Schubert: Sonata Arpeggione & Giuliani/Concerto for Guitar and String Orchestra

Editorial Reviews
Amazon.com
Today's guitar repertoire thrives on transcriptions, and this program makes for fascinating comparison for that very reason. The Giuliani is real guitar music. Williams plays it superbly, of course, and the composer's inspiration in this work is high on charm, with the last two movements consisting of elegantly stylized dances. Schubert's sonata, however, here arranged for guitar and string orchestra, is another matter entirely. The problem is that the music makes no sense at all with a guitar as soloist. The instrument has none of the sustaining qualities of a viola or cello (instruments that take the part of the obsolete arpeggione in modern performances). And while lots of guitar music has been transcribed from piano originals, pitting a guitar version of the original piano part against a full string orchestra completely reverses Schubert's balance of tone, making hash of the musical argument. Don't get me wrong--it's not unpleasant in any way, and it is very well played. Fans of Williams who don't know Schubert's original might not care or notice anything wrong, and so it is to them that this disc can be most strongly recommended. --David Hurwitz

Tracks:

Sonata For Arpeggione And Piano, D821: I. Allegro moderato
Sonata For Arpeggione And Piano, D821: II. Adagio
Sonata For Arpeggione And Piano, D821: III. Allegretto
Funf Stucke im Volkston, Op. 102: I. Mit Humor
Funf Stucke im Volkston, Op. 102: II. Langsam
Funf Stucke im Volkston, Op. 102: III. Nicht schnell
Funf Stucke im Volkston, Op. 102: IV. Nicht zu rasch
Funf Stucke im Volkston, Op. 102: V. Stark und markiert
Sonata For Cello And Piano: I. Prologue
Sonata For Cello And Piano: II. Serenade
Sonata For Cello And Piano: III. Finale

Customer Reviews:

magisterial recordings from 1968 and 1961.......2006-09-13

These are indeed magisterial readings, actually dating from 1961 (Schumann and Debussy) and 1968 (Schubert), in superb transfers. The front cover of this Decca Legends CD reissue is a little misleading about these dates, but the inside pages are clear and awesomely complete about this info and more on the technical processes, with the welcome bonus of reproductions of the two original LP covers from which these three pieces are culled.

They are ample, highly-charged romantic readings, leisurely in tempo, hightlighting the brooding wistfulness of Schubert's sonata rather than its youthful geniality, with warm, lyrical, indeed vocal tone and a wealth of nuances from the cellist, magnificent attention to dynamics and articulation from the pianist and superb listening of each other. How can anyone hearing this call the arpeggione sonata a "minor" work eludes me. The same values are applied to the Debussy sonata, resulting in a highly original and convincing interpretation, far removed from the relative dryness that characterized the French tradition of interpretation of that piece (witness Maréchal and Casadesus 1946 recording, reissued by Sony in their complete Casadesus collection). Ample, brooding, profound, harrowing, conjuring an enigmatic sound-world, with the second movement cello pizzicatos explosive like a menacing jazz double-bass: at their hands the sonata sounds like a meditation on approaching death (this was indeed one of Debussy's last compositions) - almost like a composition of Britten, one is tempted to say, and it is hard to imagine it played otherwise after that experience.

Decca's reissue poses a tricky problem of coupling and duplication, though. The Debussy and Schumann originally came on an LP with Britten's cello/piano sonata, and the Schubert was initially paired with Frank Bridge's cello/piano sonata. Now Decca has aptly reissued the Britten in an homogeneous coupling with the composer's two first solo cello suites, performed again by Rostropovich, an indispensable disc for any Britten and/or Rostropovich admirer - or just music lover (Cello Suites). But the Bridge they have reissued on CD again with the Schubert, as in the original LP - an understandable choice if not very generous in terms of timing (52'), but one that imposes on the record buyer an irksome duplication with the present disc (Schubert: Sonata for Arpeggione and Piano; Bridge: Sonata for Cello and Piano).

Bridge was Britten's teacher, so the latter's advocacy of his music is perhaps understandable, yet the cello sonata sounds to me like a broodingly romantic but ultiately impersonal and dull affair, and if forced to chose I would rather be with Schubert-Schumann-Debussy (more favorable in timing too, with 59') than with Schubert-Bridge. However, if like I do you consider that anything recorded by Britten and Rostropovich is of significance, Decca has reissued the Bridge sonata in one of their "British Music Collection" (470-189-2), paired - not very generously in terms of timing (57') - with 3 tone poems recorded in 1996 by the Academy of Saint-Martin in the Fields led by Neville Marriner (originally published in a collection called English Seasons, with tone poems by Bax, Delius, Foulds and Grainger), plus a short song by Kathleen Ferrier. It seems available only from Amazon.uk, though.

Anyway - yes, this Schubert-Schumann-Debussy is indeed of legendary stature.

Great recording of lesser works........2005-08-09

The highlight of this recording is the Schubert sonata for the Arpegione,the obsoleteness of which resulted in a free-for-all competition for transcriptions.The arrangement for cello and piano is perhaps the most famous.And in this recording,Rostropovich and Britten's excellent mastery of the work makes it sound as if Schubert had written this sonata for the cello.The beautiful cantabile inspirations are played with astounding expressiveness from both Rostropovich are Britten.the Arpegione Sonata is perhaps not a great masterpiece.But with stupendously beautiful playing from these 2 artists of the highest calibre at their highest achievements,the sonata really becomes a chef-d'oeuvre.The Schumann Cello Pieces and the Debussy Cello Sonata are pretty much the same case.They are lesser known works from both composers.But under Rostropovich and Britten's marvellous playing,one must wonder why these 2 works can ever be considered as a sign of the dwindling of the composing powers of Schumann and Debussy.

Desert Island Disc stuff here!.......2005-03-12

This is chamber music at its absolute finest. Britten was a pianist of extraordinarily understated warmth and sensitivity and the perfect accompanist to Rostropovich's soaringly beautiful cello playing. This is really is a music date beyond the every day, where something truly magical occurred between two legendary musicians. Apart from this, the quality and tone of recording are second to none. Other reviewers on this site have sniffed slightly at the choice of music, dismissing the Schumann in particular as unsophisticated. Don't listen to them. This is playing of such beauty and passion that, if you are a fan of even just one of the composers featured here - Schubert, Schummann or Debussy - you simply cannot afford to ignore this.

Sublime.......2004-08-10

This is just a joy from the first play.

Schubert is IMO the preeminent master of chamber music as he was of lieder. This performance of a rarely performed gem should put debate to rest on that. After all Schubert only had an outlet for his chamber-scale pieces...his symphonies remained undiscovered for decades. His death at 31 is one of the greatest tragedies to befall civilization and if you think I'm exaggerating buy this disc.

I seem to glaze off through the Schumann although it is probably just not as interesting a composition as the other two, and it suffers by comparison. His concerto certainly demonstrates he understood the instrument so I will have to listen more attentively.

The Debussy is interesting to me because I haven't heard Rostro play much modern stuff outside of Russians and he does a remarkably effective job of it. I'm not sure I've been impressed more by an instrumentalist than Rostro but that might be as stupidly obvious a statement as my comments on Schubert above.

Rostropovich/Britten Recording is a Gem.......2002-05-01

This remastered 1968 Decca recording of the collaboration of cellist Mstislav Rostropovich and pianist Benjamin Britten is nothing less than a model of inspired chamber music performance. The most lovely part of the album is the duo's performance of the Schubert "Arpeggione" sonata. The simple work, often difficult to make interesting in performance because of its simplicity, shines like a rare gem due to the highly sensitive playing of Benjamin Britten. Added to this is Rostropovich's wonderfully song-like presentation of the composer's melodies.

While I find the duo's performance of the Schumann "Fuenf Stuecke im Volkston" to be somewhat stodgy, I have enjoyed becoming acquainted with the work through this recording. Although a bit dull, the music is still played with clear purpose and direction.

I originally bought this CD because I wanted to have a fine recording of the Debussy cello sonata. I was delighted to hear this intricately interwoven performance. Rostropovich's performance is clear in its execution and intent, yet appropriately murky in its impressionistic delivery. I often replay the performance immediately because of the excitement the two musicians exude.

Customer Reviews:

Superb Performance, Weak reissue.......2007-06-04

Unfortunately, I am fortunate enough to have the original issue of this CD, without the notes removed so I don't miss what the previous reviewer finds lacking. I will follow his lead by noting that especially for musical innocents like myself, every piece of help the CD and give me is valueable, so I would miss it. If you are lucky enough to get a copy of the 1996 issue with the principal performers hard at work on their instruments under a majestic oak(?) tree in the summer sun, you will be much happier with your Schubert trout experience. But then again, the music is all the same, and I find it glorious, a veritable classical 'Super Session'.

cheaper reissue of a fine recording from 1995, with the loss of booklet notes.......2006-09-22

Sony has of course in its catalog one recording of the "Trout" quintet which has universally been recognized as a truly "great performance" since its first publication in 1967: the one by Rudolf Serkin and his partners from the Marlboro festival, now available with Mozart's clarinet quintet performed by Harold Wright (Schubert: Piano Quintet "Trout"; Mozart: Clarinet Quintet). Still, the present recording from 1995 around stars Emmanuel Ax and Yo-Yo Ma is also a fine, albeit interpretively slanted performance. Its values are brisk and almost hard-driven tempos throughout, muscular phrasings, crisp piano playing and ample lyricism from the strings. For more developed comments, see my review under the original issue: Schubert: Quintet, Op. 114 "The Trout" / Sonata, D. 821 "Arpeggione". Not a "Trout" for all tastes then and especially not for those who prefer a more easy-going, genial Schubert, but one that is treasurable precisely for its radicalism of approach. With the welcome addition of the Lied on which Schubert based his "Trout" variations, here nicely if lightly sung by Barbara Bonney, the Arpeggione sonata, played by the Ma-Ax duet, is a significant filler and a welcome complement to the weightier, more brooding and wistful approach of Rostropovich and Britten in 1968 (Decca Schubert, Debussy / Rostropovich, Britten). Ma emits unfailingly rich and creamy sonorities, with a wealth of vocal inflexions, and in the Finale displays awesome virtuosity. Thanks to this reissue, some 10 years after its original publication, you can now get it for cheaper, but at the cost of the original booklet's program notes, which are now reduced to an insignificant blurb. Well, it is for you to decide if a more developed pabulum is worth the extra bucks. I didn't think so.

Average customer rating:

Can Music Be Too Sweet?
Creative and Original
Fine Performances of Transcriptions for Violin and Piano

Schubert for Two (Dig)
Gil Shaham , Goran Sollscherr , and Schubert
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Paganini for Two / Gil Shaham, Goran Sollscher
Dvorák For Two: Works For Violin & Piano
Duos for Violin & Guitar
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The Fauré Album

ASIN: B00007KMOW
Release Date: 2003-02-11

Tracks:

Allegro Molto
Andante
Allegro Vivace
Moment Musical D 780 No.3
Standchen (Serenade) D 957 No.4
Valse Noble D 969 No.4
Landler D 790 No.3
Valse (Landler) D 146 No.12
Valse Noble D 969 No.3
German Dance D 783 No.10
Allegro Moderato
Adagio
Allegretto
Valse D 365 No.36
German Dance D 783 No.2
Valse D 365 No.2
No. 1
No. 19
No. 20
No. 21
No. 6
No. 2 'Trauerwalzer'
No. 3
No. 4
No. 16
No. 23
No. 7
No. 11
No. 12
No. 9
No. 10
Ave Maria (Ellen's Song III) D 839

Amazon.com

This CD's main attraction for many will be Gil Shaham's velvety violin in gorgeous, largely off-beat music. Others will relish these Schubert works in arrangements that replace the piano with the expert guitar of Göran Söllscher, enhancing the impression of hearing Schubert's music in the intimate domestic setting for which it was written. Most of the works are short, melodically rich dance-based gems on which Shaham and Söllscher lavish a Romantic tonal fullness and freedom rarely heard these days. Sometimes that's a bit too much of a good thing, as works like the Violin Sonata in D veer close to the sentimental. But more often the players' flexible approach makes it hard not to keep repeating items like the melting Serenade from Schwanengesang, the sprightly Moment musical in Kreisler's arrangement, the German Dance, and a truckload of other delights. Shaham isn't afraid to linger over attractive melodies or to use portamento and other weapons of the Romantic violin's arsenal, helping to make this disc so compelling. --Dan Davis

Customer Reviews:

Can Music Be Too Sweet?.......2006-09-14

Can music be too sweet? This philosophical question is worth pondering about. In the meantime go ahead and satisfy your musical sweet tooth with Shaham-Söllscher "Schubert for Two". This recording is a must for anybody who ever played violin and/or guitar. Mr. Shaham's rich and expressive vibrato is exactly how the vibrato was sounding in your young heart. Mr. Söllscher's sweet plucking will reincarnate your very first taste of guitar's sweetness, in a form of melodic exercises by Fernando Carruli. Your heart will ache with the desire to have back the sweet, innocent, uncomplicated, sunny music life of your childhood. You will love the "Arpeggione" piece. It will not sweep you off your feet, like the passionate, lush performance by Yuri Bashmet, but it will charm your socks off.
The booklet which comes with the CD is informative and engaging. It is full of fascinating details, such as the description of the now forgotten instrument arpeggione. This instrument was a hybrid between a guitar and a viola da gamba. It had six strings and frets like a guitar, but it was played with a bow. It was held between the knees! It is now solely remembered by the Schubert's composition titled after it. The booklet offers an insight into the music of Schubert and the making of this particular transcription and performance, as well as an interview with Shaham and Söllscher.

Creative and Original.......2005-08-09

Despite some musical limitations that I perceive in this CD,I still give it a 5-star due to its magnigicient overall qualities.
I bought the "Schubert for Two" recording out of curiosity,mostly for the Arpegione Sonata.An outstanding performance of the substatial sonata for the now obsolete musical instrument had been previously given by Britten and Rostropovich ( on the Decca label ).And I was really curious to see how the piece would sound with a completely different team-up of instruments.And I was really shocked.Shaham and Gollscher gives a first-rate performance of a charming but lesser-known Schubert sonata.It would be useful to compare this performance of the young Shaham to that of the veteran Rostropovich.In the first movement,Shaham reveals his impeccable sense of phrasing and makes out the contrast between the dreamy first subject and the energetic development of the theme.However,despite Sollscher's efforts,there is a dramatic loss in the richness of the expressive accompaniment section written for the piano.Thus,the first movement in this disc has less warmth and is somewhat unstable compared to the performance of Rostropovich and Britten.As a compensation,the beautiful Adagio is played with utter charm and serenity.Shaham's expressive playing combined with Sollscher's excellent sense of legato result in great warmth and intimacy that surpasses Rostropovich's recording itself.The famous third movement with its cantabile melody is played beautifully on both recordings.For the first subject in A major,Rostropovich and Britten's performance has a deeper and thicker tone.But Rostropovich seemed a little bit too "serious" in the 2 development sections,notably in the virtuosistic D minor phrase,making it sound somewhat harsh.Shaham and Sollscher take a more carefree approach to these 2 sections and are able to make them "sing" more,especially in the central E major phrase,which reveal Shaham's gorgeous,song-like tone.
If you intend to buy this recording for the Arpegione Sonata,it would be a good idea to possess Rostropovich's recording as well.You can't go wrong with the other works featured on this disc either.The Sonatina is also given a splendid performance (and is reminiscent of the duo's previously released "Paganini for two").The Serenade and Ave Maria prove Shaham's wonderful phrasing (but once again witness the loss of volume and depth of sound on the guitar compared to the original piano accompaniments).The famous F minor Moment Musical,imbued with a slight gyspy touch in this arrangement,is really interesting to listen to.And the German Dances,with their simplicity and easygoing structures,are very entertaining.The performance of the Waltzes are more frivolous.And I find the 3 Waltzes arranged for solo guitar are somewhat aloof compared to the other works on the disc.But in overall this is a good choice for all music fans,classical or non-classical alike.

Fine Performances of Transcriptions for Violin and Piano.......2003-05-02

Franz Schubert had the unique ability to blend the range of Romantic expressions with the elegant simplicity of the Classical style. In the short span of a song he expressed what Bruckner might take an entire symphonic movement to reveal.

Schubert for Two, a collection of transcriptions performed by violinist Gil Shaham and guitarist Göran Söllscher, captures the composer's intimate sophistication magnificently. Although the substitution of guitar for piano results in a regrettable loss of volume and resonance, the guitarist's direct contact of finger to string adds a wider variety of timbre. Schubert himself played guitar occasionally, and at least some of his works were published in similar transcriptions during his lifetime, so there is a sound historical basis for at least some of these versions of his work. Listeners may wish that the recording engineers had equalised the guitar more against the violin, but in so doing the natural balance of the instruments would have been destroyed.

Tracks:

Polonaise Brillante, Op.3 (1824): Introduction
Polonaise Brillante, Op.3 (1824): Alla Polacca
Sonata In A For Arpeggione & Piano, D.821 (1824): Allegro Moderato
Sonata In A For Arpeggione & Piano, D.821 (1824): Adagio
Sonata In A For Arpeggione & Piano, D.821 (1824): Allegretto
Hazkarah (1998)
Fantasy Pieces, Op.73 (1849): I.
Fantasy Pieces, Op.73 (1849): II.
Fantasy Pieces, Op.73 (1849): III.
Variations On One String On A Theme By Rossini (1819)
Requiem For Three Cellos And Piano, Op.66 (1892)

Customer Reviews:

Fine recording, both in performance and recording quality........2003-02-09

A fine recording of mostly standard cello pieces, done as a tribute to Mr. Haimovitz's teacher, the esteemed cellist, Leonard Rose, it does include modern 20th Century Works such as Robert Stern's Hazkarah or "In Memorium" commisioned by the Holocoast museum.
Haimovitz playing is moving and is finely accompanied by Itamar Golan. Recording quality is very good, if not quite demonstration class.
I first noticed Mr. Haimovitz as a locally based cellist, who had made a good recording of the Bach Cello Suites, which is fine though probably not at the same level as Rostropovich, Fournier, or Bylsma's recordings of the same landmark pieces. He formerly recorded for Deutsche Grammophon, but now seems to have established his own independent label. I look forward to hearing him live.

Schubert: Sonata In A/Schumann: Märchenbilder/Adagio & Allegro/Bruch: Kol Nidrei/Enesco: Konzertstücke

Average customer rating:

A tribute
Wonderful Viola Repertoire from the Romantic Period
Very impressive!
Bashmet Delivers!

Schubert: Sonata In A/Schumann: Märchenbilder/Adagio & Allegro/Bruch: Kol Nidrei/Enesco: Konzertstücke

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Six Cello Suites performed on viola
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A Portrait of the Viola
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ASIN: B000003EVD
Release Date: 1990-10-10

Tracks:

Sonata, D. 821 'Arpeggione' In A Minor: Allegro Moderato
Sonata, D. 821 'Arpeggione' In A Minor: Adagio
Sonata, D. 821 'Arpeggione' In A Minor: Allegretto
Marchenbilder, Op. 113: Nicht Schnell
Marchenbilder, Op. 113: Lebhaft
Marchenbilder, Op. 113: Rasch
Marchenbilder, Op. 113: Langsam, Mit Melancholischem Ausdruck
Adagio & Allegro, Op. 70
Kol Nidrei, Op. 47
Konzertstuck

Customer Reviews:

A tribute.......2004-09-26

Yuri Bashmet came to the Moscow Conservatoire at the age of eighteen and studied with violinist Vadim Borisovsky, but became the youngest ever candidate of professorship after that. He was one of most skillful at class, but likes to play The Beatle's songs with guitar. With a special talent, there are many composers had written for him, including Giya Kancheli, John Tavener, Poul Ruders, Sofia Gubaidulina...Several years ago, he has made an inpressive program on the Moscow chanel, called "The station of Dreams".
This CD is one of the best of Bashmet. He played gently, lovely in Schubert sonata in A, and unbelivably with Schumann's Marchenbilder. Especially in Schumann's Adagio/Allegro, you can feel the sound of a young Daniel Shafran. I recommend this CD and believe you will be happy with it.

Wonderful Viola Repertoire from the Romantic Period.......2004-05-23

Yuri Bashmet's recording of the Arpegionne sonata and the Marchenbilder are excellent, as with the other pieces on this disc. Although the Arpegionne sonata is mostly heard on cello, I think the viola transcription has a distinct, touching, aura to it, particularly the slow second movement. The Marchenbilder, or Fairy Tales, is one of the few works from the Romantic Period written for viola, which is too bad, because as you can hear in this recording, the viola is very well suited to the style of this period. Yuri Bashmet's playing is impeccable, and this recording is my favorite of the Marchenbilder. The last three works on this disc are interesting as well, although they do not compel constant, repeated listenings. The Bruch Kol Nidrei on this disc is originally for cello and orchestra, but is played in the transcription for viola and piano reduction. However, Yuri Bashmet has also made a recording of this work for viola and orchestra, which is on a disc with the Walton Concerto, Bruch Romance, and Bruch Concerto for Violin and Viola, also highly recommended.

Very impressive!.......2001-01-27

I bought this CD for my son, a violist, who will be studying the Schubert "Arpeggione" and the Schumann "Adagio & Allegro" in the coming year. I was unfamiliar with Yuri Bashmet, but am now a fan. His tone and interpretation are gorgeous. I hope he will be playing in the Boston area soon so I can attend a live concert.

Bashmet Delivers!.......2000-08-29

I am a young professional music educator and performer. I have, myself, performed the Schubert and the Bruch. I can safely say that Mr. Bashmet delivers the pieces wonderfully! I would definitely recommend this CD to both the professional musician as well as the casual listener.

Average customer rating:

Schuberts' Songs Without Words - Mischa Maisky
One longs for the words, but the sounds are lovely
Another way to hear the beauty of Franz Schubert
sing a little song for me
wonderful performances, great recording....

Franz Schubert: Songs Without Words

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
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ASIN: B000001GS5
Release Date: 1996-09-17

Tracks:

Sonata For Arpeggione And Piano In A Minor D 821: Allegro moderato
Sonata For Arpeggione And Piano In A Minor D 821: Adagio -
Sonata For Arpeggione And Piano In A Minor D 821: Allegretto
Lieder: Der Neugierige D 795 No.6
Lieder: Lied der Mignon D 877 No.4
Lieder: Tauschung D 911 No.19
Lieder: Der Leiermann D 911 No.24
Lieder: Nacht und Traume D 827
Lieder: Am Meer D 957 No.12
Lieder: An die Musik D 547
Lieder: Die Forelle D 550
Lieder: Stchen D957 No.4
Lieder: Der Einsame D 800
Lieder: Der Mund der Bach D 795 No.19
Lieder: Heidenroslein D 257
Lieder: Litanei auf das Fest Allerseelen D 343
Lieder: Du bist die Ruh D 776

Customer Reviews:

Schuberts' Songs Without Words - Mischa Maisky.......2006-01-07

This is pure velvet chocolate. What a relaxing and uplifting experience! Such finesse and teamwork between Mischa and his accompanist. This is one I listen to frequently and deeply. If cello is your love this album is for you.

One longs for the words, but the sounds are lovely.......2005-11-27

Maisky does his best to imitate a voice in these cello transcriptions of 14 Schubert lieder. (Some of the most famous--Die Forelle, Nacht und Traum--are mixed in with lesser known songs.) In that regard he is very successful--he knowss how to inflect with his bow the same words and syllables a singer would inflect. And his tone is romantic and tender throughout. Yet at some level this is Schubert as background music, and that's not fair to the composer's genius. Schubert was the greatest master at setting words to music, so let's not deprive him of that.

Another way to hear the beauty of Franz Schubert.......2004-10-30

SCHUBERT: SONGS WITHOUT WORDS is an elegant recital by pianist Daria Hovora and cellist Mischa Maisky that allows us to hear Schubert songs, beautifully rich as they are with the texts as sung by many of our finest singers, here solely for the instrumental line. Somehow the interplay between melody and accompaniment (always an equal partnership in Schubert's hands) is heightened by this experience.

Not that the entire album is appropriated by the cello standing in for a vocalist: the opening work is "Sonata for Arpeggione and Klavier" and is one of the highlights of the CD. But just listen to the performances of 'Standchen', 'An die Musik' and 'Du bist die Ruhe' and hear the extraordinary marriage between the piano and cello, singing as beautifully as any other version. This is one of those CDs that bears keeping out for multiple listenings in the late evening. Grady Harp, October 2004

sing a little song for me.......2004-03-09

Substituting the cello for voice in Schubert's songs may have been an enticing idea, but for me one that fell flat on too many of his nursery rhyme simple songs that would have benefited from a nuanced and inflected voice - and for heaven's sake, in this day and age of advanced editing, production, and mastering, must we put up with the non-musical bow scraping so evident without an obscuring orchestra throughout this recording? The Arpeggione Sonata is great fun...the dancing tunes remind one of Viennese naked drunken frolickers...or maybe not.

wonderful performances, great recording...........2002-08-15

OK, I own a zillion CD's but if I were headed to the provervial desert isle...this would be one to be sure to slip into one of my wallet sleeves.

First off, the music is unbelievably beautiful -- you get a first class performance of the Arpeggione. Maisky's tone just melts.

But then, there's the addition of the Schubert songs - and here's where this album is peerless.

Tracks:

Sonata 'Appreggione' D. 821: I. Allegro moderato
Sonata 'Appreggione' D. 821: II. Adagio
Sonata 'Appreggione' D. 821: III. Allegretto
Concerto No.1 In A Major For Guitar & String Orchestra, Op. 30: I. Allegro maestoso
Concerto No.1 In A Major For Guitar & String Orchestra, Op. 30: II. Andantino; Siciliano
Concerto No.1 In A Major For Guitar & String Orchestra, Op. 30: III. Rondo alla polacca

Amazon.com

Today's guitar repertoire thrives on transcriptions, and this program makes for fascinating comparison for that very reason. The Giuliani is real guitar music. Williams plays it superbly, of course, and the composer's inspiration in this work is high on charm, with the last two movements consisting of elegantly stylized dances. Schubert's sonata, however, here arranged for guitar and string orchestra, is another matter entirely. The problem is that the music makes no sense at all with a guitar as soloist. The instrument has none of the sustaining qualities of a viola or cello (instruments that take the part of the obsolete arpeggione in modern performances). And while lots of guitar music has been transcribed from piano originals, pitting a guitar version of the original piano part against a full string orchestra completely reverses Schubert's balance of tone, making hash of the musical argument. Don't get me wrong--it's not unpleasant in any way, and it is very well played. Fans of Williams who don't know Schubert's original might not care or notice anything wrong, and so it is to them that this disc can be most strongly recommended. --David Hurwitz

Customer Reviews:

Simple Mainstream Perfection.......2006-12-24

This is the kind of CD that transcends Classical Music and enters the mainstream as an example of what Classical Guitar can be. You don't have to be a Classical Music aficionado or a classical guitar buff to really appreciate this CD. It is a perfect example of the beauty and universal appeal of the classical guitar.

Terrific music, superbly performed.......2004-04-11

The Arpeggione Sonata of Schubert sounds terrific in this performance by John Williams and the Australian Chamber Orchestra. We were privileged to hear the piece performed live by these performers in Penrith [outer Sydney suburb] around the time that the CD was recorded.

While "it's never the same unless you're there at the game" as football fans know, the recording is as good as a recording can be.

Highly recommended.

a bravo performance of joy and playfulness!.......1999-11-06

JOHN WILLIAMS' PERFORMANCE IS A JOYFUL DELIGHT! HIS SKILLFUL KNOWLEDGE OF ALL THE TONES OF HIS SMALLMAN GUITAR EMBRACES THE SHUBERT MUSIC, WHICH INVITE THE LISTENER TO HIS PASSIONATE LOVE OF THE GUITAR'S SWEET MUSIC. HE COMPLEMENTS THE AUSTRALIA CHAMBER ORCHESTRA'S VIVID AND SPARKLING ACCENTS. I HIGHLY RECOMMEND THIS RECORDING FOR WILLIAMS' OBVIOUS PASSION FOR THE MELODIC MUSIC OF SHUBERT AND GUILLIANI. IN THE ALBUM NOTES MR. WILLIAMS MENTIONS HIS AFFINITY FOR THE MUSIC THROUGHOUT THE YEARS. FOR THE LISTENER, THIS RECORDING WILL ALWAYS BE A MEMORABLE EVENT. ENJOY THE MUSIC AND YOU MAY ACTUALLY BELIEVE YOU'RE THE GUITARIST! FOR 1999, THIS IS ONE OF THE GRANDEST CLASSICAL RECORDINGS. AS I LISTENED TO THIS RECORDING, I RECALLED IN MEMORY SEGOVIA'S RECORDING OF PONCE'S " CONCIERTO DEL SUR ". THE GAETANO GUADAGNINI GUITAR WAS AN EXCELLENT CHOICE FOR THIS GUILIANI RECORDING. ONE SHARES THE INTIMATE SALON TEXTURES OF A GUITAR BY WILLIAMS' SOFT AND HARMONIC ADAGIO STYLE. THIS RECORDING IS A MUSICAL ADVENTURE, ENJOY THE FLIGHT THROUGHOUT THIS AND THE FORTHCOMING CENTURY.

Living Legend.......1999-05-05

Williams is a living legend. Critics claim he lacks emotion but cannot dispute his flawless, superhuman technique. I only wish he would stop using that Smallman guitar for his all his recordings/performances. He does use a Gaetano Guadagnini from 1814 on this one for the Giuliani Concerto which sounds suprisingly good. John Williams is doing a tremendous amount for making guitar recordings accessible to non guitarists and for lending credibility to the guitar as a serious, magical and enchanting instrument. Bravo! Mr. Williams.

Average customer rating:

Stunning Lupu & Goldburg but Francais/Gendron outshone by Britten/Rostrapovic
What a Sensation!
A lovely set

Schubert: Music for Violin and Piano

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Dohnányi: Serenade for String Trio; Sextet

ASIN: B00004TTIL
Release Date: 2001-03-13

Tracks:

Violin Sonata In D Major, D384: I Allegro molto
Violin Sonata In D Major, D384: II Andante
Violin Sonata In D Major, D384: III Allegro vivace
Violin Sonata In G Minor, D408: I Allegro giusto
Violin Sonata In G Minor, D408: II Andante
Violin Sonata In G Minor, D408: Menuetto - Trio
Violin Sonata In G Minor, D408: Allegro giusto
Violin Sonata In A Minor, D385: I Allegro moderato
Violin Sonata In A Minor, D385: II Andante
Violin Sonata In A Minor, D385: III Menuetto
Violin Sonata In A Minor, D385: IV Allegro
Violin Sonata In A Major, D574: I Allegro moderato
Violin Sonata In A Major, D574: II Scherzo : Presto - Trio
Violin Sonata In A Major, D574: III Andantino
Violin Sonata In A Major, D574: IV Allegro vivace

Tracks:

Fantasia in C major For Violin And Piano, D934: I Andante moderato
Fantasia in C major For Violin And Piano, D934: II Allegretto
Fantasia in C major For Violin And Piano, D934: III Andantino
Fantasia in C major For Violin And Piano, D934: IV Tempo primo - Allegro vivace - Allegretto - Presto
Arpeggione Sonata in A Minor, D821: I Allegro moderato
Arpeggione Sonata in A Minor, D821: II Adagio -
Arpeggione Sonata in A Minor, D821: III Allegretto

Customer Reviews:

Stunning Lupu & Goldburg but Francais/Gendron outshone by Britten/Rostrapovic.......2005-10-27

This one alas loses a star to the arpeggione (performed by Gendron and Francais) which, compared to the magnificent and shimmering Britten/Rostrapovic version, sounds rather rushed and hollow. That is not to say the playing is poor - if hearing this for the first time the listener will be every bit as enthralled as with the rest of the CD.

The Lupu/Goldburg recordings on the other hand are sublime. Radu Lupu has a profound understanding of and affinity with the poetic soul of Schubert's music. Goldberg's violin never strains or hurries but pitches itself perfectly against Lupu's accompaniment. Together they penetrate the melancholy and darkness that runs under the delicate surface of Schubert's music. The beautiful and mysterious Fantasie is the musical equivalent to standing in a shower of transluscent, multi-coloured crystals and, unless you are really not the romantic type, will hold you utterly transfixed.

This is an absolutlely first class interpretation of some of Schubert's loveliest music.

What a Sensation!.......2005-06-11

You won't go wrong with anything by Schubert, so says a famous musicologist. Quite right. Even though his composition may not always be as well thought-out as Beethoven, Schubert's music is always beautiful and interesting. So are the pieces here.

On the whole, these pieces are light weighted, somewhat like light classical music, very charming and easy listening. But the players here are not light weighted at all. For those who are not so familiar with Goldberg, he had been concert master first of Dresden and then of Berlin Philharmonic for years before the Nazi rule. His mentor was the famous German pedagogue Carl Flesch, who also taught Ida Haendel, Szeryng, Menuhin... Lupu needs no introduction, he is probably one of the best 5 living pianists who can let the music speak for itself. The more go to him, the more he reminds you of Lipatti.

The Arpeggione Sonata that I refer to the most being Feuermann (EMI). So, in this album we also have Gendron playing the same piece. The playing is equally good, but the recorded sound is so much better. And, in case the name of Gendron doesn't ring a bell, he was one of best cellists of the French school of the same stature as Tortelier and Fournier: the three were colleagues in Paris Conservatory. He was also Menuhin's chosen partner. It is likely that after listening to Gendron, the audience will start to check him out.

A lovely set.......2004-05-16

Schubert's music for violin and piano includes four violin sonatas (the first three being called "sonatinas" originally), the D 934 Fantasy, and the amazing Arpeggione Sonata D 821.

The first three violin sonatas are considered to be "light weight" but they are quite charming. The fourth (D 574) and the Fantasy are excellent, substantial pieces. The entire performance by Goldberg and Lupu is above reproach.

The arpeggione was a strange 6-string fretted instrument, bowed like a cello. In this performance, Maurice Gendron uses a modern cello (and this piece is supposed to be a monster to play on the cello). The recording was done in 1954 and is mono (has no one dared to tackle it since?), but it is still quite outstanding.

Customer Reviews:

Let your mind travel.......2001-07-31

I knew Wispelwey and his Bach's sonatas are among my favourites. I plan to enjoy this record for a long time. It is really a nice idea to offer yourself (or a very good friend) the good time to listen such a wonderful thing. It lightens my spirits when I feel sad and relax me when I feel tired. I hope all of you have a real good time listening!

Schubert: Sonata in A Minor, Boccherini: Sonata No. 6

Average customer rating:

How About a Half-Dozen "Roses" Instead
MUST HAVE RECORDING

Schubert: Sonata in A Minor, Boccherini: Sonata No. 6
Leonaid Hambro , Franz Schubert , Luigi Boccherini , and Giovanni Battista Sammartini
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005Q6QC
Release Date: 2001-10-09

Tracks:

Schubert: Sonata In A Minor: Allegro moderato
Schubert: Sonata In A Minor: Adagio
Schubert: Sonata In A Minor: Allegretto
Boccherini: Sonata No. 6 In A Major: Adagio
Boccherini: Sonata No. 6 In A Major: Allegro
Sammartini: Sonata In G Major: Allegro
Sammartini: Sonata In G Major: Grave
Sammartini: Sonata In G Major: Vivace

Customer Reviews:

How About a Half-Dozen "Roses" Instead.......2003-07-13

This is a delightful reissue of a 1953 Mono LP of Cello Sonatas by the under-appreciated Leonard Rose and pianist Leonid Hambro. I love Leonard Rose and very much enjoy his Concerto recordings of the Dvorak Cello, Saint-Saens Cello No. 1, Lalo Cello, Tchiakovsky Variations on a Rococo theme, Bloch Schelomo, Faure Elegy and Brahms Double, all currently available in the Sony Essential Classics series, and the Schumann Cello, formerly available in the Bernstein Royal Edition series but now out of print. This CD is also terrific, but it is literally the same as the original LP. It logs in at a whopping 38:57! Sony, surely you could have given us a half-dozen Rose recordings instead of just the three featured here. That would have been worth getting excited over.

MUST HAVE RECORDING.......2002-02-28

This is one of the great chamber music recordings of all time. If you don't believe me, ask Yo Yo Ma. He speaks passionately about his affection for Rose's playing and this recording in particular. Leonard Rose and Leonid Hambro play like gods. The cello has never sounded better, hauntingly beautiful in the Schubert. There is an elegance to the performance that is absolutely spellbinding. It is a guilty pleasure to think of owning this recording, to be able to acquire it so inexpensively is amazing.

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