The Beethoven Collection, Vol. 4

1. Symphony No. 7 in A major, Op. 92
Composed by Ludwig van Beethoven
Performed by New Philharmonia Orchestra
2. Piano Concerto No. 4 in G major, Op. 58
Composed by Ludwig van Beethoven
Performed by New Philharmonia 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:

The best rendition of Beethoven's Piano Concerto No. 4, Period!
Fine Quality Renditions
horrendous Beethoven
Beethoven's heart and soul
First Rate Beethoven from Rubinstein

Rubinstein Collection, Vol. 58

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Rubinstein Collection, Vol. 57
Rubinstein Collection, Vol. 59
Rubinstein Collection, Vol. 61
Rubinstein Collection
Rubinstein Colection, Vol.37 - Grieg: Piano Concerto in A Minor/ Tchaikovsky: Piano Concerto No. 1

ASIN: B000031WC0
Release Date: 2001-01-09

Tracks:

Pno Con No.4 in G, Op.58: Allegro Moderato
Pno Con No.4 in G, Op.58: Andante Con Moto
Pno Con No.4 in G, Op.58: Rondo: Vivace
Pno Con No.5 in E flat, Op.73 'Emperor': Allegro
Pno Con No.5 in E flat, Op.73 'Emperor': Adagio Un Poco Moto
Pno Con No.5 in E flat, Op.73 'Emperor': Rondo: Allegro

Customer Reviews:

The best rendition of Beethoven's Piano Concerto No. 4, Period!.......2007-01-02

I've been listening a lot lately to Beethoven's 4th and 5th Piano Concertos, and this 1964 performance of No. 4 by Rubinstein is the best I've heard. You can also see a film clip of his performance on the DVD "Art of the Piano." A truly moving and masterful rendition that Rubinstein plays, I think, at the perfect tempo, which is a little slower than other celebrated performances by his contemporaries, such as Wilhelm Backhaus. Rubinstein's performance of the Emperor Concerto is also beautiful, and to have both for the price of one CD is a steal.

Fine Quality Renditions.......2003-08-03

Beethoven is not as easy as he sounds. Sure, his concertos are not as difficult as Brahms's or Rachmaninoff's, but they do require a great deal of thought and interpretation, especially his fourth (which happens to be his finest in terms of form).

The fourth concerto is a great masterpiece-Rubinstein's favorite of Beethoven's actually. It has very poetic content and is perfect in it's design. (On a personal note, I'm currently working on this piece. I must say that it is very difficult to interpret in some places.) I think Rubinstein does a swell job.

The fifth concerto (the "Emperor") is played with much élan. This piece demands for a wide horizon of style and good technique. It too, can be difficult to interpret.

I think this disc is a fine model for students to follow, or for personal enjoyment. I hope you will disregard Mr. Nelson José de Camargo's review below. The sound is great, the performances are wonderful, and I am not ashamed that I own this recording in the least. I'm down right proud of it.

horrendous Beethoven.......2003-04-20

It's for sure the worst performance of these two great concerts I have ever heard. It applies not only to the performances, but also to the sound, that is quite poor. If you want a really good recording of these concertos, get the Kempff, Arrau or Pollini versions.

Beethoven's heart and soul.......2002-04-10

Arthur Rubinstein never wanted to go down in history as a major Beethoven performer; he had been a legend for his Chopin, Brahms and Schumann recordings, and, as for Beethoven, he probably didn't feel like looking for a "new way". Anyway, it's pretty interesting to hear a statement Rubinstein made in the beautiful 1970 movie "Rubinstein: l'amour de la vie": "I could accept the disappearance of a whole island from the face of the earth, but I couldn't live without Beethoven". It's Rubinstein's way to love music: a matter of heart and soul, not the result of so-called "philological studies". So that's Ruby's Beethoven: maybe classical in its approach and style, but with a firing excitement running through the whole performance. Compare this recording of the "Emperor" third movement with the "standard" Backhaus' rendition: if Backhaus seems to seat on every note, not to sound too childish or "naive", Rubinstein just jumps into music and lets it run through the most thrilling finale ever heard. Or listen to the beginning of the Fourth Concerto: tone quality and beautiful use of rubato allow Ruby to SING the introduction without choosing a too easy "Frank-Mills-like" approach.

Rubinstein recorded Concerto n. 4 four times, and I think this is the one to own, if you really can't have them all; his early recording with Beecham is also beautiful, but suffers from the effects of the odd Saint-Saens cadenzas; both n. 4 and n. 5 also appear in their splendor in the two other Ruby's all-Beethoven sets, with Krips (vol. 36) and Barenboim (voll. 78 and 79); in my opinion, anyway, this performances with underrated conductor Eric Leinsdorf and the splendid BSO are by far the best: Rubinstein is at the peak of his artistry, and the orchestra provides for a passionate and powerful playing.

First Rate Beethoven from Rubinstein.......2001-01-29

The recordings on this CD are from Rubinstein's second complete set of the Beethoven Piano Concertos (there is also a seperate Fourth Concerto, with Beecham, recorded in 1947).

These recordings, made in 1963-64, demonstrate Rubinstein was just as "on top" of this music 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, approach to ornamentation, (not to mention his use of Busoni's editions of Beethoven's cadenzas in the Fourth Concerto) but these performances are a joy from the first bar to the last. Leisdorf, with the Boston Symphony Orchestra, are to be credited with a fine accompaniment, far more detailed than in the earlier set with Krips.

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!

Follow Goethe

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

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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

Selections from "The Heifetz Collection"

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Selections from "The Heifetz Collection"

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Octets | Chamber Music | Classical | Styles | Music

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Heifetz Showpieces
Fritz Kreisler Plays Kreisler
Tchaikovsky & Mendelssohn: Violin Concertos
Jascha Heifetz: The Supreme
Kreisler plays Kreisler

ASIN: B000003FPY
Release Date: 1994-09-13

Tracks:

Preludes. Livre - Book I, No. 8: The Girl With The Flaxen Hair
From: Tsar Saltan: The Flight Of The Bumblebee
Concerto No 2 II. Andante Assai
No. 6, Harpsichord Suite No. 7: Passacaglia
Daisies Op.38 No.3
Double Concerto I. Vivace BWV 1043: I Vivace
Sonata No. 5 Op. 24 - 'Spring': I Allegro
Hora Staccato
Introduction & Rondo Capriccioso, Op. 28: Andante
Introduction & Rondo Capriccioso, Op. 28: Allegro ma non troppo
Introduction & Rondo Capriccioso, Op. 28: Piegro
Paritia No. 3 BWV 1006: Preludio
Suite, Op. 10: III Tempo Giusto
Octet, Op. 20: Scherzo: Allegro leggierissimo
Porgy & Bess: Summertime
Porgy & Bess: It Ain't Necessarily So
No. 4 Seven Popular Spanish Songs: Nana (Berceuse)
Concerto, Op. 35: III Allegro Vivacissimo

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A Song of Love

Rubinstein Collection, Vol. 10

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Rubinstein Collection, Vol. 31
Rubinstein Collection, Vol. 51
Rubinstein Collection, Vol. 64
Rubinstein Collection, Vol. 8
Rubinstein Collection, Vol. 40

ASIN: B000051W3M
Release Date: 2001-03-06

Tracks:

Pno Son No.8 in c, Op.13 'Pathetique': Grave; Allegro Molto E Con Brio
Pno Son No.8 in c, Op.13 'Pathetique': Adagio Cantabile
Pno Son No.8 in c, Op.13 'Pathetique': Rondo: Allegro
Rhap in E flat, Op.119 No.4
Intermezzo in E flat, Op.117 No.1
Intermezzo in b flat, Op.117 No.2
Intermezzo in A, Op.118 No.2
Intermezzo in e flat, Op.118 No.6
Intermezzo in C, Op.119 No.3
Rhap in b, Op.79 No.1
Intermezzo in a, Op.76 No.7
Rhap in g, Op.79 No.2
Ballade in g, Op.118 No.3
Hungarian Dance No.4 in f#
Wiegenlied, Op.49 No.4

Customer Reviews:

A Song of Love.......2001-03-19

All of the recordings featured on this CD originated as 78-RPM discs.

This was the first of three recordings Arthur Rubinstein made of Beethoven's Pathetique Sonata. Although this performance contains many pianistic and tonal felicities, there are several issues which prevent it from being of the first rank. First, on a purely technical level, there is a distracting change of pitch at 3'11" during Track 1 (presumably this is where Side 1 of the original 78-RPM set ended and Side 2 began). Second, the piano is problematic as several unisons in the treble are not cleanly tuned. As for the performance, Rubinstein's approach here is somewhat episodic, lacking in the architectonic qualities which would come later. This version is certainly not bad, just not on the same level as Rubinstein's later remakes (Volumes 33 & 56 of the Rubinstein Collection) which also benefit from more realistic recorded sound.

Brahms was alive until Rubinstein was ten years old, and those used to the traditional Germanic stodgy approach to Brahms are in for an awakening here. Rubinstein's Brahms is pianistically large-scaled, passionate and unabashedly romantic. Yet, he does not sacrifice musical common sense: phrasing, tempo, pedaling are all in order. Most of the items here were recorded in 1941, just before America's entry into World War II, which restricted further recordings. (Rubinstein was, in fact, performing Brahms' Piano Concerto No. 2 at Carnegie Hall when the Japanese were bombing Pearl Harbor.)

Tracks:

Air With Variations 'Harmonious Blacksmith'
Andante In F
Slavonic Dance No.1
Waltz In A Flat
No.19 Little Romance/No.10 Merry Peasant
March Of The Trolls
Song Without Words In F
Sparks
The Miller & The Stream
Menuet
Flight Of The Bumble Bee
The Swan
Spring Song
To Spring
La Plus Que Lente
Caprice Viennois
Polka Italienne
Souvenir In D
Concert Etude In F Minor 'Capriccio'

Customer Reviews:

Miniatures, transcriptions, excerpts from four centuries.......2004-09-21

In the liner notes, the title of this CD is given as 'Favourite Piano Pieces', which seems to fit much better than anything to do with 'Romantic', for here there are gathered miniatures, transcriptions and excerpts by famous and less-famous composers from four different centuries (from the 17th to the 20th)! In fact, the only thing that seems to unite these most diverse tracks is their ability to show off the piano and the pianist to best advantage. The most difficult pieces here appear to be Rimsky-Korsakov's 'Flight of the Bumble Bee' in a transcription by Rachmaninov, and Dohnanyi's incredibly hard 'Concert Etude in F Minor', a fitting close to the whole recital, in which Balász Szokolay is able to distinguish himself as a very able player. The rest of the programme is generally also well-played, with the faster pieces in particular being delivered with skill and gusto, while the slower ones (Debussy, Kreisler) tend to lack something of this enthusiasm; it is perhaps fortunate that the majority of numbers are faster pieces. My personal favourite is Grieg's 'March of the Trolls', closely followed by Handel's 'Harmonious Blacksmith' (which should, of course, really be played on a harpsichord, but still sounds very good on a concert piano) and Paderewski's 'Menuet'. All in all, an entertaining hour of piano playing and excellently recorded, provided you don't mind taking a guided tour through the last 400 years of composition in such a short time.

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Rubinstein's First Time Around

Rubinstein Collection, Vol. 9

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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Rubinstein Collection, Vol. 11
Rubinstein Collection, Vol. 27
Rubinstein Collection, Vol. 22
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Rubinstein Collection, Vol. 1

ASIN: B000051W3L
Release Date: 2001-07-10

Tracks:

Pno Con No.23 in A, K.488: Allegro
Pno Con No.23 in A, K.488: Adagio
Pno Con No.23 in A, K.488: Allegro Assai
Pno Con No.4 in G, Op.58: Allegro Moderato
Pno Con No.4 in G, Op.58: Andante Con Moto
Pno Con No.4 in G, Op.58: Rondo: Vivace
Rhap On A Theme Of Paganini, Op.43: Intro
Rhap On A Theme Of Paganini, Op.43: Var I
Rhap On A Theme Of Paganini, Op.43: Tema
Rhap On A Theme Of Paganini, Op.43: Var II
Rhap On A Theme Of Paganini, Op.43: Var III
Rhap On A Theme Of Paganini, Op.43: Var IV
Rhap On A Theme Of Paganini, Op.43: Var V
Rhap On A Theme Of Paganini, Op.43: Var VI
Rhap On A Theme Of Paganini, Op.43: Var VII
Rhap On A Theme Of Paganini, Op.43: Var VIII
Rhap On A Theme Of Paganini, Op.43: Var IX
Rhap On A Theme Of Paganini, Op.43: Var X
Rhap On A Theme Of Paganini, Op.43: Var XI
Rhap On A Theme Of Paganini, Op.43: Var XII
Rhap On A Theme Of Paganini, Op.43: Var XIII
Rhap On A Theme Of Paganini, Op.43: Var XIV
Rhap On A Theme Of Paganini, Op.43: Var XV
Rhap On A Theme Of Paganini, Op.43: Var XVI
Rhap On A Theme Of Paganini, Op.43: Var XVII
Rhap On A Theme Of Paganini, Op.43: Var XVIII
Rhap On A Theme Of Paganini, Op.43: Var XIX
Rhap On A Theme Of Paganini, Op.43: Var XX
Rhap On A Theme Of Paganini, Op.43: Var XXI
Rhap On A Theme Of Paganini, Op.43: Var XXII
Rhap On A Theme Of Paganini, Op.43: Var XXIII
Rhap On A Theme Of Paganini, Op.43: Var XXIV

Customer Reviews:

Rubinstein's First Time Around.......2001-09-09

Volume 9 of RCA's complete Rubinstein Collection contains the pianist's first recordings of three concertos from his substantial repertoire.

W. A. Mozart's Piano Concerto, K. 488 was no newcomer to Rubinstein's repertoire when he recorded it in 1931. In 1900, the then 13 year old pianist made his debut with this piece, which would remain in his active repertoire until his retirement in 1976. Rubinstein's view of this work changed over the years, as evidenced by his three official recordings of the work. While his stereo version is beautiful in an autumnal way, this early recording is probably closer to what Mozart intended. What most pianists, especially Mozart "specialists," fail to grasp these days, is that Mozart considered his Concertos virtuoso works, and designed them to "make the performer sweat." While Rubinstein never drives the music too hard, there is more tension in this recording than in the later more relaxed versions. This is especially so in the finale, taken at a breathtaking tempo. It's also nice to hear the second movement played at a listenable tempo--most pianists drag the tempo interminably here. There is, however, a small cut in the score after the first movement cadenza, which was made to fit the first movement onto two 78RPM sides. John Barbirolli, Rubinstein's favorite collaborator in those early years, leads the London Symphony Orchestra in a fine accompaniment. Purists, however, will be driven up the wall by Barbirolli's liberal use of string portamento.

Rubinstein was not as fond of Sir Thomas Beecham. In his memoirs, the pianists recalls that Beecham snubbed him during a rehearsal at the Hollywood Bowl. In an act of humorous revenge, Rubinstein offered to drive him home--peeling out of the parking lot as he informed the conductor "You're the first person I've given a ride to. I just got my license today!" Given Rubinstein's tendency to tell tall tales, this story may have been apocryphal. Nevertheless, their one recorded collaboration yielded excellent results. This is my favorite of Rubinstein's four official recordings of Beethoven's Fourth Concerto. The first movement coheres better than in later versions, the dialogue between the piano and orchestra during the Andante is strikingly caught. The finale sparkles, and there is less of Rubinstein's annoying tendency to "splash" trills here than in later versions. Rubinstein plays Saint-Saëns' rarely used and very effective cadenzas here--a welcome diversion.

Rubinstein knew Rachmaninoff casually, and heard him play numerous times. While he considered Rachmaninoff one of the greatest pianists he had ever heard, he was ambivalent about his compositions. (He recorded only the Second Concerto, the C# minor Prelude, and the Paganini Rhapsody.) This 1947 performance is more lively, flexible, and at times demonic than Rubinstein's more well known stereo remake. It is also better pianistically, with more sensitive mixing of inner voices, and cleaner passage work--all the more astonishing for being made before the era of tape editing. Although the later recording boasts far better sound, this is the version I prefer on musical terms. It almost equals the composer's own version, although my favorite recording remains the Kapell/Reiner version.

RCA has done an excellent job of restoring the 78RPM originals, with smooth side transitions, and no pitch changes.

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