Pianissimo

Track Listings

1. Negra Tomasa

2. Delirio

3. Manisero

4. Quiereme Mucho

5. Improvisaciones Sobre Temas de la Guantanamera y el Guayo de Catalina

6. Profecia

7. Mama, Son de la Loma

8. Babo de Nube

9. Cachita

10. Novia Mia

11. Linda Cubana

12. Comparsa

Pianissimo,Chucho Valdes,Sony International,Cuban Jazz,Latin,Latin Jazz,Latin Music,Tropical

Latin

Music

Jazz

Music

Pianissimo

Tracks:

Ov - LSO/James Levine
Act I, Scene 1: Pno, Pianissimo, Senza Parlar - Joseph Galiano/Nicolai Gedda/John Alldis Chor
Act I, Scene 1: Ecco Ridente In Cielo - Nicolai Gedda
Act I, Scene 1: Largo Al Factotum - Sherrill Milnes
Act I, Scene 1: All'idea Di Quel Metallo - Sherrill Milnes/Nicolai Gedda
Act I, Scene 2: Una Voce Poco Fa - Beverly Sills
Act I, Scene 2: La Calunnia E Un Venticello - Ruggero Raimondi
Act I, Scene 2: Dunque Io Son - Beverly Sills/Sherrill Milnes
Act I, Scene 2: A Un Dottor Della Mia Sorte - Renato Caprecchi
Act II, Scene 1: Contro Un Cor Che Accende Amore - Beverly Sills/Nicolai Gedda
Act II, Scene 1: Don Basilio!...Cosa Veggo! - Beverly Sills/Nicolai Gedda/Sherrill Milnes/Renato Caprecchi/Ruggero Raimondi
Act II, Scene 1: Orsu, Signor Don Bartolo! - Sherrill Milnes
Act II, Scene 1: Ah, Quel Colpo Inaspettato! - Beverly Sills/Sherrill Milnes/Nicolai Gedda
Act II, Scene 1: Di Si Felice Innesto - Sherrill Milnes/Beverly Sills/Nicolai Gedda/John Alldis Chor

Average customer rating:

An absolute favorite
Energizing
Magical
Shifting Gears
Made in heaven!

Pianissimo
Suzanne Ciani
Manufacturer: RCA Victor
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Pianissimo II
Pianissimo III
The Private Music of Suzanne Ciani
Silver Ship
Dream Suite

ASIN: B0000000K2
Release Date: 1990-06-26

Tracks:

Anthem
Tuscany
Neverland
Adagio
Aegean Wave
Rain
Inverness
Simple Song
She Said Yes
Drifting
Summer's Day
Mozart
When Love Dies
Berceuse

Customer Reviews:

An absolute favorite.......2007-02-13

This was just a replacement copy for me; I've worn out one and landed up sharing the replacements in the past with friends who are just as taken with this as I was. It's wonderful to use as background music or just to relax with.

Energizing.......2006-03-20

It's rare to find a CD that has energy but is calming at the same time. I think Ms. Ciani does this very well. The music is very flowing and peaceful, but there's a moving energy through the different pieces that keeps you from zoning out. She's an accomplished artist, and I enjoyed this CD very much. I'm looking forward to purchasing another by her.

Magical.......2004-09-02

I can just put this CD on repeat and play it all day.
I never tire of it.
Each hearing reveals deeper layers of detail and musicality.
The beauty of it will give you goosebumps.

Shifting Gears.......2004-04-08

After something like a twenty year career as a composer of electronic music sometime in 1989 or 1990 Suzanne Ciani began to move back to her original roots as an acoustic instrument player. For a musician who had come up through the ranks working on a massive Buchla synthesizer, moving in and out of tonalities, flirting with space music, this was a great sea shift. While the artist rarely focuses on the motivations behind the change in interviews what we know is that physical illness triggered a move to the West Coast and that some internal process refocused her on the melodic.

"Pianissimo," her first fully acoustic piano recording. Other than a few original pieces, this live performance draws primarily from Neverland and History of My Heart. The shift to piano makes the inner workings of these pieces far more transparent, allowing more of Ciani's intentions (she talks of "My Italian roots and a sense of melody") to come clear. This in turn allows new ideas to work within the discipline and bounds of the piano's world. The net product is something that sounds familiar, but which is more than a passive adoption of old conventions.

Ciani lacks something of the New Age technical brilliance of a Michael Jones or a George Winston, but she has the same ability to deliver a performance that is creative and compelling. This is a connection that I did not feel with some of here earlier work. She has gone on from this point to develop an eclectic style that marries elements of all the worlds she has worked in. This album is a great example of a musical turning point and has made a fan out of me.

Made in heaven!.......2002-11-25

This is the first of the series of albumns where Suzanne Ciani play her previous tracks on piano only.

Hearing these tracks play, one may think that they were originally written for piano only but they are not. Anthem has a very national mourning and salute feel to it. Rain is perfect for a rainy day where the rain drops gently tab against the windows. She Said Yes almost represent the joy when one says yes to a marriage proposal. Every track has a meaning, every note - an emotion that fits it beautifully.

Suzanne is one of the only artist that is able to composed a track that rhymes, unlike other more abstract works of others.

Tracks:

Princess
The Velocity Of Love
Andalusian Dream
Eagle
Go Gently
Etude
Time Stops
Meeting Mozart
Terra Mesa
Love Song
Mother's Song
'Til Time And Times Are Done
Hotel Luna
Bel Canto
Timeless

Album Description

Pianissimo II was Grammy-nominated for Best New Age Album. Recorded at Skywalker Ranch on a hand-bilt Yamaha concert grand, this is the second of her greatly popular solo piano albums. Her first, Pianissimo, sold over 260,000 copies. This CD includes a multimedia enhancement with an overview of Ciani's career.

Customer Reviews:

Acoustic Persistence.......2004-06-09

After the success of Suzanne Ciani's first acoustic piano album 'Pianissimo,' it's no surprise that she would venture into the world of hammers and strings again. Nor is it any surprise that her second album is just as pleasurable as the first. Ostensible created out of previous electronic pieces dating as far back as 1983 (The Velocity of Love) most of the work comes from the 1990's - as late as 1996 Princess, Etude, and Timeless). This gives the listener an opportunity to see how the acoustic side of this musician has matured, and how it has affected her overall work.

Frankly, I like Ciani better as an acoustic performer. The underlying percussive nature of the natural piano lends her a definition that is sometimes lacking in her electronic work. As much as people might argue with me, I believe that control is more of an issue with electronic composition and performance than it is with an acoustic instrument. The latter is beautiful 'in spite' of its limitations, the former can hypnotize the artist with its textures, diluting the melodic content. Compare, for instance, the original Velocity of Love with the version presented here. While the two versions are both pianistic, the original is a bit more diffuse even thought it is more orchestrated. Both are beautiful though.

Ciani has a native melodic skill that produced consistently affecting work. As I've mentioned before, her music is more intimate and less bravura than other, equally good pianists. Not that she isn't capable of moments of dazzling performance (Andalusian Dream), but her niche is really the song, and not the singer (Go Gently, and Bel Canto). I've been listening to this album for several weeks now, postponing reviewing it to listen 'one more time,' and it refuses to get tiresome.

I never did manage to get the included multimedia track to work on either my Mac or my PC's, which is probably my fault. But as I've said, it isn't why I bought the album. I bought it for the music, and there is plenty of that.

5 star music hindered by 2 star playing.......2000-02-04

I love Suzanne Ciani's music. Her compositions are wonderful. Saddly her piano playing does not do them justice. I have listened to this album many, many times, thinking that I was being to harsh in my judgment, but I always arrive at the same conclusion. Suzanne bangs the keys. Sometimes she bangs them softly. Mostly she bangs them loudly. She plays the correct notes at the correct time, but there is no art. All of the finer points of playing are missing. I much prefer "Dream Suite", "Turning" and "Suzannne Live" in which she can bang to her heart's content, since most of the melody is carried by other instruments. Maybe someday a gifted piano player will do these compositions justice.

One Foot in Heaven.......1999-11-26

Suzanne Ciani has one foot in heaven. She's my favorite 20th century musician. Her music evokes romance, sweetness, eroticism, heaven, serenity; you name it; her music evokes it. Genius!

Beautiful music by a talented composer.......1999-09-15

I first heard about Suzanne Ciani from the Romantic Piano website (members.xoom.com/sims_music/piano/). I fell in love with her melodies. The difference that seperates her from other "New Age" composers such as Jim Brickman and Yanni, is that the form in her music is very tight. Her music does not sound like improvisations at all. One could walk away from one of her concerts and remember each song, while this is hard at other concerts where all the music sounds the same. Bravo to Ciani for giving us an escape from all the other terrible piano music out there.

Truly a Timeless Recording!.......1999-05-20

Suzanne Ciani's music have always set the mood for any occasion. This album is no exception. In Pianissimo II, Suzanne performs her favorite songs on a concert grand piano at George Lucas's Skywalker Studio. She also has three new songs on this album too.

The recording quality is superb along with Suzanne's liner notes on each song. Each song is very moving and if you really concentrate on each song, imagery comes into play.

For example, I listened to my favorite song "Timeless" located on Track 15. It made me think about looking at a photo album and watching my mom grow older (and wiser) through time. I sure that other listeners who bought this album with have many images that will blend with her songs.

Another neat addition to this album is the Computer Multimedia Enhancement track. Put this album in a Macintosh or Windows based PC and let Suzanne show you how the album was produced and meet her staff who helped made it possible. There are some other surprises too.

All in all, it's a great recording. Highly recommended.

Tracks:

The Barber Of Seville: Overture
The Barber Of Seville: Act I: Scene 1: Piano, pianissimo (Count)
The Barber Of Seville: Act I: Scene 1: Ecco ridente il cielo (Count)
The Barber Of Seville: Act I: Scene 1: Ehi, Fiorello! - Mio signore! (Count)
The Barber Of Seville: Act I: Scene 1: Mille grazie, mio signore (Count)
The Barber Of Seville: Act I: Scene 1: Gente indiscreta! (Count, Figaro)
The Barber Of Seville: Act I: Scene 1: La ran le lera; Largo al factotum (Figaro)
The Barber Of Seville: Act I: Scene 1: Ah, ah! che bella vita! (Count, Figaro)
The Barber Of Seville: Act I: Scene 1: Non e venuto ancora (Rosina, Count, Bartolo, Figaro)
The Barber Of Seville: Act I: Scene 1: Se il nome saper voi bramate (Rosina, Count, Figaro)
The Barber Of Seville: Act I: Scene 1: Oh, cielo! (Count, Figaro)
The Barber Of Seville: Act I: Scene 1: All'idea di quel metallo (Count, Figaro)

Tracks:

The Barber Of Seville: Act I: Scene 1: Evviva il mio padrone - Rossini
The Barber Of Seville: Act I: Scene: 2: Una voce poco fa (Rosina) - Rossini
The Barber Of Seville: Act I: Scene: 2: Si, si, la vincero! (Rosina, Figaro, Bartolo) - Rossini
The Barber Of Seville: Act I: Scene: 2: La calunnia e un venticello (Basilio) - Rossini
The Barber Of Seville: Act I: Scene: 2: Ah, che ne dite? (Basilio, Bartolo, Figaro, Rosina) - Rossini
The Barber Of Seville: Act I: Scene: 2: Dunque io son... tu non m'inganni? (Rosina, Figaro) - Rossini
The Barber Of Seville: Act I: Scene: 2: Ora mi sento meglio (Rosina, Bartolo) - Rossini
The Barber Of Seville: Act I: Scene: 2: A un dottor della mia sorte (Bartolo) - Rossini
The Barber Of Seville: Act I: Scene: 2: Brontola quanto vuoi (Rosina, Count) - Rossini
The Barber Of Seville: Act I: Scene: 2: Ehi, di casa... buona gente (Count, Bartolo, Rosina, Basilio) - Rossini
The Barber Of Seville: Act I: Scene: 2: Che cosa accadde, signori miei (Figaro, Bartolo, Count, Basilio) - Rossini
The Barber Of Seville: Act I: Scene: 2: Fermi tutti, nessun si mova (Bartolo, Figaro, Basilio, Count, Rosina) - Rossini
The Barber Of Seville: Act I: Scene: 2: Mi par d'esser con la testa (Rosina, Count, Basilio, Bartolo, Figaro) - Rossini

Tracks:

The Barber Of Seville: Act II: Ma vedi il mio destino! (Bartolo)
The Barber Of Seville: Act II: Pace e gioia sia con voi (Count, Bartolo)
The Barber Of Seville: Act II: Insomma, mio signore (Bartolo, Count, Rosina)
The Barber Of Seville: Act II: 'Contro un cor che accende amore...' (Rosina, Count)
The Barber Of Seville: Act II: Bella voce! (Count, Rosina, Bartolo)
The Barber Of Seville: Act II: 'Quando mi sei vicina...' (Count, Bartolo)
The Barber Of Seville: Act II: Bravo,signor barbiere,ma bravo! (Figaro, Bartolo, Rosina, Count)
The Barber Of Seville: Act II: Don Basilio! Cosa veggo! (Rosina, Count, Figaro, Bartolo, Basilio)
The Barber Of Seville: Act II: Buona sera, mio signore (Count, Figaro, Basilio, Rosina, Figaro, Bartolo)
The Barber Of Seville: Act II: Orsu, signor don Bartolo (Figaro, Bartolo, Count, Rosina)
The Barber Of Seville: Act II: Ah! Disgraziato me! ma come? (Bartolo,
The Barber Of Seville: Act II: Il vechiotto cerca moglie
The Barber Of Seville: Act II: Dunque voi don Alonso non conoscete affatto? (Bartolo, Basilio, Rosina)
The Barber Of Seville: Act II: Temporale - Storm
The Barber Of Seville: Act II: Alfine eccoci qua (Figaro, Count, Rosina)
The Barber Of Seville: Act II: Ah! qual colpo inaspettato! (Rosina, Figaro, Count)
The Barber Of Seville: Act II: Ah,disgraziati noi! come si fa? (Figaro, Count, Rosina, Basilio)
The Barber Of Seville: Act II: Il conte! ah che mai sento! (Bartolo, Count)
The Barber Of Seville: Act II: Cessa di piu resistere (Count)
The Barber Of Seville: Act II: Insomma, io ho tutti i torti! (Bartolo, Figaro, Basilio, Rosina)
The Barber Of Seville: Act II: Di si felice innesto (Figaro, Bartolo, Basilio, Rosina, Count)

Customer Reviews:

Perfection in Seville.......2007-05-14

I think the mezzo vs high coloratura soprano as Rosina is irrelevant when considering the merits of this recording. This is almost a complete reading of the score which benefits from the casting of most of the original cast of a production that was still relatively new in 1958 when the recording was made.

All the soloists have the bel canto style nailed down. The Figaro of this recording is Robert Merrill and his voice is caught in all of it's prime time state. Simply gorgeous golden tone here that is richly masculine with an easy upper register. The rest of the cast, the conducting and playing of the Met Opera orchestra and chorus are perfection.

Although there is some minor master tape related problems, and they are really minor, RCA's Living Stereo process is remarkable. This edition's sonics are an incredible improvement over RCA's original CD release.

Un 'Barbero' sorprendente.......2004-10-31

Este 'Barbero de Sevilla' (grabado en 1956 por el sello RCA) depara muchas sorpresas agradables. Se trata de una version completisima (se incluyen todos los recitativos y ademas el aria de Almaviva 'Cessa di piu resistere', que suele suprimirse y que aparece aqui por primera vez en la historia en grabacion de esta opera).
El reparto se acerca bastantea la realidad rossiniana de los canones de hoy en dia (lo que debe sorprender, porque en 1956 eran bien diferentes) Como Almaviva tenemos al tenor CESARE VALLETTI, que combina una bella voz con un dominio de la coloratura bastante correcto para la epoca. La Rosina de ROBERTA PETERS (en version soprano ligera) derrocha una cantidad de agudos y sobreagudos con una seguridad y limpieza absolutamente pasmosa: la voz puede gustar o no, pero su dominio del agudo y del registro agudo no se le puede negar.
ROBERT MERRILL es un Figaro diferente, que quiza pueda chocar un poco, porque es el que mas alejado esta de la realidad rossiniana de hoy en dia. FERNANDO CORENA es un Don Bartolo que quiza peca de excesos de comico y GIRGIO TOZZI es un Don Basilio imponente. La lista de secundarios cumple perfectamente con sus cometidos y ERICH LEINSDORF realiza una lectura que, aunque hoy en dia puede resultar poco rossiniana, no deja de ser interesante ante unos cuerpos estables del Metropolitan de Neuva York que, como siempre, responden con calidad.
En definitiva, sin ser un Barbero de primera opcion, es una buena forma de ver cuanto ha evolucionado la historia del canto y de la conduccion rossiniana, disfrutando y sorprendiendose. Una version que, aunque a priori pueda prometer poco, ofrece bastante. Recomendable.

Strange to say, but probably one of the best Barbers.......2004-10-27

It's funny how some "classic" recordings might be classic but they arent necessarily good introductions to an opera. For example, the Maria Callas/Tito Gobbi/Luigi Alva Barber of Seville is often thought to be the classic recording of Rossini's comic gem. While I agree that recording is unique, it's also extremely cut, and it goes for a drier, more "subtle" humor.
OTOH, the Leinsdorf recording, with a cast of Cesare Valletti, Roberta Peters, Robert Merrill, and Fernando Corena is well-sung, relatively complete, well-recorded, and most of all has a freewheeling sense of fun that I think perfectly captures the charm of this opera.
Roberta Peters was a high, light soprano. Her voice can sound a bit glassy and colorless, but her Rosina is lively, virtuostic, and properly spunky. The only caveat is that like some sopranos she transposes "Una voce poco fa' up to F, while the aria IMO is much more charming in its original key of E. Cesare Valleti's Almaviva is more caressing than dazzling (unlike Juan Diego Florez), but unlike many Almavivas he actually sings the whole part. He does not cut his final aria "Cessa di piu resistere."
Overall, I'd say none of the individual singers on this recording are necessarily the best, but together this is a great ensemble recording, and I highly recommend it as an introduction to the opera. To opera, in fact.

Pure Bliss!!! YOU MUST GET THIS!!.......2003-07-29

Okay, if you are just browsing amazon and this set caught your eye let me just say STOP!! GO NO FURTHER!! THIS IS THE BEST!!
THIS IS PERFECTION!! THIS BORDERS ON DIVINE!! There is simply no point in looking for that all important "most enjoyable piece of opera in the world" BECAUSE THIS IS IT! Its this simple folks, if you like opera, if you like beautiful voices, if you like perfect timing, pitch and recording quality you must get this. This is the DEFINITIVE Barber of Seville. I will let the previous reviews here tell you about the story and the performers. My review is here for just one reason - to let people that are on the fence wondering if they should really get this -YES YOU SHOULD! You absolutely will not be dissappointed - I stake my brothers life on it. :)
End of rant.

Hey! This is one of the BEST!.......2002-07-18

I've owned this on vinyl for decades, and it seldom comes any better. Most of you know that, being familiar with Roberta Peters in her prime, along with Valletti, Merrill, Corena, and Tozzi. This is one of the most balanced casts ever assembled. I happen to like both approaches to Rosina- high in the stratosphere vocalizing and the more down-to-earth approach of Teresa Berganza. In Cesare Valletti, we have one of the finest Almavivas since the days of Fernando de Lucia. Valletti gets right into the meat of this character, with Nicolai Gedda being the only modern Almaviva to rival Valletti's voice. (I can't wait to hear Florez sing this!) What can one say about Robert Merrill? If he didn't love singing Figaro, he's done a fine job of fooling me. I do not agree with all of his interpretation, but this is one of the finest baritones having fun with a role that deserves it. (He has formidable competition here: Stracciari is incredible as Figaro. He had one of the most glorious high baritone voices you could ever want to hear and he's darned funny as Figaro to boot. Then there's Sherrill Milnes, who had a voice to rival Stracciari's formidable instrument and the same sense of fun.)

Then there are the not so minor roles of Bartolo and Basilio. Corena had a powerful, rich voice used here with a sense of character that's almost impossible to surpass. Has anyone ever had a better voice for Bartolo? Not in my memory! Giorgio Tozzi's Basilio is one of the glories of this performance; a rich, colorful voice with great beauty of tone... all at the service of one of opera's funniest `villains'. Leinsdorf does a fine job capturing the ambience of Barbiere, so I find it hard to go wrong with this recording...

So now it's time for a little rant and rave... One of the reviewers chided Corena and Tozzi for going over the top, speaking of them like dogs who were caught digging holes in the neighbors' gardens. (What must he think of Capecchi? I shudder to think of it!) The Barber of Seville is not a dusty old museum piece, it's a comedy about very human people going about their businesses with wacky results. This opera somewhat resembles a train wreck in the making, with boxcars full to the brim with maniac clowns. I love it when the singers get into the meat of their characters. Combining it with glorious voices and breathtaking singing only adds to the joy. Corena's performance of Doctor Bartolo IS over the top- which is what is needed- Bartolo is a very over-the-top man. Three cheers to Fernando Corena!

Percussion Music
Average customer rating:

The best percussion ensemble piece of the twentieth century

Classic recording.

Percussion Music

Manufacturer: Nonesuch
ProductGroup: Music
Binding: Audio CD

Symphonies | Forms & Genres | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music
General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music
Percussion | Instruments | Classical | Styles | Music
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Lepton

Precipice: Modern Marimba [Hybrid SACD]

Dusapin - Faustus, The Last Night

Combattimento (W/Dvd)

ASIN: B000005IY7
Release Date: 1992-05-28

Tracks:

Ionisation - The New Jersey Perc Ens/Raymond DesRoches
Fant-Vars - Joseph Passaro
Antiphonies - The New Jersey Perc Ens/Raymond DesRoches
Ostinato Pianissimo - Joseph Passaro
Perc Sym: Movt I
Perc Sym: Entr'acte I: Vergine Bella
Perc Sym: Movt II
Perc Sym: Entr'acte II: Vergine Bella
Perc Sym: Movt III

Customer Reviews:

The best percussion ensemble piece of the twentieth century.......2006-12-13

Yes, even better than the classic Ionization by Varese (itself a great piece and included on this CD), Wuorinen's masterpeiece is 40 minutes of sheer energy, depth and substance. The Cowell is a classic and very early pattern piece with a virtuosic Xylophone part and the wonderful sound of eight ricebowls played in a pattern (with chopsticks). The Michael Colgrass piece is a colorful and lyrical work. Anitphonies by Saperstein makes great uses of templeblocks.

The New Jersey Percussion Ensemble under the direction of Raymond Desroches will go down in history for this recording.

Classic recording........1999-07-31

They don't get any better than this. The Varese performance is marvelous and the Wuorinen Symphony is stunning.

Average customer rating:

In Utero: Music for My Baby, Vol. 1

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

Quartets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

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ASIN: B00004U0B1
Release Date: 2004-07-13

Tracks:

String Quartet In G Minor: III. Andantino, Doucement Expressif - Borodin String Quartet
The Four Seasons, 'Spring': Il Largo E Pianissimo Sempre - Christopher Warren-Green
Le Carnaval Des Animaux: Aquarium - The Nash Ensemble
Apres Un Reve, Op.7 No.1 'Romain Bussine' - Roger Vignoles
Simple Symphony: Sentimental Sarbande - Iona Brown
Avodah - Trio Avodah
Romeo And Juliet: Romeo At Friar Laurence's - Libor Pesek
Lachrymae, Pavan For Viols - Fretwork
Serenade For Wind Instruments, K.388: II. Andante - HARMONIEMUSIK OF LONDON
Ma Mere L'Oye: Le Jardin Feerique - Jean-Bernard Pommier
Marchenbilder For Viola & Piano, Op.113: IV. Langsam, Mit Melancholischem Ausdruck - Leif Ove Andsnes
Adagio For Strings - Scottish Chamber Orchestra
Heart's Wounds - Jonathan Rees
Suite No.3 In D Major, BWV 1068: Aria - English Chamber Orchestra
Blumine - Bamberger Symphoniker

Average customer rating:

Third Times The Charm
Musical Soulmates
Touching and lovely
Listen with patience...
from Solo Piano Publications

Pianissimo III
Suzanne Ciani
Manufacturer: Seventh Wave
ProductGroup: Music
Binding: Audio CD

General | New Age | Styles | Music

Meditation | New Age | Styles | Music

Solo Instrumental | New Age | Styles | Music

General | Adult Contemporary | Pop | Styles | Music

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Pianissimo II
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The Private Music of Suzanne Ciani

ASIN: B00005QK51
Release Date: 2001-10-30

Tracks:

If I Could
Celtic Nights
La Mer
Pretend
4 O'Clock In The Morning
Soaring
I Believe In Love
Butterflies
Full Moon Sonata
The Fifth Wave
Sogno Agitato
The Enchantress
Megan's Dream
Turning
Ocean Avenue

Album Description

Pianissimo III is the third in the series of Suzanne Ciani's best-selling solo piano albums, featuring 15 original compositions.

Customer Reviews:

Third Times The Charm.......2005-06-30

I remember my surprise on hearing the first album in Ciani's Pianissimo series. I had her so identified with the things I didn't like about electronic music that her ability and musicality on the acoustic piano simply blew me away. Two albums in this series later I can still say that Ciani is one of the best light jazz / new age pianists in the business. Something that I cannot say about her synthesizer work. Go figure.

For some reason Pianissimo III did not initially grab me the way the first two albums did. Perhaps because a few of the pieces in mid-album are a bit mechanical and awkward. But the more I listen to If I Could and Pretend the more I realize that this album contains some of her best work. The kind of music that stands up to repeated listening and never fails to create satifying trains of thought in my often harried mind.

Ciani has a very fine playing style - clean yet complex. Her classical musicianship is always lurking just below the surface. Technical brlilliance coupled with a fine melodic sense is what it takes to make the grade for a player/composer. Listen carefully to the improvisation work laced through Celtic Nights and you'll see what I mean.

Musical Soulmates.......2004-09-30

I absolutely love this woman's music. I have always been a fan since her early days in the 80's when she wrote the music for "bull in a china shop" commercial, to creating the sexy voice/music for a popular pinball arcade game. The very fact that she realized early on how much of an impact her music can have when performed acoustically, says so much about her. All 3 of her Pianissimo cd's have been gifts to her fans. I love how she can pack so much emotion in just a couple notes..... and reveal to us the soundtrack of her life. I luv ya Suzanne and can't wait till Pianissimo 4.

Touching and lovely.......2003-01-25

I wrote a letter of thanks to Suzanne Ciani after listening to this album. I have been a fan for more than ten years and was surprised when she actually wrote me back! I mentioned in my letter that as long as she keeps playing, I will keep listening. She informed me that as long as I keep listening, she would keep playing. What an astoundingly talented artist! Not only does she love what she does, but she loves her fans as well.
As far as a review goes for this album...remarkable!

Listen with patience..........2001-12-21

Why? When I first got the album, after playing it, I was going to place it with the other CDs that have been collecting dust for the past few years. BUT BUT...

After refusing to give up, I listen it a second, then a third time. It's music slowly creeps into your heart like a gentle blowing wind.

It's a great album for those seeking for comfort and serenity in an album. Try tracks "If I Could", "Pretend" & "I Believe in Love".

Suzanne Caini can be considered a great talent in her own right. Try her other albumns like "*Hotel Luna", "*Pianissino 1", "Pianissino 2", "Dream Suite" & "*The Private Music of Suzanne Ciani". I highly recommend getting those marked with a * first as they're hard to find (seems her previous recording company has stop re-producing these albums).

from Solo Piano Publications.......2001-11-14

"Pianissimo III" is the third in a series of albums by Suzanne Ciani which are made up of solo piano versions of previously recorded and orchestrated music as well as several (in this case three) new pieces. "P3" contains some of my all-time favorite Ciani pieces such as "Sogno Agitato", "Butterflies", "Turning", "The Fifth Wave", and "Full Moon Sonata" - all of these are wonderful! Of the three new pieces, "Celtic Nights" is by far my favorite. There are classic Ciani touches, but this piece is a departure for her, at least for her solo piano work. It is exotic, very minor, and has some haunting deep bass accents that give it some punch. "Celtic Nights" makes my fingers itch since it is one of the few pieces in the collection that isn't in print (yet). I love it! "Pretend" is a sad song about the "afterimage of someone gone". It is easy to imagine Suzanne sitting at her piano late at night, letting this song be born of recent loss. While not wrenching, the emotions are powerful. "4 O'Clock in the Morning" is the third new piece, and tells about the exact time Ciani wakes up whenever something is bothering her. This piece is less structured and more abstract, and is a fascinating musical description of that time between sleep and tossing around, trying to let your mind settle back into restfulness.

An interesting little tidbit is that when Suzanne's "Dream Suite" album came out in 1994, I wrote to her to tell her how much I loved "Sogno Agitato" and how I hoped it would be in her next songbook. She patiently explained to me that she had written that piece as an orchestral work, and really couldn't see it as a solo piece at all. She did a workshop for my students not long after that, and I requested that she play "Sogno Agitato". She explained to the group that it wasn't written as a solo, but she would play what she had played with the orchestra. It was wonderful!!!! I bugged her several more times about wanting to be able to play that piece, and was absolutely delighted when she included it in her "Turning" songbook. It has gone on to become a favorite of my more advanced students, and it was a thrill to have one of my students play "Sogno Agitato" for Suzanne last fall.

Tracks:

Allegro from 'Spring' concerto NO.1 in E - Moscow Virtuosi/Vladimir Spivakov
May - 'White Nights' from the seasons - Xiang-dong Kong
'The Last Spring' from Two Elegiac Melodies - Guildhall String Ensemble/Salter
Spring from Four Seasons - Richard Stoltzman/Guildhall String Ensemble/Salter
Movement I from Symphony No. 1 'Spring' - Levine/Philadelphia Orch
Simple gifts from Appalachian Spring - Kapp/Phil Virtuosi
'The Adoration of the Earth' from The Rite of Spring - Slatkin/Saint Louis SO
Spring Song - Fiedler/Boston Pops Orch
Largo e pianissimo sempre from 'Spring' - Moscow Virtuosi/Vladimir Spivakov
Rondo from Violin Sonata No.5 'Spring' - Pinchas Zukerman/Marc Neikrug
Rondes de printemps from Images - Munch/Boston Sym
'Spring' from 'Les Quatres Saisons' - Abbado/Munich RO
Allegro from 'Spring' - Moscow Virtuosi/Vladimir Spivakov

Alfred Schnittke: Concerto Grosso No. 4 - Symphony No. 5 / Pianissimo for Large Orchestra

Average customer rating:

Two unusual pieces by the versatile Russian composer
If you are new to Schnittke
Harrowing and Brilliant!

Alfred Schnittke: Concerto Grosso No. 4 - Symphony No. 5 / Pianissimo for Large Orchestra
Alfred Schnittke , Neeme Jarvi , and Gothenburg Symphony Orchestra
Manufacturer: Bis
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

Modern & 20th Century | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
Similar Items:

Schnittke: Symphony 3
Schnittke: Symphony No. 8; Concerto grosso No. 6
Alfred Schnittke: Symphony No. 4/Three Sacred Hymns
Schnittke-Concerto Grosso No. 2/Viola Concerto
Schnittke: Symphony No.7/Cello Concerto No.1

ASIN: B0000016F1
Release Date: 1994-09-26

Tracks:

Allegro - Helen Jahren
Allegretto - Anders Robertson
3/1. Lento - 3/2. Alllegro
Lento
Pianissimo

Customer Reviews:

Two unusual pieces by the versatile Russian composer.......2007-06-13

This BIS disc, part of their praiseworthy attempt to issue Schnittke's complete works, contains two pieces by the great Russian composer written twenty years apart. The first is an unusual work of his 1980s maturity, while the other shows the composer in transition in the 1960s.

The first work is the oddly-titled Symphony No. 5 / Concerto Grosso No. 4. That's right, it's one piece that serves to fill in an entry in both Schnittke's line of concerti grossi and his series of symphonies. The first two movements serve as the Concerto Grosso No. 4, and like the first three it has Baroque inspiration at its heart. Violin, oboe, and harpischord share the spotlight in what begins as innocuous as a Brandenburg Concerto and then becomes increasingly hysterical. But the second movement shows a transformation, where the violin is now on his own in downright Romantic writing, which features Schnittke's take on the fragments of Mahler's early and unfinished piano quartet. Strikingly, the movement ends with the extant Mahler material played verbatim pianissimo at the back of the orchestra.

The latter two movements of this gryphon of a piece form the Symphony No. 5. The writing continues the Mahlerian spirit, getting more and more epic. March-like cadences appear again and again: there seems to be some sort of struggle or conflict going on. But while the CG portion of the piece harkens back to usual polystylistic Schnittke, the Symphony is pure late Schnittke (post-1985, when he had his first stroke). That means that conflict is remarkably subtle, and the ending of the piece can seem ambiguous. While I find each half of the whole immensely well-written, putting them together seems awfully like spot-welding.

"Pianissimo" (1968) is a weird piece. Not only is much of it written at the dynamic its title suggests, but the musical material is filled with eerie sounds reminiscent of Ligeti's micropolyphony or Langaard's "The Music of the Spheres". There's supposedly a programmatic basis here, from Kafka's "The Penal Colony", but to this listener it is hardly explicit. Well, as entertaining as the piece is, one can't help feel that the composer, still in something of his youth, is uncertain about what he's doing.

Because the first piece on the disc, the Concerto Grosso No 4. / Symphony No. 5 is a neither-fish-nor-fowl work combining--perhaps unsuccessfully--two different sides of Schnittke, and because the second was written before his sure maturity, this disc would probably make a poor introduction to the composer. For that I'd recommend two excellent Moscow Studio Archives discs, the first containing the Concerto Grosso No. 2 and Viola Concerto and the second the Concerto Grosso No. 1 and Cello Concerto. Nonetheless, as I begin collecting the BIS and Chandos editions of Schnittke's works, I'm never disappointed, and this disc should indeed find a place in your collection if you like the composer.

If you are new to Schnittke.......2006-01-11

EDIT:
And interested in a start, this cd might be my first recommendation. Read C Symonds superb review above, as I'm in full agreement, a towering masterpiece from this composer who stands as true heir to Shostakovich, as is the word in the streets among the russian classical tradition.
I have both this BIS recording, and the OOP/rare/Chailly/Concertgebouw/DEcca and can attest to both as very fine performances. (got lucky on the Chailly, as I posted a pre-order and was filled a week later for $25).
This BIS recording was my first intro to Schnittke last summer at Tulane's musical library and since that time I have nearly 90% of all Schnittke's works on cd.
I would say first work your way through Shostakovich's works before you start into Schnittke.

EDIT:
IF THIS CD IS YOUR FIRST HEARING OF SCHNITTKE (which is my first recommend), AND YOU DON"T LIKE IT ON FIRST < SECOND ,THIRD TRY. THEN GIVE UP MOVE ON TO SOME OTHER COMPOSER. Because Schnittke is obviously not for you.
No sense in trying to force feed your soul into something she does not like.
Same with allaan pettersson, try the 7th sym. If you don't like it on 1st,2nd,3rd listen,. Then give up and move on to another composer.
But to me, Schnittke represents the high form of classical art, beginning with Bach, along with Pettersson and Carter, Schnittke thus is one of the last great composers.
A voice of the modern soul in Her sufferings and ultimate redemptions.
Paul

eternal fan of Schnittke

Harrowing and Brilliant!.......2005-07-18

Often named as Schnittke's symphonic masterpiece, 'Concerto Grosso no. 4- Symphony no. 5' (1988) is indeed a formidable work, tackling head-on the challenges faced by composers in the late twentieth century attempting the Symphonic form.
The first half of the work is the Concerto Grosso and moves from a cacophonous parody of the Baroque (like the 2nd movement of the 1st symphony)to a 'completion' of the 16-year old Gustav Mahler's unfinished scherzo for a Piano Quartet. The movement ends remarkably, with the exact Mahler quote emerging from the destructive crash of a Tam-tam. However, it is the 3rd and 4th movements (the 'Symphony' part) that carry most of the emotional weight. The 3rd again carries on the Mahlerian spirit, taking the cataclysms that end Mahler's 6th and stretching their effect to the extreme. It is very violent, dissonant and everything we've come to expect from 80's Schnittke. The polystylisms of the 1st two movements are largely absent, Schnittke concentrating on writing a truly symphonic Allegro. After this comes a heavy, tortured funeral march, shot through with reminiscenses of all the other movements until collapsing on itself in an enormous climax. This is truly one of the greatest late twentieth-century orchestral works.
"...Pianissimo..." (1968) is an interesting experiment in pitch but does not develop its material sufficiently to make it a truly great work.
The performances by Jarvi and the Gothenborg Symphony are just stunning, special mention must go to the brass section who just keep getting louder and louder in the 3rd movement, with no loss of sound quality. I would however love to hear Chailly's interpretaion (he was the dedicatee of the Symphony) Very highly recommended to all Schnittke fans and lovers of twentieth century music.