Robert Schumann: Kreisleriana, Op.16/Fantasia, Op.17 In C

On this CD:

1. Kreisleriana, 8 fantasies for piano, Op. 16
Composed by Robert Schumann
Performed by Artur Rubinstein

2. Fantasie (Obolen auf Beethovens Monument) for piano in C major, Op. 17
Composed by Robert Schumann
Performed by Artur Rubinstein

Customer Reviews:

MUST HAVE THIS IN YOUR COLLECTION OF HOROWITZ.......2007-07-13

If you have any Horowitz music in your collection. THEN YOU MUST GET THE COMPLETE RECORDINGS ON DEUTSCHE GRAMMOPHON. Quality of recording is superb.

Horowitz: A Digital Legacy.......2004-11-15

This set includes all of the recordings Vladimir Horowitz did for Deutsche Grammophon in the 1980s, including his historical concert in Moscow.

While the context of his return in Moscow is moving, the studio recordings are simply wonderful. The sound quality is impeccable. The Steinway piano sounds warm but yet crisp and sharp. Horowitz still has plenty of power, and if you don't have a good sound system, you will notice that your speakers will literally fail, due to the overwhelming wall of sound that Horowitz creates in the intense parts.

The tender moments are just as exciting, as they are enhanced by the very quiet and clear digital recording process. Liszt's Standchen and Mozart's Piano Concerto No 23 are only two of a myriad of highlights contained on this boxed set. Having these high quality digital recordings of this piano legend is a blessing that you can't afford to miss. And at this price, it's simply irresistible.

Customer Reviews:

The tradition of the new!.......2006-05-08

Respect the egregious significance of Vladimir Horowitz for the great Western audiences, I really should notice that Europe had lived a Century and a half of reluctant Romanticism, while North America was in another historical process; the recent musical history began to write with two important composers: Edward Mac Dowell, a beloved and admired friend of Frau Carreno and Louis Moreau Gotschalk, who accustomed to make those Gargantuan recitals such as that famous Concert with more than one hundred pianists on stage. Indeed, this was an imported costume of those Ages, where the concept of listening music had lessened the value; the visible decay of the music in the second half of the XIX Century is more than obvious. The ominous presence of composers of the artistic height of Richard Wagner, Johannes Brahms, Gustav Mahler and Anton Bruckner were concentrated in Germany and Austria; Frank in Belgium and Max Reger in Swiss, but if you take a look around the musical triviality lived in the rest of Europe (with counted and isolated exceptions)where the fireworks of Liszt, Thalberg, and Alkan filled the Concert Halls in Paris, with the elusive music of Lalo or Jules Massenet and the arriving of the new Midas King of the great Halls, Strauss dynasty, included Waldteufel captivated the audiences.

The emotion for watching a piano virtuosi simply had not prize. You should remind the famous tour undertaken by Anton Rubinstein in the last years of the XIX Century. Horowitz contributed conscious or unconsciously to perpetuate the legend. Effectively, he marked a`personal style at the piano; if not let me refresh you these names: William Kapell, John Browning, Gary Graffman. Lori Hollander, Byron Janis, Van Cliburn and Leon Fleisher, were notably influenced with this style. And please tell me who in a sensate state of mind, would be able to send to Europe his promising son or daughter where the flaming wrecks of the WW1 were in the air and the expected fears of a next confrontation was still to come.

Schnabel was a particular exception, since he was hired as Docent in USA, but its influence was relatively small. We should wait to the early Fifties to appreciate other styles and approaches; Gilels, Richter from USRR, Badura Skoda, Demus and Gulda from Austria, but still remained confined for dilettantes the renowned figures such as Edwin Fisher, Michelangeli, Myra Hess and Wilhelm Kempff.

His playing caused true furor during almost four decades. Horowitz now belongs to the legend.

Mature Horowitz And The Best Liszt Sonetto 104.......2005-10-04

I have not much to add to the other reviews. Horowitz made some of his very best recordings when he was already more than 80 years old, and this 2CD (+DVD) set contains many of them, as well as the best recording of Liszt's Sonetto 104 that I know of, or am ever likely to hear.

Truly Magical.......2005-04-17

This album showcases the mighty Vladimir Horowitz in his last years. His life of music is definitive in these masterful interpretations. In these pieces, Mr. Horowitz displays many new ideas on some pieces that have been played, assumed successfully, continually in the same manner.

Two instances - Scriabin's Etude, Op. 8 No. 12 and Mozart's Rondo, K. 511. The maestro's entrance is softer and slower in the former, and in the latter, as stated in the studio chatter, he speeds up the tempo to make it less of a profound statement. It was Horowitz who chastised the new age of pianists on their attempts to play everything slow and prophetic. I believe it was Mr. Horowitz that told David Dubal "Only very few pieces are meant to be played slow" (after comparing performance times of major piano works from the early part of the 20th century to the later part, you will see the difference).

The DVD included in this package is wonderful, but for those who enjoy a more classic approach to the classical period - do not anticipate simple aural enjoyment. Do expect to see one of the greatest pianists ever work his magic at the piano. Do look forward to watching a master correct a mistake by another master. Do count on a memorable experience.

Stunning.......2004-08-01

Horowitz is simply stunning, and this compilation is an absolute jewel. The added bonus of the DVD performance of Mozart's 23rd is the icing on the cake.

The piano as an extension of consciousness.......2004-07-25

Mr. Drake has written the definitive review of this recording, but I want to add a few things.
In these recordings, the piano seems merely an extension of Horowitz's consciousness. The translation from his head and his heart to the piano is effortless, and filled with emotion. While listening to this CD, I understood that Horowitz's flawless technique stems not just from a complete knowledge of the pieces, but from his love of the music. He makes the music his own like no other.
This is inspirational music, played by the greatest master of his craft at the height of his powers.
An added bonus is the DVD which accompanies the 2 CD's, a video of the studio recording of Mozart's 23rd piano concerto. Horowitz, in his 80's, has the innocence of a child, playfully joking with the producer, the conductor, the page turner. When he plays, it is with a sense of joy that seems to accompany all of the recordings in this set.
The productions values here are excellent, typical Deutsche Grammophon.
I'd give this recording a 10 if I could.

Complete Masterworks Recordings, 1962-1973

Average customer rating:

Horowitz: good. Amazon: good. Sony Classical: BAD.
ARE YOU CRAZY RICH OR CRAZY STUPID?
merely spectacular!
I have never regretted buying this...
The greatest 20th Cent. pianist at his best!

Complete Masterworks Recordings, 1962-1973

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

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

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

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

Complete Recordings on Deutsche Grammophon
Chopin: The Piano Works
Liszt: Piano Works
Horowitz: Discovered Treasures
Horowitz Live and Unedited [includes Bonus DVD]

ASIN: B000002909
Release Date: 1993-10-05

Tracks:

Sonata In E Major, K 531 (L430): Allegro
Sonata In A Major, K322 (L483): Allegro
Sonata In G Major K455 (L209): Allegro
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
Impromptu In G-flat Major, Op. 90 (D899) No. 3: Andante
Etude in C minor, Op. 10 No. 12: Allegro con fuoco
Etude In C-sharp Minor, Op. 25 No. 7: Lento
Scherzo No. 1 In B Minor, Op. 20: Presto con fuoco
3 Preludes - From Book II: IV. Les fees sont d'exquises danseuses. Rapide et leger
3 Preludes - From Book II: V. Bruyeres. Calme
3 Preludes - From Book II: VI. General Lavine - eccentric.
Poeme In F-sharp Major, Op. 32 No. 1: Andante cantabile
Etude In C-Sharp Minor, Op. 2 No. 1: Andante
Etude In D-Sharp Minor, Op. 8 No. 12: Patetico

Tracks:

Piano Sonata No.2 In B- Flat, Op.35: I. Grave- Doppio movimento
Piano Sonata No.2 In B- Flat, Op.35: II. Scherzo
Piano Sonata No.2 In B- Flat, Op.35: III. Marche funebre. Lento
Piano Sonata No.2 In B- Flat, Op.35: IV. Finale. Presto
Etude-Tableau In C, Op.33 No.2: Allegro
Etude-Tableau In C, Op.33 No.2: Appassionato
Arabeske In C, Op.18: Leicht und zart
Kinderszenen, Op.15 - Scenes From Childhood: 1. Von fremden Landern und Menschen
KINDERSZENEN, OP.15: 2. Kuriose Geschichte
KINDERSZENEN, OP.15: 3. Hansche-Mann
KINDERSZENEN, OP.15: 4. Bittendes Kind
KINDERSZENEN, OP.15: 5. Gluckes genug
KINDERSZENEN, OP.15: 6. Wichtige Begbenheit
KINDERSZENEN, OP.15: 7. Traumerei
KINDERSZENEN, OP.15: 8. Am Kamin
KINDERSZENEN, OP.15: 9. Ritter vom Steckenpferd
KINDERSZENEN, OP.15: 10. Fast zu ernst
KINDERSZENEN, OP.15: 11. Furchtenmachen
KINDERSZENEN, OP.15: 12. Kind im Einschlummern
KINDERSZENEN, OP.15: 13. Der Dichter spricht
Toccata In C, Op.7: Allegro
Hungarian Rhapsody No.19 In D Minor: Lento patetico (Lassan)- Vivace (Friska)

Tracks:

Keyboard Sonatas: Allegro
Keyboard Sonatas: Allegro
Keyboard Sonatas: Allegro
Keyboard Sonatas: Andante moderato
Keyboard Sonatas: Allegretto
Keyboard Sonatas: Allegro
Keyboard Sonatas: Andante
Keyboard Sonatas: Andante e cantabile
Keyboard Sonatas: Allegro
Keyboard Sonatas: Allegro
Keyboard Sonatas: Andante e cantabile
Keyboard Sonatas: Allegro
Keyboard Sonatas: Allegro
Keyboard Sonatas: Andante
Keyboard Sonatas: Allegro
Keyboard Sonatas: Andante moderato
Keyboard Sonatas: Vivo
Keyboard Sonatas: Allegro

Tracks:

Toccata, Adagio And Fugue In C, BWV 564: I. Preludio, quasi improvvisando. Tempo moderato
Toccata, Adagio And Fugue In C, BWV 564: II. Intermezzo. Adagio
Toccata, Adagio And Fugue In C, BWV 564: III. Fuga. Moderamente sherzando, un poco umoristico
Fantasie In C, Op.17: I. Durchaus phantastisch und leidenschalflich vorzutragen
Fantasie In C, Op.17: II. Massig. Durchaus energisch
Fantasie In C, Op.17: III. Langsam getragen. Durchweg leise zu halten
Piano Sonata No.9, Op.68 'Black Mass': Moderato quasi andante-Molto meno vivo-Allegro-Piu vivo-Allegro...
Poeme In F-Sharp Major, Op.32 No.1: Andante cantibile

Tracks:

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
Serenade For The Doll. Allegro ma non troppo
Etude In C-Sharp Minor, Op. 2 No. 1: Andante
Etude In A-Flat Major, Op. 72 No. 11: Presto e con leggierezza
Traumerei
Sonata No. 11 In A Major, K.331: I. Tema.Andante grazioso e variazioni
Sonata No. 11 In A Major, K. 331: II. Menuetto - Trio
Sonata No. 11 In A Major, K. 331: III. Rondo alla Turca
Polonaise-Fantaisie In A-Flat Major, Op. 61: Allegro maestoso

Tracks:

Mazurka In B minor, Op. 33 No. 4: Mesto
Nocturne In E Minor, Op. 72 No. 1: Andante
Piano Sonata No. 10, Op. 70: Moderato - Allegro - Puissant, radieux - Allegro - Piu vivo - Presto - Moderato
Piano Sonata In F Major, Hob. XVI: 23: I. Allegro
Piano Sonata In F Major, Hob. XVI: 23: II. Adagio
Piano Sonata In F Major, Hob. XVI: 23: III. Finale
Blumenstuck In D-Flat Major, Op. 19: Leise bewegt
L'ISLE JOYEUSE: Quasi una cadenza - Tempo.
Vallee d'Obermann: Lento assai - Piu lento - Un poco piu di moto ma sempre lento - Presto - Lento

Tracks:

Ballade No. 1 In G Minor, Op. 23: Largo - Moderato - Meno mosso - Presto con fuoco
Nocturne In F Minor, Op. 55 No. 1: Andante
Polonaise In F-Sharp Minor, Op. 44: Tempo di polacca - Doppio movimento, tempo di Mazurka - Tempo I
Sonata In E major, K 380 (L23): Andante commodo
Sonata In G major, K 55 (L335): Allegro
Arabeske In C Major, Op. 18: Leicht und zart
Etude In D-Sharp Minor, Op. 8 No. 12: Patetico
Traumerei
Variations On A Theme From Bizet's Opera 'Carmen'

Tracks:

Sonata In E-Flat Major, Op. 12 No. 2: III. Rondo
Adagio sostenuto In F Major
Sonata In B-Flat Major, Op. 25 No. 3: II. Rondo
Sonata In A Major, Op. 50 No. 1: II. Adagio
Corale Prelude 'Lch ruf zu dir, Herr Jesu Christ'
Sonata In F-Sharp Major, K 319 (L35): Allegro
Sonata In G Major, K 260 (L124): Allegro
Sonata In C Major, HOB. XVI: 48: I. Andante con espressione
Sonata In C major, Hob. XVI:48: II. Rondo
Sonata No. 28 In A Major, Op. 101: I. Allegretto ma non troppo
Sonata No. 28 In A Major, Op. 101: II. Vivace alla Marcia
Sonata No. 28 In A Major, Op. 101: III. Adagio ma non troppo, con affetto - Allegro

Tracks:

Piano Sonata No. 14 In C-Sharp Minor, Op. 27, No. 2 'Moonlight': I. Adagio sostenuto
II. Allegretto
Piano Sonata No. 14 In C-Sharp Minor, Op. 27, No. 2'Moonlight': III. Presto agitato
Piano Sonata No. 21 In C Major, Op. 53 , 'Waldstein-Sonata': I. Allegro con brio
Piano Sonata No. 21 In C Major, Op. 53 , 'Waldstein-Sonata': II. Introduzione. Adagio molto - attacca
Piano Sonata No. 21 In C Major, Op. 53 , 'Waldstein-Sonata': III. Rondo. Allegro moderato - Prestissimo
Piano Sonata No. 23 in F Minor, Op. 57, 'Appassionata': I. Allegro assai
Piano Sonata No. 23 in F Minor, Op. 57, 'Appassionata': II. Andante con moto -attacca
Piano Sonata No. 23 in F Minor, Op. 57, 'Appassionata': III. Allegro, ma non troppo - Presto

Tracks:

Mazurka in A minor, Op. 17 No. 4: Lento, ma non troppo
Etude 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
Mazurka in F-sharp minor, Op. 59 No. 3: Vivace
Mazurka in C-sharp minor, Op. 50 No. 3: Moderato
Mazurka in D-flat major, Op. 30 No. 3: Allegro non troppo
Mazurka in E minor, Op. 41 No. 2: Andantino
Mazurka in D major, Op. 33 No. 2: Vivace
Etude in C-sharp minor, Op. 10 No. 4: Presto
Etude in E major, Op. 10 No. 3: Lento, ma non troppo
Etude in C minor, Op. 10 No. 12: Allegro con fuoco
Prelidu In B Minor, Op. 28 No. 6: Lento assai

Tracks:

Posonaise in A major, Op. 40 No. 1: Allegro con brio
Prelude in D-flat major, Op. 28 No. 15: Sostenuto
Etude in E-flat minor, Op. 10 No. 6: Andante
Etude No. 2 in A-flat major from 'Trois Nouvelles Etudes': Allegretto
Mazurka In F Minor, Op. 7 No. 3
Waltz in C-sharp minor, Op. 64 No. 2: Tempo giusto
Variations On A Theme By Clara Wieck From Sonata No. 3 In F Minor,Op. 14: 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:

Impromptu In A-Flat Major Op. 90 (D899) No. 4: Allegretto
Impromptu In F Minor Op. 142 (D935) No. 1: Allegro moderato
Impromptu In A-Flat Major Op. 142 (935) No. 2: Allegretto
Impromptu In E-Flat Major Op. 90 (D899) No. 2: Allegro
Consolation In E Major S. 172 (R.12) No. 2
Pour les arpeges composes: Dolce e lusingando
La terrasse des audiences du clair de lune: Lent
Etude In A Minor Op. 104b No. 3: Allegro vivace
Scherzo & March S. 177 (R.20)

Tracks:

Feuillet d'album In E-Flat Major Op. 45 No. 1: Andante piacevole
Etude In F-Sharp Minor 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
Etude Op. 65 No. 3: Molto vivace
No. 1: Allegretto
2 Poemes Op. 69: No. 2: Allegretto
Vers la flamme Op. 72: Allegro moderato
Feuillet d'album Op. 58
Fairy Tale In A Major Op. 51 No. 3
Sonata No. 2 In B-Flat Minor Op. 36: I. Allegro agitato
Sonata No. 2 In B-flat, Minor, Op. 36: II. Non allegro
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)

Amazon.com

It may surprise you to learn that, despite his untouchable reputation with the public, Vladimir Horowitz enjoyed a certain dubious reputation with the critics. For many, he was the epitome of the witless virtuoso, all technique and vulgar display, and no brains. There was some truth in this to the extent that he really could be variable on record, but by general consensus his Masterworks recordings show him at his absolute best. Aside from his famous Carnegie Hall concerts from 1965, you get stunning performances of music by Schumann, Haydn, Beethoven, Chopin, Scriabin, and above all, Scarlatti--the composer that Horowitz, more than anyone, put back on the map for pianists the world over. A great set. --David Hurwitz

Customer Reviews:

Horowitz: good. Amazon: good. Sony Classical: BAD........2004-05-24

I bought this set in December, and because I have so many classical CD's (more than 300), it took me 5 months to realize that the set contained TWO volume 8's and NO volume 9's. Worried that it might be too late, I e-mailed Amazon. Their first reply was that the replacement was already on its way (with return shipping paid for as well). Wow, that was a relief!

When I got the new set, I decided to study it closely and make sure that everything was good. It turns out that several of the discs (in both sets) had holes through the aluminum reflective layer -- which seemed to be because it was too thin to begin with. One disc was cracked, and another looked like the aluminum was "rotting out" on the edge. You would think that for $230, Sony Classical would put more quality into their discs. So what good is "Super Bit Mapping" and "High Definition Remastering" if the discs are so cheap that the player will misread the data? And I don't have much confidence that the discs will last many years, either.

Fortunately I got to pick the best discs from the 2 sets, so I won't need to replace this one for another. But I certainly lost respect for Sony Classical.

And kudos to you Amazon; you're really looking out for your customers!

ARE YOU CRAZY RICH OR CRAZY STUPID?.......2002-08-25

Why would any one in the right mind plunk down [money] for 13 CDS by the same pianist? Is it so you can brag about owning 11 years' worth of the same old thing? Or did you get it as a gift designed to impress but not really to listened to? Now you could probably get [money] for it whether you used it or not. Columbia Masterworks should have brought along new and younger talent. For my bet I can't think of many American pianists who are currently recording. Do we have to recycle Schumann, Rachmaninoff, Schubert, Beethoven, Liszt, Chopin, Scriabin, and others over and over? This is the Twenty-first Century. We should at least be thinking of Twentieth Century piano works. I can get 10 CDs by 10 pianists currently recording if I look to Europe.

merely spectacular!.......2001-03-10

I've only had this set about a week and have already indulged three complete listenings; it's a gold mine! - the power of preaching is persuasive in the Temple of Horowitz! I'm taken aback by the unity and continuity of sonics, an excellent and remarkable display of high engineering art. Everything important is here (almost! I wish some of the Scriabin Preludes had been included). There are sketches of incomparable pianism and supreme intelligence in these discs: Liszt's 'Vallee d'Obermann', and the Consolations; Debussy's 'L'isle joyeux' - so 'russian playing french'! - Scriabin's 'Vers le flamme' and the Black Mass sonata - one simply can't climb out of the volcano, it's terrifying and beautiful! - and the Scarlatti and Chopin. Only Gilels approaches Horowitz's indigenous understanding of Chopin. In the course of thirteen discs the glory can start to crash in around you, but at the last moment of endurance along comes 'Serenade of the Doll', or one of the Consolations. The Bach-Busoni is cerebral and fine. Horowitz gets rapped for the wrong romanticism - it's the romanticism of artistic intelligence that his art claims! I love that famous C clunker at the beginning of the Bach-Busoni in the Return to Carnegie Hall recital; more than that, I appreciate how Horowitz played his public pride in it, no retouches, etc. Shrewd, and very real, I think. He was a pianist of enormous humility on the inside, so completely knowing of his gifts - one of the reason his playing was something special. He possessed the often disregarded ability to stand completely outside his playing and admire it as one might a beautiful woman, with complete humility. It affords us the privilege of reaping joy after joy of a remarkable art the likes of which will surely stand true for a long time. 200 bucks is a lot of money, I probably would have thought it too much for the convenience of a collection; I'm glad someone else didn't feel that way, and gave me the set! - now I find it curiously too clever a package to be considered merely a consolidation of recordings into a 'set' - there is something indefinably congruent about these recordings. They fit together with harmonious intent, and shine and shadow the land with a marvelous music. Highest recommendation without reservation.

I have never regretted buying this..........2000-08-22

Considering that this set is devoted to a single instrument played by one artist in a 12-year period, the depth is mind-blowing. If variety is the spice of life, than this set is a very warming set indeed.

For the most part, Horowitz communicates a deep respect for the specific style of each composer: his Scarlatti is done articulately and without any smear with the pedal. His Liszt is demonic. His Rachmaninov is dazzling, with all of the "superfluous" notes (!) and Russian virtuosity in tact. Horowitz's Schumann is sensitive, passionate and Romantic.

And then there are his interpretations of Chopin. To me, Vladimir Horowitz is one of Chopin's best ambassadors. In particular, I draw attention to the Polonaise-Fantaisie in Vol. 3 and the mazurkas and etudes of Vol. 7.

For a good summary of this collection, listen to Vol. 4, "The Legendary 1968 TV Concert." Applause is omitted between selections, and the repertoire is tailored to Horowitz's pianistic gifts.

The first disc of Vol. 3 (Including the Bach-Busoni Toccata and the Schumann Fantasy) is not top-notch piano-playing... It's a little sloppy and inaccurate. I'm sure there are other minor slips elsewhere in this collection, but here they are most obviously seen.

Regardless, this collection is a MUST for Horowitz fans. Save up your money little by little and go and buy it. It is truly the most rewarding purchase of classical music I have ever made.

The greatest 20th Cent. pianist at his best!.......2000-04-15

If you were to take a set of piano music from only one performer to a desert island, this would be the set. Vladimir Horowitz was a pianist of incredible, almost unique, technical prowess capable of creating wonderful piano textures and tone colorings, and possessing his own dark, distinctive sound on a wonderful Steinway he had transported to each of his concerts or studio recording sessions. Of almost limitless ability, he suffered criticism from music critics because he severely limited his performing repertoire and stayed away from the concert stage for several prolonged periods because of his terrible insecurity and stagefright. He was especially criticized in his early years for bravura performances which were brilliant, but loud and not always tasteful. He was known for giving his enthralled audiences what they wanted, but it should be remembered that he championed Scarlatti and almost single-handedly brought him back into the performing world from near-oblivion, and it was Horowitz who premiered several important works by twentieth century composers such as Barber and Khatchaturian. He kept the works of the mysterious and exotic Alexander Scriabin from disappearing from piano benches in the conservatories, and he created some of the most imaginative and thrilling encore transcriptions ever heard in the concert hall. In later years, his repertoire expanded and he played some wonderful Mozart, Haydn, and Beethoven, much of which is featured in this set. The highlight of this disc collection from the early 60's through about 1973 is the historic return concert at Carnegie Hall in 1965. After a self-imposed exile from public performing for 12 years, he made this famous recital which is one of the most memorable in the history of recorded piano performance. Although he made several nerve-induced mistakes in the opening Bach piece, he settled down quickly and delivered a thrilling performance, highlighted, for me, at least, by the Chopin Ballade in G minor, which took away my breath and featured one of the most dazzling climaxes I have ever heard on a piano. His incredible performance possessed a youthful vitality which belied his 62 years. Throughout the other discs in this set one hears Horowitz at his best: still technically awesome yet more musically mature and capable of producing little miracles from pieces well-known, and less-known. No longer pandering to the expectations of the audience, he gave as his encore at the Carnegie Hall return concert, a precious, child-like Traumerei from Kinderszenen. The Schumann featured on these discs includes some of the most beautiful offerings available anywhere of this composer, including a wonderful Fantasy in C and perhaps the best performance ever on record of Kreisleriana. The Schubert impromptus are little miracles, and the Debussy that's thrown in makes us fantasize about the other French music he could have given us! His wonderful Chopin reminds us there are other views besides Rubinstein's to this most-important-of-all piano literature, and his Rachmaninoff is glorious. Performing into his eighties, he was a wonder of music and the 13 discs offered here give a personal record of a dazzling career from his very best years. It might be pointed out that several pieces are offered more than once in the set as they were recorded in several concerts and studio sessions and it is interesting to hear the differences in his performances. One might wish that his piano oeuvre had included more composers and a wider range of pieces, but this collection certainly highlights the work he was best known for, including as it does the various Chopin, Rachmaninoff, Liszt, Schumann, Scarlatti, Scriabin, Bach, Mozart, Haydn, Schubert, Clementi, and Beethoven gems he was noted for throughout his long career. Anyone loving the piano, or just beautiful music must hear these discs!

Vladimir Horowitz, The Complete Masterworks Recordings 1962-1973, Volume VII: Early Romantics

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The Schumann Kreisleriana is worth everything, and the Chopin is magical
Chopin + Schumann + Horowitz = Unforgettable Playing
Classic Chopin

Vladimir Horowitz, The Complete Masterworks Recordings 1962-1973, Volume VII: Early Romantics

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Mazurkas | 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

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

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

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
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Vladimir Horowitz, Complete Masterworks Recordings 1962-1973, Vol. I: The Studio Recordings 1962-63
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Horowitz: The Historic Return Carnegie Hall 1965; The 1966 Concerts
The Complete Masterworks Recordings, Vol. 4: The Legendary 1968 TV Concert

ASIN: B00000290G
Release Date: 1994-07-19

Tracks:

Mazurka in A minor, Op. 17 No. 4: Lento, ma non troppo
Etude in G-flat major, Op. 10 No. 5: Vivace
Introduction & Rondo in E-flat major, Op. 16
Waltz in A minor, Op. 34 No. 2: Lento
Polonaise in A-flat Major, Op. 53: Maestoso
Mazurka in F-sharp minor, Op. 59 No. 3: Vivace
Mazurka in C-sharp minor, Op. 50 No. 3: Moderato
Mazurka in D-flat major, Op. 30 No. 3: Allegro non troppo
Mazurka in E minor, Op. 41 No. 2: Andantino
Mazurka in D major, Op. 33 No. 2: Vivace
Etude in C-sharp minor, Op. 10 No. 4: Presto
Etude in E major, Op. 10 No. 3: Lento, ma non troppo
Etude in C minor, Op. 10 No. 12: Allegro con fuoco
Prelude in B minor, Op. 28 No. 6: Lento assai

Tracks:

Posonaise in A major, Op. 40 No. 1: Allegro con brio
Prelude in D-flat major, Op. 28 No. 15: Sostenuto
Etude in E-flat minor, Op. 10 No. 6: Andante
Etude No. 2 in A-flat major from 'Trois Nouvelles Etudes': Allegretto
Mazurka in F minor, Op. 7 No. 3
Waltz in C-sharp minor, Op. 64 No. 2: Tempo giusto
Variations on a Theme by Clara Wieck from Sonata No. 3 in F minor, Op. 14: Andantino
Kreisleriana, Op. 16: I. Auberst 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

Amazon.com essential recording

Schumann and Chopin were staples of Horowitz's repertory, and this late 1960s-early 1970s collection finds him at his mature peak, playing with elan and imaginative fantasy. The Kreisleriana is one of his greatest recordings, trumping rivals with its spectacular pianism and complete identification with the composer. The Chopin set typifies Horowitz's approach--big and bold, with personalized editorial emendations and an energy that shatters the conventional salon approach. But he also sings Chopin's touching melodies as few others can, making the lovely Op. 10 No. 3 Etude an achingly touching poem. --Dan Davis

Customer Reviews:

The Schumann Kreisleriana is worth everything, and the Chopin is magical.......2005-12-20

This is a must have dual CD set of one of the great pianists of all time playing some of his favorite music. Later in life Horowitz made a TV show that became a best selling VHS tape entitled "Horowitz: The Last Romantic". If you ever heard him play, you know that title is appropriate and what the grand piano style was all about.

I have often referred to recordings of music as photographs of music. And just as photographs of people a wonderfully valuable, they are not the real person and do not capture the real person. Even a movie or documentary distorts the reality of the person. Still, we treasure our home movies, photos, and recordings. And we should. We just need to remember what they really are and that they are representations of reality (or of fictions if that is what they are) rather than real life.

It was my good fortune to hear Horowitz in recital three times; twice here in Ann Arbor and once in East Lansing. While I have heard dozens of great pianists, and hundreds of very fine quality, Horowitz (and Rubenstein) had a special charisma that was totally involving. His playing had special qualities that were unique to him. He played more quietly and yet was able to send that whisper of sound to the farthest rows in Hill Auditorium. I believe the secret of his power was that he had so many shades of pianissimo. While we clearly here a great dynamic range in these recordings, the compressed nature of recordings cannot capture the full range of what we heard in live performance.

The other thing he had was the ability to not only keep the voices clear in the music he was playing, but to give each voice its own character and sound. The recording of Schumann's fabulous Opus 16, Kreisleriana included here captures this ability to a stunning degree. This recording should be in your collection and studied carefully. While these phantasies are full of contrasts that make listening to them seemingly easy, there is so much quality and interesting music that they will reward as much close listening and study as you can lavish on them.

The other Schumann work included is the "Variations on a theme by Clara Wieck" (who became Schumann's wife and was a superb and important pianist).

The Chopin pieces included here are a wonderful collection of etudes, mazurkas, the two famous polonaises, preludes, waltzes, and the wonderful but not often heard "Introduction and Rondo in E-flat major Op 16". These are all full of magic and will hold your imagination closely. I find myself saying, "Oh, I LOVE this piece" and then the next one comes on, and I say the same thing again and then again for the next one. They are all pieces I have learned to play or want to learn (like the Intro & Rondo).

Get a hold of these disks if you can. Just a number of wonderful listening experiences.

Chopin + Schumann + Horowitz = Unforgettable Playing.......2003-04-12

Volume Seven of Sony's Horowitz reissue contains very convincing performances of Chopin and Schumann, Romantic composers whose music was sympathetic to the pianist's interpretive style.

It was not uncommon for Horowitz to bring to light a rarely played work by a well known composer, which is the case with Chopin's Introduction & Rondo in E-flat. This early composition (probably written for Chopin's most advanced pupils) abounds with glittery passagework and technical configurations similar to his Concertos (which Horowitz never recorded). Under Horowitz's hands, the work exceeds the boundaries of mere salon piece and emerges as a virtuoso tour de force.

Horowitz (who had a Polish grandmother and was fond of pointing out that he was "half as much a Pole as Chopin") considered the Mazurkas to be Chopin's greatest works, and often stated that there was more music in the shortest Chopin Mazurka than in the longest Mahler Symphony. The pianist treated the Mazurkas less as dance pieces than as "dance-fantasies" and his playing of the works was freer than the more straightforward Rubinstein. Highlights of this set include a seductive F-sharp Minor, Op. 59 No. 3.

Horowitz made several recordings of the ever popular A-flat Polonaise, and this one adheres most closely to Chopin's text. The introduction is very sparsely pedalled (as if Horowitz were saying "Look! I can play the tricky introduction without using the pedal to cover up insufficient fingerwork. Take THAT, Rubinstein!"). The remainder of the piece goes with gusto and flair (too fast to be a Maestoso), but he somehow misses the grandeur which Rubinstein brought to the piece--and which Horowitz himself would attain in his last years. The A-major Polonaise is also taken at a fast clip, but this somehow seems more appropriate to this work, and one is reminded of Chopin's remark that if he were able to play the piece the way he meant it to be played, the piano would lay in ruins afterward.

If anyone thought Horowitz, then approaching 70, had lost any of his fire, their worries were quickly dispelled with the Etudes included here. The C-sharp Minor goes at a rapid clip, but unlike many pianists, there is no loss of clarity. The famous Revolutionary Etude is given a more outwardly virtuosic performance then the pianist's 1963 recording, yet somehow the piece has less impact here.

The ubiquitous C-sharp Minor Waltz is from the Boston concert of April 7, 1968. Three days previously, the Reverend Martin Luther King had been murdered in Memphis. At the beginning of this concert, Horowitz came onstage with an African-American minister, and played Chopin's Funeral March in memory of Dr. King.

Horowitz learned Shumann's Kreisleriana in the 1930s, but did not play it in public until 1968. Several attempts to record the work in concert were not successful, and Horowitz came to the conclusion that he needed the peace and quiet of a recording studio to achieve the concentration for a performance suitable for posterity. Horowitz recorded the work at one inspired session on December 1, 1969, and this may well be the most successful Kreisleriana ever recorded. Ironically, Horowitz, who often had trouble holding together a Beethoven Sonata, makes this structurally splintered work emerge as one piece. This is one Kriesleriana which is never rambling or boring. There is virtuosity here, but never for its own sake, and there is poetry in plenty. This stands alongside the 1932 Liszt Sonata and 1951 Rachmaninoff Third Concerto as one of Horowitz's greatest recordings. However, it should be pointed out that this reissue of Kriesleriana uses a few alternate takes, which are markedly different from the original LP and an earlier CD issue (MK42409). Although the performance is basically similar, there are several differences in detail.

Schumann's Variations on a Theme by Clara Wieck, originally included as a filler for the Kriesleriana record, is given a straightforward reading here. It a lovely little work, but it is even more beautiful in its original context: as the third movement from the composer's Sonata in F Minor, another rarely played work Horowitz would bring to light in 1975.

The sound is more than acceptable here, and especially fine in the Schumann works.

Classic Chopin.......2000-11-23

Volume Seven of Vladimir Horowitz's "Complete Masterworks Recordings" ("Early Romantics") compiles almost two discs worth of classic Chopin performances. There's a little bit of everything here -- Polonaises, Etudes, Mazurkas and Preludes, but sadly no Nocturnes. The Chopin renditions here are as good as, if not better than, anything available -- Rubinstein, Kissin, Pollini and Cliburn included. And just when you thought the highlight of this collection was the Chopin material, on come two amazing pieces by Schumann, "Variations on a Theme by Clara Wreck" and "Kreislerania." The latter piece is a particular favorite of mine -- a wild and turbulent, and at times poetic and lovely, masterpiece which Horowitz captures in all its brilliance. In all, "Early Romantics" is a thoroughly enjoyable couple of discs that anyone should love.

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Anda The Master
Awesome Anda

Troubadour of the Piano

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Mazurkas | Ballets & Dances | Classical | Styles | Music

Polonaises | Ballets & Dances | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
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ASIN: B0009ONYPU
Release Date: 2005-09-13

Tracks:

I. Allegro Affettuoso
II. Intermezzo: Andantino Grazioso
III. Allegro Vivace
Thema: Andante
Etude I (Variation I): Un Poco Piu Vivo
Etude II (Var. II)
Etude III: Vivace
Etude IV (Var. III)
Etude V (Var. IV): Vivacissimo
Etude Vi (Var. V): Agitato
Variation II Posth.
Etude VII (Var. VI): Allegro Molto
Etude VIII (Var. VII): Andante
Variation V Posth.
Etude IX: Presto Possibile
Etude X (Var.VIII): Allegro
Etude XI (Var. IX): Con Espressione
Finale: Etude XII: Allegro Brillante
Symphonic Variations For Piano And Orchestra
Allegretto

Tracks:

I. Allegro Non Troppo
II. Allegro Appassionato
III. Andante-Piu Adagio
IV. Allegretto Grazioso-Un Poco Piu Presto
Adagio Molto
Poco Allegretto
Vivace

Tracks:

Thema: Vivace
Var. I: Alla Marcia Maestoso
Var. II: Poco Allegro
Var. III: L'Istesso Tempo
Var. IV: Un Poco Piu Vivace
Var. V: Allegro Vivace
Var. VI: Allegro Ma Non Troppo E Serioso
Var. VII: Un Poco Piu Allegro
Var. VIII: Poco Vivace
Var. IX: Allegro Pesante E Risoluto
Var. X: Presto
Var. XI: Allegretto
Var. XII: Un Poco Piu Moto
Var. XIII: Vivace
Var. XIV: Grave E Maestoso
Var. XV: Presto Scherzando
Var. XVI: Allegro
Var. XVII
Var. XVIII: Poco Moderato
Var. XIX: Presto
Var. XX: Andante
Var. XXI: Allegro Con Brio-Meno Allegro-Tempo I
Var. XXII: Allegro Molto (Alla 'Notte E Giorno Faticar' Di Mozart)
Var. XXIII: Allegro Assai
Var. XXIV: Fughetta: Andante
Var. XXV: Allegro
Var. XXVI
Var. XXVII: Vivace
Var. XXVIII: Allegro
Var. XXIX: Adagio Ma Non Troppo
Var. XXX: Andante, Sempre Cantabile
Var.XXXI: Largo, Molto Espressivo
Var. XXXII: Fuga: Allegro-Poco Adagio
Var.XXXIII: Tempo Di Menuetto Moderato
I. Molto Moderato
II. Andante Sostenuto
III. Scherzo: Allegro Vivace Con Delicatezza (Quasi Attacca:)
IV. Allegro, Ma Non Troppo

Tracks:

No.1 In C Major: Agitato
No.2 In A Minor: Lento
No.3 In G Major: Vivace
No.4 In E Minor: Largo
No.5 In D Major: Allegro Molto
No.6 In B Minor: Lento Assai
No.7 In A Major: Andantino
No.8 In F Sharp Minor: Molto Agitato
No.9 In E Major: Largo
No.10 In C Sharp Minor: Allegro Molto
No.11 In B Major: Vivace
No.12 In G Sharp Minor: Presto
No.13 In F Sharp Major: Lento
No.14 In E Flat Minor: Allegro
No.15 In D Flat Major 'Raindrop': Sostenuto
No.16 In B Flat Minor: Presto Con Fuoco
No.17 In A Flat Major: Allegretto
No.18 In F Minor: Allegro Molto
No.19 In E Flat Major: Vivace
No.20 In C Minor: Largo
No.21 In B Flat Major: Cantabile
No.22 In G Minor: Molto Agitato
No.23 In F Major: Moderato
No.24 In D Minor: Allegro Appasionato
Maestoso
I. Lebhaft
II. Innig
III. Mit Humor (Etwas Hahnbuchen)
IV. Ungeduldig
V. Einfach
VI. Sehr Rasch (Sehr Rasch Und In Sich Hinein)
VII. Nicht Schnell (Mit Ausserst Starker Empfindung)
VIII. Frisch
IX. Lebhaft
X. Balladenmassig. Sehr Rasch
XI. Einfach
XII. Mit Humor
XIII. Wild Und Lustig
XIV. Zart Und Singend
XV. Frisch
XVI. Mit Gutem Humor
XVII. Wie Aus Der Ferne
XVIII. Nicht Schnell
Vivace
Allegretto
Lento

Tracks:

I. Ausserst Bewegt
II. Sehr Innig Und Nicht Zu Rasch-Intermezzo I: Sehr Lebhaft/Intermezzo II: Etwas Bewegter-Langsamer (Erstes Tempo)
III. Sehr Aufgeregt
IV. Sehr Langsam
V. Sehr Lebhaft
VI. Sehr Langsam
VII. Sehr Rasch
VIII. Schnell Und Spielend
I. Durchaus Phantastisch Und Leidenschaftlich Vorzutragen-Im Legendenton-Tempo Primo
II. Massig. Durchaus Energisch-Etwas Langsamer-Viel Bewegter
III. Langsam Getragen. Durchweg Leise Zu Halten-Etwas Bewegter
Thema: Andante
Etude I (Var. I): Un Poco Piu Vivo
Etude II (Var. II)
Etude III: Vivace
Etude IV (Var. III)
Etude V (Var. IV): Vivacissimo
Etude VI (Var. V): Agitato
Variation II Posth.
Etude VII (Var. VI): Allegro Molto
Etude VIII (Var. VII): Andante
Variation V Posth.
Etude IX: Presto Possibile
Etude X (Var. VIII): Allegro
Etude XI (Var. IX): Con Espressione
Finale: Etude XII: Allegro Brillante

Customer Reviews:

Anda The Master.......2006-09-02

It's fortunate that DGG is re-releasing so many of the stellar recordings of artists of the past including this 5-CD set of Geza Anda. Recordings of his that have been out of print for a long time are in this set thankfully. As a young budding piano student I had never purchased or listened to an Anda recording having been taken with the more technically richly endowed wiles of Horowitz and Richter's pianism. I focussed almost exclusively on pyrotechnics as a youth and didn't appreciate the intellect and artistry of artists such as Anda, Backhaus and Kempff until many years later as an adult.

Once I discovered Anda (or re-discovered him might be more like it) I fell in love with his deep sense of musicianship, grasp of musical structure, elemental pianism and visceral yet intellectually weighted emotionality. Because most of his recordings had gone out of print I snapped up what I could, notably the Bartok 3 piano concertos and Mozart complete piano concertos with the Camerata Salzburg. I also got some of the live performance CDs floating around which elucidated his excitement as a performer (along with the fallibility of his technique at times; a technique though that could handle anything thrown at it however).

The most eagerly awaited work for me in this set is the Brahms B-Flat performance which I had unsuccessfully had tried to acquire in LP format for a few years. It was the first thing I listened to in the set and it lived up to my expectations and more. This is a titanic performance of this towering massive concerto. Anda brings out all the fire and gut-pounding power in the places that call for it (e.g. at the beginning opening cadenza's finish before the orchestra tutti starts). He also brings an element of deep elemental mystery to other of the more ethereal passages in the first movement. The second movement it elemental in its power and expression. The end of the 2nd movement is exciting as all get out. My heart raced as Anda came cascading down in the d minor chords at the end of the movement! The cello soloist in the 3rd movement plays with soulfull intensity yet the movement is not taken at too slow a tempo which keeps the overall conception of the work moving with a forward impetus. Anda's entrance is beautiful beyond belief. He conveys a sense of mystery in his playing without it ever getting bogged down in the beautiful details of the notes. The last movement is buoyant and jubilation along with a sense of the delicateness abound. All in all a great performance! The DGG engineering is apparent in this recording with even being so old sounds as if it were recorded yesterday.

The rest of the performances are just as enthralling including 2 performances of the symphonic etudes (an early mono version on Disc 1 and the later stereo version on Disc 5) which are interesting to hear the juxtaposition of an artist's development. Like Julius Katchen, William Kapell and Dino Ciani, Anda was taken from us much too soon.

Awesome Anda.......2006-02-08

Best known as the first pianist to record a complete cycle of Mozart's Piano Concertos, Geza Anda shows his awesome power as both soloist and accompanist in a variety of works on "Troubadour of the Piano." For me, the collection's best moments were the opportunity to finally hear Anda's highly acclaimed accounts of the Schumann Piano Concerto, with Rafael Kubelik and the Berlin Philharmonic in stereo from 1963, and the Brahms Piano Concerto No. 2, with Ferenc Fricsay and the Berliners in stereo from 1960. The Schumann is outstanding, but the Brahms is truly brilliant! Those familiar with Anda will know that the pianist made his definitive readings of the Bartok PCs with Fricsay, and they capture that magic once again. The pace is never rushed, and the playing clear and distinct -- it is a legendary performance. Speaking of Bartok, Anda and Fricsay also combine to perform the composer's Rhapsody for Piano and Orchestra. Recorded in 1960 and originally paired on vinyl with the Bartok 1st, it was unable to fit on the aforementioned disc of the three Concertos and thus makes its CD debut here. Other highlights from this collection are stereo performances of Beethoven's Diabelli Variations and Chopin's 24 Preludes, and two versions of Schumann's Symphonic Etudes -- one in mono from 1943 and the other in stereo twenty years later. Some of the historical recordings are marred by poor sound, in particular the Franck Symphonic Variations with Van Beinum from 1943, but are delightful as reference material. In all, "Troubadour of the Piano" is another gem in Deutsche Grammophon's "Original Masters" series.

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The facets of the lyricism!
Divine
To be avoided
aristocratic and heartfelt schumann
aristocratic and heartfelt schumann

Schumann: Piano Works

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
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ASIN: B000001GFJ
Release Date: 1992-02-11

Tracks:

Papillons Op. 2, Introduction. Moderato...
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 1. Lebhaft
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 2. Innig
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 3. Mit Humor (Etwas hahnbuchen)
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 4. Ungeduldig
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 5. Einfach
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 6. Sehr rasch (Sehr rasch und in sich hinein)
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 7. Nicht schnell (Mit ausserst starker Empfindung)
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 8. Frisch
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 9. Lebhaft
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 10. Balladenmassig. Sehr rasch
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 11. Einfach
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 12. Mit Humor
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 13. Wild und lustig
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 14. Zart und singen
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 15. Frisch
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 16. Mit gutem Humor
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 17. Wie aus der Ferne
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 18. Nicht schnell
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 1. Preambule. Quasi maestoso - Piu moto - Animato - Vivo - Presto
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 2. Pierrot. Moderato
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 3. Arlequin. Vivo
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 4. Valso noble. Un poco maestoso
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 5. Eusebius. Adagio
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 6. Florestan. Passionato
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 7. Coquette. Vivo
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 8. Replique. L'istesso tempo - (Sphinxes)
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 9. Papillons. Prestissimo
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 10. A.S.C.H. - S.C.H.A. (Lettres dansantes). Presto
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 11. Chiarina. Passionato
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 12. Chopin. Agitato
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 13. Estrella. Con affetto
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 14. Reconnaissance. Animato
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 15. Pantalon et Colombine. Presto
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 16. Valse allemande. Molto vivace
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 17. Paganini. Intermezzo. Presto
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 18. Aveu. Passionato
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 19. Promenade. Comodo
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 20. Pause. Vivo
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 21. Marche des (Davidsbundler) contre les Philistins. Non Allegro - Molto piu vivo - Animato - Vivo - Animato molto - Vivo - Piu stretto

Tracks:

Symphonische Etuden, Op. 13 - Thema. Andante
Symphonische Etuden, Op. 13 - Etude I. Un poco piu vivo
Symphonische Etuden, Op. 13 - Etude II.
Symphonische Etuden, Op. 13 - Etude III. Vivace
Symphonische Etuden, Op. 13 - Etude IV.
Symphonische Etuden, Op. 13 - Etude V. Vivacissimo
Symphonische Etuden, Op. 13 - Etude VI. Agitato
Symphonische Etuden, Op. 13 - Etude VII. Allegro molto
Symphonische Etuden, Op. 13 - Etude VIII. Andante
Symphonische Etuden, Op. 13 - Etude IX. Presto possibile
Symphonische Etuden, Op. 13 - Etude X. Allegro
Symphonische Etuden, Op. 13 - Etude XI. Con espressione
Symphonische Etuden, Op. 13 - Etude XII. Finale. Allegro brillante
Kinderszenen, Op. 15 - 1. Von fremden Landern und Menschen
Kinderszenen, Op. 15 - 2. Kuriose Geschichte
Kinderszenen, Op. 15 - 3. Hasche-Mann
Kinderszenen, Op. 15 - 4. Bittendes Kind
Kinderszenen, Op. 15 - 5. Gluckes genug
Kinderszenen, Op. 15 - 6. Wichtige Begebenheit
Kinderszenen, Op. 15 - 7. Traumerei
Kinderszenen, Op. 15 - 8. Am Kamin
Kinderszenen, Op. 15 - 9. Ritter vom Steckenpferd
Kinderszenen, Op. 15 - 10. Fast zu ernst
Kinderszenen, Op. 15 - 11. Furchtenmachen
Kinderszenen, Op. 15 - 12. Kind im Einschlummern
Kinderszenen, Op. 15 - 13. Der Dichter spricht
Kreisleriana, Op. 16 - Fantasien - 1. Ausserst bewegt
Kreisleriana, Op. 16 - Fantasien - 2. Sehr innig und nicht zu rasch - Intermezzo, Sehr lebhaft - Intermezzo II. Etwas bewegter - Lngsamer (erstes Tempo)
Kreisleriana, Op. 16 - Fantasien - 3. Sehr aufgeregt
Kreisleriana, Op. 16 - Fantasien - 4. Sehr langsam
Kreisleriana, Op. 16 - Fantasien - 5. Sehr lebhaft
Kreisleriana, Op. 16 - Fantasien - 6. Sehr langsam
Kreisleriana, Op. 16 - Fantasien - 7. Sehr rasch
Kreisleriana, Op. 16 - Fantasien - 8. Schnell und spielend

Tracks:

Fantasie C-dur, Op. 17 - 1. Durchaus phantastisch und leidenschaftlich vorzutragen - Im Legendenton - Tempo Primo
Fantasie C-dur, Op. 17 - 2. Massig. Durchaus energisch - Etwas langsamer - Viel bewegter
Fantasie C-dur, Op. 17 - 3. Langsam getragen. Durchweg leise zu halten - Etwas bewegter
Arabeske, Op. 18 - Leicht und zart - Minore I. Etwas langsamer - Minore II. Etwas langsamer - Zum Schluss (Coda). Langsamer
Humoreske, Op. 20 - Einfach - Sehr rasch und leicht - Noch rascher - Erstes Tempo - Wie im Anfang
Humoreske, Op. 20 - Hastig - Nach und nach immer lebhafter und starker - Wie vorher - Adagio
Humoreske, Op. 20 - Einfach und zart - Intermezzo - (Wie vorher -) Innig
Humoreske, Op. 20 - Sehr lebhaft - Mit einigem Pomp - Zum Beschluss - Allegro
Novelette No. 9 - aus: Bunte Blatter, Op. 99 - Lebhaft

Tracks:

Sonate Nr. 2 g-moll Op. 22 - 1. So rasch wie moglich
Sonate Nr. 2 g-moll Op. 22 - 2. Andantino. Getragen
Sonate Nr. 2 g-moll Op. 22 - 3. Scherzo. Sehr rasch und markiert - attacca:
Sonate Nr. 2 g-moll Op. 22 - 4. Rondo. Presto - Prestissimo. Quasi Cadenza
Nachtstucke, Op. 23 - 1. Mehr langsam, oft zuruckhaltend
Nachtstucke, Op. 23 - 2. Markiert und lebhaft
Nachtstucke, Op. 23 - 3. Mit grosser Lebhaftigkeit
Nachtstucke, Op. 23 - 4. Ad libitum - Einfach
Drei Romanzen, Op. 28 - 1. Sehr markiert
Drei Romanzen, Op. 28 - 2. Einfach
Drei Romanzen, Op. 28 - 3. Sehr markiert - Intermezzo I. Presto - Intermezzo II. Etwas langsamer - Wie vorherPresto - Inter
Waldszenen, Op. 82 - Neun Klavierstucke - 1. Eintritt. Nicht zu schnell
Waldszenen, Op. 82 - Neun Klavierstucke - 2. Jager auf der Lauer. Hochst lebhaft
Waldszenen, Op. 82 - Neun Klavierstucke - 3. Einsame Blumen. Einfach
Waldszenen, Op. 82 - Neun Klavierstucke - 4. Verrufene Stelle. Ziemlich langsam
Waldszenen, Op. 82 - Neun Klavierstucke - 5. Freundliche Landschaft. Schnell
Waldszenen, Op. 82 - Neun Klavierstucke - 6. Herberge. Massig
Waldszenen, Op. 82 - Neun Klavierstucke - 7. Vogel als Prophet. Langsam, sehr zart
Waldszenen, Op. 82 - Neun Klavierstucke - 8. Jagdlied. Rasch, kraftig
Waldszenen, Op. 82 - Neun Klavierstucke - 9. Abschied. Nicht zu schnell

Customer Reviews:

The facets of the lyricism!.......2006-05-30

Wilhelm Kempff made sing the piano as any other pianist ever born. But besides, his profound domain of the thematic material as well as his tune produced a Schumann so original, expressive and eloquent with sentiment but no sentimentality.

This album is a formidable and fundamental set of the most remarkable Schumann piano works. To create such atmosphere and interpretative freshness in this composer is not easy, but in Kempff hands we are talking about another dimension of pianism.

In this age, pitifully, you cannot count with many thinkers pianists; ones due the very adjusted schedule and the rest by unknown reasons seem to consider a matter of second priority to play with a determined conception. The technique seems to prevail under any other aspect. And that's not a good symptom.

That is why among other arguments you should acquire as soon as possible this extraordinary set.

Absorbing and rewarding in summon grade.

Divine.......2005-07-18

When I first read the reviews here on Amazon, I was a bit concerned about buying this set. I truely love Kempff and elegant performing style, but after having almost around 150 of his collections and cd's, I know that he can be dreadful when he is not on form. So I was worried about this set, but it was useless.

This 4-cd set contains some of the best performances that Kempff could offer considering his age. There are numerous highlights here: Papillons, Davidsbündlertänze, fantasy,..... All of them find him on top form. Although one might argue that there are studio recordings and who knows how many takes one recording must have to become perfect, but let me tell you, even in his live and extremely nerve breaking situations and venues such as the Salzburg festival, he was always on top form.

So Kempff's fan, buy this. It's worth it. In here you won't quite find the excitement that Richter put into his Schumann, but you will find the poetry, emotions and sensitivity that many others lack in their recordings.

To be avoided.......2003-11-22

Despite his reputation as one of the towering exponents of the 19th Germanic repetoire, Kempff acquits himself poorly in these recordings, made at the end of his life. Whether these weak performances are due to his advanced age or to more basic flaws in his training and capabilities is purely academic. They are among the poorest choices in the catalogue, perhaps the very worst. But please - don't take my word for it. Listen to the Etde IX in the op. 13, on disc 2. Kempff's attempt to pull this off is embarrassingly amateurish; he cannot even cover all the notes at "presto possibile", much less raise his playing to something approaching an interpretation. Elsewhere, you can expect the same. The op. 17 is played with little poetry, no finesse and palpable frustration in following Schumann's basic roadmap. You cannot run away from this mess fast enough.

aristocratic and heartfelt schumann.......2003-08-28

this compilation has the benefit of including most of schumann's important keyboard works (among excluded works are the toccata, first sonata, bunte blatter and fantasiestucke), under the hands of an extraordinary schumann interpreter.

recorded in the 1970's, when kempff was nearing 80, this is genuinely classic schumann. the virtuosic extremes of the symphonische etuden and kriesleriana are not quite fully exploited, but there is no flubbing, stumbling or cutting corners: kempff has things always under control. look to argerich, pollini or pogorelich for white hot schumann, kempff delivers him as a human being.

for the sheer poetry of schumann, kempff has never been bettered. his davidsbundlertanze, especially the last 5 movements, is without peer. the kinderszenen is delightful. the poetry of the fantasie in C is magnificent. there is a lifetime of musical experience and temperament in this playing.

aristocratic and heartfelt schumann.......2003-08-28

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.

Tracks:

Carnaval, Op.9
Carnaval, Op.9
Carnaval, Op.9
Carnaval, Op.9
Carnaval, Op.9
Carnaval, Op.9
Carnaval, Op.9
Carnaval, Op.9
Carnaval, Op.9
Carnaval, Op.9
Carnaval, Op.9
Carnaval, Op.9
Carnaval, Op.9
Carnaval, Op.9
Carnaval, Op.9
Carnaval, Op.9
Carnaval, Op.9
Carnaval, Op.9
Carnaval, Op.9
Carnaval, Op.9
Carnaval, Op.9
Kreisleriana, Op.16
Kreisleriana, Op.16
Kreisleriana, Op.16
Kreisleriana, Op.16
Kreisleriana, Op.16
Kreisleriana, Op.16
Kreisleriana, Op.16
Kreisleriana, Op.16
Kreisleriana, Op.16
Kreisleriana, Op.16
Kreisleriana, Op.16
Kreisleriana, Op.16
Pno Son No.1 in f#, Op.11: Intro-Un Poco Adagio-Allegro Vivace
Pno Son No.1 in f#, Op.11: Aria
Pno Son No.1 in f#, Op.11: Scherzo E Intermezzo: Allegrissimo
Pno Son No.1 in f#, Op.11: Finale: Allegro Un Poco Maestoso

Tracks:

Davidsbundlertanze, Op.6
Davidsbundlertanze, Op.6
Davidsbundlertanze, Op.6
Davidsbundlertanze, Op.6
Davidsbundlertanze, Op.6
Davidsbundlertanze, Op.6
Davidsbundlertanze, Op.6
Davidsbundlertanze, Op.6
Davidsbundlertanze, Op.6
Davidsbundlertanze, Op.6
Davidsbundlertanze, Op.6
Davidsbundlertanze, Op.6
Davidsbundlertanze, Op.6
Davidsbundlertanze, Op.6
Davidsbundlertanze, Op.6
Davidsbundlertanze, Op.6
Davidsbundlertanze, Op.6
Davidsbundlertanze, Op.6
Fant in C, Op.17: Il Tutto Fantastico Ed Appassionato-In Modo D'Una Leggenda
Fant in C, Op.17: Moderato Con Ergia-Poco Meno Mosso-Piu Animato
Fant in C, Op.17: Lento Sostenuto-Il Tutto Pno-Poco Piu Animato
Traumerei

Customer Reviews:

passionate pianism with lots of mistakes.......2005-03-24

Gieseking is best known for his Debussy. In these recordings, Gieseking plays pieces from an earlier epoch in Schumann. Most of the heavy-hitting pieces of Schumann are found. I found his playing to be very striking and original. He was definitely not simply just "going through the motions." The dynamics were accentuated quite heavily, and the tempos were also accentuated. In addition, I found that Gieseking has a very sensitive, colorful tone in Schumann that also made him famous in Debussy (in the lyrical sections). Gieseking also captures the white-hot Romanticism and emotionality of these works, displaying Schumann as one of the greatest, red-blooded poets of the Romantic period.

Despite these very good qualities, Gieseking makes tons of mistakes. They are present in every piece. They are little slips, missed notes, and faked chords. I dont know if these errors are due to the Gieseking Method of learning pieces (where one does not practice at the keyboard, but practices away from the keyboard), but they detract from his otherwise intense performance.

I hate to get into recording comparisons, but I would choose Gieseking over several other Schumann interpretations, including Rubinstein and Kissin.

The sound quality of the recordings has quite a lot to be desired. These audio cuts were made in the 1940's, and it shows.

Lastly, my own personal quibble is that Geiseking's breathing is quite audible in every piece. For example, in the Carnaval's Preambule, this breathing is used to count the off-beats between notes. It's an annoyingly small distraction but one nonetheless.

P.S. There is quite a lot of music for two CD's. It's a good buy considering the price.

Schumann: Kreisleriana; Fantasie, Op. 17

Average customer rating:

Schumann: Kreisleriana; Fantasie, Op. 17

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Fantasies | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

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

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
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Schumann: Carnaval & Sonata No. 1

ASIN: B0001TSWKA
Release Date: 2004-04-20

Schumann: The Complete Piano Works (Box Set)

Average customer rating:

Good for the rare pieces.....but...
Mystery Solved
Mystery meat

Schumann: The Complete Piano Works (Box Set)

Manufacturer: Nuova Era
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

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Release Date: 2001-03-06

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.

Music Review:

Music Review

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Organik Mechanix [Live]

Sergey Prokofiev: Romeo And Juliet, Suite No. 2, Op. 64 / Dreams, Symphonic Poem Op. 6 / Pushkiniana (Two Pushkin Waltzes, Op. 120 / Evgeny Onyegin, Op. 71 / Boris Godunov, Op. 70 bis) - Neeme Järvi

Schumann: Noveletten Op21

Three Alone

Shake Your Money Maker [Enhanced]

Power to Power

Tales from the Swift

The Hate Cage

Spirit in the Sky [Import]

Second Baghdad

Strike Up the Band/Nat [Import]

Salsa Caliente

The C Theory

Beethoven: Trio in Ef Op20; Ries: Trio Op28

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