Weber: Piano Sonatas 2 & 3

Product Description:
"ALL THE VIRTUOSITY REQUIRED FOR WEBER'S INTRICATE WORKS, BUT WITH SENSITIVITY TOO: Reviewing one of Weber’s concerts in 1812, a critic emphasised that a key quality of his piano playing was not so much finger dexterity as a feeling for the instrument’s tonal subtleties. His piano music certainly requires virtuosity, and Mariaclara Monetti von Slawik is well in control of the brilliance and excitement...but the style of her playing shows that her real concerns are with fluency of line, variety of colour and especially with allowing the music great rhythmic freedom. Weber is known to have favoured tempo variation within a movement, and Slawik is very free with rubato. When it is done with her kind of sensitivity, this is very rewarding.

The D minor sonata’s first movement is made to seem almost closer to variations than to a stronger formal structure, with a particularly beguiling dolce second subject; and this is taken further in the beautiful Andante, where her sense of line and colour is well attuned to Weber’s quite intricate textures (the recording, too, is attentive to these matters). None of this prevents her from making much of the grand statements that open the works.

The Invitation to the Dance swings along nicely, with a charming lilt to the various waltz rhythms which Weber explores: they do indeed dance...her performances have a very sympathetic, even touching quality."-GRAMOPHONE

Tracks:

Aeolian Harp
The Banshee
The Lilt Of The Reel
Ulysses At The Edge Of The World
Excursions For Piano: Un Poco Allegro
Excursions For Piano: In Slow Blues Tempo
Excursions For Piano: Allegretto
Excursions For Piano: Allegro Molto
Concerto For Piano & Orchestra: Moderato Molto
Sonata For Violin & Piano: Moderate Tempo
Symphony No. 3: Allegro Moderato
Symphony No. 3: Tempo Di Valzer
String Quartet No. 2, Op. 35 (1951)
Ryoanji
Electronic Dance Music: Frail Demons: Dance 1
Electronic Dance Music: Tribe: Dance 2
Sonatas & Interludes For Prepared Piano: Sonata XIII

Customer Reviews:

Gay pride taken to absurdity.......2001-09-26

A compilation with no purpose, pasted together (tastefully) from slices of other great CRI releases. Is this supposed to have educational value? Shock value? Wouldn't you rather hear Cowell paired with, say, an openly hetero Charles Ives? Or a complete epic Partch work? Or an entire CD of Cage's Sonatas & Interludes? None of these composers made being gay central to their musical identities. I doubt if they would have done so even in the present era. What next? The Greatest Throbbing Hits of Tchaikovsky? The secret gay composer, artist or poet was no secret to his patrons, friends & most dedicated fans. He even enjoyed certain advantages,

Tracks:

A Morning in The Woods
Danse Sauvage (Wild Men's Dance)
Moderato Con Moto
Semplice
Lento
Vivo
Impressions Of The Thames
Tarantelle
Molto Con Moto
Andante
Allegro
A Long Remembered Sorrow
Suicide In An Airplane

Amazon.com

Leo Ornstein, who died in 2002 at the approximate age of 110(!), was a notorious wild man in his early years. The inclusion of three of his early pieces, including such titles as Danse Sauvage and Suicide in an Airplane (both from 1913), show where he got his reputation. But there is much more to Ornstein's story than the mad dissonance of his early works. He was a highly accomplished pianist (his only recordings are acoustic 78s of Chopin) and an excellent teacher, and he wrote in a wide variety of styles, sometimes simultaneously. This disc begins with a breathtakingly lovely piece of impressionism from 1971, A Morning in the Woods, and includes two large-scale piano sonatas with many impressive aspects, one from 1924, the other from 1988. Pianist Janice Weber, who is also a successful novelist, seems to specialize in super-virtuosic music, and she is fully up to the challenges of Ornstein's most difficult writing. For its demonstration of the variety of Ornstein's work, its quality of performance, its realistic sound, and even its outstanding booklet, this disc deserves an enthusiastic recommendation. --Leslie Gerber

Customer Reviews:

A great value.......2006-07-25

This is one of the discs I listen to quite often, making it a great buy, even if Hamelin's performances of a few of the pieces have more fire. A Morning in the Woods is a lovely piece that is not dissonant and can appeal to a large crossection of listeners. Similarly, there is the Long Remembered Sorrow. People focus too much on pieces like Danse Sauvage, which are more interesting as an artistic statement than as music. The 7th sonata is, as others have said, a great piece and Ms. Weber does a fine job. I think one reviewer's comparison between the 4th sonata and Rachmaninov is inaccurate. I don't hear Rachmaninov in the work at all. If you're a buyer looking primarily for jagged/primal dissonant work, get Hamelin's disc. But, if you're interested in more impressionistic work as well as modern, this disc offers a larger perspective on Ornstein's body of work.

Rather ordinary playing mars an otherwise good collection.......2003-12-02

This is Naxos' rival to Marc-Andre Hamelin's Hyperion disc of music by the Russian-born American composer Leo Ornstein. Hamelin recorded the Eighth Piano Sonata and early Futurist pieces; in contrast, Weber records the shorter Fourth and Seventh Sonatas and a more varied selection of works.

The three works in common to both discs are Suicide in an Airplane, Danse sauvage and Impressions de la Tamise, all ferociously dissonant works from Ornstein's early Futurist phase. Suicide in an Airplane evokes the sound of an aeroplane circling overhead, then flying off into the distance, while Dans sauvage is a ferocious rhythmic toccata. Impressions is, in contrast, slow and meditative; perhaps an attempt at writing highly dissonant Debussy.

Unfortunately a comparison between Hamelin and Weber in these three works clearly illustrates the main problem with this disc: the performances are rather ordinary. While Weber certainly gets all the notes down (no mean feat in music that is often very difficult to play) Hamelin has so much more litheness, vibrancy and rhythmic articulation that there really is no contest between the two. Nonetheless, for many of the works on this disc, there is no rival, so Weber it will have to be for now.

The other short works on the disc date from the 1960s and 1970s, after Ornstein had endured a long period with little music written. The Tarantelle has something in common with his Futurist works--a vigorous rhythmic essay, if rather less abrasive than his earlier music. In contrast, A Morning in the Woods and A Long Remembered Sorrow are rhapsodic musings of a distinctly Russian temperament. They may have been written in a very old-fashioned style for their time, but that doesn't meant they aren't worth hearing.

The Fourth and Seventh Sonatas date from 64 years apart. The Fourth is from 1924 and represents a drastic retreat from the Futurism of only a few years earlier. It is a four-movement work in a basically Rachmaninovian style; though without the elder composer's genius for melody, it is still an enjoyable 20 minutes. However, the Seventh, from 1988, strikes me as the more impressive of the two. Beginning with a ferocious opening movement that recovers much of the energy of his earlier works without the crudity that sometimes mars them, it then moves through a more melodious--though still dramatic--Andante and ends with a toccata-like Allegro. This is the best of the later pieces I've heard, and if it still lives in the world of Stravinsky, Bartok and Prokofiev, who really cares?

Given the price and the lack of rival performances of the sonatas, this disc can be recommended to pianophiles and lovers of early 20th century music. I hope that the recent revival of Ornstein--even if he did not quite live to see it--will bring other pianists to his work; in particular, I would like to see a major musician tackle the Seventh Sonata.

Leo Ornstein at the Piano.......2003-06-11

The cover of this Naxos "American Classics" CD features a painting with the title of this review. The painting is by Leon Kroll (1884-1974) and is in the collection of the Art Institute of Chicago. It dates from 1918 and features a young Leo Ornstein, his sensitive and handsome features deeply wrapped in concentration as he plays upon an open grand piano. The left hand is raised in the air with the expectation of a crashing chord to follow.

From about 1910 to the mid-1920's, Leo Ornstein (1892? - 2002) was a charismatic concert pianist. He was known as well for his dissonant, haghly avant-garde piano music. Then, in the mid-1920's, Ornstein abruptly abandoned his performing career and retired from public view. He founded a music school in Philadelphia and continued composing in a variety of styles. Orenstein died in 2002 in Green Bay, Wisconsin at the age of 109 or 110. After his initial sensational career as a pianist, documented in the cover art, Ornstein lived a quiet life.

This is a CD of Ornstein's piano music covering the span of his long life. The works are lovingly performed by Janice Weber, who also writes novels. The thouough liner notes were written by Ornstein's son, Severo Ornstein, who maintains a website devoted to his father's music.

The disc includes three short pieces from Ornstein's early avant-garde Career: Danse Sauvage (1913), Impressions of the Thames (1914), and Suicide in an Airplane (1913). These pieces are highly percussive and dissonant, with heavy chords in the bass (look again at the cover painting) alternating with lighter treble sections. These pieces remain a challenge to hear and, I am sure, to play. They appear to me in the nature of virtuosic encore pieces which the composer-pianist might have played at the conclusion of a concert devoted to recent music and perhaps to some Chopin.

The remainder of the CD is a mix of shorter pieces written later in Orenstein's life and two substantial piano sonatas. The sonatas, in particular, are intriguing, challenging music. Both the sonatas on this disc show a mixture of styles.

The fourth piano sonata dates from 1924 and is in four movements. It is largely lyrical and reflective with a final movement, marked vivo, that builds to a climax in its concluding pages. I found this music heavily influenced by French impressionism. The first movement in fact quotes Debussy's "Au Claire de Lune" several times. There is also a Russian influence derived from the mystical music of Scriabin. This is a well-integrated meditative work.

The Seventh Piano Sonata (1988) is a challenge. It continues to show the strong influence of French impressionism and has lyrical, accessible sections interspersed with complex, modernistic passages. The work is in three movements each of which is in tripartite form with a middle section contrasted to the two outer sections. This music will need repeated hearings. But I was taken with it.

There are three remaining short pieces on the CD. "A Morning in the Woods: (1971) is impressionistic and plangent with the sound of falling leaves. "A Long Remembered Sorrow" (1964) is a romantic work tinged with melancholy which again reaches its climax in the concluding moments. The "Tarantelle" (1960) is a running, shimmering quick piece with a quiet middle section. In this Tarantelle, I thought again of encore music.

Some listeners will find this CD forbidding. But one of the joys of music lies in the delight in finding little-known composers who speak to one. I found Ornstein such a composer. His long life showed composition and creativity in both modernistic and traditional forms. It was a life devoted to the art of music.

ignore the negative reviews.......2003-04-03

this is an excellent cd. very interesting and unique. some tracks are very "atonal" sounding while many others are strangely beautiful. highly recommended.

Great compositions, ignore negative reviews.......2003-03-25

This is unrivaled virtuosity, dissonant and strange. Highly recommended

Average customer rating:

Marvelous Weber
I recommend Hans Kann's recordings of Von Weber instead
EXTRAORDINARILY VITAL WEBER
Emotionally and technically very moving!
Weber by Ohlsson

Weber: Complete Piano Sonatas

Manufacturer: Arabesque Recordings
ProductGroup: Music
Binding: Audio CD

Rondos | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical | Imports | Stores | Music
ASIN: B000000T72
Release Date: 1993-08-04

Tracks:

Sonata No.1 In C Major, J. 138 (Op. 24): Movement 1: Allegro
Sonata No.1 In C Major, J. 138 (Op. 24): Movement 2: Adagio
Sonata No.1 In C Major, J. 138 (Op. 24): Movement 3: Menuetto- (Allegro)
Sonata No.1 In C Major, J. 138 (Op. 24): Movement 4: Rondo (Presto)
Sonata No. 2 In A Flat Major, J. 199 (Op. 39): Movement 1: Allegro moderato, con spirito ed legato
Sonata No. 2 In A Flat Major, J. 199 (Op. 39): Movement 2: Andante (Ben tenuto)
Sonata No. 2 In A Flat Major, J. 199 (Op. 39): Movement 3: Menuetto capriccioso (Presto assai)
Sonata No. 2 In A Flat Major, J. 199 (Op. 39): Movement 4: Rondo (moderato e molto grazioso)
J. 260 (op.65): Invitation To The Dance

Tracks:

Sonata No.3 In D Minor, J. 206 (Op. 49): Movement 1: Allegro feroce
Sonata No.3 in D minor, J. 206 (op.49): Movement 2: Andante con moto
Sonata No.3 in D minor, J. 206 (op.49): Movement 3: Rondo - Presto
Sonata No. 4 In E Minor, J. 287 (Op. 70): Movement 1: Moderato
Sonata No. 4 In E Minor, J. 287 (Op. 70): Movement 2: Menuetto (Presto vivace ed energico)
Sonata No. 4 In E Minor, J. 287 (Op. 70): Movement 3: Andante - quasi Allegretto - consolante
Sonata No. 4 In E Minor, J. 287 (Op. 70): Movement 4: Finale - Prestissimo
Rondo Brillante, J. 252 (Op. 52)
Momento Capriccioso, J. 56 (Op. 12)

Customer Reviews:

Marvelous Weber.......2007-03-23

The comparative neglect of Weber's piano music has always been a mystery to me. The sonatas and concertos in particular are hugely enjoyable to listen to, and technically are not as fearsome to play as they sound (though it does help to have large hands - as Weber himself did - and a fair amount of stamina).

Ohlsson's recording here is quite outstanding, and in my view is the best of these works there is. Grand and powerful, but with a Chopinesque touch, he conveys the mood of each piece perfectly. The famous perpetuum mobile finale of the first sonata is simply superb. The sound is as good as I've heard on any piano recording. Thoroughly recommended.

I recommend Hans Kann's recordings of Von Weber instead.......2003-11-03

I first dicovered Karl Maria Von Weber from Hans Kann's complete solo piano music recording. I was literally struck by the immediacy, simplicity, bravoura without unecessary affectation of his playing that seemed ideally fitted for Karl Maria Von Weber's music whom from all accounts was a brillant, energetic character, full of life (most of his life) and from a musical drama touring family.
Garrick Ohlsson's interpretation seems to come from a Beethoven sonata tradition which tends to neutralize the radiancy and almost mozartian like playfullness of Von Weber beautifull music.
Hans Kann interpretation is like no other and really comes from the musical side giving this music its own place in the epertoire. Ohlson is choking the musical flow and tries to make it sound like a Beethoven sonata which again it is not. I could not keep listening to him as it seemed to much about him playing the music rather than the music itself. Someone out there in the the music distribution business should produce Hans Kann 1975 VOX LP on CD's. I would highly recommend it because this here is not Von Weber's music.

EXTRAORDINARILY VITAL WEBER.......2003-02-14

Ponderously difficult to bring off without falling all over oneself in the process, the four piano sonatas of Carl Maria von Weber [1786-1826], as well as most of his piano works, have been virtually left to molder. Back in the LP days, Hans Kann had enough moxie to tackle Weber for Vox Records around 1975. For most of us it was our first hearing and, unfortunately, forgettable, which is probably the reason we never actively sought these sonatas out. Then came Alexander Paley (Naxos), Hamish Milne (CRD) and Constance Keene (Newport Classics), an unwavering lot all, but no equal to Ohlsson in widening these works, in every direction, to their fullest measure.

Weber's Piano Sonata No. 1 in C, Op. 24 [1812] barnstorms open with a full throttle chordal entry, all very much Beethoven and auspicious, and then proceeds to literally hop around the keyboard--- jumping to and fro--- trilling with demoniacal delight. The stunning impossibility of this Allegro is such heavy weather that it tickles the senses by its sheer virtuosi seriousness and by the extrovert maneuverings of the composer in spite of himself. The Adagio intones Beethoven again, but is no mere knockoff; it's all Weber. The Menuetto is a curious interpolation of elements and devices, whimsy and mood, and is the perfect emotional prelude to the fabulous perpetuum molto Rondo, with its skittering up and down the keys. Who could not be musically intoxicated during, and after, hearing this?

Composed in 1816, Sonata No. 2 in A-flat, Op. 39 eschews, for the most part, the extrovert display of its predecessor in favor of romantic introspection, the Andante being particularly ruminative and intimate. The Menuetto capriccioso dispels some of the darkness with its elfish playfulness, but the Rondo, although upbeat, continues along thoughtfully, its figurations meandering back and forth over the ivories.

The three movements of Sonata No. 3, Op. 49, also 1816, bring Weber to a point of more serious intent, his bearing urgently insistent, concentrated, fiery, and with a rather operatic and darkly penetrating flavor. This is a Weber we have not heard before; there is more substance here, less matter. Even the flashy Rondo seems more interested in pursuing higher compositional ground than it does in mere display. This is a lean, focused and memorable work.

Sonata No. 4 in E minor, Op. 70 [1822] keeps Schubert at hand, its nearly thirteen minute Moderato first movement plunging fervently into the lyrical headwaters of romanticism, and continuing upstream in the complex and frenetic Menuetto, which seems more malignant than minuet--- like some demonic prance. The Andante is lovely, its central theme very much like the slow movement of Schubert's own sonata in D [Op. 53], and the ambient nostalgia is fetching. In the final Prestissimo, we are treated to the curlicues of a bizarre tarantelle--- and caught completely off guard--- as the work ends disquietingly.

The excellent inclusion of Weber's intoxicating Invitation to the Dance, Op. 65 [1816], Rondo Brillante, Op. 52 [1816] and Momento Capriccioso, Op. 12 [1808] makes for even headier listening.

With incomparable performances of these rare sonatas and piano works, coupled with excellent sound, this set silences criticism.

[Running time--- CD 1: 72:41 CD 2: 60:30]

Emotionally and technically very moving!.......2001-09-20

I am surprised that these sonatas are just now being reviewed, (see Edward Paulus review). They got rave reviews from Fanfare and Gramophone, when first released. In fact, if my memory serves me correctly, Fanfare nominated this recording as "The Classical Instrumental Recording of the Year". As sonatas, they are light years from Mozart and Beethoven and Schubert - very original, almost orchestral writing and some of the movements are technical beasts. The last sontata is very emotional - full of technical fireworks. Always wished von Weber had written more.

Weber by Ohlsson.......2001-09-11

I'm unable to write a technical review, however, I know what I like. I love the classical and romantic composers, so if you are a lover of Beethoven and Schubert sonatas, you will also love Weber. Not that these sonatas are Beethoven knock-offs. They are brilliantly original, full of passion and excitement. Ive been a big Garrick Ohlsson fan ever since I saw him perform the Tschaikowsky(#1) and Rachmaninow(#2) piano concertos at Ravinia with the CSO. He exudes warmth and class. His interpretations leave feeling that you have just heard something very special. These Weber recordings are no exception.

Average customer rating:

Weber: Complete Piano Sonatas

Manufacturer: Newport Classic
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
ASIN: B00005YD59
Release Date: 2002-01-29

Tracks:

Sonata No. 1 in C Major, J. 138 Op. 24: I. Allegro
Sonata No. 1 in C Major, J. 138 Op. 24: II. Adagio
Sonata No. 1 in C Major, J. 138 Op. 24: III. Menuetto (Allegro)
Sonata No. 1 in C Major, J. 138 Op. 24: IV. Rondo (Presto)
Sonata No. 2 in A-Flat Major, J. 199 Op. 39: I. Allegro moderato, con spirito ed legato
Sonata No. 2 in A-Flat Major, J. 199 Op. 39: II. Andante
Sonata No. 2 in A-Flat Major, J. 199 Op. 39: III. Presto assai
Sonata No. 2 in A-Flat Major, J. 199 Op. 39: IV. Rondo (Moderato e molto grazioso)
Sonata No. 3 in D Minor, J. 206 Op. 49 I. Allegro feroce
Sonata No. 3 in D Minor, J. 206 Op. 49 II. Andante con moto
Sonata No. 3 in D Minor, J. 206 Op. 49 III. Rondo - Presto
Sonata No. 4 in E Minor, J. 287 Op. 70: I. Moderato
Sonata No. 4 in E Minor, J. 287 Op. 70: II. Menuetto (Presto vivasce ed energico)
Sonata No. 4 in E Minor, J. 287 Op. 70: III. Andante quasi Allegretto - consolante
Sonata No. 4 in E Minor, J. 287 Op. 70: IV. Rondo (Moderato e molto grazioso)

Beethoven: Cello Sonatas; Brahms: Cello Sonata No. 1

Average customer rating:

Beethoven: Cello Sonatas; Brahms: Cello Sonata No. 1

Manufacturer: Testament
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
ASIN: B00000J851
Release Date: 1999-06-08

Amazon.com

Two splendid discs, three fascinating partnerships. In the Beethoven, the great Russian romanticist is clearly influenced by the great English classicist Solomon. Their playing is austere, simple, elegantly phrased, expansive, with wonderfully sustained slow movements, great rhythmic poise, and flexibility and contrast of mood, character, and expression. They bring out the wit, charm, graciousness, youthful exuberance as well as the pleading, questioning urgency of Op. 5, the sublimity and drama of Op. 69, and the inwardness, tragedy and grandeur of Op. 102. In the Brahms, Piatigorsky and Rubinstein are soul mates in style, rhythmic freedom, and spontaneous expressiveness, from austere introspection, pensive wistfulness, and serene resignation to ardor, passion, and unbridled impetuosity. With Ivor Newton, three Weber pieces, transcribed by Piatigorsky from the violin sonatas, are charming and brilliantly effective. Despite the recording's age, the sound is excellent throughout. --Edith Eisler

Flöte & Gitarre: Original Transcriptions

Average customer rating:

Flöte & Gitarre: Original Transcriptions

Manufacturer: Capriccio
ProductGroup: Music
Binding: Audio CD

Duets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Classical | Styles | Music
ASIN: B000001WUA
Release Date: 1997-12-09

Average customer rating:

Weber: Piano Sonatas 2 & 3
Slawik
Manufacturer: Arte Nova Classics
ProductGroup: Music
Binding: Audio CD

Rondos | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
ASIN: B000AMPZQ2
Release Date: 2005-09-13

Tracks:

I. Allegro Moderato, Con Spirito Ed Assai Legato
II. Andante
III. Presto Assai
IV. Rondo: Moderato E Molto Grazioso
I. Allegro Feroce
II. Andante Con Moto
III. Rondo: Presto. Con Molta Vivacita
Moderato. Allegro Vivace. Vivace. Moderato

Album Description

"ALL THE VIRTUOSITY REQUIRED FOR WEBER'S INTRICATE WORKS, BUT WITH SENSITIVITY TOO: Reviewing one of Weber's concerts in 1812, a critic emphasised that a key quality of his piano playing was not so much finger dexterity as a feeling for the instrument's tonal subtleties. His piano music certainly requires virtuosity, and Mariaclara Monetti von Slawik is well in control of the brilliance and excitement...but the style of her playing shows that her real concerns are with fluency of line, variety of colour and especially with allowing the music great rhythmic freedom. Weber is known to have favoured tempo variation within a movement, and Slawik is very free with rubato. When it is done with her kind of sensitivity, this is very rewarding.

The D minor sonata's first movement is made to seem almost closer to variations than to a stronger formal structure, with a particularly beguiling dolce second subject; and this is taken further in the beautiful Andante, where her sense of line and colour is well attuned to Weber's quite intricate textures (the recording, too, is attentive to these matters). None of this prevents her from making much of the grand statements that open the works.

Customer Reviews:

The passion for the instrument!.......2006-11-05

After having watched Ricci six times during two long decades in Caracas, I even can evocate and still remember with meridian clarity, the powerful sound, the enraptured vibratos and vibrant staccatos to produce an expressive sound, without excess of the Romantic vision of violinists such as Menuhin, for instance. Thanks to Ricci I always preferred the Guarnerius del Gesu 1734 rather than the well know Stradivarius sound.

This album contains a very special selection that talks by itself about his overwhelming technique and voluptuous lyricism.

His approach about two of his most beloved composers, Paganini and Sarasate are simply illuminating. But the sound talks better than any other compliment. Go for this five albums set and enjoy over and over about one of the most distinguished violinists of the past Century.

It's About Time !!.......2005-03-28

I've been waiting for these Ricci productions to be transferred to CD for years and years. Why did it take so long?

Ricci, to me, is an astounding violinist who loves his instrument. Don't expect Ruggiero to play like anyone else; he is
unique among fiddle players. Ricci is, well, Ricci.

I once owned everything he recorded in the 50's and 60's; much
of it can be found here. And, make no mistake, these recordings
were mastered on state-of-the-art equipment and do not sound dated at all.

You will not find cookie-cutter performances from Ruggiero Ricci.
Here you will find a new way. The Prokofiev tracks have been
fondled by sweet hands too long; listen to Ricci. He plays
Prokofiev in a devilishly different style. And 'O !! his Tzigane by Ravel is played so hauntingly that you will get the creeps !!
Leave the lights on if you must, but it's best listened to in the dark. Your skin will crawl.

Rewarding Ricci.......2004-02-04

This five disc box set featuring the Decca Recordings (1950-60) of violinist Ruggiero Ricci is easily the best of the latest batch of releases in the limited edition "Original Masters" series. Nearly 3/4 of this collection is material that is being made available for the first time internationally. All of the first three CDs (CD1: Paganini's 24 Caprices; CD2: Paganini's 1st & 2nd VCs with Collins and Ravel's Tzigane with Ansermet; and CD3: Strauss and Weber Sonatas) and most of the fifth disc (Hindemith & Prokofiev Sonatas) fall into this category. Furthermore, all of the material on CD4 (Saraste & Saint-Saens with Gamba and Lalo's "Symphonie Espagnole" with Ansermet) was previously available on a disc in Decca's "Classic Sound" series but it has been out of print for years. In fact, the only selection currently in print from this set is Khachaturian's Violin Concerto (Fistoulari, 1956), which is available on a Double Decca title that I had fortunately yet to purchase. The only downside to this collection is the predominance of mono recordings (only the Tzigane, CD 4 and the Hindemith & Prokofiev Sonatas are in stereo), but they still sound delightful, and only the Paganini Caprices suffer the slightest hiss. In all, another great set in the "Original Masters" series.

Average customer rating:

The London Piano School, Vol. 2

Manufacturer: Arabesque Recordings
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

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

Classical | Imports | Stores | Music
ASIN: B000000T77
Release Date: 1993-08-05

Tracks:

Son in c: Movement 1 (Allegro espressivo con fuoco e risoluto)
Son in c: Movement 2 (Poco adagio tranquillo, legato, e con espressione)
Son in c: Movement 3 (Rondo - Molto allegro agitato con fuoco e con espressione)
Adagio Patetico in c#
Son in E-flat, Op.1 #1: Movement 1 (Allegro moderato)
Son in E-flat, Op.1 #1: Movement 2 (Rondo - Allegro)
Son in F, Op.27 #1: Movement 1 (Patetico e lento - Allegro scherzando)
Son in F, Op.27 #1: Movement 2 (Andante con moto)
Son in F, Op.27 #1: Movement 3 (Allegretto)
Capricco in e, Op.47 #1

Music Review:

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