Piano Sons Opp35,58

On this CD:

1. Sonata for piano No. 2 in B flat minor, Op. 35, CT 202
Composed by Fryderyk Chopin
Performed by Vlado Perlemuter

2. Sonata for piano No. 3 in B minor, Op. 58, CT 203
Composed by Fryderyk Chopin
Performed by Vlado Perlemuter

3. Barcarolle for piano in F sharp major, Op. 60, CT 6
Composed by Fryderyk Chopin
Performed by Vlado Perlemuter

Tracks:

All The Livelong Day (Schwartz)
Lovin' Al (Grant)
The Mason (Carnelia)
Neat to Be a Newsboy (Schwarz)
Nobody Tells Me How (Rodgers-Birkenhead)
Un mejor Dia Vendra (Taylor-Daniele-Landers)
Just A Housewife (Carnelia)
Millwork (Taylor)
If I Could've Been (Grant)
Joe (Carnelia)
It's an Art (Schwartz)
Brother Trucker (Taylor)
Fathers & Sons (Schwartz)
Cleanin' Women (Grant)
Something to Point To (Carnelia)
I'm Just Movin' (Schwartz) (from the L.A. Theatre Works complete recording of the 1999 revised version)
Hots Michael at the Piano (Carnelia) (previously unreleased demo recording performed by the composer)
The Mason (Carnelia) (previously unreleased demo recording performed by the composer)
Joe (Carnelia) (previously unreleased demo recording performed by the composer)
Lovin' Al (Grant) (previously unreleased demo recording performed by the composer)
Fathers & Sons (Schwartz) (performed by the composer)

Amazon.com

The original 1978 Broadway cast recording of Stephen Schwartz's Working has long been awaited on CD, and this great-sounding 2001 release proves it was worth the wait. Surely one of the more unlikely sources for a musical was Studs Terkel's 1972 book that compiled interviews of American working people discussing their jobs and what they liked and disliked about them. Schwartz transformed these interviews into a series of songs written by himself, Craig Carnelia, Mary Rodgers and Susan Birkenhead, Micki Grant, and pop singer James Taylor, and accordingly the variety of songs is as great as the variety of the workers featured. There's the lyric beauty of "The Mason," the rueful "Just a Housewife," the retiree's wry "Joe," the waitress's lilting "It's an Art," Taylor's pop-country "Brother Trucker," and the powerful emotion of "Fathers and Sons," realized by a compelling cast that features David Patrick Kelly, Joe Mantegna, Bob Gunton, and Lynne Thigpen, among others.

Six bonus tracks include a new version of the grocery checker song written for the 1999 L.A. Theatreworks production, Carnelia and Grant performing their own songs (unfortunately, Grant's track comes from a poor-quality audio source), and Schwartz's moving performance of "Fathers and Sons" from 1999's The Stephen Schwartz Album. Also welcome are 2001 notes from Schwartz paired with 1978 notes from Terkel, and a detailed listing of the composers and performers of each song. Working was filmed for American Playhouse in 1982. --David Horiuchi

Customer Reviews:

An underrated musical.......2006-03-16

This musical seems to be very underrated, because it isn't done in a traditional style. There is no set storyline or characters. It is essentially a grouping of songs about different people and the work they do in their lives. Some of the songs are very powerful, like "Millworker", and some are just fun, like "Lovin' Al". Some songs date the recording, as songs like "Brother Trucker", while good, have a bit of a synthesized 70's feel. The majority of the songs are more traditional.

I saw this show done by my high school years ago, so maybe it holds a bit of nostalgia for me, but it is definitely worth checking out.

Wonderful Lesser Known Gem.......2005-12-26

I have never seen Working, but would love to, and I would love to perform it so as to revive interest in it. I found out about this recording from an online site, and I fell in love with it. It's a very modern style musical although from 1978. Were it on Broadway today, it would still be revelent to today's working class. My favorite number probably has to be "It's An Art", just because of its sheer fun. I could listen to that song all day and never get bored with it. I do, however, find "Brother Trucker" to be a bit tiring, and "Neat To Be A Newsboy" is just plain old, outdated, and ANNOYING! Other than that, wonderful ablum for an almost forgetten show.

Keep Working!!!.......2004-06-12

I had the privilege of seeing a production of this wonderful musical at L.A. Valley College in May 2004. I quickly fell in love with the songs and the entire premise of the musical. Now, with this CD, I can finally sing along to all the brilliant songs over and over again, belting them out like there is no tomorrow.

What makes Working so special is that anyone can relate to the lyrics, they are powerful, beautiful, touching, and extremely real. Anyone who has ever worked a day in their life will feel the lyrics hit close to home. Whether you're a housewife, a valet parker, a fireman, a millworker, a teacher, a cleaning woman, or even a hooker, this musical has a place for you, no matter what job you do.The emotion, sincerity, and love expressed in the songs are amazing, and they are all extremely unique and a pure joy to listen to.

All the songs are fantastic but the stand-outs have to be "All the Live Long Day," "Just a Housewife," "If I Could've Been," "It's An Art," "Father's and Sons," "Cleaning Women," and "Something to Point to." I also have a soft spot for "Brother Trucker" and "I'm Just Movin" from the 1999 revival, which I am so grateful is included in this CD. This is a terrific, feel-great album everyone should listen to. Give Working a chance, it's worth it.

a good, if obscure CD.......2003-09-26

i admit that this is an obscure musical, but nevertheless i found myself in a production of WORKING as Grace, the millworker. upon listening to the cd, i found that each song characterized the character well. the newsboy song is NOT annoying and my favourite songs are "its an art", "cleaning women", "if i could've been" and "lovin al". I would only recommend this CD for a real musical theatre afficionado, as those who don't appreciate the beauty of a musical won't understand these songs.

off the beaten path.......2003-07-10

I had never heard of this show until I stage managed a musical revue that included "If I Could've Been." That song grew on me, and I finally had to check out the rest of the soundtrack. All of the music on this CD is fantastic, and the lyrics feel sincere, creating beautiful moments for each character. Stephen Schwartz's best decision with this show was collaborating, allowing different composers to bring their own talents and specialties to the music, thus making it more real and less "Broadway." My only criticism is that the liner notes are slim.

Aire Latino: Latin American Music for Guitar

Average customer rating:

great performances of enjoyable pieces
It should have been earlier.
Thoughtful, Sensitive, and Skillful
Transcendent Pleasure
A Wonderful CD!

Aire Latino: Latin American Music for Guitar

Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Flamenco | Latin Music | Styles | Music

General | Latin Music | Styles | Music
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Reflections of Spain: Spanish Favorites for Guitar
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David Russell Plays Bach

ASIN: B00014X8AE
Release Date: 2004-01-27

Tracks:

Danza Brasilera
Romance Criollo
Allegretto
Andante Espressivo
Allegro
Alfonsina Y El Mar
La Cuartelera
Choro De Saudade
Rebolico
Sons De Carrilhoes
Interrogando
Xodo Da Baiana
Se Ela Perguntar
Seis Por Derecho
Lejania
Choro No.1 For Guitar
Choros No.1, 'Tipico Brasileiro'
Milonga
Vals Peruano
Chopi
Scherzino Mexicano

Customer Reviews:

great performances of enjoyable pieces.......2006-03-11

David Russell is arguably the finest classical guitarist in the world, along with Manuel Barrueco and Paul Galbraith, and a few others. I have almost all Russell's CDs, and I enjoy them tremendously. Aire Latino is a collection of many of the best and most popular modern short pieces from Latin composers. Hearing his interpretation and flawless execution has rekindled my love for many of those pieces I once also played. Highly recommended!

It should have been earlier........2006-01-10

I mean the prize, of course. It's no doubt that David Russell is the best(not one of) when referring to 19th century(or style) music on classical guitar. In this album, every small piece is so attractive because of the romantic aspect in guitar, in
David. I own all the albums of David Russell. Although this one is not the best,it definitely deserve the prize, price and praize from guitar lovers from all over the world.

Thoughtful, Sensitive, and Skillful.......2005-08-08

This is a great performance for the very versatile David Russell. His playing is thoughtful and expressive, but also sensitive and not overly extraverted. His use of rubato is excellent on most tracks, and his constant contrast of dynamics, as well as vibrato, give the pieces on this album real life and emotion.

I had been performing 5 of the tracks on this album when it came out, so I can attest to the difficulty of many of these pieces, especially all three movements of the Morel "Sonatina." I can also say that his performances of these is very true; I could hear no incorrect notes , with the exception of some added notes in the first movement of "Sonatina," which I have since adopted myself for my own performance. His expressive interpretation is likewise impeccable on these tracks.

This record would be a great purchase for anyone interested in classical guitar, whether they are just getting into the genre or already have a large collection, or anyone interested in Latin American art music.

Transcendent Pleasure.......2005-04-26

Perfect! One will very rarely discover an album as finely constructed as this. The performer stands at the pinnacle of his profession, one who demonstrates mastery of the instrument and intimate understanding of the music. The selections are interesting, fresh and never boring. There is delight in the listening from beginning to end. Mr. Russell is quite simply astonishing as he unerringly takes the listener on a journey of unalloyed beauty. This is a disc you will relish again and again. If you love the guitar, you must have it.

A Wonderful CD!.......2005-02-17

A wonderful, beautiful CD. The fact that the music is all inter-related creates a beautiful atmosphere while listening. I know enough to know that this type of artistic endeavor is a collaboration; so kudos to David Russell, producer Rosalind Ilett and engineer Thomas Knab! I understand that this team has worked on many of David Russell's amazing recordings.

Average customer rating:

Listen to one of the masters!
Effortless mastery
Claude Delangle Rocks

A La Francaise
Claude Delangle & Odile
Manufacturer: Bis
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
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le saxophone Francais
Russian Saxophone
A Saxophone for a Lady
The Solitary Saxophone
Marcel Mule: "Le patron" of the Saxophone

ASIN: B00006B1RX
Release Date: 2002-07-16

Tracks:

I. Tres Modere, Expressif
II. Andante
III. Fileuse
IV. Nocturne Et Final
I. Plumpudding. Allegro Moderato
II. Puits D'Amour. Lent Sans Exces
III. Negre En Chemise. Andante Non Troppo Lento
IV. Linzer Tart. Allegro Non Troppo (Mouvement De Habanera)
V. Grenadine. Allegro (Mouvement De Habanera)
VI. Rahat Loukhoum. Tres Tranquillement
I. Lamento. Adagio Espressivo
II. Rondo. Vif
I. Farandoulo Di Chatouno (Farandole Des Jeunes Filles)
II. Cansoun Per Ma Mio (Chanson Pour Ma Mie)
III. La Boumiano (La Bohemienne)
IV. Dis Alyscamps L'Amo Souspire (Des Alyscamps L'Ame Soupire)
V. Lou Cabridan (Le Cabridan)
I. Pour Les Traits Rapides
II. Pour Les Sons Lies Et Le Charme De La Sonorite
III. Pour Les Arpeges
VIII. Pour Les Notes En Staccato, Et Le Melange De Lagato Et Staccato
IX. Pour La Longeur De La Respiration Et L'Egalite Du Son
X. Pour La Qualite Du Son Dans Un Style Soutenu Et Pour Les Nuances
XIII. Pour La Legerete Du Son
Prelude
Cadence
Final

Customer Reviews:

Listen to one of the masters!.......2007-03-07

Delangle is one of the few players alive today that can be truy considered a true virtuoso and a master on the saxophone. Take a listen to what is technically possible on the saxophone. As mentioned before, Delangle is executing some of the hardest phrases to play technically on the saxophone and making it sound almost too easy. Another interesting note is, unless I'm mistaken, Delangle used a saxophone that is the vintage of when Adolphe Sax played to try and re-create what the saxophone would have sounded like in Sax's time. Amazing technical execution. Buy this CD, you will not be disapointed. An excellent CD just to have in your collection for a piece of history. Highly recommened!

Effortless mastery.......2004-02-16

I agree mostly with "saxgod"'s review, in that it is fortunate for us as listeners to hear one of the few masters of the saxophone play works from the standard repertoire of the instrument. His interpretations of these pieces are of the technically cleanest and the artistically most Apollonian variety. The ensemble work is impeccable and shows that of which an initially excellent duo is capable after many many years of partnership.

Although the Delangles present some of the best recordings of the commonly played Maurice and Desenclos, the real gems of this CD are the rarely recorded/performed works by Decruck, Sancan, and Koechlin. The Decruck is both richly beautiful and well-crafted, and must be counted among the best sonatas for saxophone (if it is not "the" best). It is written in a neo-impressionist style which may be reminiscent of what Ravel or Poulenc would have written for saxophone if those two had been alive or convinced early on to add to the then-sparse repertoire.

The Rondo movement of the Sancan is immaculately performed, as well as each contrasting Koechlin etude. The single aspect of Delangle's saxophone playing that sets him apart from most others is the ease at which his gestures occur. On this CD, he plays some of the most difficult technical passages in the saxophone literature, and makes it seem as if the listener can pick up the saxophone and be able to execute the hardest measures on the first attempt.

Highly recommended CD to listeners of every variety. An essential listening item for saxophonists of any idiom.

OANegrin

Claude Delangle Rocks.......2003-01-16

This album is worth the 15 bucks just for the 5th movement of Tableaux de Provence. Claude Delangle's technique, phrasing and interpretational skills are still unmatched by any classical sax player. On one cd we are given the finest recording available of two major works for the saxophone, the aforementioned Tableaux de Provence, and Desenclos' Prelude Cadence et Finale. You shouldn't need to read this review to know that you should buy this cd, if it's from Delangle you know it will be awesome. It's nice to hear him playing something other than just contemporary saxophone as he is a master of all music.

Average customer rating:

Unmistakeably Vaughan Williams
From darkness to illumination

Vaughan Williams: Willow Wood

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

Choruses | Vocal Non-Opera | Opera & Vocal | 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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Vaughan Williams: Songs of Travel
Morton Gould: Fall River Legend; Jekyll and Hyde Variations
Gerald Finzi: I Said to Love; Let Us Garlands Bring; Before and After Summer
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English Song Series 3

ASIN: B000BK53FQ
Release Date: 2005-11-15

Tracks:

Toward The Unknown Region
Willow-Wood
The Voice Out Of The Whirlwind
Five Variants Of Dives And Lazarus
Darkness And Light
The Song Of The Zodiac
The Messengers Of Speech

Customer Reviews:

Unmistakeably Vaughan Williams.......2006-01-26

It has been said that everything Vaughan Williams wrote has a characteristic "sound," even if no two of his works sound alike. This disc exemplifies that idea: every piece here resonates with the sonorities that made Vaughan Williams famous, and yet they are very different works.

Even devoted fans of RVW's music may own only two of the works on this disc: "Toward the Unknown Region" and "Five Variants on 'Dives and Lazarus'." Both receive good recordings here, although better versions of both are available (on Hyperion and EMI, respectively).

But, of course, I suspect most RVW fans will be more interested in the rarer works on this disc. The shortest of these, "The Voice Out of the Whirlwind," is set to Biblical texts, and has a bit of a Holstian influence. That influence can also be seen, to an extent, on his cantata "The Sons of Light," to a libretto by his wife Ursula, which here gets its first recording on CD.

The final work--and the namesake of the disc--is "Willow-Wood," to words by Dante Gabriel Rossetti (to whom Vaughan Williams returned for his song cycle "The House of Life"), which, amazingly, receives its first performance in nearly a century (it was last performed in 1909). The resemblance to his early works is fairly obvious, as are comparisons to his "Magnificat" for alto, women's chorus, and orchestra.

While I wouldn't rush to call any of these definitive performances, it is hard to pass up a CD at a bargain price that fills in gaps as this one does.

From darkness to illumination.......2005-12-07

THIS NEW CD made by the Naxos label is a major release that sheds new light on the famous English composer. First, the material spans nearly the entire career of Ralph Vaughan Williams. From `Willow-Wood' (1903) to `The Sons of Light' (1951), we embark on a journey of unforgettable, fascinating music. As a result, this disc further upholds the record company's commitment to modern music. The CD is part of Gramophone's Editor Choice for December 2005.

I'll begin first with the cantata `The Sons of Light', mainly because it is (subjectively) what i prefer---despite the fact that all the album is uniformly excellent. For years, i was eagerly hoping for the release of that work on CD : Ultimately, this is not the premiere recording since `The Sons of Light' has been recorded previously by Willcocks on the little-known Lyrita label (SRCS 125 LP). Still, it appears for the first time on CD. Interestingly, the texts were written by Ursula Vaughan Williams (Ursula Wood) ; these poems talk about "celestial imagery (sun, moon, and the signs of the Zodiac)" and, more specifically, "the creation story which starts with the passage of the sun as expressed in Greek myths." Needless to say, the score accommodates the texts ideally. Unfortunately, i haven't heard the Lyrita but can attest as to the Naxos's wonderful merits.

As i listened, i began to write down my impressions. `The Sons of Light' has something special, this is not entirely "typical" VW. The work is vigorous ; there's a Holstian, mystic quality to it that i find compelling and intriguing. What a nice coupling this work could make, in concert or on disc, with Holst's `Planets'! In that musical territory we aren't that far from Whitman's borders. This disc contains great performances, it is not just "the usual good CD" one should expect to be released once in a while. In my opinion, it is worthy of being inscribed on the short list of "compact discs of the decade". The very opening of the work, starting with `Darkness and Light', soon hurries with in-your-face impacts of sound---its opening is as vast as the universe Whitman contemplates in `On The Beach At Night, Alone' from `A Sea Symphony'. I fully agree with Lewis Foreman (who wrote the notes to this CD) that VW's `The Sons of Light' is "the least heard of his major works." Overall, a great performance by the Royal Liverpool chorus makes for wondrous, aptly done fluctuations of pace and intonation---revealing that what we have before us is another work of genius. There's a strange (though appropriate) "remoteness" to the work, a feeling of "coldness" close in mood to the Sinfonia Antartica ; reviewer Mike Wheeler ([...]) remarks pertinently that "the film-score `Scott of the Antarctic' leaves its mark on the orchestral writing", the works belonging to the same creative period. Instrumentation is rather odd in the second part, `Song of the Zodiac', though it is truly effective and captivating---with perhaps bits and pieces of echoes from `Job', `Sancta Civitas' and `A Song of Thanksgiving' as far as music is concerned. But, in fact, this is quite unlike anything else i have heard from Vaughan Williams. The percussion department is especially persuasive. The third part, `Messengers of Speech', is sensational and, to quote Foreman once more, comes back "to the creation story as told in the heavens, now celebrating the letters of the alphabet---because, as the poet puts it, `nothing can exist until it is named'." The grandiose-sounding, triumphant conclusion brings a great, triumphant album to an end. And if `The Sons of Light' originates from the void, from those "unknown regions" depicted by VW in his renowned earlier work, then its music seems to emanate from a blackness out of which ultimately springs the light.

`Willow-Wood' is a cantata for baritone, women's chorus and orchestra (it was designed for baritone and piano early in 1903). The words are by Dante Gabriel Rossetti's `The House of Life' from which the composer made a well-known song cycle. The orchestrated version has been first performed in September 1909 but soon was forgotten and never heard again---until now. Actually, Naxos reminds me of BIS with their Sibelius rarities and, in the recent years, Hyperion, in their enterprising revival of unreleased material pertaining to Vaughan Williams. This new Naxos offering sprang to life from an audacious project. As a result, `Willow-Wood' feels like---and is, indeed---a pioneering interpretation : To quote Mike Wheeler, it reveals "a fascinating glimpse of Vaughan Williams in his pre-Raphaelite phase, recognizably by the composer of Songs of Travel, and with moments of whole-tone harmony linking it to his 1903 orchestral piece In the Fen Country." Right from the start, i sensed a melodic "attitude" in typical VW's fashion. All the same, the song cycle `The House of Life' is stamped by folk music and sounds familiar, whereas `Willow-Wood' has a sort of Ravelian or Debussian poetic quality, unusual chez VW. Indeed, it tends to remind me quite a bit some passages of Ravel's `Daphnis et Chloe'. The work sounds different from everything else i have heard by the composer. His orchestration is absolutely stunning, notably in its imaginative poise. And, surprise! ...There's a wordless chorus, as in the Antartica (or, delightfully, much like Ravel in `Daphnis et Chloe'). Roderick Williams, the baritone, is exquisite ; his voice is at once vibrant and mellow, and integrates quite well with the rest of the ensemble. As for the rest of the album, recorded sound is superb and reasonably clear with good dynamic flexibility.

This recording of `The Voice out of the Whirlwind' is a rarity. The motet was composed in the 1940's and is based on words from the book of Job. It is more energic than `Willow-Wood', more in the vein of `A Sea Symphony' or `Job'. It also has much of the vigor of the cantata `The Sons of Light'. This is an excellent work although admittedly obscure. The Royal Liverpool singers are first-rate. Likewise, the orchestra plays beautifully, with inspiration and dedication. The more familiar Variants of Dives and Lazarus is yet another stupendous composition : The best perhaps is still Willcocks (conducting the Jacques Orchestra, on EMI), but i'm sure Lloyd-Jones comes pretty close---no question about that, it is one of the finest accounts on disc. While `Toward the Unknown Region' (with words from Whitman) receives a thoroughly honest---if not excellent---treatment, it falls a little short by the side of Boult (EMI), Del Mar (also EMI) and Thomson (Chandos). Still, the new rendition has substantial merits, not the least in terms of sound and instrumental/vocal cohesion. *****

Average customer rating:

What is Life?

Manufacturer: Asv Living Era
ProductGroup: Music
Binding: Audio CD

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Folk | Styles | Music

General | Opera & Vocal | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

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

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

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

General | Easy Listening | Pop | Styles | Music

General | Vocal Pop | Pop | Styles | Music

General | Broadway & Vocalists | Styles | Music
ASIN: B0001Z2RKA
Release Date: 2004-06-29

Average customer rating:

Moscow Nights

Manufacturer: Teldec
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Folk | Styles | Music

Russia | Far East & Asia | International | Styles | Music

General | International | Styles | Music

General | Opera & Vocal | Styles | Music

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

General | Pop | Styles | Music
ASIN: B000000SKZ
Release Date: 1993-04-13

Tracks:

Patriot Song (Russian National Anthem)
Happy Girl (Armenian Folk Song)
Moscow Nights
Suliko (Georgian Folk Song)
Oh, You Nightingale
Oh, You Rye
Twelve Robbers (Russian Folk Song)
Varshavianka
Paganini Variations - On The Theme Of Capriccio No. 24
Song Of The Flea
A Birch Tree Stood In The Meadow (Russian Folk Song)
Stenka Razin (Russian Folk Song)
Across The Valleys And The Mountains
Motherland (Russian Folk Song)
Seven Sons-In-Law (Russian Folk Song)
It's Good For Us, Soldiers
In The Forest
Sports March

Average customer rating:

Classical Treasures

Manufacturer: Legacy
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

Dances | Ballets & Dances | Classical | Styles | Music

Polkas | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Quintets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Compilations | Classical | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

Renaissance (c.1450-1600) | Historical Periods | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music
ASIN: B0000560KZ
Release Date: 2001-01-01

Average customer rating:

Piano Classics

Manufacturer: Madacy Records
ProductGroup: Music
Binding: Audio CD

Minuets | Ballets & Dances | Classical | Styles | Music

Polonaises | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | 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

General | Classical | Styles | Music

Compilations | Classical | Styles | Music

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

General | New Age | Styles | Music

Classical | Box Sets | Stores | Music

Tracks:

Claire De Lune
Berceuse in D Flat Major
Fur Elise
Lecons et Les Parfums
Impromptu No. 2
Moonlight Sonata
Arabesque
Liebestraume
Minute Waltz
Minuet in G-Major
Etude in E Major
La Cathedrale Engloutie
Etude in E C Minor
Gymnopedies
Polonaise in C Sharp Minor

Tracks:

To Spring
Impromptu
Spring Song
Nocturne #1
Nocturne #2
Nucturne #3
Nocturne #4
Dreamings
Erotic
Consolation E-Major
March
Waltz No. 2 AS-Major
Scherzo
Fantasy in D-Minor
Song Without Words Op62 3

Debussy: Preludes; L'Isle joyeuse; Chopin: Ballade No. 3; Scherzo No. 4; Etc.

Average customer rating:

Recommended, with a reservation
Richter's Glorious Debussy

Debussy: Preludes; L'Isle joyeuse; Chopin: Ballade No. 3; Scherzo No. 4; Etc.

Manufacturer: BBC Legends
ProductGroup: Music
Binding: Audio CD

Ballads | Forms & Genres | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Scherzo | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Barcarolles | Vocal Non-Opera | Opera & Vocal | Styles | Music
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Schubert: Piano Sonatas
Beethoven: Sonatas for piano No29; Sonatas for piano No3
Sviatoslav Richter Plays Beethoven, Schubert, Schumann
Schubert, Chopin, Liszt

ASIN: B00001W07K
Release Date: 1999-10-19

Tracks:

Ballade No. 3 In A Flat Major, Op. 47
Scherzo No.4 In E Major, Op.54: Presto
4 Mazurkas, Op. 24: No. 1 In G Minor. Lento
4 Mazurkas, Op. 24: No.2 In C Major. Allegro Non Troppo
4 Mazurkas, Op. 24: No.3 In A Flat Major. Moderato
4 Mazurkas, Op. 24: No.4 In B Flat Minor. Moderato
Barcarolle In F Sharp Major, op.60: Allegretto
10 Preludes From Book 1: 1. Danseuses De Delphes
10 Preludes From Book 1: 2. Violes
10 Preludes From Book 1: 3. Le Vent Dans La Plaine
10 Preludes From Book 1: 4. Les Sons Et Les Parfums Tournet Dans L'air Du Soir
10 Preludes From Book 1: 6. Des Pas Sur La Neige
10 Preludes From Book 1: 9. La Serenade Interrompue
10 Preludes From Book 1: 5. Les Collines D'Anacapri
10 Preludes From Book 1: 11. La Danse De Puck
10 Preludes From Book 1: 7. Ce Qu'a Vu Le Vent D'Ouest
10 Preludes From Book 1: 10. La Cathedrale Engloutie

Tracks:

L'Isle Joyeuse
Cloches A Travers Les Feuilles Lent
Dance, Op.32 No.1
Etudes, Op. 10: No.12 In C Minor. Allegro Con Fuoco
Etudes, Op. 10: No.3 In E Major. Vivace Ma Non Troppo
Etudes, Op. 10: No.1 In C Major.
Etudes, Op. 10: No.4 In C Sharp Minor. Presto
Etudes, Op. 10: No.6 In E Flat Minor.
Etudes, Op. 10: No.10 In A Flat Major. Vivace Assai
Etudes, Op. 10: No.12 In C Minor. Allegro Con Fuoco
Preludes, Book II: 1. Brouillards
Preludes, Book II: 2. Feuilles Mortes
Preludes, Book II: 3. La Puerta Del Vino
Preludes, Book II: 4. 'Les Fees Sont D'Exquises Danseuses'
Preludes, Book II: 5. Bruyeres
Preludes, Book II: 6. 'General Lavine' - Eccentric
Preludes, Book II: 7. La Terrasse Des Audiences Du Clair De Lune Lent
Preludes, Book II: 8. Ondine
Preludes, Book II: 9. Hommage A S. Pickwick Esq. P.P.M.P.C.
Preludes, Book II: 10. Canope
Preludes, Book II: 11. Les Tierces Alternees
Preludes, Book II: 12. Feux D'Artifice
La Serenade Interrompue

Amazon.com

Here's an unexpected treasure, indeed. Sviatoslav Richter was one of the great musicians of the last century, and had one of the broadest repertoires of any, but Chopin and Debussy are not composers particularly associated with him (though, interestingly enough, he listed them among his favorites). Sometimes his Chopin could be overly bold and strident; here, however, from the lilting opening of the Third Ballade, through to the electricity of his two madcap readings of the last of the Op. 10 Études, he is in electrifying form. His Debussy, too, is deeply compelling: less a pulpy wash of indeterminate sounds, swamped by overindulgent use of the pedal; more a succession of palpably three-dimensional images and characters. Thus you get closer than ever to the gouty old "General Lavine," the glittering explosiveness of "Fireworks," and the grave beauty of the "Submerged Cathedral." Whether or not his interpretations would meet the approval of the composer is irrelevant; what matters is that, Pied Piper-like, Richter insists that they couldn't possibly be played any other way. The recordings, made in the 1960s before silently entranced audiences, are perfectly acceptable. --Harriet Smith, Amazon.co.uk

Customer Reviews:

Recommended, with a reservation.......2001-12-11

Normally I don't let the sound of the recording influence me much. I have listened to, and recommended, some terrible-sounding CDs. But I have to admit I found this set a bit hard to listen to, mainly because the sound is recessed and soft through many of the works. Most of these were apparently recorded from somewhere in the audience, so that coughs and applause are loud and the piano is at times fairly weak. (If you're listening through headphones remember to turn the volume down after each piece, or the audience applause will blast your eardrums.) It's a pity too, because Richter was in top form in these concers, spread between 1963 and 1967. He recorded some of these pieces many times, but arguably never better than here.

His Chopin is among his most sensitive and delicate on record. As the Amazon reviewer comments, often SR's Chopin could be a bit brittle, but here he breathes and sighs and treats us to intimate shadings so subtle as to defy verbal description. Yet this is decidedly not "overly-delicate." There are a few twists and turns that I wonder about, in terms of correctness, but I don't have a score and really shouldn't nitpick. There are some abrupt tempo and dynamic changes that are wilder than I've ever heard before and also would leave most pianists with lesser technical equipment in the dust, but Richter navigates them without difficulty. This is some of the finest Chopin he ever recorded. He's almost in danger of making it all sound too easy.

With any other mortal the Chopin described above would be the highlight. But for Richter we're just getting warmed up. The Debussy Preludes are so astonishing I actually considered not writing a review here because I felt (and feel) there's nothing I (or anyone) can actually say that adds anything. I *will* say I wish Richter had either recorded these works in the studio or under better sonic circumstances. Actually Book II sounds pretty decent, but Book I suffers from those weak, fuzzy sonics. A lot of color, so crucial to Debussy, is lost. You can hear the detail, but you really have to listen really closely, and pump the volume up a little more than usual, turning it back down again before the applause engulfs you. But active listeners will be rewarded for their effort. After hearing Richter you realize how plain Michelangeli sounds--his DG account is better recorded, but every piece tends to sound fairly the same. Richter equals Michelangeli's technical achievement while surpassing him in insight into the works, giving each one a very distinct flavor. He truly captures a spirit, something between reflection and melancholy, that cannot be put into words but has to be listened to. Michelangeli does not get the melancholy, because he is so detatched and clinical he does not insert any emotion into his reading of the Preludes, unfortunately. I wonder how many student piansts, after hearing Richter in these works, decided never to attempt them themselves!

Despite the proximity of the microphone to the audience, things are mostly quiet, though a poorly-timed cough here and there can really upset the mood. Still, this collection is worth having. The recordings are just an indication of what the event must have really sounded like, the way Leonardo's Last Supper as it survives is but a suggestion of the original grandeur. But it's the best we're going to get, and it's still pretty damned magnificent.

Richter's Glorious Debussy.......2000-06-11

I chanced to find this CD at Tower Records in Boston while I was looking for recordings of the First Book of Debussy Preludes. I immediately felt something uniquely special about it even without listening to it, and was not disappointed. This is arguably the finest recording of this repertoire ever - the accompanying Chopin is wonderful, too, in its electrifying urgency. However, it is the Debussy that is, to me, the main attraction of this disc. Compared to Richter's, even the classic version by Gieseking sounds bland (not to mention a number of technical problems that Gieseking didn't seem to have been able to solve, and that did not even exist for Richter!). The variety of sonorities that Richter gets out of his piano is astounding; what is even more astounding is the fact that this variety is generated not just by Richter's sonic imagination, but also by his unflinching attention to the details of the score. Richter's playing, in general, may appear slightly "impersonal" - however, it is precisely that quasi-detachment that makes his interpretation so tantalizing. Indeed, Richter's personality serves this particular repertoire the best, for both Debussy's creative method and Richter's interpretation are based on bringing forth a vast plethora of musical and extra-musical associations via the the deceptively simple, but, in fact, super-sophisticated means. For comparison purposes, I also listened to the new recording of Pollini on DG, and was very disappointed. Pollini's recording features what one may consider the proverbial "good piano sound" (albeit too closely miked) and a great dexterity (although Richter beats him there, too), but the crudity and insensitivity of his interpretation are deplorable.