After Scriabin & After Debussy

On this CD:

1. Trio for piano & strings No. 1, in C minor, Op. 8
Composed by Dmitry Shostakovich
Performed by Deborah Richards, Daniel Spektor, Manuel Gerstner, Clementi Trio

2. Trio for piano & strings, No 3
Composed by Nikolai Andreyevich Roslavets
Performed by Deborah Richards, Daniel Spektor, Manuel Gerstner, Clementi Trio

3. Piano Trio
Composed by Germaine Tailleferre
Performed by Deborah Richards, Daniel Spektor, Manuel Gerstner, Clementi Trio

4. Trio, for piano, violin & cello, Op. 428
Composed by Darius Milhaud
Performed by Deborah Richards, Daniel Spektor, Manuel Gerstner, Clementi Trio

Tracks:

Sonata In E Major, K.380 (L.23): Andante Comodo
Piano Sonata In C Major, K.330 (300 h): Allegro Moderato
Piano Sonata In C Major, K.330 (300 h): Andante Cantabile
Piano Sonata In C Major, K.330 (300 h): Allegretto
Prelude In G Major, Op.32, No.5: Moderato
Prelude In G Sharp Minor, Op.32, No.12: Allegro
Etude In C Sharp Minor, Op.2, No.1: Andante
Etude In D Sharp Minor, Op.8, No.12: Patetico
Soirees De Vienne: Valse-Caprice No.6: Allegro Con Spirito
Sonetto 104 Del Petrarca: Agitato Assai - Adagio
Mazurka In C Sharp Minor, Op.30, No.4: Allegretto
Mazurka In F Minor, Op.7, No.3: Allegretto
Kinderszenen: Traumerei
Etincelles, Morceau Caracteristique Op.36, No. 6: Allegro Scherzando
Polka de W. R.: Allegretto

Amazon.com essential recording

Along with the extramusical significance of the aged Horowitz's return to his erstwhile homeland, there's plenty here for seekers of the essential Horowitz. Perhaps his finest Mozart recording, the C-major Sonata, gets a forward-moving reading distinguished by an Andante Cantabile movement that sings the music with the tonal splendor and command of line characteristic of the beloved bel canto singers of the past whom Horowitz looked to as musical models. The program's remainder is as formidable, and only a curmudgeon could fail to smile with delight at a favorite Horowitz encore, Rachmaninoff's Polka de W.R. --Dan Davis

Customer Reviews:

Horowitz Returns to Moscow at the Age of 82.......2007-05-06

This profoundly beautiful recording was made in 1986, when Horowitz was 82. This was his first visit since he had left his homeland at the age of 22. The recording itself will make you cry, and when you read the CD insert, written masterfully by Charles Kuralt, of CBS News, you will cry some more. Mr. Kuralt speaks of Horowitz's life away from his homeland and his return. Many touching pictures of Horowitz with his wife, family, and music students enhance Mr. Kuralt's write up.
This recording of the live performance of Horowitz is superb. You will sit with your body rigid, with your hands cold and clenched, and with a smile of anticipation glued on your face, and will wait for the great maestro to play. Here you are, imagining that you are in Moscow, right there and then, and you are moved to tears by the music. What is it about the great performers that they make you breathless with the anticipation of the next note, although you know all these timeless favorites so well? In the search for an answer, I have gone so far even to read the books and articles about the biological foundation of music. I did find information about the neuronal connections and developments of various areas in the brains of the musicians. However, I did not find an explanation as to why is it that the average listener gets uplifted and enriched so much by the music when it is played by the great performers, but may be completely uninvolved when the lesser musicians play the same music. Do we have some sort of music receptors that can be triggered only by the selected few? In the absence of a scientific explanation, I have temporarily accepted that there is some sort of magic, which flows through the performer, and every soul in the concert hall. The great performers know how to make this magical connection with the average listeners. Somehow, I believe, the performer and the audience feed on each other.
I remember reading somewhere how Horowitz loved to perform. He said that he could make people in the audience hold their breath while his hand is up, in the great anticipation of his hand coming down to the keyboard. Yes, it is true; I was literally dying in the anticipation of the next note in many passages. Mr. Horowitz is a great master of passion. Just when you think that you cannot take any more passion, he tones it down, but he never lets the momentum of passion be lost.
You will love to death Horowitz's selection, each a real gem: Sonatas by Scarlatti and Mozart, Preludes by Rachmaninov, Etudes by Scriabin, Chopin Mazurkas, and much more.
You will love this recording!

My favorite classical recording of all time........2007-03-19

I have a couple of hundred classical CDs, and like most of them. But this is the one I play the most. It mixes familiar piano works with others that were entirely new to me.

The concert was held during Horowitz's first return to Moscow, and the emotion of both artist and audience seem audible. Anyhow, the playing is inspired.

Oh, God...5 stars would be simply unfair..........2006-06-07

Upon hearing this record for the first time, I had to pinch myself to make sure I was actually listening to such an amazing, if not perfect display of talent and beauty. After having listened to it over and over again along the years, maybe more than 1000 times, I still find it hard to believe that the guy was even a human being. The only fair review for such a record would be a wordless one: nothing I can write or say would do justice to the rich, almost infinte world of emotions, thoughts and colors he's able to convey through his playing. 20 stars. ;-)

Magnificent!!! Bravo Horowitz!!.......2006-01-07

I remember hearing all about this concert in Moscow when I was a kid. Whatever I thought - so some old guy played in Mosocw.

Well, reader you must forgive me for my stupidity, because for some time I realize the greatness of Maestro Horowitz, and the importance of his playing in Moscow, his hometown and homeland after 60 years.

I bought this album because I remember the hoopla in 1986. I was not dissapointed. The playing is emotional and incredible. Horowitz really was an amazing piano player - the ability to hold rapture over the audience is captured here. Those fingers -connected to a difficult, sole-eating, slight, Russian man - were magic. Wow. Those beautiful notes he plays hold in the air like ripe fruit. A master at work!

This was an inspired performance by a magician on the ivories. If your wondering what the fuss was about, or you want a CD that expresses how classical music can move the soul - then I recommend this CD very highly. Along with the Three Tenors IN Concert, it just has some inherent quality to move you.

Horowitz may have made better studio recordings, and better live recordings, but I am convinced this is just a good. I join along with the gentleman who can be heard yelling "BRAVO" at the conclusion of several pieces. BRAVO!

Amazing.......2005-11-19

Every now and then throughout history a genius in a certain area or discpline emerges. Whether it is Newton, Mozart, Freud. Horowitz falls into this category. Although there are some contrarians who don't like Horowitz, these people are usually not pianists and mere amateurs. Not for nothing he is considered one of the best if not the best pianists. Saying someone does not appreciate Horowitz is the equivalent of the creationists denying evolution.
Horowitz does things with the piano that are practically impossible to emulate or duplicate. His control over color, sound and pedalling dynamics just boggles the mind. He balances left hand right hand accents in a unique way. Horowitz reaches what is in my opinion the most technically challenging accomplishment, namely being ablt to play multiple voices simultaneously as if they all are autonomous one from the other, namely, playing three voices in which one has a crescendo, another a descrescendo and a third staying the same. I challenge any pianist to go to the piano and play 10 different level of marginal volume differences. starting from forte to pianissimo. For non musicians... this is like a shotput thrower throwing the shotput 100 times and hitting 50 feet, then 50 feet and 1/4 inches, 50 and half inches (you get this point) back and forth. This control over volume is just unparralled in the world of music. It is as if Horowitz fingers have their own brains and can do things that boggle the mind. This is akin to inducing schizophrenia in mice. There is NO ONE in the solar system who can play like this.

Complete Recordings on Deutsche Grammophon

Average customer rating:

MUST HAVE THIS IN YOUR COLLECTION OF HOROWITZ
Horowitz: A Digital Legacy

Complete Recordings on Deutsche Grammophon

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

Mazurkas | Ballets & Dances | Classical | Styles | Music

Polkas | 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

Rondos | Forms & Genres | Classical | Styles | Music

Scherzo | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
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Complete Masterworks Recordings, 1962-1973
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Horowitz Live and Unedited [includes Bonus DVD]
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ASIN: B00008RWRI
Release Date: 2003-10-14

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.

Average customer rating:

Perhaps unlimited potentials
Volodos is the heir and superior of Horowitz
FANTASTIC !! - And Well Recorded.
Volodos is at Home in Late Romantic Virtuoso Repertoire...
Interesting repertoire

Arcadi Volodos Live at Carnegie Hall

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Etudes | 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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Piano Transcriptions / Arcadi Volodos
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Volodos Plays Liszt
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ASIN: B00000IPZ9
Release Date: 1999-10-05

Tracks:

Hungarian Rhapsody No. 15 In A Minor, S. 244
Three Pieces For Piano, Op. 52: Enigme, No. 2
Two Pieces For Piano, Op. 57: Caresse dansee, No. 2
Sonata No. 10, Op. 70
Fragments (1917) In A-Flat Major For Piano, Op. posth.
Etude-tableau In D Minor, Op. 59, No. 8
Etude-tableau In C Minor, Op. posth., No. 3
Bunte Blatter, Op. 99: Drei Stucklein: No. 1
Bunte Blatter, Op. 99: Drei Stucklein: No. 2
Bunte Blatter, Op. 99: Drei Stucklein: No. 3
Bunte Blatter, Op. 99: Funf Albumblatter: No. 4
Bunte Blatter, Op. 99: Funf Albumblatter: No. 5
Bunte Blatter, Op. 99: Funf Albumblatter: No. 6
Bunte Blatter, Op. 99: Funf Albumblatter: No. 7
Bunte Blatter, Op. 99: Funf Albumblatter: No. 8
Bunte Blatter, Op. 99: No. 9: Novelette
Bunte Blatter, Op. 99: No. 10: Praludium
Bunte Blatter, Op. 99: No. 11: Marsch
Bunte Blatter, Op. 99: No. 12: Abendmusik
Bunte Blatter, Op. 99: No. 13: Scherzo
Bunte Blatter, Op. 99: No. 14: Geschwindmarsch
A Midsummer Night's Dream: Variations On Mendelssohn's 'Wedding March'
Three Pieces For Piano, Op. 2: Prelude, No. 2 In B Major

Amazon.com

The only applause not left edited out of this recording of Arcadi Volodos's Carnegie Hall debut recital--given on October 21, 1998--comes after his house-burning encore of Liszt's maniacally florid variations (à la Horowitz) on the famous Mendelssohn "Wedding March." But the volley of enthusiastic cheers and wallops that ensues is enough to register the charismatic spell this young Russian pianist must have cast over his audience. Only in his mid-20s, Volodos seems to channel a bygone era of the Russian variety of Romantic virtuosity in its dual aspect, from hyperathletic prowess to exquisitely poised lyrical refinement. The recital opens with dazzlingly calibrated fireworks for Liszt's 15th Hungarian Rhapsody ("after Vladimir Horowitz," with whom Volodos justifiably invites comparison--as he did on his spectacular debut album--for his sinewy, larger-than-life negotiation of its thunderous octave runs and tangle of skittering flourishes). A far different world is brought to life in the enigmatic, compressed motivic echoes of the Scriabin pieces. The multiply trilled outbursts of ecstatic transport in his Sonata No. 10 beckon and dissipate like voluptuous hallucinations. Volodos can master the kind of interior poetry--breathtaking in its simple eloquence--needed for the two Rachmaninoff Études-tableaux. So too the aching, barely achieved tranquillity Schumann calls for in the most introspective of the "Bunte Blätter." Indeed, the variety of tonal color, warm legato, playful animation, and fully voiced harmonies Volodos brings out suggests the "varicolored leaves" of the collection's title. This is pianistic poetry that lingers long in the mind's ear, as it undoubtedly did for the lucky audience that night in Carnegie Hall. --Thomas May

Customer Reviews:

Perhaps unlimited potentials.......2007-05-26

The question I have is whether his genius extends to bringing out the individual idiom of each composer in sufficient contrast. This will sound like a knock - sorry - but as much as I enjoy his thrilling and virtuosic playing, I oftentimes hear more Volodos than the personality of the composer coming through. Each pianist places his or her individual personality on the music, no doubt about it, but I find that I sometimes have to fight... to work hard... to hear the Rachmaninov in Rachmaninov, the Schumann in Schumann, the Scriabin in Scriabin, because his pianistic performance can sometimes be so overridingly, and I believe, unintentionally dominant. Perhaps each composer's idiom will come through more clearly with repeated listenings or as Volodos matures. In the meantime, I'd love for him to commune with the genius of the composer as much he does with his own. If not, he is likely to fall far short of Horowitz's musicality except for his transcendent technique, and that would be a great loss.

Volodos is the heir and superior of Horowitz.......2005-09-25

Time will tell the whole tale but based on this recording Mr. Volodos must be considered one of the greatest pianists to have ever played the instrument. It is interesting to me that much of the criticism that has been leveled against the man comes from a music establishment whose members and stars are plainly unable to play such pieces with anything close to the same speed, precision, and power. They simply can't do it and so they chide the one who can; the one whose talent exist on a higher plain than their own. And yet the way Mr. Volodos plays such masterpieces somehow rings true to the original intent of the composers. Without question that is true of Liszt whose works for solo piano have seldom, if ever, been played convincingly since Cziffra, similarly scorned by a less-talented establishment, dazzled those whose egos would let them truly hear. Poor Earl Wild and Andre Watts must be quaking in their mediocrity to hear such greatness. The grotesquely oversold Lang Lang must be hiding under a table somewhere, sure that the world has found him out. Don't worry guys; the establishment can't recognize greatness without seeing their own lack of it. There is little chance of that happening. As of today, 9/25/05, I ask of Sony Classical, where is Mr. Volodos? Where is the newsletter promised on his website? Where is his itinerary? He recently played the Far East yet Sony refused to even notify his info-starved fans. Why isn't he promoted? Volodos, you need another label. You need representation, promotion, exposure. Please come to the USA! Every time I listen to my worn old recordings of the great Cziffra my heart cries out: Where is Arcadi Volodos?

FANTASTIC !! - And Well Recorded........2004-07-06

From a Pianist to a Pianist:

This CD is incredible. Volodos, as "Marc-Andre Hamelin" is one of the greatest living pianists. After Horowitz (the Incarnation of the piano itself) , I'm glad to hear such marvellous interpretations and the variety of the pieces, control of technik, luminous touch, and deepness. Very Passionate.
Congratulations Volodos, try to make your own Encores also, like Horowiz made it.
This CD is a Must Have!

Dihelson Mendonça - Brazil - www.dihelson.com

Volodos is at Home in Late Romantic Virtuoso Repertoire..........2003-07-07

Arcadi Volodos has easily become one of my favorites after listening to this phenomenal debut CD. I dare anyone to listen to the first track (the diabolical Horowitz version of Liszt's fifteenth Hungarian Rhapsody) and not listen to the album in its entirety. The Scriabin is exotic and poetically introspective, the Rachmaninov is rich and nostalgic, and the Liszt is a triumph of virtuosity. My only reservation is Volodos' decision to record Bunte Blatter when so many other more successful piano-cycles exist in the Schumann catalogue (imagine an artist of this kind of versatility tackling Carnaval or Kreisleriana). I would also like to suggest Volodos' CD of virtuoso piano transcriptions and his Rach 3. He is a brilliant artist with the rare ability to combine keyboard pyrotechnics, a full-bodied tonal palette, and an inimitable sense of style. This CD is highly recommended.

Interesting repertoire.......2002-11-29

I felt tempted to write this short piece after reading some of the other comments about this disc. Someone of the oversized temperament like this guy is probably always going to fire different reactions in different people.

Undoubtedly the repertoire choices here are audacious but to not be able to get beyond that in order to expand one's knowledge and experience is a great shame. This is particularly the case when the performances are of a quality such as they are here. I can understand that Scriabin is a bit of an unknown quantity to many but I also think that he will only remain unknown to those who do not want to know.

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!

Average customer rating:

Roses and Solitude

Manufacturer: Channel Productions
ProductGroup: Music
Binding: Audio CD

Polonaises | Ballets & Dances | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Fugues | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | New Age | Styles | Music

Meditation | New Age | Styles | Music

Piano Reflections
Rise

ASIN: B000006LWN
Release Date: 1996-09-17

Tracks:

Massenet
Liszt
M.T. Von Paradis/Kessler
Maxwell Davies
Rachmaninoff
J.S. Bach
Liszt
Chopin
Scriabin
Hummel
Rimsky-Korsakoff
Tingley
Scriabin
Debussy
Dvor
Valenti

Olga Kern: 11th Van Cliburn Int'l Piano Competition 1

Average customer rating:

Fantastic--See her, buy the album!
In response...
Winner playing with fire

Olga Kern: 11th Van Cliburn Int'l Piano Competition 1

Manufacturer: Harmonia Mundi Fr.
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical | Imports | Stores | Music
Similar Items:

Rachmaninov: Transcriptions, Corelli Variations
Rachmaninov: Sonata No. 2; Balakirev: Islamey
Chopin: Piano Concerto No. 1
Stanislav Ioudenitch: 11th Van Cliburn Int'l Piano Competition 2
Tchaikovsky: Piano Concerto No. 1; Francesca da Rimini

ASIN: B00005QKFM
Release Date: 2001-10-09

Tracks:

Scriabin: Piano Sonata #9, Op. 68, "Black Mass"
Wagner-Liszt: Isolde's Liebstod
Barber: Sonata for Piano, Op. 26
Judith Lang Zaimont: Impronta Digitale
Liszt: Reminiscenes de Don Juan

Amazon.com

Olga Kern shared first prize with Stanislav Ioudenitch at the 11th Van Cliburn International Piano Competition in June 2001 and became the first woman to win a Gold Medal at the Fort Worth contest since Christina Ortiz in 1969. I am less impressed than the Cliburn's jurors were. In show pieces such as Liszt's Reminiscences de Don Juan, she certainly reaches decibel levels higher than those of Ioudenitch in the same composer's comparably flashy Rhapsodie espagnole and Hungarian Rhapsody No. 6. But if she's louder than Ioudenitch, she's also less compelling musically. Her performance of the Liszt fantasy on themes from Mozart's Don Giovanni lacks the flashing wit and depth of feeling revealed by such Lisztians as Gregory Ginzburg (Arlecchino), Simon Barere (Pearl and Cembal d'Amour), and Jorge Bolet (London Classics). In another Liszt transcription--of Wagner's Isolde's Liebestod--her tremolandos and her use of the sustaining pedal are too ponderous to provide the shimmering and glowing texture necessary to the music. And her performance of Scriabin's Sonata No. 9 ("Black Mass") lacks the requisite grotesquerie and menace. She is at her best in second-rate music--the Impronta Digitale of Judith Lang Zaimont and the neo-Romantic Sonata (Op. 26) of Samuel Barber. --Stephen Wigler

Album Description

Olga Kern, age 26, was born into a family of musicians and began studying piano at the Central Music School of Moscow at the age of 5. Winning her first international competition at 11, she has earned several top prizes, including the grand prize of the 2000 Cantu International Piano Competition in Italy. Kern has already performed in many of the great halls of the world, including La Scala in Milan.

Customer Reviews:

Fantastic--See her, buy the album!.......2006-01-15

I was entralled with Olga Kern's performance when I saw her in San Jose several years ago. I was also incredibly lucky to be one of the students for her masterclass the following evening. To be honest, I wasn't that familiar with a number of the pieces she played in her recital, but I thought they were nothing short of amazing. She is a powerhouse, and my personal experience with her showed her to be a wonderfully kind, patient, and very witty person with simply phenomenal musicianship. Highly, highly recommended.

In response..........2002-07-20

I'd have to say that, being from a younger, more receptive generation, my opinion of Ms. Kern is that of great regard. Having audited masterclasses and been to concerts, seeing her interact on the personal and professional level, it is easy to see that Ms. Kern's ability to project and produce in her abilities are much greater (and evidently more taken for granted) than other reviews would like to give her credit. Bravissima, Ms. Kern.

Winner playing with fire.......2001-12-21

A sensational pianist at the beginning of what will clearly be an important career.Lots of fire and real musicianship.

The Segovia Collection, Volume 9: The Romantic Guitar

Average customer rating:

My Personal Favorite
The Greatest Classical Guitarist who ever lived!
An expressive Genius

The Segovia Collection, Volume 9: The Romantic Guitar

Manufacturer: Mca
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music

Quartets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

Airs | Vocal Non-Opera | Opera & Vocal | Styles | Music
Similar Items:

The Segovia Collection, Vol. 3: My Favorite Works
The Segovia Collection, Vol. 6: Manuel Ponce Sonatas
Segovia Collection (Vol. 1): The Legendary Andres Segovia in an All-Bach Program
Andrés Segovia: 1927 - 1939 Recordings, Volume 1
The Segovia Collection, Vol. 2

ASIN: B000002OGJ
Release Date: 1991-06-04

Tracks:

Op. 62, No.2: Chant du Paysan, Op. 62, No.2
Op. 12, No. 2: Waltz, Op. 12, No. 2
Op. 30, No. 3: Song Without Words, Op. 30, No. 3
Canzonetta
Op. 19, No. 6: Song Without Words Op. 19, No. 6
Menuetto
Largo assai
Romanza
Andantino Variato
Op. 39, No. 2: Waltz, Op. 39, No. 2
Prelude in A
Romanza
Melodie
Preludio
Allegretto
Sonata
Homenaje, Pour Le Tombeau De Debussy
Prelude
Prelude: La Fille Aux Cheveux De Lin

Amazon.com

Of all the discs in MCA's fine Segovia collection, this is the least successful, though fans of the great guitarist will naturally want this collection of transcriptions of piano works by various Romantic composers, including Grieg, Mendelssohn, Brahms, and Debussy. The problem does not lie with Segovia's performances, which are excellent, but with the music itself, some of which resists being performed on the guitar rather more than the Spanish pieces that are the "meat and potatoes" of the classical repertoire. If this one reservation doesn't trouble you, then by all means buy. --David Hurwitz

Customer Reviews:

My Personal Favorite.......2004-06-12

While Segovia's forte is Spanish music and his mastery of the Bach sonatas and partitas which were transcribed from the violin to the guitar, I keep finding myself listening to this CD on an almost daily basis. As a classical guitarist myself, hearing pieces like Grieg's piano works and Mendlesohns' string quartets played to perfection on his 1947 Herman Hauser II with such strength, clarity and authority makes me realize this man understood more about the music that went onto this one CD than most "musicians" past and present could ever hope to understand in a lifetime. His guitar sings like a human voice and when he plays it truly sounds like a choral ensemble being played through one instrument. Sweet!

The Greatest Classical Guitarist who ever lived!.......2000-09-22

Every classical Guitarist today owes a debt of gratitiude to Andres Segovia. He was not only an amazingly unique talent but an innovator as well. When he rediscovered the guitar it was a forgotten instrument that shared little respect from the musical community. He literally invented the technique that all classical guitarists use today. In addition he sought out and compiled thousands of lost pieces for the instrument. He also made many transcriptions of pieces written for other instruments such as the piano and translated them brilliantly into the language of the guitar. Out of the entire Segovia collection, this CD is my personal favorite for the diversity and choice of material. The waltzes are charming. My favorite cuts are Canzonetta and Song Without Words OP 19.no 6, both but Felix Mendelssohn. If you only buy one CD out of this collection it should be this one.

An expressive Genius.......1999-02-17

Segovia truly shows his expressive genius on this album. Many of these pieces were written for the piano but arranged for the the guitar by Segovia. These titles express much of what is moving about the romantic period in classical music and Segovia captures this in his masterful way. This is a must have for Segovia fans. If not for some noisy recordings, I would have given this album 5 stars.

Average customer rating:

a brave revelation of his hidden soul
Depends on what you are looking for
SERENITY refers to a SLOW TEMPO...
An Artistic Revelation
He frickin' hums on every cut

...And Serenity

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Ballads | Forms & Genres | Classical | Styles | Music

Suites | 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
Similar Items:

Glenn Gould Edition: Schumann & Brahms
Glenn Gould Edition: Berg, Krenek, Webern, Debussy & Ravel
The Glenn Gould Edition: Beethoven
Mozart: Piano Concerto No. 24; Piano Sonata K. 330; Fantasia and Fugue, K. 394; Haydn: Piano Sonata No. 49
Consort of Musicke by William Byrd & Orlando Gibbons; Sweelinck: Fantasia in D (The Glenn Gould Edition)

ASIN: B0000CG8A1
Release Date: 2003-10-07

Tracks:

Adagio
Largo
Adagio Cantabile
Andante Teneramente
Adagio Non Troppo
Andante Con Moto
Andante
Sarabande
Andante Molto
Desir
Caresse Dansee
Andante
Andante Non Troppo E Con Molta
Andante
Andante

Customer Reviews:

a brave revelation of his hidden soul.......2006-11-23

A bit out of characteristic for Glenn Gould's style, but the selection and the performances are nonethless stunning. My favorite is the opening piece by Bach, although Brahm's and Strauss works are just as captivating. It's evident that the pianist is malleable to diverse interpretation and artistry.

Depends on what you are looking for.......2006-07-26

What initially attracted me to this album were the less common recordings of Gould. The recording quality is incredible, however the recording engineers had the silly idea of secluding Gould's humming to one side of the headphones for some tracks instead of both sides, which makes it far more noticeable.

The performances here by Gould are beautiful. This album is a good example of Glenn Gould's rare ability to expand the slow movements while retaining the music's songful quality. You get to hear Glenn Gould playing music of the romantic era. Although, it is said that Gould was not too fond of romantic music in general, you could not tell from this album. Gould possessed another rare gift. And that is the ability to play poetically without over-romanticizing the music.

I personally do not prefer listening to 60 minutes of slow music which is all roughly the same tempo without much contrast. But if you do, then by all means buy this album. After listening to the Strauss sonata, I was somewhat irritated that they only included one movement. It is so well played that it would leave the more serious listeners wanting more. Another downside is that this album comes without a CD pamphlet. Those are always nice to read.

SERENITY refers to a SLOW TEMPO..........2006-05-17

The other reviews seem to have missed the point of this disc: it's simply a culled set of GG's recordings of SLOW pieces for a totally relaxed listening experience. Hence we have adagios, andandes, largos, sarabandes, etc. This follows on the heels of Karajan's Adagio series which seem to have been successful.

This is a lovely set and there's nothing wrong with it.

An Artistic Revelation.......2006-05-04

I did NOT buy this for the Goldberg Variations but for the overall mood of the CD and how it showcased the quentessential Gould. If you can't abide the admittedly strange eccentricies, phrasing and inner voices of the pianist then by all means - don't buy the album. But for those who want an individualistic but sincere interpretation of seductive music for the pianoforte, this is a winner.

To all who saw The 32 Variations of Glenn Gould, I was reminded of the scene in the hotel room when he plays the recording for the awed cleaning lady and fades into a world of his own as he slowly became the music. One this for sure - in an age in which it is nearly impossible to differentiate one "great" pianist by another, Gould is an exception. In fact, I find the signature playing of the old artists - Bolet, Richter, Horowitz, Rubinstein - preferable to the ultra-technical but totally interchangeable artists of today.

There is no "best" of the CD - all are miniature portraits as unique as their interpreter. I loved the Brahms despite the slight hum or maybe because of it. Do I think Scriabin would have played the Deux Morceaux like this? No, but I think he would have appreciated Gould's interpretation and that is the whole point. If the pianist has a valid artistic reason for his view of a piece, we may or may not agree with its presentation but we cannot argue with its sincerity.

He frickin' hums on every cut.......2006-01-29

Ok, not the most sophisticated review but.... I can't get past the humming. Plus he isn't a very good hummer. Oscar Peterson - now there is a good hummer. I am listening to Genn's CD as I write this and the guy is still humming away - didn't he know they were recording? Maybe I am missing something here - is humming along with Brahms really OK? No more Glenn for me. I like my classical piano hum free.

Average customer rating:

great chamber playing of inspired chamber works

Facade

Manufacturer: Reference Recordings
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
ASIN: B00000156Y
Release Date: 1993-01-04

Tracks:

Facade: Fanfare And Scotch Rhapsody
Facade: Tango-Pasodoble
Facade: Jodeling Song
Facade: Country Dance
Facade: Polka
Facade: Valse
Facade: Mariner Man
Facade: Long Steel Grass
Facade: Popular Song
Facade: Fox-Trot ' Old Sir Faulk'
Facade: Something Lies Beyond The Scene
Facade: Tarantella
Till Eulenspiegel: Till Eulenspiegel - Einmal Andersi
Waltz In A Flat
Serenata In Vano

Customer Reviews:

great chamber playing of inspired chamber works.......1999-10-01

You know you've accomplished something when you can take a work like the Strauss here"Till Eulenspiegel",wrench it away from its conception of the mammoth orchestra to make an arrangement that does justice. When you have performers who intimately know the original Strauss you have a special situation, and that's what's here with the Chicago Pro Musica. All members of the Chicago Symphony who like to keep the tradition of chamber music alive. They also commission new works for them to concertize and sometimes record. Walton's "Facade" is also a tailor made work for this ensemble with its seemless lines,and overwhelming warm lyricism.

Music Review:

Music Review

music review

Music Review

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