Einfach [Import]

Einfach [Import]

Editorial Reviews
Product Description
Ascii.Disko breeds low-fi pop with electronica for a lethal concoction like none other. Straight out of Germany, this one man band is a genius at constructing minimal electronic pop music that neither lacks in diversity nor in intelligence. Taken from the

Tracks:

Brandenbutg Concerto No.3 In G First Movement
Overture No.3 In D Second Movement
Violin Concerto In E First Movement
Prelude In C minor
Jesu Bleibet Meine Freude (Chorus From Cantata No.147)
Overture No.2 In B minor Minuet And Badinerie
Oboe Concerto In D minor Second Movement
Brandenburg Concerto No.4 In G Third Movement
Musical Offering - Fuga canonica
Easter Oratorio - Overture
Minuet In D minor
Kommst Du Nun, Jesu, Vom Himmel herunter(From Choral Prelude BWV 650
Brandenburg Concerto No.1 In F Second Movement
Art Of The Fugue - Contrapunctus 9
Concerto For Flute, Violin, Harpsichord And Strings. Triple Concerto - Third Movement
Overture No.4 In D - Réjouissance
Concerto No. 1 in E: Spring
Concerto No. 1 in E: Spring
Concerto No. 1 in E: Spring
Concerto No. 2 in G minor: Summer
Concerto No. 2 in G minor: Summer
Concerto No. 2 in G minor: Summer
Concerto No. 3 in F: Autumn
Concerto No. 3 in F: Autumn
Concerto No. 3 in F: Autumn
Concerto No. 4 in F minor: Winter
Concerto No. 4 in F minor: Winter
Concerto No. 4 in F minor: Winter
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto for Flute, Strings & Basso Continuo in G minor, Op. 10, no.2
Concerto Grosso in A minor, Op. 3, no. 8
Concerto Grosso in A minor, Op. 3, no. 8
Concerto Grosso in A minor, Op. 3, no. 8
Water Music - Alla Hornpipe
Xerxes - Ombra Mai Fu (Largo)
Messiah - And The Glory Of The Lord
Concerto Grosso In A Minor, Op. 6, No. 4 - Larghetto Affettuoso
Organ Concerto In F, Op. 4, No. 4 Allegro
Water Music - Air
Messiah - For Unto Us A Child Is Born
Concerto Grosso In B flat, Op. 3, No. 2 - Largo
Salomon - Sinfonia, Act 3
The Choice Of Hercules - While For Thy Arms
Water Music - Allegro (Suite No. 1)
Suite No. 5 In E - Air With Variations
Jephtha - How Dark, O Lord
Organ Concerto In F, Op. 4, No. 5 Alla Siciliana - Presto
Mi Palpita Il Cor (Solo Cantata) S'un Di M'adora
Water Music - Andante Allegro Da Capo
Concerto for Trumpet & Orchestra in E-flat: First Movement
Symphony No. 94 in G: Surprise Symphony-second movement
Concerto for Violin No. 2 in D: Third Movement
Flute Trio No. 31 in G: Second Movement
Symphony No. 31 in D: Hornsignal-First Movement
String Quartet No. 17 in F, Op. 3, no. 5: Serenade Quartet-Second Movement
Sinfonia Concertante in B-flat for Violin, Cello, Oboe, Bassoon and Orchestra-Third Movement
Concerto for 2 Horns & Orchestra in E-flat: Second Movement
Symphony No. 88 in G: Fourth Movement
String Quartet No. 77 in C: Kaiser Quartet-Poco adagio cantabile
Notturno No. 1 in C: Second Movement
Symphony No. 98 in B: Londoner No. 4-Fourth Movement
Eine Kleine Nachtmusik - first movement
Piano Concerto in A - second movement
Flute Concerto in D - Rondeau
Serenade - Minuet
Violin Concerto - first movement
Symphony No. 40 in G minor - first movement
Clarinet Concerto - second movement
Turkish March
Divertimento - Minuet
Horn Concerto No. 3 in E-flat - first movement
Symphony No. 5 in C minor, Op. 67-First Movement
Piano Sonata No. 14 in C sharp minor, Op. 27, no. 2: Moonlight Sonata-First Movement
Overture
O welche Lust (Prisoners' Chorus)
Ha, welch ein Augenblick (Pizarros's Aria)
Concerto for Piano and Orchestra No. 3 in C minor, Op. 37: Second Movement
Concerto for Violin and Orchestra in D, Op. 61: Third Movement
Piano Sonata No. 8 in C minor, Op. 13: Pathétique-Second Movement
Sympony No. 6 in F, Op. 68: Pastorale-First Movement
Fantasy for Piano, Chorus and Orchestra in C minor, Op. 80: Choral Fantasy - Finale
German Dance No. 1 In C
Impromptu Op. 90, No. 3 In G-Flat
Heidenroslein
Ave Maria
Der Lindenbaum
Quintet In A 'Trout Quintet' - Andante
Mass No. 6 In E-Flat - Kyrie
Die Schone Mullerin Des Mullers Blumen
German Dance No. 2 In G
Piano Sonata In B-Flat
Nachtgesang Im Walde
Winterreise - No. 15: Die Krahe
German Mass - Zum Sanctus (Heilit, Heilig Ist Der Herr)
Symphony No. 8 In B Minor 'Unfinished' - Second Movement
Waltz No. 1 in E-flat, Op. 18 Grande Valse brillante
Nocturne in E-flat, Op. 9, no. 2
Etude in G-flat, Op. 10, no. 5
Concerto for Piano and Orchestra No. 2 in F minor, Op. 21-Second Movement
Mazurka in D minor, Op. 33, no. 2
Prelude in D-flat, Op. 28, no. 15 Raindrop
Etude in C, Op. 10, no. 1
Nocturne in D-flat, Op. 27, no. 2
Impromptu No. 4 in C-sharp minor, Op. 66 Fantasy Impromptu
Scherzo in B minor, Op. 20
Piano Sonata No. 2 in B-flat minor, Op. 35-Third Movement
Concerto for Piano and Orchestra No. 1 in E minor, Op. 11 - Third Movement
Piano Concerto No. 1 in B-flat minor - first movement 113.String Seranade - Waltz
Violin Concerto - second movement
The Sleeping Beauty - Waltz
Capriccio Italien, Op. 45
Swan Lake - Waltz
Eugene Onegin - Polonaise
The Nutcracker - Waltz of the Flowers
Orchestral Suite No. 4 - Mozartiana - Third Movement
Swan Lake - Dance of the Swans
Symphony No. 6 in B minor - Pathétique - Third Movement
Hungarian Dance No.5
Lullaby
Symphony No.1 in C minor, Op. 68 - Third Movement
Intermezzo in E-flat, Op.117, no. 1
Concerto for Violin and Orchestra in D, Op. 77 - Third Movement
Waltz, Op. 39, no. 15
Concert for Piano and Orchestra No. 2 in B-flat, Op. 83 - Second Movement
String Quintet in G, Op. 111 - Second Movement
Symphony No.4 in E minor, Op. 98 - Third Movement
Intermezzo in A minor, Op. 76, no. 7
Hungarian Dance No.1 in G minor
German Requiem Selig sind die Toten (Final Chorus)
Die Fledermaus - Overture
Kaiser Waltz, Op.437
Thunder And Lightning Polka, Op. 324
Roses From The South Waltz, Op. 388
AnnenPolka, Op. 117
Vienna Blood Waltz, Op. 354
Eljen A Magyar Polka, Op. 332
Wine, Women and Song Waltz, Op. 333
On The Beautiful Blue Danube Waltz, Op. 134
Die Meistersinger Von Nurnberg - Overture
Tannhauser - Die Pilger sind's (Pilgims' Chorus)
Tannhauser - O du mein holder Abendstern (Wolfram's Aria)
Lohengrin - Act 3 Prelude and Bridal Chorus
The Flying Dutchman - Jo-ho-he Traft ihr das Schiff (Senta's Ballad)
The Flying Dutchman - Steuermann, lass die Wacht (Sailors' Chorus)
Die Walkure - Wintersturme wichen dem Wonnemond (Siegmund's Aria)
Die Walkure - Ride of the Valkyries
Siegfried Hoho! Hoho! Hohei! Schmiede mein Hammer (Siegfried's Forging Song)
Tristan und Isolde - Liebestod
Thus sprach Zarathustra, Op. 30 (excerpt)
Don Juan, Op. 20
Eine Alpensinfonie, Op. 64, I.Nacht
Don Quixote, Op.35, first movement: Introduction
Salome, Op. 54, Dance Of The Seven Veils
Der Rosenkavalier, Op. 59, Finale: Hab' mir's gelobt ihn lieb zu haben
Piano Concerto 2 In C minor, Op. 18 - First Movement
Vocalise, Op.34, No. 14
Prelude In G Sharp minor, Op. 32, No. 12
Piano Concerto No. 4 In G minor, Op. 40 - Third Movement
Symphony No. 2 In E minor, Op. 27 - Third Movement
Piano Concerto No. 1 In F sharp minor, Op. 1 - Second Movement
Rhapsody, Op. 43 On A Theme By Paganini
Hungarian Rhapsody No.2
Liebestraum No.3 in A-flat
Piano Concerto No.1 in E-flat - third movement
Angelus
Mephisto Waltz No.1 (Dance in a Village Tavern)
Prelude and Fugue on B-A-C-H
Dante Symphony - Finale. - Purgatorio - Magnificat
Les Préludes
Boléro
Daphnis et Chloé first movement: Nocturne
Rhapsodie Espagnole
Shéhérazade - first movement: Asie
Ma Mère l'Oye - fourth movement: La Belle et la Bête
Introduction and Allegro for Harp, Flute, Clarinet, and String Quartet
La Valse
Slavic Dance No. 1 in C, Op. 46, no.1
Symphony No. 9 in E minor, Op. 95 'From the New World' - second movement
Humoresque, Op. 101
Slavic Dance No. 8 in G minor, Op. 46, no. 8
Serenade for String Orchestra, Op. 22 - second movement
Romance for Violin and Orchestra In F minor, Op. 11
Symphony No. 7 in D minor - third movement
Melodie (Songs My Mother Taught Me)
Carneval Overture, Op. 92
Concerto for Cello and Orchestra in B minor, Op. 104 - third movement
Symphony No.4 In A, Op. 90. Italian - First Movement
Frühlingslied In A, Op. 62, No. 6
Wedding March (From A Midsummer Night's Dream, Op.61)
Duetto In F, Op.30, No.6 (From Songs Without Words)
String Symphony No.9 In C. Schweitzer Symphony - Third Movement
Concerto For Violin, Piano And String Orchestra No. 1 In D minor - Second Movement
Symphony No.3 In A minor, Op.56 Scottish - Third Movement"
Notturno (From A Midsumment Night's Dream, Op. 61)
Rondo Capriccioso, Op.14
String Symphony No. 12 In G minor - First Movement
Venetian Gondola Song In F Sharp minor, Op.30, No.6
Scherzo (From A Midsumment Night's Dream, Op. 61)
Violin Concerto In E minor, Op.64 - Third Movement
Peer Gynt - Suite No. 1, Op. 46 - Morgenstimmung
Holberg Suite, Op. 40 - I. Prelude. Allegro vivace
Holberg Suite, Op. 40 - IV. Air. Andante religioso
Arietta, Op. 12, no. 1
Homage March from Sigurd Jorsalfar, Op. 56
Peer Gynt - Suite No. 2, Op. 55 - Solveig's Song
Wedding Day at Troldhauen, Op. 65, no. 6
The Last Spring, Op. 34, no. 2
Peer Gynt - Suite No. 1, Op 46 - Anitra's Dance
Nordic Melody Op. 63
Notturno, Op. 54, no. 4
Elegie, Op. 47, no. 5
Peer Gynt - Suite No. 2, Op. 55 - Arabic Dance
Piano Concerto in A minor, Op. 16 - Allegro
Symphony No. 3 in E flat, Op. 97 - Rhenish - first movement
Traumerai (from Kinderszenen, Op. 15)
Mondnacht (from Eichendorff-Liederkreis, Op. 39)
Aufschwung (from Fantasietucke, Op. 12)
Triolett, Op. 114, no. 2
Tanzlied (No. 1 from Duets, Op. 78)
Symphony No. 4 in D minor, Op. 120 - second movement
Frühlingsgruss
Abschied (from Waldszenen Op. 82)
Dichterliebe, Op. 48 - Im wunderschonen Monat Mai
Manfred Overture, Op. 115
Romance in F sharp, Op. 28, no. 2
Die Rose stand im Tau
Liebesgarten (from Four Duets, Op. 34)
Warum? (from Fantasiestucke, Op. 12)
Kennst du das Land, Op.79, no. 29 (from Lieder der Mignon, Op. 98a)
Von fremden Landern und Menschen (from Kinderszenen, Op. 15)

Album Description

An extraordinary 20-CD collection of great works by Bach, Vivaldi, Handel, Haydn, Mozart, Beethoven, Schubert, Chopin, Tchaikovsky, Brahms, Ravel, Mendelssohn, Rachmaninoff, J. Strauss, R. Strauss, Schumann, Wagner, Dvorak, Grieg and Liszt. It also features worldrenowned artists such as Sir Neville Marriner, Martha Argerich, Ivo Pogorelich, Hermann Prey, Reiner Goldberg, Sylvia Sass, Jochen Kowalski, Peter Schreler and many more. This exquisite, copper metallic, deluxe boxed set is the perfect gift for the classical music neophyte.

Customer Reviews:

Mill. Classical review.......2007-05-13

This is a great set of recordings for the money, the only problem was I've had to clean some of the CD's before they played correctly.

classical music for the unitiated.......2007-04-01

This set is a good way to start listening to classical music. It's very well produced and easy to listen to. I purchased it to use as part of my world history high school class. It would have been nice to have some bio information on the composers. However, the product is exactly as advertised and good value for the money. The students were intrigued by how many of the excerpts they had heard before.

Some little gems there that I had forgotten!.......2007-03-30

Although I studied classical music at school, I had all but forgotten it until I bought this set. I heard several tracks I haven't heard for over 30 years, and I had been humming Brahms's 'Hungarian Dance no. 5' for years without ever knowing what it was and it was on the disc, so that was nice.

I found it to be a very good selection overall, but I felt too much had already been heard on TV, which of course is what lots of newcomers to classical music might appreciate. I managed to find about 2 hours of tracks that I wanted to keep, which works out quite expensive per disc, but I did find some wonderful music I had completely forgotten about, so it was worth it. All in all, it represents good value, and I have only knocked one star off as so much of it had been used in adverts.

It is definitely a good introduction to classical music, and it has made me want to listen to more of it, so I don't regret this 'expensive' purchase one bit!

Classical Masterpieces of the Millennium [20 CD Set]

A very helpful collection.......2007-03-24

I define this set as an excellent way to find out who you like, and who you don't, among 20 of the important composers. It opens the door to purchasing more complete pieces by composers you do like, and can save a lot of time and money in the process.
To criticize the set for not containing more composers, or more than just snippets of those who are in the set, is missing the point: it is a helpful introduction to finding your way in the huge maze of classical music. It succeeds admirably in this.
Sound quality is uniformly very good on an audiophile system.
Highly recommended.

Excellent!.......2007-03-08

A great way to start a classical music collection. It's nice to have a full CD of each composer. It makes it easy to keep track of selections/composers I already have and what composers I still need to puchase to complete my collection.

William Kapell Edition Vol.2 - Chopin: Sonatas; Mendelssohn, Schumann, Mozart

Average customer rating:

The everlasting genius' flame!

William Kapell Edition Vol.2 - Chopin: Sonatas; Mendelssohn, Schumann, Mozart

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music

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William Kapell Edition Vol 4 - Khachaturian, Prokofiev

ASIN: B000040JEA
Release Date: 2000-02-08

Tracks:

Sonata No.2 In B Minor, Op.35: Allegro maestoso
Sonata No.2 In B Minor, Op.35: Scherzo: Molto vivace
Sonata No.2 In B Minor, Op.35: Largo
Sonata No.2 In B Minor, Op.35: Finale: Presto, non tanto
Waltz In E-Flat Major, Op.18
Sonata No.2 In B-Flat Minor, Op.35: Grave: Doppio movimento
Sonata No.2 In B-Flat Minor, Op.35: Scherzo
Sonata No.2 In B-Flat Minor, Op.35: Marche funebre
Sonata No.2 In B-Flat Minor, Op.35: Presto
Nocture In B-Flast Minor, Op.9 No.1
The Shepards Complaint
Romance, In F-Sharp, Op.28, No.2
Sonata No.16, In B-Flat Major, K.570: II. Adagio

Customer Reviews:

The everlasting genius' flame! .......2006-07-13

Febrile intensity, visceral enthusiasm, steeled fingering, unsurpassed poetry are some of the most praised epithets I would employ to resume in very brief words, the Promethean pianist per excellence, the unerring perfection of his unequaled sound.

Honesty, prodigious skillfulness and profound commitment will be the eternal feature of this distinguished artist.

The transcendence of these performances by far, surpasses all what the words may express. The Third sonata `s crystalline poetry and ethereal phrasing seems to emerge from the recording and literally hover all the hall. His artistic status allowed to achieve such expression level, and the only version which gets close in poetry is Dinu Lipatti.

The Nocturne Op. 9 is loaded of profound sentiment and transcendent lyricism as well as the Waltz Op. 18' s performance possesses such lyrical flight, charm, elegance and notorious élan, that one might state there is not any other version played with such sublime perfection, mercurial vehemence and aristocratic refinement.

The Second Sonata's performance is tinged of precognitive mood, dark poetry, featured of plumbed presages. This piece was performed just one week before the final flight in Australia Oct. 22 1953.

This album is a must-buy, due it's utopian to believe or even think to obtain such level of cathartic experience in the present times, due it does not seem the aim in the artistic minds of the actual generation of pianists. On the other hand, the creator imagination and inner fire he played is the consequence and not the cause of a spiritual attitude.

In memoriam!

Average customer rating:

one of Rubinstein's great recordings
Bold and Poetic Schumann

Rubinstein Collection, Vol. 51

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005427I
Release Date: 2001-03-06

Tracks:

Carnaval, Op.9: Preambule
Carnaval, Op.9: Pierrot
Carnaval, Op.9: Arlequin
Carnaval, Op.9: Valse Noble
Carnaval, Op.9: Eusebius
Carnaval, Op.9: Florestan
Carnaval, Op.9: Coquette
Carnaval, Op.9: Replique
Carnaval, Op.9: Papillons
Carnaval, Op.9: A.S.H.C.H.-S.C.H.A.
Carnaval, Op.9: Chiarana
Carnaval, Op.9: Chopin
Carnaval, Op.9: Estrella
Carnaval, Op.9: Reconnaissance
Carnaval, Op.9: Pantalon Et Colombine
Carnaval, Op.9: Valse Allemande
Carnaval, Op.9: Paganini (Intermezzo)
Carnaval, Op.9: Aveu
Carnaval, Op.9: Promenade
Carnaval, Op.9: Pause
Carnaval, Op.9: Marche Des 'Davidsbundler' Contre Les Philistins
Fantasiestucke, Op.12: Des Abends
Fantasiestucke, Op.12: Aufschwung
Fantasiestucke, Op.12: Warum?
Fantasiestucke, Op.12: Grillen
Fantasiestucke, Op.12: In Der Nacht
Fantasiestucke, Op.12: Fabel
Fantasiestucke, Op.12: Traumeswirren
Fantasiestucke, Op.12: Ende Vom Lied
Romance in F#, Op.28 No.2
Vogel Als Prophet (Waldszenen, Op.82 No.7)
Novellette in F, Op.21 No.1
Novellette in D, Op.21 No.2

Customer Reviews:

one of Rubinstein's great recordings.......2007-07-18

I heard Artur Rubinstein in recital only once - 1970 in San Diego - and recall that he played Bach, Schubert & Chopin. I was a teenager then & my exposure to serious music was limited, & even though Rubinstein played the famous "Heroic" polonaise of Chopin (which even I knew at the time) what I remember most vividly was his performance of Schumann's Fantasiestucke. Clearly this was music that he was very close to. Later, when I acquired my first Rubinstein album, it was these recordings of Carnaval & Fantasiestucke, & not Chopin, for which he was most famous, that I bought. I have heard many other Carnavals since, including Claudio Arrau's famous 1939 recording (as well as his disappointing stereo remake), but none have quite the same cohesiveness & sparkle as Rubinstein's. The technical challenges, which are considerable, are dispatched with consummate ease & the recorded sound is warm & rich. This is a recording that has stood the test of time very well. The same goes for Fantasiestucke, which is a completely magical recording. There is a stateliness combined with flights of fancy that are inimitable here - listeners would be hard pressed to find another interpretor with Rubinstein's insight & golden tone. As for the balance of the material on the disc, consider it a bonus; buy it for Carnaval & Fantasiestucke.

Very highly recommended!

Bold and Poetic Schumann.......2001-04-17

Arthur Rubinstein was more at home with Schumann than with any other German composer. This is understandable, especially when one considers that Rubinstein's mentor, Joseph Joachim, was a close associate of Johannes Brahms, who was in turn a close friend of both Robert and Clara Schumann.

Carnaval, Op. 9 was particularly close to Rubinstein's heart. It was a mainstay of his concert programs throughout his career, including at his very last concert in 1976. Rubinstein avoids the temptation to overly sectionalize the work--this is a remarkably direct performance. True, there is plenty of contrast between the extroverted Florestan and meditative Eusebius aspects of Schumann's musical nature, but Rubinstein never exaggerates these for pianistic effect. Incidentally, Rubinstein does not play the Sphinxes section midway through the piece. Schumann left it to the interpreter's discretion as to whether to play this part, which is notated unconventionally. Some have chosen to play it (Rachmaninoff {whose recording was considered by Rubinstein the greatest ever made, and which is mandatory for any serious piano collector}, Horowitz, and Uchida, among others); some have opted out (Rubinstein, Cherkassky, and Clara Schumann, to name a few).

The Fantasiestucke, Op. 12 featured on some of Rubinstein's earliest programs, including from his first American tour in 1906. He recorded it three times: in 1949; the stereo version featured here, from 1962; and in 1976 as part of his final solo recording. (There is an additional, live version from 1975 which Rubinstein did not authorize for release--it should be avoided at all costs.) The 1962 version is the finest of Rubinstein's recordings of the piece, and mainly for the same reasons which make the companion Carnaval work so well: the artful balance of detail with totality. This is balanced, as opposed to schizophrenic, Schumann playing.

The shorter pieces are effective makeweights to this collection. It is regrettable that Rubinstein never recorded a complete set of Novelettes or Waldszenen, but that was generally not Rubinstein's way.

Tracks:

Piano Sonata No. 15 In C, K 545: Allegro - Mitsuko Uchida
Piano Sonata No. 11 In A, K 331 'Alla Turca': Alla Turca (Allegretto) - Ingrid Haebler
Piano Sonata No. 14 In C Sharp Minor, Op. 27 No.2 'Moonlight': Adagio Sostenuto - Claudio Arrau
Fur Elise(Bagatelle In A Minor, Woo 59) - Alfred Brendel
Nocturen No.2 In E Flat, Op.9 No.2 - Tamas Vasary
Mazurka No.4 In B Minor, Op. 33 - Nikita Magaloff
Walt No.6 In D Flat, Op.64 No.1 'Minute Waltz' - Tamas Vasary
Polonaise No.6 In A Flat, Op. 53 - Shura Cherkassky
Moments Musicaux, Op.94 D 780 No.3 In F Minor (Allegro Moderato) - Mitsuko Uchida
Impromptus D 935, Op. 142 No. 2 In A Flat - Allegretto - Wilhelm Kempff
Kinderszenen, Op. 15 Traumerei - Alfred Brendel
Three Romances, Op.28 Einfach - Wilhelm Kempff
Rondo Capriccioso, Op. 14 - Wilhelm Backhaus
Songsw Without Words, Op. 62 'Spring Song' - Daniel Barenboim
Liebestraum No. 3, Op. 62 - Jorge Bolet
Hungarian Rhapsody No. 2 In C Sharp Minor - Misha Dichet
Lyric Pieces Notturno, Op. 54 No. 4 - Emil Gilels

Tracks:

Islamey - Julius Katchen
Rhapsodie No. 2 In G Minor, Op. 79 - Amrtha Argerich
Etude In C Sharp Minor, Op. 42 No. 5 - Yevgeny Kissin
Prelude In C Sharp Minor, Op.3 No.2 - Shura Cherkassky
Prelude In G Minor, Op.23 No.5 - Sviatoslav Ricther
Prelude In G, Op.32 No.5 - Vladimir Ashkenazy
Goyescas, Book 1 Quejas O La Maja El Ruisenor - Alicia De Larrocha
Gymnopedie No. 1 - Pascal Roge
Suite Bergamasque: Clair De Lune - Jorg Demus
Preludes, Book 1 : Girl With The Flaxen Hair - Arturo Benedetti Michelangeli
Etude No. 11 Pour Les Arpeges Composes - Alexis Weissenberg
Jeux D'eau - Matrtha Argerich
Pavane For A Dead Princess - Vladimir Ashkenazy
Le Tombeau De Couperin - Pascal Roge
Allegro Barbaro, BB 63, SZ 49 - Zoltan Kocsis
Tocacata In C, OP.11 - Martha Argerich
Prelude In C Sharp Minor: Andante Con Moto E Poco Rubato) - Werner Haas
Prelude No.23 In F (Moderato), Op.34 - Olli Mustonen
Prelude No.24 In D Minor (Allegretto), Op.34 - Olli Mustonen

Customer Reviews:

A great and daring mix of pieces performed by the best in the business!.......2006-10-16

I must agree with the prior review - there are SO many classical piano compilations that have the same overplayed Romantic-era pieces on them - and usually not terrific performances of them at that. Decca put together the opposite of your average "piano for relaxation" collection here. I'll just make a quick list of why this is better than the rest - an atypical review for me, but necessary to point out why this album stands far above what's generally a lousy genre of compilation CDs.

-The first CD is generally Romantic-period and prior music and progresses in roughly chronological order. The second is composed of primarily 20th century pieces - sure, the order is not totally faithful on either CD, but it is refreshing to see a collection arranged so that one can literally listen to the trends in piano composition grow and fade.

-Decca chose top-notch pianists, many of whom are widely regarded as the supreme interpreters of Composer X. For this reason, you have a very simple piece like Grieg's Notturno played with an emotional urgency and crystal clarity you're unlikely to hear from a lesser pianist than Emil Gilels, or a very complex, often banged-out piece like Prokofiev's Toccata navigated fearlessly by the Argentine goddess of piano, Martha Argerich.

-They showed some guts in their choice of pieces. Sure, no Schoenberg appears here, but this is not your typical conservative don't-rock-the-boat piano collection. Bartok's aggressive, relentless Allegro Barbaro pairs wonderfully with the Ravel and Prokofiev toccatas on either side of it on disc 2; a quick tour of Rachmaninoff's Preludes follows an incredible rendition of Balakirev's harrowingly difficult Islamey. One of the most beautiful piano works ever composed - and ignored by 99% of piano music compilers - makes an appearance in the middle of disc 2: Granados's Goyescas (Quejas, o la maja y el ruiseñor), an infinitely subtle and sublime - and modern twist on the late Romantic/Impressionistic piano tradition - handled impeccably by the composer's compatriot and student Alicia de Larrocha.

I haven't said quite enough about CD 1 - sure, their choices of Chopin, Schubert, and Liszt works are good as well. But I'm showing where my heart lies in solo classical piano - impressionists and early 20th century composers, I feel, are as good as it gets. Für Elise makes its token appearance, but even it seems well contextualized on the first CD between the immortal Adagio of the Moonlight Sonata and Chopin's delightfully simple Nocturne in E Flat, which immediately recalls Roman Polanski's "The Pianist" for those who have seen it.

In short, CD 1 and 2 share the unique qualities of a careful yet daring selection of piano pieces played by indisputable masters of the instrument. If CD1 is good as gold, then CD2 is platinum. Simply amazing. Thanks Decca!

Pure.......2004-06-12

This album has it all, believe it or not. There are loads of cheesy #1 blah blah albums that are horridly popular. Sure, there are many well-known pieces on this, such as Alla Turca, the Adagio Sostenuto of the Moonlight, Fur Elise and the Minute Waltz. But almost everything else is relatively unheard of outside of the closely knit piano community.

That said, these CD's opened my eyes to some of the greatest piano works of all time, those including: Schubert Impromptu in A-flat, Rondo Capriccioso, Liszt's Liebestraum, Liszt's second Hungarian Rhapsody, Islamey, all three Rachmaninoff preludes, Granados' Goyescas, and Prokofiev's Toccata in C. I have begun learning a good many of these pieces as a result.

Tracks:

About Faraway Lands and People
Romance in F-Sharp, Op. 29, No. 2
Evening (Fantasy Pieces, Op. 12, No. 2)
Trerei (Reverie)
Andante from Impromptu in B-Flat, Op. 142 No. 3
In My Homeland, Op. 42 No. 3
Sweet Reveries
Morning Prayer
Song Without Words in D, Op. 85 No. 4
Intermezzo in E-Flat, Op. 117 No. 1
Andante from Sonata in A, Hob. XVI:12
Sarabande from French Suite No. 5 in G
Little Tale, Op. 27, Book 1 No. 1 - Dmitry Borisovich Kabalevsky
Sancta Dorothea
By the Lake at Wallenstadt
Consolation III in D-Flat
Girl With the Flaxen Hair - Claude Debussy
Reverie
Cradle Song

Product Description

Chopin, Brahms,

Average customer rating:

Bold & Poetic Mono Schumann from Rubinstein

Rubinstein Collection, Vol. 20

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B00004ZD58
Release Date: 2001-08-07

Tracks:

Carnaval, Op.9: Preamble
Carnaval, Op.9: Pierrot
Carnaval, Op.9: Arlequin
Carnaval, Op.9: Valse Noble
Carnaval, Op.9: Eusebius
Carnaval, Op.9: Florestan
Carnaval, Op.9: Coquette
Carnaval, Op.9: Replique
Carnaval, Op.9: Papillons
Carnaval, Op.9: A.S.C.H.-S.C.H.A.
Carnaval, Op.9: Chiarina
Carnaval, Op.9: Chopin
Carnaval, Op.9: Estrella
Carnaval, Op.9: Reconnaissance
Carnaval, Op.9: Pantalon Et Colombine
Carnaval, Op.9: Valse Allemande
Carnaval, Op.9: Paganini (Intermezzo)
Carnaval, Op.9: Aveu
Carnaval, Op.9: Promenade
Carnaval, Op.9: Pause
Carnaval, Op.9: Marche Des 'Davidsbundler' Contre Les Philistins
Novellette in F, Op.21 No.1
Nachtstuck in F, Op.23 No.4
Romance in F#, Op.28 No.2
Fantasiestucke, Op.12: In The Evening
Fantasiestucke, Op.12: Soaring
Fantasiestucke, Op.12: Why?
Fantasiestucke, Op.12: Whims
Fantasiestucke, Op.12: In The Night
Fantasiestucke, Op.12: Fable
Fantasiestucke, Op.12: Dream Visions
Fantasiestucke, Op.12: End Of The Song

Customer Reviews:

Bold & Poetic Mono Schumann from Rubinstein.......2001-09-04

Carnaval, Op. 9 was particularly close to Rubinstein's heart. It was a mainstay of his concert programs throughout his career, including at his very last concert in 1976. As in his 1962 stereo remake, Rubinstein in 1949 avoids the temptation to overly sectionalize the work--this is a remarkably direct performance. True, there is plenty of contrast between the extroverted Florestan and meditative Eusebius aspects of Schumann's musical nature, but Rubinstein never exaggerates these for pianistic effect. Incidentally, Rubinstein does not play the Sphinxes section midway through the piece. Schumann left it to the interpreter's discretion as to whether to play this part, which is notated unconventionally. Some have chosen to play it (Rachmaninoff {whose recording was considered by Rubinstein the greatest ever made, and which is mandatory for any serious piano collector}, Horowitz, and Uchida, among others); some have opted out (Rubinstein, Cherkassky, and Clara Schumann, to name a few).

The Fantasiestucke, Op. 12 featured on some of Rubinstein's earliest programs, including from his first American tour in 1906. He recorded it three times: this version, from 1949; a stereo remake in 1962; and in 1976 as part of his final solo recording. (There is an additional, very sloppy live version from 1975 which Rubinstein did not authorize for release--it should be avoided at all costs.) This 1949 version succeeds mainly for the same reasons which make the companion Carnaval work so well: the artful balance of detail with totality. This is balanced, as opposed to schizophrenic, Schumann playing.

The Novellette is given a rather brusque, offhanded performance. The Nachtstuck features rather aimless, generic phrasing--it almost sounds as if it were being sightread. However, the Romance is performed with gentle ardor and poetry, the main theme--played by the thumbs of both hands--beautifully balanced with the accompinament.

Tracks:

Dankeschon
Albany
Eloisa
Lass Mich Bei Dir Sein
Sag Ihr
Du Wirst Alle Jahre Schoner
Wenn Es Dich Noch Gibt
Leben Mit Dir
Du- Du Bist Nicht Allein
Zuruck Zur Liebe
Happy Kenya Boy
Das Ist Leben
Tanz Heut Nacht Mit Mir
Das Lied Von Aragon
Fernweh
Die Schneeweiben Tauben
Was Ist Dabei, Wenn Wir Zwei Uns Lieben
Wir Sind Jug (Oh Maria)
Sieben Jahre, Sieben Meere
Abschied Ist Ein Scharfes Schwert
Alles Roger
Die Zeit Meines Lebens
Meine Liebe Gehort Nur Dir
Bleib Heut Bei Mir (Duett Mit Cindy Berger)
Ein Kissen Voller Traume
River Laldy
Une Rose Pour Isabelle
Solo Se La Realidad (I Don't Believe In It Anymore)
Swaggy (Australian Whistler)
Ein Hoffnungsloser Narr (Disillusioned Fool)
So Viele Tausend Seelen
Last Farewell
Miteinander
Mein Land Ist Kenia
Uncle Benny
A Perfect Day (Duett Mit Tochter Jessica)
Dich Zu Verlieren
Mexican Whistler
Ein Bisschen Aroma
Goodbye Ist Goodbye

Bruckner: Symphony No. 9 (with the Documentation of the Finale Fragment) [Hybrid SACD]

Average customer rating:

Harnoncourt's Bruckner, a viable alternative to Karajan?
Depends what you consider good
Terrific performance!
Unconvincing performance; interesting commentary
Harnoncourt roars, but Wildner rages

Bruckner: Symphony No. 9 (with the Documentation of the Finale Fragment) [Hybrid SACD]

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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Bruckner: Symphony No. 5 (with Excerpts from the Rehearsals) [Hybrid SACD]
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ASIN: B0000AF1IG
Release Date: 2003-10-21

Tracks:

Warum Hat Man Eigentlich 100 Jahre Lang Gedacht, E - Nikolaus Harnoncourt
Finale. T. 1-278 - Wiener Philharmoniker
Gegen Ende Eine Extreme Dissonanz In Den Trompeten - Nikolaus Harnoncourt
Nach Dem Ende Der Durchfuhrung Folgt Eine Wilde Fu - Nikolaus Harnoncourt
Finale. T. 279-342 - Wiener Philharmoniker
Quasi En Schreckensbild Des Todes - Nikolaus Harnoncourt
Finale. T. 343-478 - Wiener Philharmoniker
Danach Fehlen 16 Takte; Dazu Ist Nichts Zu Erklare - Nikolaus Harnoncourt
Finale. T. 479-510 - Lucke/Fehlender Partiturbog - Wiener Philharmoniker
Why Did We Think For Over Hundred Years That Nothing... - Nikolaus Harnoncourt
WAB 109: Finale. MM. 1-278 - Wiener Philharmoniker
Extreme Dissonances In The Trumpets Towards The End - Nikolaus Harnoncourt
At The End Of The Development A Wild Fugue Begins - Nikolaus Harnoncourt
Finale. MM. 279-342 - Wiener Philharmoniker
A Sudden Vision Of Death - Nikolaus Harnoncourt
Finale. MM. 343-478 - Wiener Philharmoniker
Then There Are Sixteen Bars Missing. We Will Just... - Nikolaus Harnoncourt
Finale. MM. 479-510 - Gap/Missing Score Bifolio - Wiener Philharmoniker

Tracks:

I. Satz. Feierlich; Misterioso - Wiener Philharmoniker
Scherzo. Bewegt; Lebhaft - Trio. Schnell - Scherzo - Wiener Philharmoniker
Adagio. Langsam; Feierlich - Wiener Philharmoniker

Customer Reviews:

Harnoncourt's Bruckner, a viable alternative to Karajan?.......2006-03-19

Even Karajan's detractors, except for the most severe, generally concede that he was supreme in Bruckner. His various performances of the Ninth Sym. with the Berlin Phil. are commanding in their huge scope, yet Karajan was also capable of delicate phrasing and had an intuitive grasp of how to organize these gigantic, sprawling movements. No one has quite reached that magistreial level since. To his credit, Harnoncourt doesn't try to. This is, for him, a straightforward performance that relies on some qualities Karajan's Bruckner doesn't possess.

First of all, Harnoncourt has his own instincts about phrasing and organizing the music. Contrary to a reviewer below, he doesn't exploit extreme rubato or sudden tempo changes. There are some quirky moments where the tempo speeds up unexpectedly, but overall, Harnoncourt's timing of 58 min. is dead center among various recordings (as much as I admire Giulini, his 68 min. traversal drags). Harnoncourt favors brash outbursts from the brass, particularly in the Scherzo, my least favorite movement here. But his main intent is to keep Bruckner simple, to impose himself far less than Karajan did with his ultra-control. This Bruckner Ninth is a bit plain at times, but it always breathes.

As to the recorded sound, I have only heard the regular two-channel CD, which is quite clear; the Vienna Pphil. is placed a bit far back on a wide soundstage. I would have liked to hear the solo winds up closer, but that's a quibble. This Bruckner Ninth satisfied me as much as the great accounts by Walter, Klemperer, Giulini, and Boulez. I sitll feel more thrills from Karajan's analog reading from the Sixties, yet Harnoncourt provides a viable alternative in itnerpretation.

In theory it was an exciting notion to provide a free bonus CD containing Harnoncourt's defense of Bruckner's surviving sketches for a fourth movement, never completed. Could it really be that his ocntemporaries were wrong and that Bruckner left us pages of great music begging to be revived? Harnoncourt's talk is highly persuasive, but when the Vienna Phil. actually plays what survives of the finale, it proves as sorely disappointing as its reputation would lead one to believe.

Depends what you consider good.......2004-06-14

Harnoncourt has done some great things for music in his career, but I would not consider this one of them. He achieves an "authentic" performing style from the Vienna Philharmonic with a thin string sound and little or no vibrato. So anyone expecting that sweet Vienna sound will be disappointed. But his conducting does not meet that goal of authenticity, because he varies tempos too much. It draws attention to itself and weakens the cohesiveness of the work as a whole.
There are other versions, many of which are mentioned by the other reviewers below (Giulini, Karajan, et al.), which communicate this great work more simply and effectively. They are also unique and full of interesting details (some attention to detail is good). In light of them, Harnoncourt's view is radically different. Experience has taught me that subtle differences in interpretation give pleasure with repeated listening. Radical differences are OK in a live performance (which this is), but do not stand the test of time. So I do not recommend this as a first recording to have of Bruckner's 9th.

Terrific performance!.......2004-02-25

The symphony recording is damn good, and the extras are very interesting (to hear Harnoncourt speaking German and English, to hear the sketches of the last movement). In my mind, this ranks among the very best -- with Celibidache on EMI, Giulini on DG, Bernstein on DG, and don't forget the second movement of the Jochum on EMI.

Unconvincing performance; interesting commentary.......2004-01-15

First off, I do not like the performance. Harnoncourt's tempi are erratic, particularly in the adagio (where he speeds up the second theme-group to the point he cheapens it).

Secondly, I found his commentary on the 4th movement "chunks" informative. They could easily have been printed in liner notes; instead, we have each of the chunks played twice, followed first by commentary German, then in English.

Thirdly, I see no reason why he should not have recorded the full movement as completed by someone -- by William Carragan (Chandos: Yoav Talmi, Oslo Philharmonic); by Nicola Samale & Giuseppe Mazzuca (Teldec: Inbal, Frankfurt Radio Symphony Orch [with the 5th Symphony]); or by Samale, Mazzuca, and John A Phillips (Camerata: Eichhorn, Linz Bruckner Orch). My first choice is the Carragan: though the Oslo band takes third place among those in these recordings, it is good enough and I find Carragan's completion the most convincing.*

(In January 1984 I went to New York and Carnegie Hall to hear the American Symphony Orchestra perform the premier of the 9th with Carragan's finale. The performance was reviewed the next day in the Times. I immediately wrote Joel Flegel, editor of Fanfare, asking if he knew whether a recording was planned. Joel was dubious and dismissive: "If that college professor really....")

As Carragan noted in his program notes for the ASO "premier," the finale includes the greatest of Bruckner's chorales. That magnificent theme cannot be understood or appreciated by hearing it only in Harnoncourt's chunks. It needs to be heard in context -- and that context can only be provided in a "performing version."

In my opinion, Harnoncourt does a disservice to Bruckner and to listeners by not offering a completed finale. There is certainly room for one in this two-disk set.

* But Carragan will either produce a new version or be superseded as pages not available to him have since been found -- and as still more come to light.

Harnoncourt roars, but Wildner rages.......2004-01-05

As the other reviewers note, this release is essential for anyone interested in this work, for the workshop and documentation of the currently surviving material from the final movement of the symphony. Another important aspect of the release is the use of a new "critical edition" of the initial three movements of Bruckner's 9th, which contains a number of very evident modifications, particularly in orchestration. All the same, it is a concert recording, and, at least in the usual CD format, balances aren't always optimal, trumpets and trombones often too forward, at the expense of the Vienna Phil's strings and (especially) glorious horn section, and timpani are somewhat reticent, especially in the first movement. Harnoncourt also tends to push a bit hard, lacking the natural plasticity in tempo that marks the greatest performances of the first three movements of this work. The impression is one of roaring power, building and receding throughout. Of the 4th movement sketches, Harnoncourt plays exactly what survives, except he omits the 50-odd bars of three coda fragments that have turned up.

Just a few months ago, a recording of the 9th including a reconstruction/completion of the 4th movement, based on the same body of fragments and sketches (including the coda) and prepared by the same editors, was released on Naxos(8.555933-34). The orchestra is the New Philharmonia of Westphalia (Germany) and the conductor is Johannes Wildner. Now, finally, we can hear this work in a form tantalizingly close to the way Bruckner intended. Furthermore, unlike Harnoncourt's Vienna Phil performance, Wildner and his astonishiingly capable Westphalians present what I can only describe as a ferocious performance, with horns and timpani cutting through the fabric of the orchestra at key points, and effectively flexible tempos. It's a performance unlike any I've heard since Furtwangler's furious and terrifying recording made in Berlin during the darkest days of World War II. If you've gotten the Harnoncourt (or even if you haven't), you have to get the Wildner, too.

Tracks:

Toccata In C Minor - Martha Argerich
Sonata In C Major - Arturo Bendetti Michelangeli
Piano Sonata In D Major - Christoph Eschenbach
Piano Sonata In D Major - Christoph Eschenbach
Piano Sonata In D Major - Christoph Eschenbach
Rondo In A Minor, K. 511 - Mitsuko Uchida
Fuga From Piano Sonata No. 31 In A-Flat - Emil Gilels
Inpromptu No. 2 In E-Flat - Sviatoslav Richter
Moment Musicans No, 2 In A-Flat - Andras Schiff
Ballad No. 2 In A- Flat Op. 23 - Arturo Benedettie Michelangeli
La Campanella From 'Paganini' Etudes - Jorge Bolet
Romance In F Sharp - Claudio Arrau
Spinning Song From Songs Without Words, Op. 67 - Daniel Barenboim

Tracks:

Capriccio In B Minor From Eight Piano Pieces Op. 76 - Stephen Bishop-Kovacevich
Intermezzo In A Major From Siz Piano Pieces, Op.118 - Radu Lupu
Melody In F Major, Op.3, No.1 - Shura Cherkassky
Souvenir De Porto Rico, Marche Des Gibaros - Ivan Davis
Etude En FormeDe Valse - Magda Tagliaferro
Vers La Flamme, Op. 72 - Sviatoslav Richter
Prelude In B-Flat, Op.23 No. 2 - Vladimir Ashkenazy
Prelude In B Minor, Op. 32, No. 10 - Alicia De Larrocha
Navarra From Iberia - Alcia De Larrocha
The Girl With Flaxen Hair From Preludes-Book 1 - Arturo Benedetti Michelangeli
L'Isle Joyeuse - Alexis Weissenberg
Menuet From Le Tombeau De Couperin - Jean-Yves Thibaudet
Six Roumanian Folk Dances, BB 68, Sz 56 - Zoltan Kocis
Six Roumanian Folk Dances, BB 68, Sz 56 - Zoltan Kocis
Six Roumanian Folk Dances, BB 68, Sz 56 - Zoltan Kocis
Six Roumanian Folk Dances, BB 68, Sz 56 - Zoltan Kocis
Six Roumanian Folk Dances, BB 68, Sz 56 - Zoltan Kocis
Six Roumanian Folk Dances, BB 68, Sz 56 - Zoltan Kocis
Bewegte Achtel From Three Piano Pieces, Op.11 - Mitsuko Uchida
Variations On 'I got Rhythm' For Piano And Orchestra - Wener Haas

Customer Reviews:

excellent artists!.......2004-05-20

I don't understand quite where the other reviewer is coming from. This is a treasure-trove of piano music by some of the best classical pianists of the last century. If you want a musical anthology of some of the best by some of the best, pick it up!

Autumn Songs: Popular Works For Solo Piano

Average customer rating:

Beautiful solo piano
Beautiful Music, Beautifully Played

Autumn Songs: Popular Works For Solo Piano

Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

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Piano Classics: Popular Works for Solo Piano
15 Nocturnes of John Field (1782 - 1837)
Beethoven: Piano Sonatas, Vol. 1
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ASIN: B000003D0U
Release Date: 2002-10-22

Tracks:

Traumerei, Op. 9, No. 4
Romance In F-Sharp Major, Op. 28, No. 2
La Fille Aux Cheveux de Lin
The Little Shepherd
Prelude In C Major
Nocturne In C-Sharp Minor, Op. 27, No. 1
Warum?
Allegro From Sonata In C Major, K. 545
Andante Molto From Sonata In G Minor, Op . 7
Melodie In F Major, Op. 3, No. 1
Autumn Song
Duetto
Song Without Words In G Major, Op. 62, No. 1
Le Coucou
'Minute' Waltz In D-Flat Major, Op. 64, No. 1
The Bee's Wedding
The Flight Of The Bumblebee
Valse In E-Flat Major
Prelude In C-Sharp Minor, Op. 3, No. 2
Consolation No 3 In D-Flat Major
Prelude No 2

Customer Reviews:

Beautiful solo piano.......2001-01-14

Irish pianist John O'Conor has eloquent phrasing, and impeccable technique. And this album is proof of that...21 beautiful songs, played as only a pianist of the highest caliber can play them. This album is very highly recommended. You don't have to be a classical connossieur to enjoy it...I most certainly am not. A lot of the pieces are very familiar, and as you hear them, you may find yourself saying "Oh, I know that song". This is the album that opened me up to more classical works, and since aquiring this, I have purchased more works by the composers on this album.

Beautiful Music, Beautifully Played.......2000-06-18

I have been a fan of the wonderful pianist John O'Conor since I first heard him live here in St. Louis. It was an unforgettable recital and I bought as many CD's of his that he had out at the time and have continued to add to my collection. Mr. O'Conor has a marvelously lyrical way of phrasing which seems to be almost like singing at times. This CD, Autumn Songs, is a great favorite of mine and I've given it as a present to several of my friends. I am a piano teacher and often play pieces from Mr. O'Conor's oeuvre to show a student how a great pianist would perform. This CD has such beautiful selections, and I especially love Mr. O'Conor's interpretation of "Duetto" from Mendelssohn's Song Without Words and "Warum?" and "Romance in F-sharp" by Schumann. Any music lover will enjoy this gorgeous CD. Give yourself a great gift and buy it.

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Music

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