.
Liebesleid
Hungarian Rhapsody No. 2
Pastorale In E Minor
Theme and Variations
Waltz, Op. 42 'Two - Four' In A Flat
Waltz, Op. 64, No. 3 In A Flat
Polka de V.R.
Bacarolle, Op. 10, No. 3 In G Minor
Prelude, Op. 3, No. 2 In C Sharp Minor

Amazon.com

We remember Rachmaninov today mostly for the music he wrote. But as this set quickly reveals, he was one of the greatest pianists of the 20th century, able to play his own music and a great variety of others with tremendous personality and a technique that is still astonishing. There's no point picking highlights from this set, since they are everywhere. But if you've never heard Rachmaninov play Schumann's Carnaval, try starting there for one of the most imaginative recreations of a piece of music ever recorded. The set also includes Rachmaninov's only recordings as a conductor in two of his own major works. --Leslie Gerber

Customer Reviews:

Save some $ money! Get the newer January 2006 reissue set instead........2006-05-17

At the time of this review, whenever you search for a phrase such as "Rachmaninoff Complete", amazon's search engine always lands on this out-of-print recording (ASIN: B000003FB7) . It's also no fun to see that it costs more than a hundred bucks! But if you type "B000A2AD2S" in the search box, you'll see the new reissued set for half the price. It's the exact same 10 CDs. Just the cover art is different.

Unfortunately, this situation is a common pattern with amazon's listing of classical music: when you use your intuition and type in common-sense search phrases for Bach, Mozart, etc, you often get the ultra-expensive out-of-print ships-in-4-weeks items as the default item. It takes a lot of detective work to find the newer reissue recordings. For example, to find the new reissue without knowing the ASIN, I had to enter just "Rachmaninoff" in the search text (deliberately left the word "Complete" out of the search) so it would no longer lock me into this item page that you're looking at and give me a full listing instead. I then sorted the listing by "Original Release Date" and found it on the 2nd page. There's no picture on the new item which doesn't give you any confidence that you found the right one. Don't worry, B000A2AD2S is what you want.

For product research, it's good to have both ASIN product listings because the older out-of-print B000003FB7 has the sound samples (and also all the helpful customer reviews) while the new B000A2AD2S has the better price and availability.

To make things even more confusing, the amazon staff sometimes copies entire customer reviews to the new item which would then make THIS review seem strangely out of place. If that happens and I notice it, I will delete this review for B000003FB7.

(In another strange twist, amazon searches in rock/pop usually points you to the newer cheaper remastered/repackaged/reissued/whatever of a particular recording. I don't know why it works the opposite way in classical music?!?!)

6, or Even 7 Stars!.......2005-06-04

Hofmann hit the nail on the head when he said Rachmaninov had "arms of steel and heart of gold". From this album, we can have a clear picture of Rachmaninov's vison of music, of his musical mind and thoughts and moreover his own playing.

While Kempff's playing would often remind of the protestant church music, Rachmaninov bring to our mind the chanting of the Orthodox church, which is much thicker and darker. On top of that, his playing is orchestral which is so powerful and full colours. Yet, it is nothing like Richter, where often the whole piece is just one phrase.

Here each piece has it's own life and identity each with a focal point. It is water tight compact and yet very much natural and alive, never as hair-raising as Horowitz. But, it is not natural in Arrau's way. It is somewhere in between, closer to Argerich but with more consistency and depth. And like Casals' playing, it keeps our attention from the first note up to its focal point until its very end. But unlike Casals, he touches our hearts. It is very emotional but never to the point of being sentimental-- the performance of his own concertos, for example, can tell you that.

Sure, he did have fingers of steel that helped him to bring out whatever colour or atmostphere as appropriate. And despite that fact that there are some minor alterations on the scores like his Chopin, he is one of the few pianists who could really show you every note on the score counts and, above all, how it counts...

His Chopin may not be as neurotic as Cortot. Nonetheless, he sheds light on the dark and nervous side of Chopin so well: a very throbbing interpretation that is so unique. We also have him accompanying Kreisler on some violin sonatas, something that one could turn to time and again, year after year. What a great chamber musician and accompanist he was...!

The recorded sound of the CDs do vary, and some are more acceptable than the others. But for genuine music lovers, they should be able to get over this very soon: how else would they benefit from one of the greatest legacies of a genuinely great musician!

A must have for Piano and classical music lovers.......2005-04-04

To respond to a review about the sound quality-for those people who have no experience with historical performances i.e cortot-hofmann-etc these discs are for the most part much better recorded. There are the inevitable pops and hisses but if these things disturb you, or you cant get past them, then you shouldnt be listening to this kind of thing anyway. the importance here is in the playing, and the playing is extra ordinary. I you want to buy a disc for the reperatoire then i can think of hundreds of performances that will satisfy, but only people with a true interest to hear and study these pieces will be beyond satisfied. I know that may not sound like a lot of fun, but these discs are fun, great, and for me, almost too good to be true. Again, if sound disturbs you, then you may be listening to the music for the wrong reasons. Take from it the playing, the revelations that Rach provides to his pieces, and how fortunate we are that it sounds as good as it does.

Ah, Rachmaninoff, brilliant star of music, how we adore you.......2003-09-14

The music of Rachmaninoff is beyond words, furthermore, beyond imagination. He was a genius, no doubt, and nobody will ever understand how incredibly lucky we are to be blessed with his compositions. Furthermore, it is truly astonishing to hear Rachmaninoff play his own work. There is nothing so beautiful on this earth and there never will be.

Review from a spoiled modern listener.......2003-07-13

I'll admit that I'm a spoiled modern listener, accustomed to having the bang and hiss edited out of a recording, and it took me a while to warm to these. Rachmaninoff's performances are splendid, but if you can hardly hear them over the cacophony of background noise, what's the use? His performance of his own, often overlooked Concerto No. 4 finally made me sit up and listen, even though I've owned two versions of this piece for a number of years (Ashkenazy & Wild).

Average customer rating:

What a wonderful recital!

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Manufacturer: Cpo Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music
ASIN: B000026CXH
Release Date: 1999-10-26

Tracks:

Freisinn Op.25, 2: Lasst Much Nur Auf Meinem Sattel Gelten!
Herbstgefuhl, Op. 19a , 1: Fetter Grune, Du Laub
Phanomen: Wenn Zu Der Regenwand Phobus Sich Gattet
Neue Liebe, Neues Leben, Op.75, 2: Herz, Mein Herz
Meeres Stille D 216: Teife Stille Herrscht Im Wasser
An Die Turen Will Ich Schleichen Op.98a, 8: An Die Turen Will Ich Schleichen, Still Und Sittsam...
Erster Verlust D 226: Ach, Wer Bringt Die Schonen Tage
Blumengruss: Der Strauss, Den Ich Gepflucket
Wonne Der Wehmut Op.83, 1: Trocknet Nicht, Tranen
Singet Nicht In Trauertonen Op.98a, 7: Singet Nicht In Trauertonen Von Der Einsamkeit Der Nacht
Dammrung Senkte Sich Von Oben Op.19a, 2: Dammrung...
Op. 7 Alles Kundet Dich An: Gegenwart
Wandrers Nachtlied D.768: Uber Allen Gipfeln Ist Ruh
Erlkonig op.1, 3: Wer Reitet So Spat Durch Nacht Und Wind?
Op.7: Gesang Der Geister Uber Den Wassern: Des Menschen Seele Gleicht Dem Wasser
Der Fischer: Das Wasser Rauscht', Das Wasser Schwoll
Anakreons Grab: Wo Die Rose Hier Bluht
Nachklang Op.19b, 1: Es Klingt So Prachtig
Lynceus Der Turmer, Auf Fausts Sternwarte Singend Op.9 H. VIII, 3: Zum Sehen Geboren
Mailied: Op.26,5: Wie Herrlich Leuchtet Mir Die Natur!
Versunken D 715: Voll Locken Kraus Ein Haupt So Rund!
Jagers Abendlied D. 368: Im Felde Schleich' Ich Still Und Wild
Wanderers Nachtlied Op.9, H.1, 3a: Uber Allen Gipfeln Ist Ruh
Hoffnung D. 295: Schaff', Das Tagwerk Meiner Hande
Fruhlings Ubers Jahr: Das Beet, Schon Lockert Sich's In Die Hoh
Der Rattenfanger: Ich Bin Der Wohlbekannte Sanger
Zur Rosenzeit Op.48,5: Ihr Verbluhet, Suss Rosen

Amazon.com

The poetry of Goethe has a unique place in German literature and German song--the sheer variety of his lyrics, from heaven-storming passion to calm acceptance, from tender love to vicious cynicism, made his words the source-material of many composers' finest settings. Christoph Prégardien and Michael Gees have put together an intelligent program that combines some of the best-known composers of the German song--Schubert, Wolf, Schumann, Beethoven--with lesser masters--Loewe, Schoeck; we get both Schubert's and Loewe's setting of the achingly nostalgic "Wanderer's Nightsong," and Loewe's jaunty setting of "Der Erlkonig," perhaps Schubert's best-known song, but by no means his exclusive property. Two songs of Gees's own are intelligent modern pastiches of the romantic style, solidly accomplished word-settings with interesting piano writing. All the songs here are admirably selected for Prégardien's darkly sorrowful pure voice and Gees's tactful, occasionally intense, accompaniment. --Roz Kaveney

Customer Reviews:

What a wonderful recital!.......2000-02-17

After listening this CD we will finally know why Goethe is an great poet. Too much possibility contained in his poems, as this CD shows us. This unusual recital consists of 27 lieder from 11 composers, spanned from old Beethovan, Wolf to modern Diepenbrock, Shoeck, Gees. Thank God it contains very few over-sung Schubert-Goethe cliche. Pregardien selected and arrange these lieder wisely and carefully, and he deliberately changes style from one song to another. With his gold, clean voice and deep, intense interpretion, they reflected the wild and wide soul a great poet can be. Gees's accompaniment is as well.

Average customer rating:

Itzhak Perlman Collection

Manufacturer: EMI
ProductGroup: Music
Binding: Audio CD

Duets | Chamber Music | Classical | Styles | Music

Quartets | Chamber Music | Classical | Styles | Music

Trios | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Toccatas | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music
ASIN: B00000DOKC
Release Date: 1995-01-01

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Lullaby Classics

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

Quartets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Compilations | Classical | Styles | Music

Lullabies & Berceuse | Vocal Non-Opera | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

English | Languages | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

General | Children's Music | Styles | Music
ASIN: B0002H2R4S
Release Date: 2004-08-24

Tracks:

Clair De Lune - Ulster Orchestra
Andante - London Mozart Players
Aquarium - David Owen Norris
Lullaby - Eric Parkin
Gymnopedie No.1 - John Anderson
From Foreign Lands And People - Howard Shelley
Julia Florida - Craig Ogden
Le Dernier Sommeil De La Vierge - BBC Philharmonic
Idylle - Susan Milan
Air - Adrian Shepherd
Preghiera - Detroit Symphony Orchestra
The Holy Boy - English Chamber Orchestra
Culy Locks - BBC Philharmonic
Lullaby - London Symphony Orchestra
Berceuse - BBC Philharmonic
Allegretto Grazioso - Luba Edlina
Recuerdos De La Alhambra - Craig Ogden
Pied-En-L'Air - Bournemouth Sinfonietta

Tracks:

Dance Of The Sugar-Plum Fairy - Scottish National Orchestra
Canticle - Craig Ogden
Noel - Craig Ogden
The Swan - I Musici De Montreal
Eventide - Bournemouth Sinfonietta
Pastoral - City Of London Sinfonia
Lento - Janet Hilton
Canon In D Major - Adrian Shepherd
Sheep May Safely Graze - BBC Philharmonic
Largo - Ronald Thomas
No.3 - John Lill
Slumber Song - Peter Wallfisch
Serenade - Bournemouth Sinfonietta
Summertime - John Anderson
The Mother's Son - Craig Ogden
Allegro - London Philharmonic
Mother - I Musici De Montreal
Melodie-Elegie - Peter Dixon
Child Falling Asleep - Howard Shelley
Air - City Of London Sinfonia
Fantasia On Greensleeves - BBC Philharmonic
La Fille Aux Cheveux De Lin - Miceal O'Rourke

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Szeryng's Debut Recordings
Superb Beethoven from Rubinstein and Szeryng

Rubinstein Collection, Vol. 40

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical | Box Sets | Stores | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
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Rubinstein Collection, Vol. 41
Rubinstein Collection, Vol. 51
Rubinstein Collection, Vol. 48
Rubinstein Collection, Vol. 72
Rubinstein Collection, Vol. 59

ASIN: B000031WBR
Release Date: 2001-01-09

Tracks:

Son No.5 in F, Op.24 'Spring': Allegro
Son No.5 in F, Op.24 'Spring': Adagio Molto Espressivo
Son No.5 in F, Op.24 'Spring': Scherzo: Allegro Molto
Son No.5 in F, Op.24 'Spring': Rondo: Allegro Ma Non Troppo
Son No.8 in G, Op.30 No.3: Allegro Assai
Son No.8 in G, Op.30 No.3: Tempo Di Minuetto
Son No.8 in G, Op.30 No.3: Allegro Vivace
Son No.9 in A, Op.47 'Kreutzer': Adagio Sostenuto - Presto - Adagio
Son No.9 in A, Op.47 'Kreutzer': Andante Con Variazioni
Son No.9 in A, Op.47 'Kreutzer': Finale: Presto

Amazon.com

Szeryng and Rubinstein are splendid partners in these Beethoven Violin Sonatas recorded in 1958 and 1961. Szeryng's handsome, varied tone, with its quick vibrato, was a fine foil for Rubinstein's equally varied keyboard touch and mastery of color. And with an outsized personality like Rubinstein at the piano, the instruments are true equals. Both artists often left the impression of underinterpreting masterpieces, perhaps because they never subordinated main musical lines to local detail. But they never ignored detail, either, as we hear in these sonatas, where numerous little felicities of tonal color and phrasing enliven the music. Best of the trio is the Sonata No.8, played with the requisite force encased in a velvet glove of glorious tone from both artists. The Spring Sonata could be slightly more vernal, but it and the somewhat generalized Kreutzer Sonata will give much pleasure even if they don't quite match the versions by Francescatti and Grumiaux, among others. RCA's transfers are the best these recordings have received, so if you admire these artists (and who doesn't?), don't hesitate. --Dan Davis

Customer Reviews:

Szeryng's Debut Recordings.......2002-03-19

Henryk Szeryng was one of the greatest violinists of the 20th century. But his budding career was interupted by WW II and for several years after that war he disappeared from the international concert scene and instead taught violin in Mexico City. Fortunately, he was discovered there by Rubinstein during one of his concert tours. After hearing Szeryng play, Rubinstein pronounced him to be one of the greatest violinists in the world (a highly accurate assessment) and arranged with RCA to record this set of sonatas to enable Szeryng to gain the exposure he so richly deserved. Quite frankly I have never been an ardent fan of Rubibstein's playing, but I am deeply grateful to him for having rescued this great violinist from undeserved obscurity. Apart from serving as Szeryng's recording debut on a major label, these performances are outstanding. On these performances, I am a Rubinstein fan; the collaboration between Szeryng and Rubinstein is almost intuitive and quite wonderful to hear. No matter what other recordings you may have of these sonatas, please treat yourself to these.

Superb Beethoven from Rubinstein and Szeryng.......2001-01-22

Arthur Rubinstein received his early training in a manner totally foreign to today's young students. His early teachers were Joseph Joachim (a close friend of Johannes Brahms) and Heinrich Barth. He was permitted by his teachers to give only occasional perfomances, required to attend numerous concerts, and played through the chamber repertoire with his fellow pupils. This is in contrast to the current generation which is consigned to the practice rooms of crowded conservatories (virtuoso factories, really) and bred to win competitions, often at the expense of true musical developement. As a result, Rubinstein was able to make the crossover between stunning virtuoso performances, and more intimate chamber music appearances.

Henryk Szeryng first performed with Rubinstein in the 1950s. Immediately, their musical chemistry evolved into friendship, and it is this atmosphere which suffuses all of their recorded performances. There is a give-and-take in these performances which recalls the great chamber music recordings by Kreisler and Rachmaninoff. One never gets the sense that Rubinstein and Szeryng are trying "one-up" each other, yet there is a greater virtuosity than one usually hears in these pieces. A special highlight is the Scherzo movement of the "Spring" Sonata, where Rubinstein and Szeryng handle the tricky syncopation with infectious aplomb.

Tracks:

Pno Con No.1 in C, Op.15: Allegro Con Brio
Pno Con No.1 in C, Op.15: Largo
Pno Con No.1 in C, Op.15: Rondo: Allegro
Pno Con No.3 in c, Op.37: Allegro Con Brio
Pno Con No.3 in c, Op.37: Largo
Pno Con No.3 in c, Op.37: Rondo: Allegro

Customer Reviews:

Beethoven brought into the parlor, but very nicely done.......2006-06-16

With his specialty in Chopin, Rubenstein brought a sophisticated, somewhat underplayed style to Beethoven that relies on charm more than power. He doesn't miniaturize the music, though, and we have the pleasure of hearing his lovely touch, as in the slow movement of Concerto #1--it's like taking Beethoven out of the concert hall into an intimate parlor. Leinsdorf is on best behavior in the First, also, and RCA has recorded the BSO well. As the reviewer below states, there's a good deal of inner detail, and Leinsdorf never dawdles.

Concerto #3 is a larger work, and pianists have the choice to play it like a mini-Empreror Concerto (grand and romantic) or remain in the classical style of the first two concertos. Leinsdorf begins with a strong, big-boned accompaniment, but Rubenstein isn't comfortable there, so once the soloist enters we get a tug of war between his smaller reading, with lots of expressive rubato, and Leinsdorf's robust one. Rubenstein gets to set the tone for the slow movement, which he makes sound charming and flexible. The finale is fairly low-key but nicely articulated by both pianist and orchestra. Rubenstein is again full of little expressive touches.

I remember liking Rubenstein's individuality when these performances first came out in the mid-Sixties, and I still do, especially on CD, which has much improved sound over the Dynagroove LPs.

First rate Beethoven from Rubinstein & Leinsdorf.......2001-05-15

The recordings on this CD are from Rubinstein's second of three complete sets of the Beethoven Piano Concertos (there is also a separate Third Concerto, with Toscanini, recorded live in 1944).

These recordings, made in 1965-67, demonstrate Rubinstein was just as "on top" of these works technically as he was in the earlier set with Krips (1956) and much more "into" them musically. In addition, the playing is notably more alert and straightforward than in his later set with Barenboim (1975). To be sure, purists will quibble with Rubinstein's use of rubato and approach to ornamentation, (not to mention his use of Busoni's editions of Beethoven's cadenzas) but these performances are a joy from the first bar to the last. Leinsdorf, with the Boston Symphony Orchestra, are to be credited for a fine accompaniment, far more detailed and sensitive than in the earlier set with Krips.