Piano Concerto Op 54 / Cello Concerto Op 129

On this CD:

1. Piano Concerto in A minor, Op. 54
Composed by Robert Schumann
Performed by Berlin Philharmonic Orchestra with Walter Gieseking
Conducted by Wilhelm Furtwangler

2. Cello Concerto in A minor, Op. 129
Composed by Robert Schumann
Performed by Berlin Philharmonic Orchestra with Tibor de Machula
Conducted by Wilhelm Furtwangler

3. Piano Concerto in A minor, Op. 16
Composed by Edvard Grieg
Performed by Berlin Philharmonic Orchestra with Walter Gieseking
Conducted by Wilhelm Furtwangler

Tracks:

Symphony No. 3 In E-flat Major, Op. 97: 'Rhenish' - Lebhaft
Andante And Variations In B-Flat Major
Symphonic Etudes, Op. 13
Toccata In C Major, Op. 7
Kreisleriana, Op. 16
Piano Concerto In A Minor, Op. 54: Allegro Vivace
Carnaval, Op. 9
'Dedication', Op. 25/1
Symphony No. 4 in D Minor, Op. 120: Introduction - Vivace
Papilons, Op. 2
Op. 25-3: 'The Nut Tree'
Symphony No. 3 In E-flat Major, Op. 97: 'Rhenish' - Lebhaft-Schneller
Piano Quintet In E-flat Major, Op. 44: Allegro ma non troppo
Piano Concerto In A Minor, Op. 54: Allegro affettuoso
Carnaval, Op. 9: Waltz
Album For The Young, Op. 68: The Merry Farmer
Scenes From Childhood, Op. 15: Dreams
Cello Concerto In A Minor, Op. 129: Nicht au schnell
Symphony No. 3 In E-flat Major, Op. 97: 'Rhenish' - Feierlich
Peer Gynt Suite No. 1, Op. 46, No 1
Lyric Suite, Op. 54-2: Norwegian Rustic Dance
Op. 12 No. 4: Elf Dance
Op. 35, No. 1: Norwegian Dances
Elegiac Melodies
Op. 64, No. 4: Symphonic Dances
Op. 35, No. 2: Norwegian Dances
Op. 5-3: 'I Love Thee'
Op. 43, No. 1: Butterfly
Op. 65, No. 6: Wedding Day At Troldhaugen
Peer Gynt Suite No. 1, Op. 46, No. 3: Anitra's Dance
Peer Gynt Suite No. 2, Op. 55, No. 4: Solveig's Song
Peer Gynt Suite No. 1, Op. 46, No. 4: In The Hall Of The Mountain King
Piano Concerto In A Minor, Op. 16: Allegro moderato; Allegro marcato
Holberg Suite, Op. 40: Prelude: Allegro vivace
Lyric Suite, Op. 54, No. 3: Dance Of The Dwarfs
Homage To Chopin
Sigurd Jorsalfar Suite, Op. 56, No. 3: Homage March
Peer Gynt Suite No. 1, Op. 46: Morning Mood
Peer Gynt Suite No. 1, Op. 46: The Death Of Aase
Peer Gynt Suite No. 1, Op. 46: Anitra's Dance
Peer Gynt Suite No. 1, Op. 46: In The Hall Of The Mountain King
Peer Gynt Suite No. 2, Op. 55: III The Return Of Peer Gynt
Peer Gynt Suite No. 2, Op. 55: IV Solveig's Song

Schumann: Cello Concerto; Piano Concerto; Introduction & Allegro appassionato

Average customer rating:

Barenboim needs to loosen up
maisky played like a girl

Schumann: Cello Concerto; Piano Concerto; Introduction & Allegro appassionato

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005NPJV
Release Date: 2003-03-25

Tracks:

Vc Con in a, Op.129: I. Nicht Zu Schnell - - Jacqueline Du Pre
Vc Con in a, Op.129: II. Langsam - Etwas Lebhafter - Schneller - Jacqueline Du Pre
Vc Con in a, Op.129: III. Sehr Lebhaft - Jacqueline Du Pre
Intro & Allegro Appassionato, Op.92 - Daniel Barenboim
Pn Con in a, Op.54: I. Allegro Affetuoso - Daniel Barenboim
Pn Con in a, Op.54: II. Intermezzo (Andantino Grazioso) - Daniel Barenboim
Pn Con in a, Op.54: III. Allegro Vivace - Daniel Barenboim

Customer Reviews:

Barenboim needs to loosen up.......2006-02-09

On the good side, Barenboim avoids use of the pedal and plays all the right notes. Everything is clean and clear. I suppose clarity was the primary goal in his interpretation. However, this over-emphasis on clarity made for an extremely dry rendition. The third movement was the worst, missing the sweep that is so crucial to this fluent score. The dynamics, as part of this problem of dryness, were flat. This is supposed to be Romanticism in its full bloom. Where's the optimism, the lyrical tenderness, and unfettered passion? Not in this recording.

I cant make an educated opinion about the du Pre performance.

maisky played like a girl.......2005-05-02

"Any one will die If he play like this" I am quite sure of starker's remark after getting it through. du pre is always ready to die with her instrument. something is being torn up when she played.

Average customer rating:

Average quality recordings, great historical significance

Recordings 1942-1944, Vol. 2

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Great Recordings Of The Century - Beethoven: Symphony no 9 / Furtwangler, Schwarzkopf

ASIN: B00005ONML
Release Date: 2002-10-08

Tracks:

Allegro Affettuoso - Walter Gieseking
Intermezzo. Andantino Grazioso - Attacca - Walter Gieseking
Allegro Vivace - Walter Gieseking
Nicht Zu Schnell - Tibor De Machula
Langsam - Tibor De Machula
Sehr Lebhaft - Tibor De Machula

Tracks:

Allegro Non Troppo - Edwin Fischer
Allegro Appassionato - Edwin Fischer
Andante - Edwin Fischer
Allegretto Grazioso - Edwin Fischer

Tracks:

Introduction. Adagio
Adagio. Sehr Langsam
Scherzo. Molto Vivace (Schnell) - Trio
Finale. Adagio - Allegro Moderato

Tracks:

Thema I. Bewegt - Thema II. Sehr Lebhaft - Thema III. Ruhig
Scherzo. Munter
Wiegenlied. MaBig Langsam
Adagio. Langsam
Finale. Sehr Labhaft
Tone-Poem After Nikolaus Lenau

Tracks:

Tone-Poem For Large Orchestra
Till Eulenspiegel's Merry Pranks After An Old Picaresque Legend - In Rondeau Form
Daphnis Et Chloe - Suite Nr.2

Customer Reviews:

Average quality recordings, great historical significance.......2004-12-09

These recordings were made in wartorn Berlin by one of the past century's greatest conductors, Wilhelm Furtwangler, who was one of very few international caliber artists who remained in Germany during WWII. Combine Furtwangler's passionate conducting with the sad context of war and you've got an utmost interesting and pertinent package.

Schumann's Piano Concerto is wild and intense as you may expect, and totally unedited as you can hear several of Walter Gieseking's errors. The Cello Concerto is equally intriguing, as well as Brahms' Piano Concerto. This set contains a lot of pieces which are not part of Furtwangler's "standard favourites".

The only drawback is the sound quality. These are live recordings who were made with primitive technology, and we lose much of the dynamics of Furtwangler's volume fluctuations. However, the style and tempi are unmistakenly his.

While most of today's digital recordings are bland and perfect, this boxed set is a good alternative for those who appreciate the historical context of a recording. As much as I enjoy Zimerman/Karajan's interpretation of Schumann's masterpiece on digital DGG, there is something about these old recordings that is so passionately nostalgic that I can't help but listen to this noisy mono recording more often than I listen to other versions I possess. It's also one of very few Furtwangler collections which are properly packaged, in an attractive slim box from Deutsche Grammophon's Dokumente series.

Schubert, Mendelssohn, Schumann: Complete Recordings on Deutsche Grammophon

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Some Of Bernstein's Most Memorable Deutsche Grammophon Recordings

Schubert, Mendelssohn, Schumann: Complete Recordings on Deutsche Grammophon

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B000ASAEM6
Release Date: 2005-11-08

Customer Reviews:

Some Of Bernstein's Most Memorable Deutsche Grammophon Recordings.......2007-05-21

Fans of Leonard Bernstein's conducting have much to enjoy in this fine commemorative box set which includes all of his recordings of several Schubert, Mendelssohn and Schumann orchestral works for Deutsche Grammophon in the 1980s. More importantly, this set contains some of his best recordings. Among my favorites are his Schubert symphony recordings made with the Concertgebouw Orchestra. Of these, his electrifying, swift account of the Schubert 9th Symphony remains among the finest recorded, blessed by superlative playing from the Concertgebouw Orchestra, especially its winds and strings. Bernstein doesn't seek emotional pyrotechnics from the orchestra, relying instead on swift tempi. His recordings of the Schubert 5th and 8th symphonies are also highly recommended, featuring exceptional playing from the Concertgebouw Orchestra. In stark contrast, his celebrated Schumann symphony cycle with the Wiener Philharmoniker (which has been available separately as a two CD set) is replete with emotion, and what could be charitably described as Bernstein's unique, quite mannered interpretations of these scores. Without question, this box set is yet another reason showing Bernstein's excellence as one of the great conductors of the 20th Century, and one which should be popular with his fans and others interested in his legendary career.

Average customer rating:

Classical Highlights: Schumann

Manufacturer: St. Clair Entertainment
ProductGroup: Music
Binding: Audio CD

Trios | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
ASIN: B0000CDLC1
Release Date: 2003-09-16

Tracks:

Concerto for Piano and Orchestra in a Minor: Allegro Affettuoso
Concerto for Piano and Orchestra in a Minor Intermezzo: Andante ...
Concerto for Piano and Orchestra in a Minor: Allegro Vivace
Carneval
Kinderszenen (Scenes from Childhood): From Foreign Lands and People
Kinderszenen (Scenes from Childhood): Perfect Happiness
Kinderszenen (Scenes from Childhood): Important Event
Kinderszenen (Scenes from Childhood): Ride of the Rocking Horse
Kinderszenen (Scenes from Childhood): Almost Too Serious
Kinderszenen (Scenes from Childhood): Bogeyman's Coming
Kinderszenen (Scenes from Childhood): Child Falling Asleep
Kinderszenen (Scenes from Childhood): Hark! The Poet Speaks
Concerto for Violoncello and Orchestra in a Minor: Nicht Zu Schnell
Concerto for Violoncello and Orchestra in a Minor: Langsam
Concerto for Violoncello and Orchestra in a Minor: Sehr Lebhaft
Symphony No. 4 in D Minor: Introduction
Symphony No. 4 in D Minor: Allegro
Symphony No. 4 in D Minor Romance
Symphony No. 4 in D Minor: Scherzo
Symphony No. 4 in D Minor: Finale
FantasiestFantasy Pieces) For Clarinet and Piano, Pt. 1
FantasiestFantasy Pieces) For Clarinet and Piano, Pt. 2
FantasiestFantasy Pieces) For Clarinet and Piano, Pt. 3
Waltz "Bunte Bler"
Waltz "Albumbler"

Tracks:

Symphony No. 1 in B Flat Major "Spring": Andante un Poco Maestoso, ...
Symphony No. 1 in B Flat Major "Spring": Larghetto, Attaca
Symphony No. 1 in B Flat Major "Spring": Scherzo - Molto Vivace
Symphony No. 1 in B Flat Major "Spring": Allegro Animato E Grazioso
Manfred Overture
Hermann und Dorothea Overture
Trio for Violin, Violoncello and Piano No. 2 in F Major: Sehr Lebhaft
Trio for Violin, Violoncello and Piano No. 2 in F Major Mit ...
Trio for Violin, Violoncello and Piano No. 2 in F Major in ...
Trio for Violin, Violoncello and Piano No. 2 in F Major: Nicht Zu ...
Symphony No. 3 in E Flat Major "Rhenish": Illegro
Symphony No. 3 in E Flat Major "Rhenish": Scherzo
Symphony No. 3 in E Flat Major "Rhenish" Intermezzo
Symphony No. 3 in E Flat Major "Rhenish": Andante
Symphony No. 3 in E Flat Major "Rhenish": Finale
Album F Jugend (Album for the Youth): Melodie (Melody)
Album F Jugend (Album for the Youth): Soldatenmarsch ...
Album F Jugend (Album for the Youth): Trerliedchen ...
Album F Jugend (Album for the Youth): Ein Choral (A Chorale)
Album F Jugend (Album for the Youth): Stn (Little Piece)
Album F Jugend (Album for the Youth): Armes Waisenkind (Poor ...)
Album F Jugend (Album for the Youth): Jrliedchen ...
Album F Jugend (Album for the Youth): Wilder Reiter (Wild ...)
Album F Jugend (Album for the Youth): Volksliedchen (Little Folk
Album F Jugend (Album for the Youth): Frcher Landmann ...

Average customer rating:

At least 16 / 19 well spent hours
Enlightening but slighly blemished
Chopin - Luisada, Jean-Marc
Chopin - Luisada, Jean-Marc
Learn, learn, learn!

Chopin: Complete Edition
Krystian Zimerman , Claudio Arrau , Stefan Askenase , Anatol Ugorski , Maurizio Pollini , Jean-Marc Luisada , and Zilberstein, Lilya
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B00001X58Z
Release Date: 1999-10-12

Amazon.com

On the 150th anniversary of his death, Deutsche Grammophon released this impressive box set featuring the complete works of Frédéric Chopin. Spread out over 17 CDs, it contains some truly big-name artists--Argerich, Pollini, Barenboim, and Ashkenazy--and a few you've probably never heard of. The majority of the set's nine volumes contain some music newly produced for this undertaking, and a few items (Chopin's songs, for instance) were recorded specifically for this collection. A well-illustrated book is included--it contains an essay, dateline, and illustrations--and each volume in the set gets its own liner notes. The music? It varies from great to less than great, but most of it is worth hearing. Those accustomed to Rubinstein's readings of the Mazurkas will find those played by Jean-Marc Luisada less fluid and lacking Rubinstein's power. Chopin's songs, seldom heard and filled with elements of Polish folk dances and the less-than-stellar lyrics of the composer's friend Stefan Witwicki, get a college try here by soprano Elzbieta Szmytka. They sound as good as you'll hear anywhere (if you can find them). It probably goes without saying that Martha Argerich's rousing 26 Préludes are some of the set's more exciting moments. But, really, the entire collection is solid. It should be noted that budget label Naxos has released its own Chopin edition at less than half the price of this set. With Idil Biret as the only performer on that set, you miss out on some of the diverse performances and personalities found here. Also, to please those of us who already own favorite performances of these works, each two-CD volume in the Complete Chopin Edition can be purchased individually. Bravo. --Jason Verlinde

Customer Reviews:

At least 16 / 19 well spent hours.......2004-10-11

In my opinion there is no more effective way to ruin a great musical performance than to record it in front of an audience who cannot control their coughs. The first disc starts out with a 1979 live recording of Chopin's first piano/orchestra concerto featuring pianist Krystian Zimerman and the Royal Concertgebouw Orchestra of Amsterdam. The performance is good, but doesn't allow the listener full concentration,--and therefore not full enjoyment--as a distracting and annoying audience can be heard coughing, sneezing, and clearing their throats even above the orchestra's playing in mezzo forte - it gets worse, of course, at dynamically quieter musical parts. Other distractions, like chairs creaking, cracking and squeaking, pages being turned probably inches away from a microphone (perhaps to give the page-turner a chance to say "Did you hear that? That was me,") and people stomping/dropping things (?) add to the incapability of the listener's full enjoyment. I've heard much worse, however, but considering that the recording technique is no older than 25 years, this is on the verge of being unacceptable. Sure - there can be a certain charm in hearing such "humanity" on a recording, especially when it's older, but I don't think many would disagree that this is a bit too much. Hearing the opening of piano/orchestra concerto no.2, and knowing that the 18+ hours of music to come aren't going to be interrupted by coughs, is a big relief. My favorite Chopin interpreter is--and might always be--Rubinstein; his playing is straight forward, he cuts to the chase quickly, yet somehow manages to leave room for sensitivity and emotion. His performances, of course--since he never recorded a note for Deutsche Grammophon,--are not included in this "complete edition," so aside from suggestions that certain waltzes are missing, that is something that makes this boxed set incomplete for me. Pollini's general interpretation of Chopin is in my opinion, as in many others', quite weak in comparison to Argerich's, Zimerman's, or the passionate playing of Daniel Barenboim. Here Pollini performs Etudes, Scherzos, Sonatas and Polonaises. At times, during the Etudes of op. 10, I feel like I'm getting more Maurizio than I am getting Fryderyk, even though the performance (especially on no.3) may invite feelings of thriving despite the performer's occasional roaring in the left channel. The Scherzos feature some troublesome factors; first and foremost the sound (of this 1990 recording) isn't at all as good as one would expect. It's far worse than several older recordings of this set - at only six seconds into the first Scherzo (op.20) one can't avoid acknowledging obvious distortion - the recording has clearly been done with too much input level. Clips noises continue throughout the grainy and dull sound picture of these pieces. Second of all, the noises Pollini makes while playing can be quite off putting. At times he sounds like a boy with a voice just breaking experiencing climax of coition, and as we all know, Chopin had a prudish aversion to overt sexuality. One reason why Pollini's performance of the Scherzos being called "troublesome" might be harsh, is that musically he handles them ok, and I'd think that's what's essential, but Deutsche Grammophon has made the odd decision of including Pollini's recording of Sonata no. 2, op.35 (a.k.a. "Funeral March") from 1984 in this set, instead of Argerich's recording from 1975. First of all, Argerich's version has clearer sound (at least on the newly refurbished "The Originals" edition...but then again, that was released in 2002,) but second of all, and more importantly, her playing is far more straight forward during the first part of the Sonata (Grave,) whereas Pollini shows too much mercy both for strong dynamics and tempo throughout. Furthermore he's on the verge of playing parts of the March suggesting "lento," as if it read "rubato" (it's a MARCH!) His performance of Piano Sonata no.3 is also a bit lifeless, but the hour long disc of Polonaises recorded 1975 he handles surprisingly well (the occasional phlegmatic karaoke-roars may need a little time getting used to, though.) Several of these interpreters make some less musical noises while playing - Zimerman, for instance, breathes heavily through the nose after each and every completed phrase throughout all off his performances (although it can't be heard with orchestra.) When listening to his solo performances in head phones, the constant snuffling can distract and annoy quite a bit, but I know that I do the exact same thing when I play, myself, so perhaps I shouldn't complain until I've managed to rid the inconvenient problem myself. Besides Pollini's Polonaise interpretations, there's another (76 minute long) disc of Polonaises featuring mainly Ugorski, but also Argerich. Something that seems odd to me is that the sound quality of Argerich's 1974 recording once again is superior to a newer recording - in this case to the 1999 recording of Ugorski, which doesn't feature much middle in the sound picture, but uneven soughing and clip noises! Both their performances (but especially Argerich's,) are about as enjoyable as Chopin interpretations can be, I'd think, as is the technically and musically perfect, touching and mesmerizing Nocturne interpretations of Daniel Barenboim, recorded in 1981 - his playing here equals close to two hours of pure magic. While being a Rubinstein fan, I'm going to have to say that Barenboim's way of playing the Nocturnes is just how I think they should be played; they call for this somewhat gentle touch mixed in with their brutal sincerity, but I suggest for those who (especially) enjoy the Etudes, Sonatas and Scherzos to listen to Rubinstein's recordings of the works (available on RCA's Rubinstein Collection, vol. 26, vol. 45 and vol. 46.) Pollini is, of course, a fine performer, but I'd suggest listening to his interpretations of Prokofiev's and Stravinsky's work instead.
Rubinstein recorded the preludes (op.28) in their entirety only once, in 1946, which means that they aren't available in RCA's collection with preferable sound quality, but on this set Martha Argerich delivers a great performance of the 26 preludes (no.1-24, op.28, plus 25, op.45, and 26, op. 35,) recorded in 1975. One prelude that in my opinion should always be played as slow and gentle as possible is no.15 (a.k.a. "The Raindrop Prelude.") What I'd like to describe as a prefect version of the piece is performed by--despite my having done a lot of research--a, to me unknown performer, but runs at 6:08 minutes. Argerich rushes the whole piece a bit (the drops fall too closely -) the fact that her version runs at 4:51 should say a lot. Of the approximately 20 different performances I've heard of this particular prelude (obviously one of my favorites,) Argerich's is the shortest, and lays somewhere in the swamp among other "medium integral" versions. She delivers exciting performances of the other preludes, though - the first time I heard them, I hit repeat on my CD player, and listened to nothing else for three days.
The Mazurkas, here performed by Jean-Marc Luisada and Lilya Zilberstein, are performed--while beautifully--quite carefully and loosely. For those who'd like a more restrained performance of the pieces, RCA's Rubinstein Collection, vol. 50, is recommended.
Besides all the music for only piano(s,) Chopin also composed 80 minutes worth of chamber music, which here is performed by Beaux Arts Trio, et al. He also wrote 45+ minutes worth of songs, which here is performed by soprano Elzbieta Szmytka and pianist Malcolm Martineau on a 1999 performance. I don't feel qualified to comment on solo singing in Polish, but while I don't care for the occasional close-to-full effect vibrato, I like Martineau's piano playing and the almost folksy melodies and arrangements. This music distinguishes itself by far from the rest of the music in the set. Translations to several languages of the lyrics to the 19 songs are included.
The stereophony on all recordings is great, the overall sound quality on all discs (when considering the years of the recordings) I'd give a 4/5, but still rate the whole package 9/10 - I'd think that some (both older and newer) recordings could have been transferred better, while some sound superior to what you'd dare dream of. This is definitely the best complete edition of Chopin's music available, and perhaps the best collection of works available on disc by any classical composer. A lot of work has been put into the set's design, the sound, and certainly the amount and accuracy of interesting info given in the enclosed illustrated 140 page hard-cover book (of which a fifth is written in English) and in the 40-60 page booklets (also illustrated) included in each volume; practically everything you'll ever need to know about the composer (and these recordings) is included here along with all the music he wrote. Well worthy of your time and money.

Enlightening but slighly blemished.......2004-07-05

I commend DG on producing this comprehensive and thoughtfully packaged/annotated collection of Chopin's output. In it one can appreciate the wondrous manner in which Chopin at once appeased the conservative appetites of the Paris salon set while revolutionizing the genre of piano music in both traditional and more intimate forms.

The greatest virtue of this collection is the opportunity to hear more obscure elements of Chopin's collected ouevre. He wrote some lovely chamber music and wrote highly effective variations with and without orchestra. Among his 17 songs are a few gems.

As for the strength of the performances, some of them are rightly considered definitive. I love Zimerman in the piano concerti, Argerich owns the Op. 28 preludes, and I find in Pollini's scherzos the unbridled energy and interpretive depth required by these challenging pieces. Even if Daniel Barenboim's nocturnes do not set any records, they are well-done and completely satisfying.

I was less enthusiastic about Pollini's readings of the latter 2 piano sonatas, which I find prosaic on the whole. I was equally underwhelmed by Bunin's impromptus, which again betray interpretive rather than technical deficiencies. My greatest disappointment is Jean-Marc Luisada's controversial readings of the mazurkas. An unwieldy rubato rules the day here, and distorts the harmonic language to the point that it sounds like Debussy or Ravel's frequent (and unshakeably French-sounding) evocations of Spain. I much prefer any of the Rubinstein mazurka sets, which are colorful but rhythmically mindful of their namesakes.

Properly supplemented in the more familiar repertory (mazurkas, impromptus, sonatas, in particular), I believe this set is indispensable to anyone who appreciates or seeks a broader understanding of Chopin the composer. I recommend it highly.

Chopin - Luisada, Jean-Marc.......2002-04-14

I am a professional Pianist and Piano-pedagoge trained at the University of Graz and Vienna (Austria).
It seems as often reviewers/critics/listeners have the same opinions: I wonder if it isn't in some cases the old story of the Emperors new clothes - nobody dares to have a different opinion, as they do not want to appear stupid.
Some of the reviewers here, didn't like Luisadas performances of the Mazurkas. I hold the heretical opinion that Jean-Marc Luisadas performances are much better than Rubinsteins (I possess the three different complete Mazurka recordings of Rubinstein). There are few pianists that like Luisada know how to treat the piano as a truly polyphonic instrument, with absolute control of every line, and at the same time being able to emphasise every harmonic detail - giving every chord its differing and appropriate degree of tension. Furthermore he understands how to display the different moods and characters of the music. All these factors make Luisadas performances extremely colourful. Every Mazurka with Luisada is a unique experience.

Ps. Other recordings do occasionally wet the critical appetite: For instance the everywhere highly acclaimed Chopin recordings with Pollini are often musically awful, the Etudes opus 10 nr. 1 and opus 25 nr. 1 are examples. For the complete Etudes, buy Boris Berezovsky's recording for Teldec, it surpasses Pollini by far. Ds.

Chopin - Luisada, Jean-Marc.......2002-04-14

Learn, learn, learn!.......2000-10-16

This box set is a must for any lover of piano music.

DG deserves praise for coming with an excellent set of records as well as presentation of the booklets. It is breathtaking to have the opportunity to really know Chopin so well.

Performers are first rate and speak for themselves, and for the price of 8 CD's you get the whole collection. Yes, you can get in some cases better performances, but overall you can find a better compilation. Naxos has its own, and I am going to exchange it with a friend, problem will be to get mine back!