7 Fantasies / Piano Pieces

Boston Globe
"Tomsic's Brahms has plenty of weight but it has lightness, transparency and clarity of texture too -- she has removed years of varnish to reveal bright colors and fresh feelings. The playing, of course, reveals extraordinary control and character.

Tracks:

Seven Fantasies, Op. 116: Capriccio In D Minor. Prest Enegico
Seven Fantasies, Op. 116: Intermezzo In A Minor. Andante
Seven Fantasies, Op. 116: Capriccio In G Minor. Capriccio In G Minor. Allegro Passionato
Seven Fantasies, Op. 116: Intermezzo In E Major. Adagio
Seven Fantasies, Op. 116: Intermezzo In E Minor. Andante con grazia ed intimissimo sentimento
Seven Fantasies, Op. 116: Intermezzo In E Major. Andantino teneramente
Seven Fantasies, Op. 116: Capriccio In D Minor. Allegro Agitato
Four Piano Pieces, Op. 119: Intermezzo In B Minor. Adagio
Four Piano Pieces, Op. 119: Intermezzo In E Minor. Andantino un poco agitato
Four Piano Pieces, Op. 119: Intermezzo In C Major. Grazioso e giocoso
Four Piano Pieces, Op. 119: Rhapsody in E-Flat Major. Allegro risoluto
Sonata For Piano No. 2 In F-Sharp Minor, Op. 2: I. Allegro non troppo ma energico
Sonata For Piano No. 2 In F-Sharp Minor, Op. 2: II. Andante con espressione
Sonata For Piano No. 2 In F-Sharp Minor, Op. 2: III. Scherzo. Allegro - Trio. Poco piu moderato
Sonata For Piano No. 2 In F-Sharp Minor, Op. 2: Finale: Introduzione. Sostenuto - Allegro non troppo e rubato

Customer Reviews:

exquisite Brahms miniatures.......2004-10-08

The second sonata (composed before the first sonata, but published by the mercilessly self-critical Brahms soon afterwards) is the least performed and recorded of the three. This exquisite performance by seasoned Brahms interpreter Emanuel Ax might claim to be the definitive version.

The sonata is soundly upstaged by a rare complete collection of the Four Piano Pieces, op. 119 and the Seven Fantasies, Op. 116. Brahms' miniatures for solo piano deserve a place with those of Schubert and Scriabin, and Ax's breathtaking performances leave the listener in no doubt as to why. I highly recommend this disc to newcomers and old friends of Brahms alike.

Five Stars for Emanual Ax..........2000-06-10

Emanuel Ax performs these Brahms masterpieces like no other! Emanuel Ax is generally considered to be a great Brahms interpreter and an overall good pianist. This cd proves it. Emanuel Ax shows great expression and technical proficiency in this selection. This cd belongs at the top of every Johannes Brahms collection.

Average customer rating:

Awesome!
very poor sound quality almost ruins it
Some of the Most Complex Music of the Period!
An okay recording...

Mendelssohn: Complete Piano Music

Manufacturer: Nimbus Records
ProductGroup: Music
Binding: Audio CD

Etudes | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Fugues | Forms & Genres | Classical | Styles | Music

Rondos | Forms & Genres | Classical | Styles | Music

Scherzo | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

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

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

General Christmas | Holiday | Miscellaneous | Styles | Music

Classical | Box Sets | Stores | Music

General Christmas | Holiday Music | Special Features | Music
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Brahms: Complete Piano Music
Works for Solo Piano
Brahms: Works for Solo Piano
Fauré: Piano Music complete [Box Set]
Brahms: Complete Piano Music

ASIN: B0000037B1
Release Date: 1997-10-07

Tracks:

3 Caprices, Op.33: No.1
3 Caprices, Op.33: No.2
3 Caprices, Op.33: No.3
Capriccio In F# Minor, Op.5
Capriccio In E Major, Op.118
Scherzo In B Minor
Scherzo a Capriccio In F# Minor
Andante & Rondo Capriccioso, Op.14
Perpetuum Mobile, Op.119
Two Klavierstucke: No.1
Two Klavierstucke: No.2
Andante Cantabile & Presto Agitato

Tracks:

Sonata in B flat, Op.106: I. Allegro vivace
Sonata in B flat, Op.106: II. Scherzo. Allegro non troppo
Sonata in B flat, Op.106: III. Andante quasi allegretto
Sonata in B flat, Op.106: IV. Allegro moderato
Sonata in E, Op.6: I. Allegretto con espressione
Sonata in E, Op.6: II. Tempo di menuetto
Sonata in E, Op.6: III. Adagio e senza tempo
Sonata in E, Op.6: IV. Molto allegro e vivace
Sonata in G, Op. 105: I. Allegro
Sonata in G, Op. 105: II. Adagio
Sonata in G, Op. 105: III. Presto
Six Kinderstucke, Op.72: I. Allegro non troppo
Six Kinderstucke, Op.72: II. Andante sostenuto
Six Kinderstucke, Op.72: III. Allegretto
Six Kinderstucke, Op.72: IV. Andante con moto
Six Kinderstucke, Op.72: V. Allegro assai
Six Kinderstucke, Op.72: VI. Vivace

Tracks:

Six Preludes and Fugues, Op. 35 No. 1 in E minor: Allegro con fuoco
Six Preludes and Fugues, Op. 35 No. 1 in E minor: Andante Espressivo
Six Preludes and Fugues, Op. 35 No. 2 in D Major: Allegretto
Six Preludes and Fugues, Op. 35 No. 2 in D Major: Tranquillo e sempre legato
Six Preludes and Fugues, Op. 35 No. 3 in B minor: Prestissimo staccato
Six Preludes and Fugues, Op. 35 No. 3 in B minor: Allegro con brio
Six Preludes and Fugues, Op. 35 No. 4 in A flat major: Con moto
Six Preludes and Fugues, Op. 35 No. 4 in A flat major: Con moto, ma sostenuto
Six Preludes and Fugues, Op. 35 No. 5 in F Major: Andante lento
Six Preludes and Fugues, Op. 35 No. 5 in F Major: Allegro con fuoco
Six Preludes and Fugues, Op. 35 No. 6 in B flat major: Maestoso moderato
Six Preludes and Fugues, Op. 35 No. 6 in B flat major: Allegro con brio
Prelude And Fugue In E Minor: Prelude - Allegro molto
Prelude And Fugue In E Minor: Fugue - Allegro energico
Three Preludes And Three Studies, Op. 104 - Three Preludes: No. 1 in B Flat Major - Allegro molto e vivace
Three Preludes And Three Studies, Op. 104 - Three Preludes: No. 2 In B Minor - Allegro agitato
Three Preludes And Three Studies, Op. 104 - Three Preludes: No. 3 In D Major - Allegro vivace
Three Preludes And Three Studies, Op. 104 - Three Studies: No. 1 In B Flat Minor - Presto
Three Preludes And Three Studies, Op. 104 - Three Preludes: No. 2 In B Minor - Allegro agitato
Three Preludes And Three Studies, Op. 104 - Three Preludes: No. 3 In D Major - Allegro vivace
Study In F Minor

Tracks:

Variations Serieuses In D Minos, Opus 54 - Mendelssohn
Three Fantasies Or Caprices, Opus 16: I. Andante con moto - Mendelssohn
Three Fantasies Or Caprices, Opus 16: II. Scherzo-Presto - Mendelssohn
Three Fantasies Or Caprices, Opus 16: III. Andante - Mendelssohn
Variations In E-Flat Major, Opus 82 - Mendelssohn
Fantasy In F-Sharp Minor, Opus 82: I. Con moto agitato - Mendelssohn
Fantasy In F-Sharp Minor, Opus 82: II. Allegro con moto - Mendelssohn
Fantasy In F-Sharp Minor, Opus 82: III. Presto - Mendelssohn
Variations In B-Flat Major, Opus 83 - Mendelssohn
Fantasy On 'The Last Rose Of Summer', Op. 15 - Mendelssohn

Tracks:

Book One, Op. 19: Sweet Remembrance
Book One, Op. 19: Regrets
Book One, Op. 19: Hunting Song
Book One, Op. 19: Confidence
Book One, Op. 19: Restlessness
Book One, Op. 19: Venetian Boat Song
Book Two, Op. 30: Contemplation
Book Two, Op. 30: Unrest
Book Two, Op. 30: Consolation
Book Two, Op. 30: The Wanderer
Book Two, Op. 30: The Brook
Book Two, Op. 30: Venetian Boat Song
Book Three, Op. 38: The Evening Star
Book Three, Op. 38: Lost Happiness
Book Three, Op. 38: The Poet's Harp
Book Three, Op. 38: Hope
Book Three, Op. 38: Passion
Book Three, Op. 38: Duet
Book Four, Op. 53: On the Seashore
Book Four, Op. 53: Clouds
Book Four, Op. 53: Agitation
Book Four, Op. 53: Sadness of Soul
Book Four, Op. 53: Folk Song
Book Four, Op. 53: Flight
Book Five, Op. 62: May Breezes
Book Five, Op. 62: The Departure
Book Five, Op. 62: Funeral March
Book Five, Op. 62: Morning Song
Book Five, Op. 62: Venetian Boat Song
Book Five, Op. 62: Spring Song

Tracks:

Seven Characteristic Pieces, Op. 7: No. 1 In E Minor - Andante
Seven Characteristic Pieces, Op. 7: No. 2 In B Minor - Allegro vivace
Seven Characteristic Pieces, Op. 7: No. 3 In D Major - Allegro vivace
Seven Characteristic Pieces, Op. 7: No. 4 In A Major - Con moto
Seven Characteristic Pieces, Op. 7: No. 5 In A Major - Fuga
Seven Characteristic Pieces, Op. 7: No. 6 In E Minor - Andante
Seven Characteristic Pieces, Op. 7: No. 7 In E Major - Presto
Gondellied In A Major
Albumblatt In E Minor, Op. 117
Songs Without Words Book Six, Op. 67: No. 1 In E Flat Major - Andante
Songs Without Words Book Six, Op. 67: No. 2 In F Sharp Minor - Allegro Leggiero
Songs Without Words Book Six, Op. 67: No. 3 In B Flat Major - Andante tranquillo
Songs Without Words Book Six, Op. 67: No. 4 In C Major - Presto
Songs Without Words Book Six, Op. 67: No. 5 In B Minor - Moderato
Songs Without Words Book Six, Op. 67: No. 6 In E Major - Allegretto Non Troppo
Songs Without Words Book Seven, Op. 85: No. 1 In F Major - Andante espressivo
Songs Without Words Book Seven, Op. 85: No. 2 In A Minor - Allegro agitato
Songs Without Words Book Seven, Op. 85: No. 3 In E Flat Major - Presto
Songs Without Words Book Seven, Op. 85: No. 4 In D Major - Andante sostenuto
Songs Without Words Book Seven, Op. 85: No. 5 In A Major - Allegretto
Songs Without Words Book Seven, Op. 85: No. 6 In B Flat Major - Allegretto con moto
Songs Without Words Book Eight, Op. 102: No. 1 In E Minor - Andante un poco agitato
Songs Without Words Book Eight, Op. 102: No. 2 In D Major - Adagio
Songs Without Words Book Eight, Op. 102: No. 3 In C Major - Presto
Songs Without Words Book Eight, Op. 102: No. 4 In G Minor - Un poco agitato, ma andante
Songs Without Words Book Eight, Op. 102: No. 5 In A Major - Allegro vivace
Songs Without Words Book Eight, Op. 102: No. 6 In C Major - Andante
Song Without Words, Op. 85, No. 5: Song Without Words, Op. 85, No. 5 (manuscript version)
Song Without Words, Op. 102, No. 2: Song Without Words, Op. 102, No. 2 (manuscript version)

Amazon.com

Whether in the large-scale Op. 6 Sonata and Variations Serieuses or the gentle yet cogently proportioned Songs Without Words, the indefatigable Martin Jones plays this music with assurance, insight, and a singing tone that never cloys. Moreover, Nimbus's rock-bottom price is hard to beat for customers wishing to acquire Mendelssohn's entire solo piano output in one fell swoop. --Jed Distler

Customer Reviews:

Awesome!.......2006-09-21

This is an amazing collection of Mendelssohn's works! However, the recording is a little on the soft side, so you sort of need to crank your speakers, but all in all, it's a must have for collectors of classical music. Enjoy! Oh, and may I strongly suggest track 3 of disc 4 - it was my whole reason for buying this collection. The entire set is amazing, but that track is worth the price of admission.

very poor sound quality almost ruins it.......2006-07-04

This is no doubt to me great piano music played by a great performer. I can't find anything wrong with that. The only problem is the recording quality is very poor, almost intolerable at times. This was recorded in the early through late 70s. I disagree with the previous reviewer, the sound isn't crisp or clear at all, it's very staticy and recorded at a very low volume so you have to crank up the volume creating more static. It's also hard to hear how beautiful the piano really is. To confirm what one of the other reviewers said it does sound as if the piano is underwater. Too bad the recording was not cleaned up to sound at least a little better.

Even at the price I paid ($25)it still may be over priced. It is a great way to get all of his solo piano music but if you want quality skip this and spend the extra money.

Some of the Most Complex Music of the Period!.......2005-02-22

Mendelssohn's piano music is an amazing body of work and if you are a classical music fan who has not been exposed to it yet, this is a wonderful way to get his entire piano output. Nimbus has Marvin Jones( winner of the 1968 Myra Hess Award ) performing this for us, recorded in the 1970's. It is in ADD, which is what one would expect from that time, but the sound is very crisp and clear, with the microphone placement not extremely close to the piano, so as to capture the room acoustics. Mr. Jones plays with great brilliance, clarity, and enthusiasm, and, most importantly, he seems to capture the true spirit of Mendelssohn. The set is nicely packaged in two triple cases in a sleeve with a booklet.

An okay recording..........2003-07-03

For the price, you really can't find a real deal... but in a lot of places, it's obvious why the price is as low as it is. First of all, the recording is awfully muddy and the piano's tone suffers as a result, often sounding more like it's underwater than anything else.

Customer Reviews:

An Admirable, Distinguished Collection Of Helene Grimaud's Earliest Recordings.......2007-05-25

This is truly a magnificient box set which demonstrates the early artistry of one of our finest contemporary pianists, the celebrated French pianist Helene Grimaud. It's an amazing collection not only because it was recorded when Grimaud was in her teens and early twenties when she was contracted to Denon, but more importantly, it demonstrates just how accomplished a musician she was at the start of a brilliant career. Her excellent playing of these works, especially of the Schumann and Brahms pieces, can hold their own against legendary competition from the likes of Claudio Arrau, Alfred Brendel and Murray Perahia, to name but a few of the most noteworthy interpreters - past and present - of these scores. However, I think the real gems are her spellbinding, exquisite performances of the Rachmaninov piano concerto and solo pieces, which I find as admirable as those I've heard from Vladimir Ashkenazy and Zoltan Kocsis, to name but a few. Those unfamiliar with the earliest phase of Helene Grimaud's distinguished career as a celebrated solo pianist will find this box set most rewarding.

Not just exceptional piano playing for a teen-ager - exceptional piano playing, period........2006-12-03

Brilliant Classics, a cheapo-cheapo label based in the Netherlands, has licensed from Denon the five recordings which launched Helene Grimaud's career, and marketed them at a price which makes them a steal. Miss Grimaud was 15 when she recorded the first of these five, the Rachmaninoff collection, in 1985, comprising his second piano sonata (in Horowitz' abridged edition) and a selection of Etude-Tableaux, plus two Preludes. She went on with Schumann (1st piano sonata in 1987, Kreisleriana in '88), Chopin (1st Ballade) and Liszt (Dante Sonata - both in '87), Brahms (second piano sonata in '88 followed by third piano sonata and Klavierstücke opus 118 in '91), and it was all topped-off, in 1992, by the concerto recordings: Ravel's G major and Rachmaninoff's 2nd, with the Royal Philharmonic Orchestra conducted bu Jesus Lopez-Cobos. She then moved own to Erato, and now DG - and that was it for Denon.

So these discs span the 7 first years of her recording career, and it is not easy stuff that she tackled either. These are among the most daunting compositions of the piano repertoire, not only technically but also musically.

It would be unfair to Miss Grimaud to say that these are astounding recordings for a 15-to-22 year-old girl. These are astounding recordings, period. Throughout she displays unflinching muscularity, gripping rhythmic bite, magnificent control of the long line and the succession of variegated moods, from drama to lyricism, and admirable attention to the inside voicing and complexities of contrapuntal writing. All these recordings are not just fine visiting cards for a fledgling pianist - they are equal to the best. Brilliant as reissued the Denon discs as they were originally, short timings and all - the Rachmaninoff is 44 minutes long and the longest of the five is under the hour - but given the price and the excellence of piano playing it is still a bargain.

Miss Grimaud is now in the public's eye almost more for her infatuation with wolves than for her pianistic skills - and the Brilliant release surfs on the wave, albeit with some discretion, by the choice of its cover art. But judging from these recordings, one suspects that this kind of claptrap is almost detrimental to her cause. The wolf hype would easily lead you to think that some wise-axxed PR was trying to make up by that tacky attention-catcher for what her mere pianism was unable to achieve. Not so. Miss Grimaud's pianistic and musical gifts can amply stand on their own. Let the wolves howl, and hats off to the pianist.

Gorgeous Music - Great Value.......2004-07-31

This box set consists of 5 CDs of Helene Grimaud's beautiful piano playing. These CDs were originally released by Denon which has a great reputation for audio quality. Grimaud plays Rachmaninoff (Piano Concerto 2, Piano Sonata No.2 and others), Ravel (Piano Concerto in G major), Chopin (Ballade No. 1), Schumann (Piano Sonata No. 1 and Kreilserana), Liszt (Apres une lecture de Dante), Brahms (Piano Sonata Nos. 2 and 3 and Klavierstucke Op. 118).

A lot of great music beautifully played and recorded without breaking the bank.

Highly recommended.

Average customer rating:

Complete 1950s Solo Recordings
Wilhelm Kempff , Schumann , Brahms , and Beethoven
Manufacturer: Umvd Labels
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Ballads | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

Scherzo | Forms & Genres | Classical | Styles | Music

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ASIN: B00009LW30
Release Date: 2003-08-12

Brahms: Piano Pieces, Op. 76; Two Rhapsodies, Op. 79; Fantasies, Op. 116

Average customer rating:

Excellent Budget Brahms from Idil Biret and Naxos

Brahms: Piano Pieces, Op. 76; Two Rhapsodies, Op. 79; Fantasies, Op. 116

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

Fantasies | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music
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Brahms: Intermezzi, Op. 117; Piano Pieces, Opp. 118 & 119; Scherzo, Op. 4
Brahms: Piano Sonatas Nos. 1 & 2
Brahms: Theme and Variations
Brahms: Variations
Bartók: Out of Doors

ASIN: B0000013PK
Release Date: 1994-02-15

Tracks:

Piano Pieces, Op. 76: No. 1 Capriccio
Piano Pieces, Op. 76: No. 2 Capriccio
Piano Pieces, Op. 76: No. 3 Intermezzo
Piano Pieces, Op. 76: No. 4 Intermezzo
Piano Pieces, Op. 76: No. 5 Capriccio
Piano Pieces, Op. 76: No. 6 Intermezzo
Piano Pieces, Op. 76: No. 7 Intermezzo
Piano Pieces, Op. 76: No. 8 Capriccio
Two Rhapsodies, Op. 79: No. 1
Two Rhapsodies, Op. 79: No. 2
Fantasies, Op. 116: No. 1 Capriccio
Fantasies, Op. 116: No. 2 Intermezzo
Fantasies, Op. 116: No. 3 Capriccio
Fantasies, Op. 116: No. 4 Intermezzo
Fantasies, Op. 116: No. 5 Intermezzo
Fantasies, Op. 116: No. 6 Intermezzo
Fantasies, Op. 116: No. 7 Capriccio

Customer Reviews:

Excellent Budget Brahms from Idil Biret and Naxos.......2006-01-25

Brahms's short piano pieces have been recorded by master Brahmsians of an older day and of present times as well. The honor role includes such pianists as Julius Katchen, Wilhelm Kempff, and Emanuel Ax. Indeed, Katchen's performances (on Decca) have never been surpassed, but I find Idil Biret's CD of the Op. 76, 79, and 116 pieces very compelling. First, Biret is a real virtuoso undaunted by the difficult turns of phrase and dynamics, especially in the faster pieces (usually called "Capriccio"). She is able to really get to the bottom of the keys, producing a powerful and plangent sound that is just right for Brahms (who--the old curmudgeon--once complained to a female performer of one of his concertos that the work was "not for little girls").

Secondly, Biret is capable of the same kind of poetry that elevates Wilhelm Kempff's performances (without the soft-grained pianism that also dampens some of his work). For example, my favorite short work of Brahms--Op. 116, No. 2--has an elegant plaintiveness in her hands that is just right, as far as I'm concerned. Naxos offers a good, truthful studio recording from Germany as well.

So if you're looking for Brahms on a budget, this CD is both a convenient and very desirable way to acquire a sampling of the composer's finest short piano works.

Original Jacket Collection: Vladimir Horowitz

Average customer rating:

A great musician, not only a virtuoso
Ca$hing in on Nostalgia
Ca$hing in on Nostalgia

Original Jacket Collection: Vladimir Horowitz

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Mazurkas | Ballets & Dances | Classical | Styles | Music

Polonaises | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Ballads | Forms & Genres | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

Toccatas | Forms & Genres | Classical | Styles | Music

Scherzo | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

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ASIN: B00005T7RC
Release Date: 2001-12-04

Tracks:

Sonata No.2 in B flat Minor, Op.35: I. Grave - Doppio Movimento
Sonata No.2 in B flat Minor, Op.35: II. Scherzo
Sonata No.2 in B flat Minor, Op.35: III. Marche Funebre. Lento
Sonata No.2 in B flat Minor, Op.35: IV. Finale. Presto
Etude-Tableau in C Major, Op.33, No.2: Allegro
Etude-Tableau in E flat Minor, Op.39, No.5: Appassionato
Arabeske in C Major, Op.18: Leicht Und Zart
Hungarian Rhapsody in D Minor, No.19: Lento Patetico (Lassan) - Vivace (Friska)

Tracks:

Kinderszenen (Scenes From Childhood), Op.15: Von Fremden Landern Und Menschen
Kinderszenen (Scenes From Childhood), Op.15: Kuriose Geschichte
Kinderszenen (Scenes From Childhood), Op.15: Hasche-Mann
Kinderszenen (Scenes From Childhood), Op.15: Bittendes Kind
Kinderszenen (Scenes From Childhood), Op.15: Gluckes Genug
Kinderszenen (Scenes From Childhood), Op.15: Wichtige Begebenheit
Kinderszenen (Scenes From Childhood), Op.15: Traumerei
Kinderszenen (Scenes From Childhood), Op.15: Am Kamin
Kinderszenen (Scenes From Childhood), Op.15: Ritter Vom Steckenpferd
Kinderszenen (Scenes From Childhood), Op.15: Fast Zu Ernst
Kinderszenen (Scenes From Childhood), Op.15: Furchtenmachen
Kinderszenen (Scenes From Childhood), Op.15: Kind Im Einschlummern
Kinderszenen (Scenes From Childhood), Op.15: Der Dichter Spricht
Toccata in C Major, Op.7: Allegro
Sonata in E Major, K.531 (L 430): Allegro
Sonata in A Major, K.322 (L 483): Allegro
Sonata in G Major, K. 455 (L 209): Allegro
Impromptu in G flat Major, Op.90, No.3: Andante
Poeme in F sharp Major, Op.32, No.1: Andante Cantabile
Etude in C sharp Major, Op.2, No.1: Andante
Etude in D sharp Minor, Op.8, No.12: Patetico

Tracks:

Sonata No.8 in C Minor, Op.13 'Pathetique': I. Grave - Allegro Di Molto E Con Brio
Sonata No.8 in C Minor, Op.13 'Pathetique': II. Adagio Cantabile
Sonata No.8 in C Minor, Op.13 'Pathetique': III. Rondo. Allegro
3 Preludes from Book 2: Les Fees Sont D'exquises Danseuses
3 Preludes from Book 2: Bruyeres
3 Preludes from Book 2: General Lavine - Eccentric
Etude in c, Op.10, No.12 ('Revolutionary'): Allegro Con Fuoco
Etude in C sharp Minor, Op.25, No.7: Lento
Scherzo No.1 in B Minor, Op.20: Presto Con Fuoco

Tracks:

Sonata in D Major, K. 33 (L 424): Allegro
Sonata in A Minor, K. 54 (L 241): Allegro
Sonata in F Major, K. 525 (L 188): Allegro
Sonata in F Minor, K.466 (L 188): Andante Moderato
Sonata in G Major, K. 146 (L 349): Allegretto
Sonata in D Major, K. 96 (L 465): Allegro
Sonata in E Major, K. 162 (L 21): Andante
Sonata in E flat Major, K. 474 (L203): Allegro
Sonata in E Minor, K. 198 (L22): Allegro
Sonata in D Major, K. 491 (L 164): Allegro
Sonata in F Minor, K. 481 (L 187): Andante E Cantabile
Sonata in A Major, K. 39 (L 391): Allegro

Tracks:

Organ Toccata in C Major, BWV 564: I. Preludio, Quasi Improvvisando
Organ Toccata in C Major, BWV 564: II. Intermezzo: Adagio
Organ Toccata in C Major, BWV 564: III. Fuga. Moderamente Scherzando, Un Poco Umoristico
Fantasy in C Major, Op.17: I. Durchaus Phantastisch Und Leidenschaftlich Vorzutragen
Fantasy in C Major, Op.17: II. Massig. Durchaus Energisch
Fantasy in C Major, Op.17: III. Langsam Getragen. Durchweg Leise Zu Halten

Tracks:

Piano Sonata No.9, Op.68 'Black Mass'
Poeme in F sharp Major, Op.32, No.1: Andante Cantabile
Mazurka in C sharp Minor, Op.30, No.4: Allegretto
Etude in F Major, Op.10, No.8: Allegro
Ballade No.1 in G Minor, Op.23: Largo - Moderato - Meno Mosso - Presto Con Fuoco
Children's Corner: No.3 Serenade For The Doll
Etude in C sharp Minor, Op.2, No.1: Andante
Etude in A flat Major, Op.72, No.11: Presto E Con Leggierezza
Kinderszenen, Op.15: No.7: Traumerei

Tracks:

Polonaise-Fantasie, Op.61
Mazurka in A Minor, Op.17, No.4: Lento, Ma Non Troppo
Etude ('Black Key') in G flat Major, Op.10, No.5: Vivace
Introduction & Rondo in E flat Major, Op.16: Introduzione. Andante - Rondo. Allegro Vivace
Waltz in A Minor, Op.34, No.2: Lento
Polonaise in A flat Major, Op.53: Maestoso

Tracks:

Sonata No.3 in F Minor, Op.14: Variations On A Theme By Clara Wieck: Andantino
Kreisleriana, Op.16: I. Ausserst Bewegt
Kreisleriana, Op.16: II. Sehr Innig
Kreisleriana, Op.16: III. Sehr Aufgeregt
Kreisleriana, Op.16: IV. Sehr Langsam
Kreisleriana, Op.16: V. Sehr Lebhaft
Kreisleriana, Op.16: VI. Sehr Langsam
Kreisleriana, Op.16: VII. Sehr Rasch
Kreisleriana, Op.16: VIII. Schnell Und Spielend

Tracks:

Etude: Andante Piacevole
Etude in f#, Op.8, No.2: A Capriccio Con Forza
Etude in B flat Minor, Op.8, No.11: Andante Cantabile
Etude in D flat Major, Op.8, No.10: Allegro
Etude in A flat Major, Op.8, No.8: Lento (Tempo Rubato)
Etude in F sharp Major, Op.42, No.3: Prestissimo
Etude in F sharp Major, Op.42, No.4: Andante
Etude in C sharp Minor, Op.42, No.5: Affannato
Piano Sonata No.10, Op.70: Moderato - Allegro - Puissant, Radieux - Allegro - Piu Vivo - Presto - Moderato
2 Poemes, Op.69: No.1: Allegretto
2 Poemes, Op.69: No.2: Allegretto
Vers La Flamme (Poeme), Op.72: Allegro Moderato

Tracks:

Piano Sonata No.2 in B flat Minor, Op.36: I. Allegro Agitato
Piano Sonata No.2 in B flat Minor, Op.36: II. Non Allegro
Piano Sonata No.2 in B flat Minor, Op.36: III. Allegro Molto
Prelude in G sharp Minor, Op.32, No.12: Allegro
Moment Musical in B Minor, Op.16, No.3: Andante Cantabile
Etude-Tableau in E flat Minor, Op.33, No.5: Non Allegro - Presto
Etude-Tableau in C Major, Op.33, No.2: Allegro
Etude-Tableau in D Major, Op.39, No.9: Allegro Moderato (Tempo Di Marcia)

Customer Reviews:

A great musician, not only a virtuoso.......2005-10-24

Vladimir Horowitz is, perhaps, the last example of the true last romantic russian virtuoso. His execution is always interesting by a musical point of wiev. The composers are many and of varied historic periods, but the execution is always very appropriated in style and musical analisys. Specially the works by Scriabine and Rachmaninov have here an equilibrated treatment that shows the musical qualities over the technical power. An indispensable for all piano lovers and piano players.

Ca$hing in on Nostalgia.......2002-01-01

Despite having died over twelve years ago, Vladimir Horowitz remains a potent force in the ever-shrinking Classical music market. Since his death in 1989, Horowitz' complete recordings have been remastered and reissued, and a number of previously unreleased recordings have also surfaced.

The marketing gimmick behind the Original Jacket Collection is a simple one: ten CDs, with the music duplicating the original LP release, with the original liner notes and bearing the original LP covers (albeit in miniaturized form).

Horowitz was in his late prime during his Columbia (now Sony) years, 1962-1973. The performances in this box are rightfully legendary. Highlights include: loads of Chopin including the Sonata, Op. 35 (1962), a brooding Poloniase-Fantasie, Op. 61 (recorded live in 1966), an electrifying performance of the neglected Introduction & Rondo, Op. 16 (1971); Horowitz' own transcription of Liszt's Hungarian Rhapsody No. 19; and the all Scarlatti, Rachmaninoff, Schumann, and Scriabin LPs. It is worth noting that most of these recordings were Grammy winners and have never been out of the catalogue since they were initially released.

That's part of the problem. Horowitz fans with sharp ears will detect that these are not new remasterings, they are straight transfers from Sony's 1993 Complete Masterworks Recordings reissue. In a number of cases here, such as in Schumann's Kreisleriana, alternate takes were used, which differ from the original LP issues. While the performances don't suffer from the alterations, should not Sony have done their homework and checked the CD remasterings against the original LPs?

Ca$hing in on Nostalgia.......2001-12-27

Vladimir Horowitz remains a potent force in the ever-shrinking Classical music market. Since his death in 1989, Horowitz' complete recordings have been remastered and reissued, and a number of previously unreleased recordings have also surfaced.

Horowitz was in his late prime during his Columbia (now Sony) years, 1962-1973. The performances in this box are rightfully legendary. Highlights include loads of Chopin including the Sonata, Op. 35 (1962), a brooding Poloniase-Fantasie, Op. 61 (recorded live in 1966), an electrifying performance of the neglected Introduction & Rondo, Op. 16 (1971); Horowitz' own transcription of Liszt's Hungarian Rhapsody No. 19; and the all Scarlatti, Rachmaninoff, Schumann, and Scriabin LPs. It is worth noting that most of these recordings were Grammy winners and have never been out of the catalogue since they were initially released.

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Vladimir Horowitz I - (Great Pianists of Century series) Robert Schumann (2 CDs)

Average customer rating:

A LOST TRADITION
The best, indeed
You don't get much better than this!!!!
Horowitz's Schumann: Virtuous Virtuosity
Don't Worry About the Coughing

Vladimir Horowitz I - (Great Pianists of Century series) Robert Schumann (2 CDs)

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Toccatas | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
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ASIN: B00000DBUB
Release Date: 1998-10-20

Tracks:

Toccata In C, Op.7
Arabeske In C, Op.18
Traumeswirren (From Fantasiestucke, Op. 12)
Presto passionato (rejected finale of sonata No. 2, Op. 22)
Kreisleriana, Op.16: Auberst bewegt
Kreisleriana, Op.16: Sehr innig und nicht zu rasch
Kreisleriana, Op.16: Sehr aufgeregt
Kreisleriana, Op.16: Sehr langsam
Kreisleriana, Op.16: Sehr lebhaft
Kreisleriana, Op.16: Sehr langsam
Kreisleriana, Op.16: Sehr rasch
Kreisleriana, Op.16: Schnell und spielend
Humoreske In B-Flat, Op.20: Einfach
Humoreske In B-Flat, Op.20: Sehr rasch und leicht
Humoreske In B-Flat, Op.20: Noch rascher
Humoreske In B-Flat, Op.20: Hastig
Humoreske In B-Flat, Op.20: Nach und nach immer lebhafter und starker
Humoreske In B-Flat, Op.20: Einfach und zart
Humoreske In B-Flat, Op.20: Intermezzo
Humoreske In B-Flat, Op.20: Innig
Humoreske In B-Flat, Op.20: Sehr lebhaft
Humoreske In B-Flat, Op.20: Mit einigem Pomp
Humoreske In B-Flat, Op.20: Zum Beschluss

Tracks:

Concert sans orchestre (Piano Sonata In F Minor, Op.14): 1. Allegro brillante - Vladimir Horowitz
Concert sans orchestre (Piano Sonata In F Minor, Op.14): 2. Scherzo. Molto commodo - Vladimir Horowitz
Concert sans orchestre (Piano Sonata In F Minor, Op.14): 3. Quasi variazioni. Andantino de Clara Wieck - Vladimir Horowitz
Concert sans orchestre (Piano Sonata In F Minor, Op.14): 4. Finale. Prestissimo possibile - Vladimir Horowitz
Novellette In F, Op. 21 No.1
Fantasiestucke, Op.111: 1. Motot vivace ed appassinatamente
Fantasiestucke, Op.111: 22. Piu tosto lento - Un poco piu mosso - Tempo I - Vladimir Horowitz
Fantasiestucke, Op.111: 3. Con forza, assai marcato
Kinderszenen, Op. 15: Von fremden Landern und Menschen
Kinderszenen, Op. 15: Kuriose Geschichte
Kinderszenen, Op. 15: Hasche-Mann - Vladimir Horowitz
Kinderszenen, Op. 15: Bittendes Kind
Kinderszenen, Op. 15: Gluckes genug
Kinderszenen, Op. 15: Wichtige Begebenheit
Kinderszenen, Op. 15: Traumerei
Kinderszenen, Op. 15: Am Kamin
Kinderszenen, Op. 15: Ritter vom Steckenpferd
Kinderszenen, Op. 15: Fast zu ernst
Kinderszenen, Op. 15: Furchtenmachen
Kinderszenen, Op. 15: Kind im Einschlummern
Kinderszenen, Op. 15: Der Dichter spricht

Amazon.com

It's understandable that with a stature as legendary as that of Vladimir Horowitz--perhaps the superstar among the century's pianists--the misunderstandings run as thick as the clichés. Particularly in the period since World War II, with the ascendancy of "objective" schools of pianism, Horowitz was often dismissed as an oversized throwback to a kind of 19th-century, neurotically subjective stunt man of the keyboard. Indeed, descriptions of his high-voltage performances tend to evoke extreme meteorological activity, from tornadoes to volcanic eruptions. Yet at its best, the pianist's formidable--and unduplicated--virtuosity served to animate a composer's vision with harrowing intensity.

This first of Philips's three sets culled from the ample Horowitz discography focuses--in contrast to the second set--on a single composer, Schumann, for whom the pianist's deep-rooted affinity stretched across his career. There's the youthful bravura, stinging in its demonic energy, of the "Toccata" and "Traumeswirren" (recorded in the '30s), which Horowitz could still summon as a septuagenarian for the hair-raising "prestissimo possibile" of the rarely performed Sonata in F Minor ("Concert sans Orchestre"). One of Horowitz's great defining characteristics--the uniquely sinewy left hand--provides heft and color that must be heard to be believed in Schumann's great cycles Kreisleriana and the Humoreske, which benefit from the pianist's intuitive grasp of the composer's bipolar imagination. And if Horowitz seems synonymous with nothing more than technical fireworks, consider the breathtakingly distilled, rarefied, simple poetry of the account here of Kinderszenen, from one of the pianist's last concerts in 1987. --Thomas May

Customer Reviews:

A LOST TRADITION.......2005-08-05

Horowitz didn't have much of a `middle period' in his career, and this 2-disc set of his Schumann solos consists of performances from his late 20's and from when he was into his 70's and 80's. The earlier recordings show their age a bit, as might be expected, and even the later specimens are not some marvel of recorded technology (as well as suffering from rather bronchial audiences), but for me they have a very special place as Schumann-playing.

In his lifetime Horowitz was much less discussed as an interpreter of Schumann than of Chopin, Liszt and Rachmaninov, and his virtuosity drew a lot more comment than his lyricism did. For my own part, if there is one composer more than any other that I associate him with it is precisely Schumann, and what I treasure most about his playing in Schumann is precisely its gorgeous, natural, lyricism. He did an earlier recording of the Kreisleriana that had a more beautiful account of the second number than the one we have here, but even Horowitz's second best in this piece is better than most. To be perfectly truthful, I doubt whether there's really much of his outright best in Schumann here, but in the last resort there is no player I have ever felt brings me Schumann as I understand and love him in the solo works in quite such an authentic way as Horowitz does. He doesn't switch in any artificial manner between Schumann's two musical personalities, the dreamy Eusebius and the impetuous Florestan. These two personae are there all the time and take foreground or background in the most natural and spontaneous way. The keynote of it all is just that - spontaneity. Horowitz lived long enough to see the tradition of piano-playing that he represented displaced by a new perfectionist school that laid overwhelming stress on absolute smoothness and evenness in the touch, the school represented by Lipatti, Gilels, Richter and of course above all by Michelangeli. Cziffra took nothing to do with all this, and paid the price in critical comment during his lifetime and since. What consensus, if any, there may now be about Horowitz himself I simply do not know. I hear smoother Schumann renditions than this week in and week out, but there is such a thing as being too smooth for Schumann. Schumann is all about fervour and enthusiasm as far as I am concerned.

The finger-dexterity of the younger Horowitz was legendary, and you can hear it in the earlier recordings here, insofar as it's something Schumann calls for at all. Horowitz's playing of the toccata has not won universal acclaim, but I can't hear much wrong with it. The piece is neither Schumann's most characteristic nor his best by a long way. The so-called Concerto Without Orchestra is done with colossal panache, and even in the later performances the loss of evenness in the player's touch is less noticeable than it is elsewhere in his repertory. There remained to the end a precipitate, even almost drunken, quality to his virtuosity that I have never heard from another player. Cziffra had fingers easily to match, but there is a more laid-back feel to his playing even at its most extrovert.

In the last resort it's the sensibility of the playing that I prize most from this anthology. This, for me, is how Schumann might have played if he had had the technique and had seen the modern grand piano. The selection ends with the Kinderscenen, a sensitive and appropriate choice. The set contains a slightly turgid liner-essay, but gives quite a helpful synopsis of this great player's career. He may stand in some need of re-evaluation, and if he does this collection would be as useful a place to start with that as I can think of.

The best, indeed.......2005-03-18

This BLee "bpslee" review is a sad piece of pianistic ignorance. First, Rachmaninov never called Simon Barere a genius: actually, the great Russian composer-pianist is on record criticizing his compatriot for "equating tempi with speed itself". Second, to say that Barere was a superior technician to Horowitz borders on the grotesque. Technique is much more that mere digital speed, Barere's strong point. However, Horowitz's digital fleetness was on a par with Barere's and was much better controlled, and Horowitz used it only when he felt the music needed it. Take, for comparison purposes, Barere's famous recording of the Schumann Toccata, Op. 7 from the 30's. He certainly dashes off quicker than anyone else, but in the middle-section octave fireworks and in the climactic run at the end, Horowitz, in his first (monaural) recording, is FASTER than Barere (if you don't believe me, time the versions). The same goes for Scriabin's Etude Op 8 n° 12, where Horowitz out-speeds Barere in the more virtuosic passages. And in terms of independence of hands, equality of finger and ability to juggle complex polyphonic strands, Horowitz was far superior to Barere, as witness his ultra-complicated transcriptions of Liszt's Hungarian rhapsodies. Barere was never capable of equalling such level of tightrope acrobatics. And, last but not least, there is the matter of sound. Horowitz's dynamic range and tonal control, not to mention his portentous sonority, simply put Barere to shame. For this, just compare Barere's 1947 rendition of Chopin's Ballade in G minor, Op. 23 with Horowitz's recording of around the same time: it's the difference betwen a black-and-white picture and a colour one. To conclude, I challenge this BLee reviewer - or any other, for that matter - to produce any statement by Rachmaninov, Hofmann, Rosenthal or any of the great masters of the past saying that Barere was superior to Horowitz.

You don't get much better than this!!!!.......2003-09-11

This is one of the best of the entire Great Pianists of the 20th Century set. Schumann was one of his great loves. The early recordings on this CD, the Toccata, Arabeske, Traumeswirren, and thge Presto passionato are all played with amazing virtuosity, although I prefer the later recording of the Toccata, and there are many others, such as Gilels and Richter which rival Horowitz's, the one on this disc is still played wonderfully.

The Kreisleriana is his later recording of this work, and it is a bit more mellow than his previous recording, but is an excellent interpretation of the great Horowitz in his maturity. The rarely played Humoreske on this disc is the highlight for me. This is undoubtfully the best on record of this work, no one before him had showed the full potential of this piece.

The "Concert sans orchestre" of the Sonata in F minor, Op. 14 is the least known of the sonatas. But it is just as great as the other two, as most critics wold disagree. It is a very problematic work from start to finish. It is very difficult to hold together and maintain the listeners attention. But of course Horowitz is a master at this work, I can't think of another recording that could come close to it.

The Fantasiestucke op. 111 is Schumann's last important work for piano. Although it is not close to Schumann's best, I do enjoy the 3rd movement. Horowitz again takes this piece to its full potential.

The Kinderszenen is played with a rare child-like spirit which only Horowitz could capture. Yes, the coughing does get quite bad at some parts, but come on now, this CD deserves far more than just 2 stars!!!! Even 5 is not enough, it is the ultimate all Schumann set.
If you are a fan of either Horowitz or Schumann you MUST get this CD!

Horowitz's Schumann: Virtuous Virtuosity.......2003-07-30

Interesting that the previous, anonymous, reviewer doesn't write about the performances on this 2-CD set, but spends paragraphs on a diatribe of Horowitz in general. I must question whether the reviewer has even heard this set.

Now, to the matter at hand...

Phillips has dedicated three volumes (the maximum allotted) to the pianism and music making of Vladimir Horowitz. The first set, devoted to the pianist's beloved Schumann, documents performances from beginning and end of his career (the pianist's middle period Schumann is curiously ignored). This set belies the erroneous notion that Horowitz was a mere virtuoso--a stuntman would never spend time on inward pieces as Kinderszenen, such ungrateful works as the Fantasiestücke, Op. 111 or Sonata in F Minor, Op. 14.

Horowitz's early performances of Schumann are relatively straightforward, confirming that the Horowitz of that era was not the "Last Romantic" but one of the moderns. Traumesswirren makes one wish the pianist has recorded the entire Fantasiestücke, Op. 12. The Toccata, with which the pianist was never comfortable, contains several minor mistakes, which could explain why it was not released until 1963, despite being recorded in 1934. Presto passionato, the original finale to Schumann's Op. 22 Sonata (Clara Schumann asked him to write another because it was too difficult!) is child's play for Horowitz, who makes a convincing case for its superiority to the composer's revision. One complaint here, Phillips has decided to utilize EMI's awful transfers (originally made in the 1960s for LP reissues) which suffer from tinny sound and awkward side-changes. Phillips would have been better off using Pearl's superior transfers.

Kreisleriana was a Horowitz specialty. Phillips has chosen to include the pianist's 1985 studio recording. The interpretation here is freer, looser structurally than his 1969 recording. For me, the earlier version is still unmatched in its concentration and the laying bare of Schumann's duality--in my opinion it remains Horowitz's finest solo recording. But this 1985 version also has a lot going for it--the tempos are markedly flexible, without losing the basic meter; and the technique is remarkable, especially considering Horowitz was 82 at the time of the recording.

The Humoreske, recorded in 1979, is also some of Horowitz's finest Schumann. The pianist masterfully molds Schumann's varied moods, or "humors" and builds them into a coherent whole. This performance has drawn the praise of such disparate interpreters and Pollini and Horszowski.

The 1976 performance of the seldom played Sonata in F Minor (AKA "Concerto without Orchestra") is masterful in every way. Horowitz once told a colleague that the secret to playing Schumann was to treat it as "organized improvisation." That approach, balancing totality and detail, pays off handsomely here. Phrasing, dynamics, tempo are all so "right" that Schumann's neglected work is revealed in all its glory. The lovely Andantino is given a searching, inward looking performance, and the finale is dazzling. It's worth noting that this is the ONLY CD release of the performance Horowitz actually approved. RCA's 1989 CD release of Schumann's Sonata in F Minor uses an inferior outtake that Horowitz rejected.

The recording of Schumann's Novelette in F is the only recording by Horowitz in this genre of the composer's output to be released. The performance, from 1985, is broad, aristocratic, and a bit less emphatic than, say, Rubinstein's. Rumor has it that Horowitz recorded another Novelette in 1989, but it remains unreleased.

The Fantasiestücke, Op. 111 was recorded live in 1980. Truth be told, this is not one of Schumann's more inspired works. The composer's productive life was nearly at an end when this was written, and this remains one of his least known works. Horowitz does all he can for the piece, but it remains the least interesting part of this collection. He only played it during the 1979-1980 season and then dropped the piece from his repertoire.

Horowitz had a more steady relationship with Schumann's Kinderszenen. The pianist played it frequently in concert from the 1940s on. This version, his fourth official recording of the work, is from a live performance in Vienna's Great Golden Hall in May of 1987, one of Horowitz's last concerts. In many ways, it's also his finest recording of Kinderszenen. Horowitz's two studio renderings, from 1950 and 1962, are fairly straightforward accounts, with occasional lapses into pianistic micromanagement and hints of nervousness when there should be relaxation. A 1982 live recording is almost the opposite, with bizarre rubatos, distended ritards, slack rhythm, and almost no coherence. But here, in 1987, Horowitz has pulled himself together and plays with simplicity, controlled freedom, and conviction. It is often said that the elderly sometimes return to a childlike state. In old age, Horowitz had achieved communion with Schumann's rememberances of childhood lost.

Despite variable sound quality, which is understandable since the recordings span a period of over 50 years, this volume is a must for piano and Schumann enthusiasts.

Don't Worry About the Coughing.......2001-12-29

I think the coughing happens because no one in the audience dares cough during Traumerei. When Horowitz finishes Traumerei people then start coughing. This CD is too good to allow some coughing to get in the way. The sonorities Horowitz produces, the musicianship - the 'Child Falling Asleep' and 'The Poet Speaks' from Kinderscenen are truly spellbinding. Buy this CD.

Average customer rating:

An Op. 118 for the ages!

Wilhelm Kempff 1
Johannes Brahms , Robert Schumann , and Wilhelm Kempff
Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Ballads | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
Similar Items:

Wilhelm Kempff 2
Wilhelm Kempff 3 (III) (Great Pianists of the Century series) - Beethoven / Brahms / Faure / Mozart /Schubert
Robert Casadesus
Artur Rubinstein 3
Stephen Kovacevich 2

ASIN: B00000DBUG
Release Date: 1998-10-20

Tracks:

Fantasias, Op. 116: 1.Capriccio In D Minor
Fantasias, Op. 116: 2.Intermezzo In A Minor
Fantasias, Op. 116: 3.Capriccio In G Minor
Fantasias, Op. 116: 4.Intermezzo In E
Fantasias, Op. 116: 5.Intermezzo In E Minor
Fantasias, Op. 116: 6.Intermezzo In E
Fantasias, Op. 116: 7.Capriccio In D Minor
Intermezzi, Op. 117: No. 1 In E Flat
Intermezzi, Op. 117: No. 2 In B Flat Minor
Intermezzi, Op. 117: No. 3 In C Sharp Minor
Klavierstucke, Op. 118: 1.Intermezzo In A Minor
Klavierstucke, Op. 118: 2.Intermezzo In A
Klavierstucke, Op. 118: 3.Ballade In G Minor
Klavierstucke, Op. 118: 4.Intermezzo In F Minor
Klavierstucke, Op. 118: 5.Romance In F
Klavierstucke, Op. 118: 6.Intermezzo In E Flat Minor
Klavierstucke, Op. 119: 1.Intermezzo In B Minor
Klavierstucke, Op. 119: 2.Intermezzo In E Minor
Klavierstucke, Op. 119: 3.Intermezzo In C
Klavierstucke, Op. 119: 4.Rhapsody In E Flat
Arabeske In C, Op. 18

Tracks:

Ballades, Op. 10: No. 1 In D Minor
Ballades, Op. 10: No. 2 In D
Ballades, Op. 10: No. 3 In B Minor
Ballades, Op. 10: No. 4 In B
Klavierstucke, Op. 76: 1.Capriccio In F Sharp Minor
Klavierstucke, Op. 76: 2.Capriccio In B Minor
Klavierstucke, Op. 76: 3.Intermezzo In A Flat
Klavierstucke, Op. 76: 4.Intermezzo In B Flat
Klavierstucke, Op. 76: 5.Capriccio In C Sharp Minor
Klavierstucke, Op. 76: 6.Intermezzo In A
Klavierstucke, Op. 76: 7.Intermezzo In A Minor
Klavierstucke, Op. 76: 8.Capriccio In C
Kreisleriana, Op.16: 1.Ausserst bewegt
Kreisleriana, Op.16: 2.Sehr inning und nicht zu rasch - Intermezzo I. Sehr lebhaft - Tempo I - Intermezzo II. Etwas bewegter - Tempo I
Kreisleriana, Op.16: 3.Sehr aufgeregt
Kreisleriana, Op.16: 4.Sehr langsam
Kreisleriana, Op.16: 5.Sehr lebhaft
Kreisleriana, Op.16: 6.Sehr langsam
Kreisleriana, Op.16: 7.Sehr rasch
Kreisleriana, Op.16: 8.Schnell und spielend

Amazon.com

Few pianists on record convey quite the impression of actually composing the music while they perform it that sets Wilhelm Kempff's artistry apart. This quality may owe something to his gift as an improviser (Kempff had also received early training as an organist); but it most obviously stems from an intuitive power to identify and state--with remarkable purity of expression and singing grace--the essence of a work.

The recordings gathered in this set (the first of three in the Philips series, chosen by no less an authority than Alfred Brendel) were made in the '50s and present Kempff's nearly oracular stature as an exponent of Brahms and Schumann. (His equally legendary Beethoven and Liszt are some of the subjects of the second volume in the Kempff series.) The late Brahms pieces in particular still seem a revelation. Kempff distills the hard-won spiritual calm of the first Op. 117 intermezzo, for example, with an almost unbearably self-effacing intimacy. Listen to the spacing of silence within the slowly ascending arpeggio that concludes Op. 116, no. 6, for a taste of Kempff's profound musicality. In Kreisleriana, playful caprice and a profound inwardness are each given breathing room, while Kempff all the while cleanly articulates the polyphonic rigor that Schumann weaves into his oscillating fantasy (the account here makes a fascinating comparison with Horowitz's own marvelous interpretation from late in his career). Kempff's great achievement is to bring you face to face with a composer--and these encounters above all will reward you with each listen. --Thomas May

Customer Reviews:

An Op. 118 for the ages!.......1998-11-18

Kempff is a well known name among Beethoven, Schubert and Schumann lovers and this 2cd set contains some very fine Schumann playing. But the lion's share of space on these discs is given to Brahms, and there isn't a wasted millisecond anywhere. As for the Op.118, (six pieces that include 4 Intermezzi, a Romance and a Ballade), it would be impossible, in this space, to do the playing justice. I thought I knew the Op.118 well - I was mistaken. Kempff plays with such poetry and grace that I found myself wondering if this was not Brahms' finest Opus after all. What stuns is the refined elegance of the playing that sacrifices nothing to the intense ardour of these pieces. Kempff has always been more powerful than one realizes on first hearing and that is due to his unequalled (to my ears) touch and his instinct for sounding the poetry without sacrificing the form. If these recordings, which date from the 50s, are superior to his DG remakes from the 60s, it is because of the stark beauty of the phrasing. And the sound, be assured, is excellent; Philips has done a flawless remastering job. When you get your hands on these discs, (Vol. 55 in the ongoing Philips' series of "Great Pianists of the 20th Century"), stop whatever you're doing and go straight to Op.118 for a rife glimpse of Brahms' soul.

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