Fantasias

Track Listings

1. Fantasia de Amor

2. Popis

3. Mujer Paseada

4. Tu Cinturita

5. Mis Llamadas

6. Por Esa Mujer

7. Amor Imposible

8. Nada Contigo

9. 14 Años Nueve Meses

10. Frente a Frente

Fantasias,Banda la Mentira,Fonovisa Inc.,Latin,Mexican,Norteño,Regional Mexican

Fantasias

Tracks:

Konzert fur Klavier und Orchester Nr. 1 d-moll Op. 15: Maestoso - J. Brahms
Konzert fur Klavier und Orchester Nr. 1 d-moll Op. 15: Adagio - J. Brahms
Konzert fur Klavier und Orchester Nr. 1 d-moll Op. 15: Rondo. Allegro non troppo - J. Brahms

Tracks:

Konzert fur Klavier und Orchester Nr. 2 B-Dur Op. 83: Allegro non troppo
Konzert fur Klavier und Orchester Nr. 2 B-Dur Op. 83: Allegro appassionato
Konzert fur Klavier und Orchester Nr. 2 B-Dur Op. 83: Andante
Konzert fur Klavier und Orchester Nr. 2 B-Dur Op. 83: Allegretto grazioso
Fantasien Op. 116: No. 1 Capriccio: Presto energico
Fantasien Op. 116: No. 2 Intermezzo: Andante
Fantasien Op. 116: No. 3 Capriccio: Allegro passionato
Fantasien Op. 116: No. 4 Intermezzo: Adagio
Fantasien Op. 116: No. 5 Intermezzo: Andante con grazia ed intimissimo sentimento
Fantasien Op. 116: No. 6 Intermezzo: Andantino teneramente
Fantasien Op. 116: No. 7 Capriccio: Allegro agitato

Amazon.com

These performances mount the only serious competition as a complete set to the Leon Fleisher/George Szell versions on Sony Classical. Emil Gilels was an extraordinary virtuoso who decided to place his technical wizardry in the service of the most disciplined and demanding classical masterpieces. No piano concertos live up to this description more than the two by Brahms. Himself a pianist, Brahms placed every purely musical stumbling block that he could in front of the soloist--only audiences never notice because there's no gratuitous display at all. A performer who has not mastered these pieces doesn't necessarily miss notes; he or she just bores everyone to tears. Well, Gilels is never dull, and neither is Eugen Jochum, whose spontaneous-sounding yet sensitive accompaniments support his soloist every step of the way. --David Hurwitz

Amazon.com

Emil Gilels is magisterial in these concertos, his playing volcanic and poetic at the same time. Eugen Jochum and the Berlin Philharmonic add considerable grandeur to the undertaking, spanning Brahms's long developmental arches with convincing sureness. Within the warm ambience of Berlin's Jesus-Christus-Kirche, where both concertos were recorded in June of 1972, the engineers do a good job of capturing the pianist's ringing tone. --Ted Libbey

Customer Reviews:

One of Best Recordings of Brahms Piano Concertos!.......2007-06-28

Gilels is excellent on this classic recording of the Brahms Piano Concertos. Before these recordings came out of CD, I listened to these on LP records for hours and hours. I wore those records out.

The added bonus on the CD of the Fantasia is nice as well.

a truly great recording.......2006-10-06

To my mind neither Eugen Jochum nor Emil Gilels received the acclaim appropriate to their genius while they were living. Even now it appears they are appreciated mainly by a small clique of true classical music lovers.

These two performances of Brahms' Piano Concertos are flawless. They were both recorded in 1972 when Jochum was age 69, and Gilels was 55. Two masters in their mature prime. Add to this The Berlin Philharmonic and recording by Deutsche Grammophon. This is perfect Brahms. The treatment of both concertos is equally superb, achieving a synthesis of piano and orchestra in performances of unfolding eloquence and power.

In 1987 at age 85 (a year before he died) Eugen Jochum was asked in an interview about his memory of great recordings. He singled out the 1972 Brahms with Gilels as perhaps the finest recording of his career.

FAVORITE PIANO CONCERTI.......2006-01-03

Brahms's monumental piano concertos are my very favorite piano concertos. Therefore, I own many recordings of same. Nevertheless, this recording with Gilels and Jochum is my absolute favorite! It is a recording that I've listened to, at least, once a week for many years. Gilels and Jochum truly play these "monsters of the form" wonderfully capturing Brahms's fierceness as well as his tenderness beautifully.

Truth be known, I slightly prefer the 1st concerto-I know that is a musical sacrilege. My god, Gilels plays the hell out of that work delivering those (what I call) "trills of death" in the first movement in such a manner that it still sends chills up and down my spine no matter how many time I have listened to the work.

DGG has done a superb job in it transfer to this "new" CD form. I owned the original vinyl recordings; however, I feel these CDs give the recording more depth with the sound being far richer.

If you want to hear a legendary and sublime recording of the Brahms's Piano Concertos,buy these discs.

Heroic - and my favorite reading hands down.......2005-11-11

These readings are legendary. I searched and searched for a good set, first trying Bernstein-Zimerman (horrid recording quaity) then trying some older recordings (Serkin/Szell, Rubinstein/Ormandy), then going to an old favorite of mine on the keyboard (Pollini/Abbado), but I was not really a fan of a) either the ensembles' un-Brahmsian (in my opinion) accompaniment or b) the soloists' interpretations or execution. However, these recordings, when I first bought them in the old DG Galleria release, were a revelation. Gilels' playing can best be described as monumental, and Jochum's direction is Brahmsian to the core. The result is a rarity in that both concertos are amongst the greatest ever readings of the works (especially for #2; only Serkin/Szell and Anda/Fricsay come close). And now, with the new DG Originals transfer, the sound matches the performances; gone are the whiny strings and the somewhat hollow sound from the original transfer, and in its place we have a recording that sounds almost brand new, with great clarity on the brass, piano sound, and amazing definition in the strings. If you must only have one recording of these two concertos, then this is the one to get.
However, let me make one other suggestion for Piano Concerto No. 2: Geza Anda with Ferenc Fricsay & the Berlin Philharmonic, dating from 1960. A spellbinding interpretation by Anda, and an accompaniment no less Brahmsian than Jochum's from meastro Fricsay. This is part of a great Geza Anda box set by DG (which incidentally includes a great Schumann piano concerto with Kubelik/Berlin). If you are looking for another astounding recording of the 2nd piano concerto, you should check this release out. For concerto no. 1, check out Szell/Serkin on Sony.

With all of that being said, if I'm stranded on a desert island, I'm bringing the Jochum-Gilels set.

Liked Concerto 2 with Reiner much better.......2005-10-31

I heard the Concerto 2 today on the radio, and I while it was competently played, I kept thinking of how slowly it was paced. And I yearned to hear the Gilels version (with Fritz Reiner and the CSO). Imagine my extreme surprise to hear it was Gilels! But played with nothing like the fire and wit and playfulness of his 1958 version. Perhaps Brahms would have wanted it played this way, with more majesty and solemnity, but it's not for me.

Average customer rating:

I disagree with the consensus here
Don't hesitate to get this set
Superb interpretations by Katchen
A little rushed sometimes, but beautiful
Radiant and inspired recordings

Brahms: Works for Solo Piano

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Schubert: The Piano Sonatas
Liszt: Piano Works
Chopin: The Piano Works
Works for Solo Piano
Brahms: Concertos for Piano No. 1 & 2, Fantasia Op. 116

ASIN: B0000042GM
Release Date: 1997-11-11

Tracks:

Variations On A Theme By Paganini, Op.35: Book 1 - Heft 1
Variations On A Theme By Paganini, Op.35: Book 2 - Heft 2
Variations And Fugue On A Theme By G.F. Handel, Op.24: B Flat Major
4 Ballades, Op.10: Andante
4 Ballades, Op.10: Andante
4 Ballades, Op.10: Intermezzo. Allegro
4 Ballades, Op.10: Andante con moto

Tracks:

Works For Solo Piano: Ziemlich langsam
Works For Solo Piano: Poco larghetto
Works For Solo Piano: Allegro
Works For Solo Piano: Walzer Nr. 1 - 8
Works For Solo Piano: Walzer Nr. 9 - 16
Works For Solo Piano: Scherzo es-moll

Tracks:

Works For Piano Solo: Allegro
Works For Piano Solo: Andante
Works For Piano Solo: Scherzo. Allegro molto e con fuoco
Works For Piano Solo: Finale. Allegro con fuoco
Works For Piano Solo: Allegro non troppo ma energico
Works For Piano Solo: Andante con espressione
Works For Piano Solo: Scherzo. Allegro
Works For Piano Solo: Finale. Introduzione (sostenuto) - Allegro non troppo e rubato
Works For Piano Solo: Agitato
Works For Piano Solo: Molto passionato, ma non troppo allegro

Tracks:

Works For Piano Solo: Allegro maestoso
Works For Piano Solo: Andante espressivo - Andante molto
Works For Piano Solo: Scherzo. Allegro energico
Works For Piano Solo: Intermezzo. Andante molto
Works For Piano Solo: Finale. Allegro moderato ma rubato
Works For Piano Solo: Presto energico
Works For Piano Solo: Andante
Works For Piano Solo: Allegro passionato
Works For Piano Solo: Adagio
Works For Piano Solo: Andante con grazia ed intimissimo sentimento
Works For Piano Solo: Andante teneramente
Works For Piano Solo: Allegro agitato

Tracks:

Works For Solo Piano: 8 Pieces, Op.76 - I Capriccio in F sharp minor
Works For Solo Piano: 8 Pieces, Op. 76 - II Capriccio in B minor
Works For Solo Piano: 8 Pieces, Op. 76 - III Intermezzo in A flat major
Works For Solo Piano: 8 Pieces, Op. 76 - IV Intermezzo in B flat major
Works For Solo Piano: 8 Pieces, Op. 76 - V Capriccio in C sharp minor
Works For Solo Piano: 8 Pieces, Op. 76 - VI Intermezzo in A major
Works For Solo Piano: 8 Pieces, Op. 76 - VII Intermezzo in A minor
Works For Solo Piano: 8 Pieces, Op. 76 - VIII Capriccio in C major
Works For Solo Piano: 6 Pieces, Op. 118 - I Intermezzo in A minor
Works For Solo Piano: 6 Pieces, Op. 118 - II Intermezzo in A major
Works For Solo Piano: 6 Pieces, Op. 118 - III Ballade in G minor
Works For Solo Piano: 6 Pieces, Op. 118 - IV Intermezzo in F minor
Works For Solo Piano: 6 Pieces, Op. 118 - V Romanze in F major
Works For Solo Piano: 6 Pieces, Op. 118 - VI Intermezzo in E flat minor
Works For Solo Piano: 4 Pieces, Op. 119 - I Intermezzo in B minorn B
Works For Solo Piano: 4 Pieces, Op. 119 - II Intermezzo in E minor
Works For Solo Piano: 4 Pieces, Op. 119 - III Intermezzo in C major
Works For Solo Piano: 4 Pieces, Op. 119 - IV Rhapsody in E flat major

Tracks:

Works For Solo Piano: Andante moderato
Works For Solo Piano: Andante non troppo e con molto espressione
Works For Solo Piano: Andante con moto
Works For Solo Piano: g-moll
Works For Solo Piano: d-moll
Works For Solo Piano: F-dur
Works For Solo Piano: fis-moll
Works For Solo Piano: fis-moll
Works For Solo Piano: Des-dur
Works For Solo Piano: F-dur
Works For Solo Piano: a-moll
Works For Solo Piano: e-moll
Works For Solo Piano: E-dur
Works For Solo Piano: d-moll
Works For Solo Piano: d-moll
Works For Solo Piano: D-dur
Works For Solo Piano: d-moll
Works For Solo Piano: B-dur
Works For Solo Piano: f-moll
Works For Solo Piano: fis-moll
Works For Solo Piano: D-dur
Works For Solo Piano: h-moll
Works For Solo Piano: e-moll
Works For Solo Piano: e-moll

Customer Reviews:

I disagree with the consensus here.......2007-07-11

I was disappointed by this set and would not recommend it. It's great that all of Brahms' piano works are included here and the boxed set includes some difficult to find works (like those Op. 21 variation sets) as well as the better known and wonderful later piano pieces and the Op. 39 Waltzes.

The problem is that Katchen's performances are flawed and often unpleasant. The worst problem is that he bangs the keys a lot. Fortissimo passages are ideally not supposed to be noisy; they are intended to be loud and forceful without being unpleasant. It's a key distinction that Katchen fails to realize. I also think that Katchen's technique is a bit patchy. He blurs the passagework and there is a lack of both accuracy and delicacy in the fast passages. To take an example, the Op. 76 set is marred by both of these problems: a lack of accuracy and a tendency to bang on the keyboard. I also found many of the passages that didn't suffer from these problems to be interpretationally uninteresting (the slow parts of the Paganini Variations, Bk II are undistinguished, to take an example). Big thumbs down.

I did some direct comparison of sets to the Katchen performances and in every case Katchen was far inferior.

Take the Op. 39 Waltzes: Leon Fleisher's old recording is wonderful and much more sensitive and interesting than Katchen.

I also listened to Radu Lupu's recording of the Opp. 117-119 pieces (THAT is a wonderful recording - if you are looking for a superb recording of Brahms piano music, get that one and save yourself the aggravation of the Katchen set) and it's simply no contest.

I also sampled the terrific Op. 79 Rhapsodies and the Paganini Variations as played by a favorite pianist of mine, the lesser-known French pianist Nicholas Angelich, and Katchen's sloppy and undirected interpretations pales before the versions by a "non-superstar" pianist.

So while I admit I haven't listened to every portion of the Katchen set, I found every reason to avoid it when compared to some alternatives available.

Don't hesitate to get this set.......2007-07-04

It's a good thing I waited to write this until I'd heard these CDs a few times. I would have been guilty of understatement. Katchen's work grows on me in much the same way Brahms' music itself does. It is rich in nuance and insight, and never fails to please.

I'll confess, I bought this set to fill the gaps in my piecemeal collection. What a delightful surprise to find my "stopgap" set more than holds its own against recordings by the likes of Richter, Rubinstein and Gilels. To help the reader overcome any reluctance I offer a few comments on the few "downsides" mentioned by others:

Yes, Katchen does play fast, but not always, and certainly not out of inability to hold the listener's attention through more artful means. Katchen's track times are often slower than Rubinstein's or even Gilels'; but where the spirit moves him, he can go like a rocket. He's generally fastest in the earlier works, where a case can be made for playing them with youthful ardor; Katchen does this to a T. This applies to the first 2 sonatas, the Paganini variations (why would anything associated with Paganini lack splash and dazzle?) and to a much lesser extent, parts of the Handel variations. The main thing is, it works. The very few places where I felt Katchen was rushing the music are heavily outnumbered by places where the added energy seems to "fit" like a glove.

Yes, in an exhaustive set you inevitably endure the "bottom of the barrel." I'm surprised how little of this 6-CD set strikes me as anything less than indispensible. Every track is worth hearing. Katchen has been surpassed here and there, but he doesn't put in a bad performance in the whole batch.

Yes, the recordings are more than 40 years old. They will not satisfy the most jaded audiophile (there's not quite the "presence" of a good recording today). But they are amazingly clean and lifelike for their age (even the 3 tracks that are mono). They sound noticeably better than the popular Rubinstein recordings of equal vintage. At first I thought I heard a touch of bass-heaviness, but now I just think Katchen gives us a strong, clear bass line. Once again, it works. The sound is simply not a problem for a normal listener.

Finally, there's the small stuff. Getting the CDs out of their tight-fitting sleeves without putting your fingerprints on the playing surface is well-nigh impossible, unless you give in and apply a letter opener to solve the problem once and for all. Is that any reason not to get this much wonderful music at such a low price? London has even revived the old practice of offering different program notes in different languages, so that multilingual readers can benefit from more than one set of comments. All around it's a winner!

Superb interpretations by Katchen.......2006-11-16

Katchen's performace throughout this collection are excellent.Brahms integrates many of Schumann's,Bach's and Beethovens compositional ideas into his own works.He is a master of the appoggiatura(suspension of the dominant chord).And the ghosts of Bach,Schumann,and Beethoven appear at intervals throughout this collection of his piano works.The VARIATIONS ON AN ORIGINAL THEME is an ethereal experience,and the Op.09 VARIATIONS ON A THEME BY SCHUMANN, composed after his death,Brahms's pathos,especialy in the slower variations, make you aware of his sadness of Schumann passing, as there is vivid sense of despair and remorse you can hear throughout.It is well documented the profound influence Shumann had on Brahms's compositional process.OP.76 is a passionate performance by Katchen.You also have short piano works culminated in Op116,Op 117,Op.118,which includes the great masterpiece in Ebminor,and Op.119.The Pagganini Variations,Variations on a theme by Haydn,the Ballads Op. 10.And both volumes of the HUNGARIAN DANCES,the 2 Rhapsody's,and VARATIONS ON A THEME BY HANDEL.It quite remarkable that such music could be created by such a young man in the astonishing Sonatas,OP.1,OP.2,and OP.5.The slow movements in all three sonates are very inspiring,and heart fealt.It makes you glad to be alive in order to hear such remarkable music.A well balanced performance throughout.If your a Brahms lover,this is a must for your collection.Enjoy

A little rushed sometimes, but beautiful.......2005-02-03

To be honest, I can't really figure out how much I like Katchen's performance. It's hard to gauge because Brahms's piano music is inherently exceptional played by just about any performer.

I feel that the ballades, op. 10 are played way too fast (although I'm not exactly sure how close Katchen is to Brahms's tempi indications). I've heard them by several other performers and, being a Gould fan, would have to say that his slower interpretation really captures how beautiful the pieces are more than anyone else. I also enjoy Kempff's performances of many later works. Katchen really seems so rushed for some reason. To me, that really takes attention away from the fine details, which I think are so essential to Brahms's piano music. He's not quite delicate enough with some of the pieces.

This faster speed is only very slight for the rest of the set, but pretty consistently. I think he does a better job with more intense pieces like many of his larger-scale variations and the sonatas. Those I would give 5 stars, but only 4 stars for the op. 116-119, for they're a little too fast.

My only other qualm is the arrangement of the set. It would be nice to have all the sonatas together on a disc, 116-119 on a disc, etc., going along with the whole chronological thing..

However, all these things are personal preference. I would definitely recommend this set. It's made up about 1/2 of my music listening for the past couple months. It's not expensive at all for what you're getting, and if you get just one Brahms piano cd, you're going to want to get more, so you should just get it over with and have this whole set, it's fabulous music. Just keep in mind that this is not the only interpretation that should be considered.

Radiant and inspired recordings.......2004-09-19

If there is a more effervescent , idiomatic , innovative and resplendently performance of the Handel Variations , I have not heard it . Katchen emphasizes with colossal scrupulosity the wide doe and the diversity spectre of the orchestral instruments . You must marvel at the technical equipment of Katchen playing .
The other outstanding version of these Variations is of Michael Ponti (live preformance)
gifted with a major emphasis in the striking and color tone ; but the point to remark is that in both performings the approach is similar ; every one of the Variations must be played as a microcosmos in itself ; with nuance , grace , majesty, powerful imagination, sense of the span and above al ; savoir vivre . If you intend to play with authoritative precision without Mediterranean dewy and radiant mood ; you are destined to fail with these Variations and becoming unbearable for the audience and the listener . Lamentably , there are many of them in the actual market but I think you can guess them .
The two Rhapsodies are performed with the highest commitment . Melodic flight and arresting lyricism .
The Sonatas are superbly performed . The Sonata No. 3 may find serious matchers with Clifford Curzon and Paul Badura Skoda .
The intermezzos are depicted with the adequate illuminating . These intimate pages must be played with the perfect balance of light and shadows ; think in Chopin Nocturnes for instance . Only Glenn Gould gets close to him in the Intermezzo Op. 117 No. 2 .
The Ballades may be the weakest works of this fundamental set . Benedetti Michelangeli and Emil Gilels recorded brilliant and eloquent versions.
Finally The Paganini Variations find in Benedetti Michelangeli a serious and unbeatable adversary .
To be honest , this set is widely recommendable for you , to know the whole and intimate world of Johannes Brahms , the beloved son of Hamburg.
Katchen also recorded a powerful Islamey and an unforgettable Rachmaninoff No. 2 .

Average customer rating:

Marvellous!!A delicious recording!!!
Rock guitarist turned lutanist

Portrait

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

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Baroque Lute Music, Vol. 1
Early Venetian Lute Music
Lute Music, Vol. 2
Weiss: Sonatas for Lute, Volume 1
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ASIN: B00004SCUK
Release Date: 2000-04-11

Tracks:

Sir John Smith His Almain
Forlorne Hope Fancye
(Pavan)
La Jota
Cumbees
Piva
Emporer Of The Moon
La Battaglia (Jannequin)
Voglio di vita uscir'
(A Jig)
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The Right Honourable
Aria: Come La Rondinella
Greene-Sleeves
The Glory Of The West
The Queen's Jigg
Fantasia
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Go From My Windoe
Toccata 2a, For Chitarrone
Hor che gli augelli
Je ne seray jamais bergere

Customer Reviews:

Marvellous!!A delicious recording!!!.......2004-10-01

O`Dette! The lutanist that would become popular in Dowlands time! he seems to me like a Leonhardt on lute.I find the lute no less expressive and enchanting than harpsichord or piano when I listen to Mr O`Dette

Rock guitarist turned lutanist.......2002-08-05

I listen to this album over and over and never get tired of it. O'Dette's interpretations keep sounding fresh and alive, perhaps because of his rock background. This was the popular music of the time and he plays it that way. There's no dusty mustiness of age hanging over it.

Customer Reviews:

Wonderful articulation is her hallmark.......2007-07-09

The collection is spectacular. Larrocha's nimble fingers and clear articulation make it a joy to listen to her interpretations of Mozart. The very familiar "A la turca" is given a lighthearted yet sensitive interpretation that makes it a great listening experience. This is definitely a set to own.

Amazing performances of amazing music!.......2006-09-27

I can't compare this to other Mozart Sonata cycles, but after looking hard at which set to purchase, I bought these and have been extremely pleased. I have not noticed any recording problems with the 2nd and 3rd disks, but I am no expert. I think the whole set sounds wonderful! And you cannot beat the price. I just wish she had a complete cycle of Mozart's Piano Concerti available!

Good Performance, bad recording.......2004-09-14

The performance of Laroccha is exceptional, the trills are fantastic and some of the sonatas are almost perfect. The whole compilation sounds very mozartian and may disturb some people that are used into more sweet and passion performances. However the recording of the 2nd and 3rd CD is terrible, it sounds like there is echo in the recording and it becomes very annoying and fuzzy. The key of a good mozart recording is brightness and music purity, which definately this compilation lacks.
Brendel's mozart sonatas sound better for me, however he has not recorded all of them in a single complilation such as this.

Devoted collection by a mature virtuoso........2004-02-07

Listen to Alicia de Larrocha performing the exposition of the first movement of Mozart's Piano Sonata in Bb major, K. 333--my favorite of the great composer's sonata; the absolute pinnacle of Classical beauty. You will hear a consummate artist devoted to the detail and refinement of this glorious music. Collected here in 5 CDs are the complete Mozart Sonatas and a few minor works to fill out the discs. I don't believe in the concept of a 'definitive' performance or recording-especially for a body of work as extensive and diverse as this, and so would never claim such a title for this or any performance-but de Larrocha's set is definitely worth having. She takes a refined, subtle approach, never exaggerating or turning Mozart into a Romantic, but always emphasizing the Classical sense of balance. Even in as "romantic" a work as the Presto of the Sonata in A minor K. 310, she plays expressively and emotionally, but within a Classical aesthetic, always exercising great control and touch. Dynamics and tempi are varied, certainly, but within a more discrete range than some of our more flamboyant pianists. This, for me, is the charm of de Larrocha's approach-perhaps, for some listeners, its downfall. Here's where the concept of definitive recordings fails completely. Do we try to listen to Mozart in an historical context, as he himself might have heard it, or do we take a Postmodern approach? Having lived after the Romantic period and even the Twentieth Century now, do we perform and prefer Mozart played on an instrument he never knew, allowing innovations of interpretation developed after his death to shape a new vision of his works? Both are possible, and in today's world, where Bond and Maksim pass unremarked as Classical musicians to my great disgust, mass audiences give no favor to historical context. De Larrocha clearly prefers the informed, appropriate approach, although she plays on a modern grand piano, and the music glows under her loving hands. Listen, for example, to the lovely Adagio from K. 280, one of Mozart's earlier sonatas.

Tracks:

First Pavan And Galliard
Fanasy In C Major
Allemande (Italian Ground)
Hughe Ashton's Ground
Sixth Pavan And Galliard
'Lord Of Salsibury' - Pavan And Galliard
A Voluntary
Sellinger's Round
Fantasia In D

Customer Reviews:

Glenn Gould's strange genius, Sony's parsimony.......2007-03-12

Glenn Gould was a master of slow tempos, holding long melodic and contrapuntal lines together without using the damper pedal or any obvious pianistic tricks, and his extraordinary way with simple keyboard pieces shines through on this disc.

And even though these compositions are light stuff compared to the towering Bach masterpieces he recorded, there is plenty to enjoy here. And don't feel bad that Byrd and Gibbons are not played on a virginal. Nearly an hour of twanging away at these intimate, charming and modest pieces might drive an earnest modern listener crazy. Feel good about the heft and color of the modern Steinway. Gould brings body and warmth to what might otherwise be very minor pieces.

The "bonus" Sweelinck piece is further evidence of Gould's genius, but the sound quality is absolutely atrocious--taken from Canadian television in 1964 it sounds like something from a basement behind the Iron Curtain in the darkest, most technologically challenged days of Stalin's Cold War.

These are fine recordings that owe everything to Gould's eccentric and pure musical vision, but it must be stated that Sony Classical has hardly been generous with these reissues. The liner notes to this disc archly refer to "Columbia" in quotes, as if the record company that defined an entire era in classical music, comprehensively recording Bruno Walter, Leonard Bernstein, George Szell, Igor Stravinsky, and Glenn Gould, among countless other icons of the era, were a fictional bygone relic that modern day corporate record executives somehow have to refer to "in quotes."

One can hardly imagine that a perfectionist and technophile like Gould would allow such a poorly reproduced cut to be tacked on to one of the records he so lovingly produced.

Gould has never played so sublimely.....Sweelinck is amazing!.......2006-09-08

These recordings are absolute gems. In fact I daresay nothing like these performances has come before nor will come again. Gould is a genius, and the music he performs is timeless as well as historical. One can listen to this music and be transported to the 16th century, such is the power, beauty and effectiveness of Gould's interpretations. I cannot say enough of Gibbons and Sweelink, these masters are terribly underrated and unheard. Gould's touch is magical, technical virtuosity meets a true anachronistic artist. To the naysayers I say they have ears to ear yet do not hear, or in one ear and out the other. Anyone sensitive to true art will appreciate this music. Gould's performances and the composed music transcends banal quibbles like "he plays it too fast", or "it should be played on a virginal". Long live Byrd, Gibbons, Sweelinck and Gould!

Enraptured visions!.......2006-02-07

The interpretative art of Glenn Gould reached sidereal dimensions in this occasion playing the British virginalists. Gould made the complete journey and ellaborated a fine and fascinating portrait about the moods, mesmerizing approach, creating a spelling atmsophere around every single piece of this treasured album.

For all those who admire and still remaind his genius, this album is among his multiple golden recordings a special value.
Inspiered and fine recordings that will reward even the most exigenet listener.

A must-buy.

Brilliant.......2006-01-08

I echo the Spotlight review of J. Anderson, above, who has written eloquently. This music is a transporting experience.

Another Remarkable GG Recording..........2004-05-24

As a GG fan for over 30 years, I thought I knew most of his work; Sony, however, has issued more than was previously available--in a most excellent form. And so, I have the pleasure of discovering yet more wonderful GG works.

I had previously heard of the infamous Byrd/Gibbons recordings in the later 1970s; however, I had never actually heard the recordings themselves (--somehow the LP escaped me). Anyway, I am pleased to announce that this is another remarkable GG recording, and the infamy is due only to critics with a lack of understanding.

Customer Reviews:

The "Clinker" of the bunch.......2006-12-19

Having collected the entire "The Masterworks" series (including the Bach and Mozart Complete Works) this set is the 'clinker' of the bunch. First off... 6 CD's of Lieder 'historic' (pre-historic) recordings. No Overtures, No Orchestral Seranades, No Haydn Variations?? The performances of the Symphonies and the Concertos are shakey and not very well recorded. Brilliant Classics, who has done such a wonderful job with the Hadyn Complete Symphonies (licensed from Nimbus), the Mozart and Bach Complete sets, has stumbled a bit with this release.

Average customer rating:

Wonderful music, wonderful performance

Twelve Fantasias performed on viola

Manufacturer: Ashmont
ProductGroup: Music
Binding: Audio CD

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Lillian Fuchs: Complete Music for Unaccompanied Viola
Six Cello Suites performed on viola
William Primrose: Viola Transcriptions
The Elegant Viola: Yizhak Schotten, Viola
A Portrait of the Viola

ASIN: B000ELJ2NG
Release Date: 2006-03-15

Tracks:

Fantasia X in G major
Fantasia I in Eb major
Fantasia II in C major
Fantasia III in Bb minor
Fantasia XI in Bb major
Fantasia XII in D minor
Fantasia VII in Ab major
Fantasia IX in E minor
Fantasia IV in G major
Fantasia VI in A minor
Fantasia VIII in A major
Fantasia V in D major

Product Description

This performance by violist Patricia McCarty of Telemann's Twelve Fantasias, originally for violin, is the first recording of these works on viola.

Customer Reviews:

Wonderful music, wonderful performance .......2007-05-12

The 12 fantasias for solo violin written by Telemann
are profound examples of musical miniatures: each of them
consists of 3-4 movements concentrated in 5-7 minutes.
We have here all the best of Telemann: melodies of genial simplicity, smart counterpoint executed by a solo instrument, energetic dance-like movements. The transformation into a "modern" viola by McCarthy is excellent. The warm
and exact sound of the instrument fits perfectly for this gem of baroque music. Wonderful!

Mozart: The Complete Sonatas; Fantasias, K397 & K475

Average customer rating:

Avoid at all costs!!!
Gould and Mozart...
Genius plays Genius
SCARY !
Good for playing in shopping malls or "romantic evenings"...

Mozart: The Complete Sonatas; Fantasias, K397 & K475

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Beethoven: Piano Sonatas, Vol. 1 - Nos, 1-3, 5-10, 12-14
The Glenn Gould Edition: Ludwig Van Beethoven Piano Sonatas, Volume II
Glenn Gould Edition: Chopin / Mendelssohn / Scriabin / Prokofiev
Haydn: Piano Sonatas, Hob:XVI, Nos. 42, 48-52
Beethoven: The 5 Piano Concertos

ASIN: B0000028NT
Release Date: 1995-02-07

Tracks:

Sonata No. 1 In C Major, K.279: I. Allegro
Sonata No. 1 In C Major, K.279: II. Andante
Sonata No. 1 In C Major, K.279: III. Allegro
Sonata No. 2 In F Major, K.280: I. Allegro Assai
Sonata No. 2 In F Major, K.280: II. Adagio
Sonata No. 2 In F Major, K.280: III. Presto
Sonata No. 3 In B Flat Major, K.281: I. Allegro
Sonata No. 3 In B Flat Major, K.281: II. Andante Amoroso
Sonata No. 3 In B Flat Major, K.281: III. Rondeau. Allegro
Sonata No. 4 In E Flat Major, K.282: I. Adagio
Sonata No. 4 In E Flat Major, K.282: II. Menuetto I - Menuetto II
Sonata No. 4 In E Flat Major, K.282: III. Allegro
Sonata No. 5 In G Major, K.283: I. Allegro
Sonata No. 5 In G Major, K.283: II. Andante
Sonata No. 5 In G Major, K.283: III. Presto
Sonata No. 6 In D Major, K.284: I. Allegro
Sonata No. 6 In D Major, K.284: II. Rondeau en Polonaise. Andante
Sonata No. 6 In D Major, K.284: III. Theme. Andante - Variationen I - XII

Tracks:

Sonata No. 7 In C Major, K.309: I. Allegro Con Spirito
Sonata No. 7 In C Major, K.309: II. Andante Un Poco Adagio
Sonata No. 7 In C Major, K.309: III. Rondeau. Allegretto Grazioso
Sonata No. 8 In A Minor, K.310: I. Allegro Maestoso
Sonata No. 8 In A Minor, K.310: II. Andante Cantabile Con Espressione
Sonata No. 8 In A Minor, K.310: III. Presto
Sonata No. 9 In D Major, K.311: I. Allegro Con Spirito
Sonata No. 9 In D Major, K.311: II. Andante Con Espressione
Sonata No. 9 In D Major, K.311: III. Rondeau. Allegro
Sonata No. 10 In C Major, K.330: I. Allegro Moderato
Sonata No. 10 In C Major, K.330: II. Andante Cantabile
Sonata No. 10 In C Major, K.330: III. Allegretto

Tracks:

Sonata No. 11 In A Major, K.331: I. Tema. Andante Grazioso E Variazioni
Sonata No. 11 In A Major, K.331: II. Menuet -Trio
Sonata No. 11 In A Major, K.331: III. (Rondo) Alla Turca. Allegretto
Sonata No. 12 In F Major, K.332: I. Allegro
Sonata No. 12 In F Major, K.332: II. Adagio
Sonata No. 12 In F Major, K.332: III. Allegro Assai
Sonata No. 13 In B Flat Major, K.333: I. (Allegro)
Sonata No. 13 In B Flat Major, K.333: II. (Andante Cantabile)
Sonata No. 13 In B Flat Major, K.333: III. (Allegretto Grazioso)
Sonata No. 14 In C Minor, K.457: I. Allegro
Sonata No. 14 In C Minor, K.457: II. Adagio
Sonata No. 14 In C Minor, K.457: III. Molto Allegro

Tracks:

Sonata No. 15 In F Major, K.533: I Allegro (K.533)
Sonata No. 15 In F Major, K.533: II. Andante (K.533)
Sonata No. 15 In F Major, K.533: III. Rondo. Allegretto (K.494)
Sonata No. 16 In C Major, K.545 'Sonata Facile': I. Allegro
Sonata No. 16 In C Major, K.545 'Sonata Facile': II. Andante
Sonata No. 16 In C Major, K.545 'Sonata Facile': III. Rondo. Allegretto
Sonata No. 17 In B Flat Major, K.570: I. Allegro
Sonata No. 17 In B Flat Major, K.570: II. Adagio
Sonata No. 17 In B Flat Major, K.570: III. Allegretto
Sonata No. 18 In D Major, K.576: I. Allegro
Sonata No. 18 In D Major, K.576: II. Adagio
Sonata No. 18 In D Major, K.576: III. Allegretto
Fantasia In D Minor, K.397: Andante
Fantasia In C Minor, K.475: Adagio

Customer Reviews:

Avoid at all costs!!!.......2007-07-24

I haven't heard the whole collection, but I've heard enough to know that it's not worth getting. Gould simply did not understand (or like) Mozart, and he certainly did not know how to play him either. For example, in the first movement of the Sonata in A (K331), he rushes through it and pounds away on the keys. Gould's version of that movement is only about eight minutes long, but it's a piece that needs to enjoyed like fine wine, not gulped like cheap beer. Lest anyone think that I am being too harsh on Gould, let me say that I am actually a big fan of his Bach recordings, and I even like his recording of Mozart's 24th Piano Concerto (K491). The quality of that recording might be due to the moderating influence of a conductor and orchestra, but there is no moderation in these sonatas, which is critically important to playing Mozart. Anyone who wants to hear Mozart's piano works as they should be played might want to listen to Ingrid Haebler. But Gould's set should be avoided like an ebola-infected monkey.

Gould and Mozart..........2006-10-27

Anyone who is a fan of Gould knows his personal opinion of the Mozart sonatas. Listening to this interpretation of Mozart is about as entertaining as being in a room full of typewriters and screaming infants--both monotonous and completely irritating at the same time. If you're new to Gould go to his interpretation of Bach's Well Tempered Clavier or the English suites...if you want definitive recordings of the Mozart sonatas try Brendel, Eschenbach or Uchida. There is no denying Gould's genius...it just not found in this recording.

Genius plays Genius.......2006-10-22

Gould has the most crisp keyboard execution and the brighest tone I've ever heard. His clarity during the fastest passages is frightening. My favorite of his playing in the box set is: Sonata no.8, 1st movement-extreme powerhouse virtuoso performance(I get quite worked up when I listen to it!) His rendition of Sonata no.11 Ronda Alla Turca may be annoying to some(slow); also some people may think many of the adagios are too slow; But the first and third movements make up for that; And when it comes to counterpoint, technique, clarity of voicings, and spirit, Gould is the best.

SCARY !.......2006-08-04

I guess I'd have to agree with those who feel that Gould was somehow ridiculing Mozart with this interpretation. It's all a matter of taste, and some obviously find this bizarre, eccentric recording to their liking, but if you're an average listener who is not into the weird stuff and just wants a decent set of Mozart's Piano Sonatas, this probably isn't for you, as it isn't for me.

Good for playing in shopping malls or "romantic evenings"..........2006-05-13

I gave up an initial idea to be a referee to all these pro et contra comments; simply, because I eternally love Mozart, and this ridiculous playing really harms me. People are looking for a quality entertainment, not for some silly demonstration. Mr. Gould should be awared that his crisp technique means absolutely nothing to millions who are looking for right performance of Mozart's "11.-14." sonatas. Nevertheless, his knowing of style is undeniable which makes impression that his neglect playing is deeply purposeful. The question arises who he tries to intrigue, an audience or Mozart; an audience won't tolerate it. Mozart, on the contrary, "knew" that the world is full of different kinds of "wizards" and "creative genius" so his A-dur sonata is probably his testimony to all these "humans".

An A-dur sonata is a kind of "board exam" to all eminent keyboardists. Some of them play brilliantly just one of movements but have no energy to make complete sonata polished. Even though the style is well-known ,"or is it?", pianists usually lack the energy in the allegretto which lids them to bring just an ordinary performance. Glenn Gould,a smarty guy, avoids any personal inconvenience by a little "recreating" the whole piece. Changing a tempos, he brakes the sonata in to three pieces with ambiguous concept.

Sonatas 12. and 14. are tent to be Ok. I'l let it go, just as it is- a little tolerance of mine. Now, a famous "c-mol" K.457 is totally ruined. It starts with a good tempo which is introduction to a great tragedy that might follow. However, Glenn Gould misses to underline beginnings and ends of phrases in the exposition of the themes, so he misses the whole Allegro movement, then his escape is a make up, adding ornamentations in "Allegro assai" which I found complete lack of wisdom and good sense. The rest of sonatas is just demonstration of his superior technique which is completely unbearable.

In addition, a "closer look" to tempos of "c-mol" pair, fantasia and sonata, reveals a question whether Glenn Gould is able to make the whole idea realized, particularly if a concept is embedded with a new material such as tonalities and tempi. He just elaborates his own stubborn concept, based on virtuoso technique, and unchangeable, perfect but pointless even disturbing articulation- what a horrable iterpretation! This two pieces were turnover in Mozart's style and, thus, ask for really intelligent musician to reveal full blast of new ideas charged with personal emotions and inner tensions. It is -too much, for Glenn.

(we live in a real world and I find myself as a medioceree among other people devoted to science, my job)- but I love Mozart!

For the A-dur sonata I'd highly recommend Anthony Newman's recordings, also Newman is the best at Tragic K.310, Sonata Semplice and all early sonatas, particularly K.280 and the following G-dur; and following is my list of favorite recordings: Jos Van Immerseel and Demus Jorg- concertos, Ton Koopman and Pierre Hantai early works for harpsichord, Jeno Jando K.311, Bart Van Oort pair "c-mol" fantasia and sonata, and "d-mol" fantasia, as well, John Van Buskirk K.282, Rampe K.332, Lars-Urlik Mortnsen three concertos K.107, Levin early concertos 1-4 after C.P.E.Bach...Also I highly recomend virtuoso duos: Immerseel- Schroeder 6 Vienna sonatas K.296- 380; and Davos- Kuijken K. 526...
Mirro

Average customer rating:

Wilhelm Kempff Would Be Proud
Magnificent Brahms
Poor
Masterful, beautiful Brahms

Brahms: Complete Piano Music

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Grieg: Complete Solo Piano Music
Works for Solo Piano
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ASIN: B0009A1ALO
Release Date: 2005-05-31

Customer Reviews:

Wilhelm Kempff Would Be Proud .......2007-07-18

Among contemporary pianists who studied with the great German master Wilhelm Kempff, Gerhard Oppitz strikes me as the most Kempff-like. Very secure technically, Oppitz nevertheless is always keener to probe beneath the surface of the notes on the printed page than to play those notes as fast as possible. The end result never slights dramatic effect, but never mistakes dramatic effect as the most important element of a performance, particularly in music as elusive and multidimensional as the music of Brahms. Oppitz understands that Brahms's music is (structurally speaking) formed and 'carried' by the bass in a way that dictates that it be played as if the chords were unfolding .... the melodies shaped plastically and carried out from the inner notes of the chords, as it were .... but without sacrifice of rhythmic continuity. No small accomplishment, that! Julius Katchen takes a stricter approach that others admire more than I: an "all American" performance style that stresses quick tempos, rhythmic vigor and a bold projection of color and texture that neverthless seriously scants the subtleties of Brahms's musical language. For those who admire 'black and white' Brahms, Katchen remains a distinguished choice and his now 40+ year old analog recordings still sound impressive. But Oppitz offers a more thoughtful, three-dimensional Brahms that, to my ears, is just as exciting and even more appealing, plus he has been given truly first-rate digital recording.

Magnificent Brahms.......2007-06-23

I cannot imagine better performances of any of these pieces. The emotional impact of Oppitz's playing is overwhelming. He captures the
mood of each work perfectly. He plays with what can be best described as a flexible sound. At times it is pianoforte like, and at other times it rings out like a full orchestra. His use of the sustain pedal is very sparing; and when he does use it, it is with a subtlety that does not draw attention to itself. I will admit that this sound took awhile to get used to; but after listening to these discs a few times, it now seems
absolutely right for this music. One can hear each note clearly. There
is none of the muddiness that some performers bring to this music. These
performances would be worth having at any price; but at about $25.00 for
six discs and each disc having more than 70 minutes of music, this box set
is a steal! I cannot recommend it highly enough.

Poor.......2007-05-26

Of all the various complete sets of Brahms I have heard this is by far the worst. Even the piano tone grates. The Brilliant set is cheap and good; the Katchen set is very good indeed.

Masterful, beautiful Brahms.......2006-01-13

It's great to hear Oppitz perform all of Brahms' solo piano music. He has a deep, idiomatic understanding of the music and is wonderfully expressive. The packaging is nice and it's a treat to have all of this music in one set, especially at such a good price. Go for it!

Telemann: Twelve Fantasias for Violin Solo; Gulliver Suite for Two Violins

Average customer rating:

Depth Music
Dissapointing performance
Four Gut Strings, Unaccompanied
scraping the surface
A Catalog of Riches

Telemann: Twelve Fantasias for Violin Solo; Gulliver Suite for Two Violins

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

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Biber: Violin Sonatas
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ASIN: B0000007EP
Release Date: 1996-02-09

Tracks:

Fantasia 1 in B flat
Fantasia 2 in G
Fantasia 3 in F-minor
Fantasia 4 in D
Fantasia 5 in A
Fantasia 6 in E minor
Fantasia 7 in E-flat
Fantasia 8 in E
Fantasia 9 in B minor
Fantasia 10 in D
Fantasia 11 in F
Fantasia 12 in A minor
Gulliver Suite : I Intrada
Gulliver Suite : II Chaconne of the Lilliputians
Gulliver Suite : III Gigue of the Brobdingngians
Gulliver Suite : IV Daydreams of the Laputians and their attendant flappers
Gulliver Suite : V Loure of the well-mannered Houyhnhnms & Wild dance of the untamed Yahoos

Amazon.com

Telemann's musical imagination and inventiveness are astonishing. He is in the Guinness Book of World Records as the most prolific composer in history (over 7,000 pieces!). Yet even when he turned pieces out by the dozen, as he did here, each one had its own character and individual ideas. Andrew Manze plays each one stylishly, although I would no more recommend listening to all of them together than I would advise hearing all of Bach's music for solo violin. Try a few at a time. The little Gulliver Suite, which brings the timing up to 78 minutes, is a charmer. --Leslie Gerber

Customer Reviews:

Depth Music.......2007-07-23

If you ever listenned telemann's tafelmusik, I believe you would know what I mean. In past experenice, telemann was often argued lack of depth, and was famous of easygoing music, at least comparied with Bach. However, telemann fantasias had been changed my image, it is a depth music, especial heard other his music. I don't think its value is lower than Bach uncompanied solo violin music.
Of course maybe it's Manze's technique give me this feeling, but finally, I could say I must reknow telemann and it's Manze's contribution. I recommand it to all.

Dissapointing performance.......2007-03-29

This smart and beautiful music for solo violin deserves a better performance. I don't like the weak projection and the
very tiny sound of Manze. Occasionaly there are too wide volume differences between the tracks. Clearly Manze has admirers. I am not one of them.

Four Gut Strings, Unaccompanied.......2006-07-11

These fantasias for unaccompanied violin by Telemann are solidly in the tradition of German polyphonic/chordal solo string music (for example, the Bach violin Sonatas and Partitas). Often in such music one's interest is held by the sheer textural legerdemain of composer and performer - the marvel of one ostensibly monophonic instrument creating the illusion of multiple voices. There is a whole baroque cosmos contained in these little pieces, a grand tour of baroque affects and styles from learned to GALANT: graceful sicilianas alternate with austere SONATA DA CHIESA-like movements, and quasi-fugal pieces are followed fast on the heels by gauche country-fiddle dances. Andrew Manze, the baroque violin superstar of our time, finds miles of expressiveness and wit in what seems on the page to be plain and conventional baroque rhetoric. His playing is sparkling and nimble. His astounding technique is married to a beautiful CANTABILE tone, a bold sense of fantasy and humor, and a sure feeling for the structure, timing, and placement of the tiny movements that make up the fantasias. This is an extravaganza not to be missed by any fans of baroque violin playing.

scraping the surface.......2005-12-22

Andrew Manze's playing, hailed by petty music critics all over the world as witty and brilliant, blah blah blah, certainly falls flat here. Yes, he's got chops, and he's made it his admirable quest to record everything under the sun, but these beatiful and fun (yes, fun!) Fantasias are rich with rhetorical sentiment, and Manze breezes mechanically and monotonously. If you're a Manze fan already, of course you're going to love this CD. You'll also love it if you have no idea what "rhetorical sentiment" is. However, if you know anything about early music or prefer other things to eat besides vanilla pudding, you may not want to waste your money. I wish one day we could live in a world where recording companies record good music, not just flashy names.

A Catalog of Riches.......2001-11-07

Telemann's 12 Fantasias for solo violin (1735) are intriguingly elusive. Their brief movements offer a whirlwind tour of European manners and styles. The player's resources are laid bare -- no overarching formal design (this isn't Bach), and few openings for virtuosic display.

Andrew Manze is a star of the period-instrument set. Lightning reflexes (and wits) and improvisatory flair are his strengths -- precisely what this music demands. His playing is a catalog of riches. Compare two concluding allegros -- No. 4, with its bustling near-orchestral accompaniment sharply set against the melody, and No. 11, all fantastic lightness. Or the Italianate curves of No. 6's graceful Siciliana. Caroline Balding seconds Manze impeccably in the encore, a playful suite inspired by "Gulliver's Travels."

The sound is typical of Harmonia Mundi's best -- a close, unimpeded perspective, as mellow as it is brilliant.

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