Schumann: Carnaval & Sonata No. 1

Editorial Reviews
Amazon.com
Evgeny Kissin has made brave choices in selecting this program. Schumann's Sonata No. 1 is a huge, sprawling piece, difficult to play and to hold together and therefore not very popular. Carnaval is one of Schumann's acknowledged masterpieces and has been recorded by a wide variety of pianists, providing plenty of competition. In the Sonata, Kissin's performance is a complete success. He has the largeness of spirit, powers of organization, and huge technique to make the music convincing and hold the listener's interest for more than half an hour. Carnaval is not quite so successful, as the pianist's fingers occasionally run away with him in rapid sections, and they become technical rather than musical events. Repeated listenings, though, reveal how well Kissin characterizes most of the music and how well his attention to detail ensures that we hear Schumann's ideas and countermelodies clearly. If the whole disc doesn't quite score A+, it's still very much worth hearing, especially for those Schumann lovers who don't know the Sonata well. --Leslie Gerber

Tracks:

Symphony No. 3 In E-flat Major, Op. 97: 'Rhenish' - Lebhaft
Andante And Variations In B-Flat Major
Symphonic Etudes, Op. 13
Toccata In C Major, Op. 7
Kreisleriana, Op. 16
Piano Concerto In A Minor, Op. 54: Allegro Vivace
Carnaval, Op. 9
'Dedication', Op. 25/1
Symphony No. 4 in D Minor, Op. 120: Introduction - Vivace
Papilons, Op. 2
Op. 25-3: 'The Nut Tree'
Symphony No. 3 In E-flat Major, Op. 97: 'Rhenish' - Lebhaft-Schneller
Piano Quintet In E-flat Major, Op. 44: Allegro ma non troppo
Piano Concerto In A Minor, Op. 54: Allegro affettuoso
Carnaval, Op. 9: Waltz
Album For The Young, Op. 68: The Merry Farmer
Scenes From Childhood, Op. 15: Dreams
Cello Concerto In A Minor, Op. 129: Nicht au schnell
Symphony No. 3 In E-flat Major, Op. 97: 'Rhenish' - Feierlich
Peer Gynt Suite No. 1, Op. 46, No 1
Lyric Suite, Op. 54-2: Norwegian Rustic Dance
Op. 12 No. 4: Elf Dance
Op. 35, No. 1: Norwegian Dances
Elegiac Melodies
Op. 64, No. 4: Symphonic Dances
Op. 35, No. 2: Norwegian Dances
Op. 5-3: 'I Love Thee'
Op. 43, No. 1: Butterfly
Op. 65, No. 6: Wedding Day At Troldhaugen
Peer Gynt Suite No. 1, Op. 46, No. 3: Anitra's Dance
Peer Gynt Suite No. 2, Op. 55, No. 4: Solveig's Song
Peer Gynt Suite No. 1, Op. 46, No. 4: In The Hall Of The Mountain King
Piano Concerto In A Minor, Op. 16: Allegro moderato; Allegro marcato
Holberg Suite, Op. 40: Prelude: Allegro vivace
Lyric Suite, Op. 54, No. 3: Dance Of The Dwarfs
Homage To Chopin
Sigurd Jorsalfar Suite, Op. 56, No. 3: Homage March
Peer Gynt Suite No. 1, Op. 46: Morning Mood
Peer Gynt Suite No. 1, Op. 46: The Death Of Aase
Peer Gynt Suite No. 1, Op. 46: Anitra's Dance
Peer Gynt Suite No. 1, Op. 46: In The Hall Of The Mountain King
Peer Gynt Suite No. 2, Op. 55: III The Return Of Peer Gynt
Peer Gynt Suite No. 2, Op. 55: IV Solveig's Song

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.

The 1960s recordings still sound remarkably full and well balanced, with even more presence here than on earlier releases.

Works for Solo Piano
Average customer rating:

Wonderful music, great playing, even better price

This is well worth the price

Not Ashkenazy's forte (pun on forte intended)

beautifully played, wonderful and overlooked pieces

Works for Solo Piano
Schumann , and Ashkenazy
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Liszt: Piano Works

Chopin: The Piano Works

Schubert: The Piano Sonatas

Haydn: The Complete Piano Sonatas

ASIN: B00006IU8T
Release Date: 2003-03-11

Tracks:

Arabeske In C, Op.18
Papillons, Op.2
Symphonic Studies, Op.13
Carnaval, Op.9
Humoreske, Op.20
Noveletten, Op.21
Waldszenen, Op.82
Kinderszenen, Op.15
Piano Sonata No.1 In F Sharp Minor, Op.11
8 Fantasiestke, Op.12
Blumenstk, Op.19
Davidsbdlertze, Op.6
Kreisleriana, Op.16
Noveletten, Op.21
Piano Sonata No.2 In G Minor, Op.22
Abegg Variations, Op.1
Fantasie In C, Op.17
Faschingsschwank Aus Wien, Op.26
Bunte Blter, Op.99
Nachtstke, Op.23
3 Romanzen, Op.28

Amazon.com

For less than $60, this seven-CD set brings the buyer almost all of Schumann's important works for solo piano performed by one of the great pianists of the last 50 years. Ashkenazy is nearly as insightful an interpreter of Schumann as he is of Chopin and the quality of these performances, which were recorded between 1984 and 1995, is generally high. The gnarled F-sharp Minor Sonata is beautifully organized, as well as emotionally compelling; "Papillons" has style, color, and flexibility; "Waldszenen" displays poetry, strength, and simplicity; the G-Minor Sonata is clearly outlined and impeccably delivered; "Kinderszenen" is played with fluidity and nuance; and "Carnaval" is delivered with bigness of conception, virility, and authority that make it among the finest ever recorded. Even on those occasions when Ashkenazy fails to reach such heights--as he does, for example, in a "Davidsbundlertanze" that is a mite too solemn and deliberate for the music's helter-skelter whimsy--his performances still achieve a distinguished standard. Nevertheless, it is Ashkenazy's misfortune that he must compete against his younger self. The readings in this set of the Symphonic Etudes, the Fantasy in C Major, "Kreisleriana," and the "Humoresque" fall short compared to those Ashkenazy recorded in the 1960s and early 1970s. In those earlier performance--reissued on a Double Decca set--the notes roll off the pianist's fingers in a dazzling and melting manner, with a singing tone and a sense of rapture, that he was unable to match 20 years later. --Stephen Wigler

Album Details

Few Pianists have Explored and Recorded Such a Wealth of Keyboard Literature as Vladimir Ashkenazy. During an Association with Decca which Stretches Back Almost 40 Years Now, Ashkenazy Has Completed Cycles of Some of the Most Important Concertos (Mozart, Beethoven, Prokofiev, Bartók and Rachmaninov), as Well as an Extensive Amount of Solo Literature.two Of the Greatest Figures in 19th-century Piano Music Are Chopin and Schumann, and Music by Both Composers Has Featured, and Continues to Feature, in Ashkenazy's Recitals. He Has Recorded Almost all of Chopin Solo Works and During the Years 1984-95 Undertook a Major Survey of Schumann's Solo Literature (Some Works Including the Sinfonische Etüden, Fantasie, Kreisleriana and Humoreske) Ashkenazy Had Recorded Earlier in his Career). These Digital Recordings Are Now Presented as a Box Set for the First Time and Are an Invaluable Collection of the Composer's Most Important Keyboard Works, Performed by One of the Greatest Pianists of his Ge

Customer Reviews:

Wonderful music, great playing, even better price.......2007-07-03

I keep reading reviews that say things like: "Well others have played this piece better than Ashkenazy..." or "If you want a complete set of Schumann piano works then Ashkenazy is adequate and a good bargain..."

I may not have heard every version of these Schumann pieces played by every pianist in the 20th century, but I can say that Ashkenazy plays these pieces absolutely wonderfully- with both technical virtuosity and emotional depth. If you really want to cobble together a collection of the "absolute best" Schumann pieces, and spend a couple hundred dollars in the process, that's certainly your prerogative.

I just can't see how anyone can fault Ashkenazy's playing of these pieces as being lesser than others. To my ears, he plays them faultlessly. There are times during the recording where I want to stand up and applaud, others when I want to weep.

For about $5-$8 per disc (depending on who you purchase it from) you can have this wonderful music. Buy it now, and listen often!

This is well worth the price.......2005-12-03

On the whole, this set is very good. true, ash's doesnt quite match up to pollini's recent dg david or kreis, but few do. There are still many gems here, some of which i rank as the top of the list in terms of interpretation. Firstly, waldszenen is giving an account here which in a word, is simply miraculous. Listen to how well he shapes the theme in the second piece, while most are struggling just to pull off the ferociously difficult chord jumps, yet ash does it with civility. Not even richter's fifities account is as well played or shaped. The kinderszenen is also marvelous, though not the best ever, or the second best or third(or fourth).....
But what every piece does give you, what ash himself seems to offer now, is a high standard of playing, though little over the top. But dont take that the wrong way, this set is a perfect way for anyone, even those pianophiles, to imburse or reimburse themselves in Schumann's wonderful world.
1.Wald-ash,haskil, richter, kempff
2.Kinder-moise, cortot, horsz, kempff
3.Davids-Giese, Pollini
4.Carnaval-Rach, Arrau
5.Sonata 1-Gilels, Ash
6. Symph Etudes- Richter, Richter, Richter, anda
7. Fant in C-Moise, Backhaus, Cohen, Richter
8. Humoreske-Richter-56 moscow, kempf. F

Not Ashkenazy's forte (pun on forte intended).......2004-11-21

On the whole, Ashkenazy just does not seem to be a gifted interpreter of Schumann. These readings, to my ear, are heavy handed, pedantic, burdensome, and lacking in the mysterious joy that pervades so much of the work of the Romantic master. Some performances are OK. The Sinfonische Etuden would probably the best of the lot. But in works like Carnaval, the Novelletten, Faschingschwank aus Wien, and the Kinderszenen Ashkenazy to my liking totally misses the target.

I much prefer the more introspective approach of Arrau, or the wild and intriguing Pollini. Even Barenboim comes closer to the heart of Schumann than Ashkenazy.

The recorded sound is often disappointing also. The sound on some pieces is so muddy I thought the microphone was behind a wall.

beautifully played, wonderful and overlooked pieces.......2003-04-29

This set is a remarkable value. Yes, you could choose some individual performances of certain works that are better, but for the price, this is a remarkable set. Ashkenazy is sympathetic to these wonderful and often overlooked solo piano compositions. Highly recommended.

Average customer rating:

Stunning. . . .
PORTRAIT OF AN ARTIST
A world-changing musician
CZIFFRA - A Keyboard Phenomenon

Les introuvables de Cziffra

Manufacturer: EMI Int'l
ProductGroup: Music
Binding: Audio CD

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ASIN: B000002SBW
Release Date: 2002-08-12

Tracks:

La Campanella, Grande Etude De Paganini No. 3
Nocturne No. 3 In A Flat Major, Reve D'Amour
Mephisto Valse (D'Apres Le Faust De Lenau)
Les Jeux D'Eau A La Villa D'Este
Valse Oubliee No. 1
Rhapsodie Espagnole
Valse Impromptu
La Ronde Des Lutins, Etude De Concert No. 2
Grand Galop Chromatique
Apres Une Lecture Du Dante, Fantasie Quasi Sonata (Extrait From 'Les Annees De Pelerinage')

Tracks:

Polonaise D'Eugene Oneguine (Tchaikovsky)
Rigoletto, Paraphrase De Concert (Verdi)
Tarentelle De Bravoure Sur Des Theme De 'La Muette De Portici' (Auber)
Valse De Faust (Gounod)
Improvisation Sur Les Themes De Guillaume Tell (Rossini)
Valse Triste (Vecsey)
Tritsch Tratsch Polka (Johann Strauss)
Le Beau Danube Bleu, Paraphrase (Johann Strauss)
Danse Hongroise No. 5 (Brahms)
Fantaisie Roumaine (Improvisation Dans Le Style Tzigane)
Le Vol Du Bourdon (Rimsky-Korsakov)

Tracks:

Islamey, Fantaisie Orientale
Toccata In C Major, Op. 7
Andante Et Rondo Capriccioso In E Major, Op. 14
Rondo In E Flat Major, Op. 11
Polonaise In C Major, Op. 89
Rondo A Capriccio In G Major, Op. 129
Andantino In B Minor
Bourree In E Flat Major
Sonata In C Major, K159
Le Tic Toc Choc ,Ou Les Maillotins
Les Barricades Mysterieuses
L'Anguille
La Bandoline
Les Petits Moulins A Vent
Les Folies Francaises Ou Les Dominos
La Poule
Le Rappel Des Oiseaux
Gavotte En Rondeau

Tracks:

Variations In C Major, Sur 'God Save The King', WoO 78
12 Variations In A Major, Sur Un Theme Russe (Wranitzky), WoO 71
32 Variations In C Minor, WoO 80
Fantaisie In F Minor, Op. 49
Book 1 - Variations Sur Un Theme De Paganini, Op. 35
Book 2 - Variations Sur Un Theme De Paganini, Op. 35

Tracks:

I. Grave - Allegro Molto E Con Brio, Sonata No. 8 In C Minor, Op. 13
II. Adagio Cantabile, Sonata No. 8 In C Minor, Op. 13
III. Rondo, Sonata No. 8 In C Minor, Op. 13
I. Allegro - Sonata No. 10 In G Major, Op. 14
II. Andante - Sonata No. 10 In G Major, Op. 14
III. Scherzo -Allegro Assai - Sonata No. 10 In G Major, Op. 14
I. Andante Con Variazioni - Sonata No. 12 In A Flat Major, Op. 26
II. Scherzo (Allegro Molto) - Sonata No. 12 In A Flat Major, Op. 26
III. Marcia Funebre (Andante Maestoso) - Sonata No. 12 In A Flat Major, Op. 26
IV. Allegro - Sonata No. 12 In A Flat Major, Op. 26
I. Andante - Allegro -Allegro Molto Vivace - Sonata No. 13 In E Flat Major, Op. 27
II. Adagio Con Espressione - Sonata No. 13 In E Flat Major, Op. 27
III. Allegro Vivace - Sonata No. 13 In E Flat Major, Op. 27

Tracks:

Preambule Carnaval Op9
Pierrot Carnaval Op9
Arlequin Carnaval Op9
Valse Noble Carnaval Op9
Eusebius Carnaval Op9
Florestan Carnaval Op9
Coquette Carnaval Op9
Replique Carnaval Op9
Papillons Carnaval Op9
A.S.C.H., S.C.H.A., Lettres Dansantes Carnaval Op9
Chiarina Carnaval Op9
Chopin Carnaval Op9
Estrella Carnaval Op9
Reconnaissance Carnaval Op9
Pantalon Et Colombine Carnaval Op9
Valse Allemande - Intermezzo: Paganinni Carnaval Op9
Aveu Carnaval Op9
Promenade Carnaval Op9
Pause Carnaval Op9
Danse Des Davidsbundler Contre Les Philistins Carnaval Op9
I. Des Abends Fantasiestucke Op12
II. Aufschwung Fantasiestucke Op12
III. Warum? Fantasiestucke Op12
IV. Grillen Fantasiestucke Op12
V. In Der Nacht Fantasiestucke Op12
VI. Fabel Fantasiestucke Op12
VII. Traumeswirren Fantasiestucke Op12
VIII. Ende Vom Lied Fantasiestucke Op12
I. Allegro - Carnaval De Vienne, Op. 26
II. Romanze - Carnaval De Vienne, Op. 26
III. Scherzino - Carnaval De Vienne, Op. 26
IV. Intermezzo - Carnaval De Vienne, Op. 26
V. Final - Carnaval De Vienne, Op. 26

Tracks:

Fantaisie Hongroise In F Major For Piano And Orchestra
Totentanz, Paraphrase Sur Le 'Dies Irae' Pour Piano Et Orchestre
Variations Symphoniques Pour Piano Et Orchestre
I. Allegro Molto Moderato - Concerto For Piano And Orchestra In A Minor, Op. 16
II. Adagio - Concerto For Piano And Orchestra In A Minor, Op. 16
III. Allegro Moderato Molto E Marcato - Andante Maestoso - Concerto For Piano And Orchestra In A Minor, Op. 16

Tracks:

I. Adagio Sostenuto Assai - Concerto No. 2 For Piano And Orchestra In A Major
II. Allegro Agitato Assai - Concerto No. 2 For Piano And Orchestra In A Major
III. Allegro Moderato - Concerto No. 2 For Piano And Orchestra In A Major
IV. Allegro Deciso - Concerto No. 2 For Piano And Orchestra In A Major
V. Marziale, Un Poco Meno Allegro - Concerto No. 2 For Piano And Orchestra In A Major
VI. Allegro Animato - Concerto No. 2 For Piano And Orchestra In A Major
I. Allegro Maestoso - Concerto No. 1 For Piano And Orchestra In E Flat Major
II. Quasi Adagio - Concerto No. 1 For Piano And Orchestra In E Flat Major
III. Allegretto Vivace - Allegro Animato - Concerto No. 1 For Piano And Orchestra In E Flat Major
IV. Allegro Marziale Animato - Concerto No. 1 For Piano And Orchestra In E Flat Major
I. Allegro Non Troppo E Molto Maestoso - Allegro Con Spirito - Concerto No. 1 For Piano And Orchestra In B Flat Minor, Op. 23
II. Andante Semplice - Prestissimo - Tempo 1 - Concerto No. 1 For Piano And Orchestra In B Flat Minor, Op. 23
III. Allegro Con Fuoco - Concerto No. 1 For Piano And Orchestra In B Flat Minor, Op. 23

Customer Reviews:

Stunning. . . . .......2007-01-10

I bought this set with some trepidation, since I didn't know what to expect from Cziffra's playing of composers other than Liszt. I had only heard him in his mercurially brilliant Lisztian incarnation, and didn't know how he would do with a less flamboyant style.
I have been very pleasantly surprised, especially at his Beethoven and his Schumann. I found that he kept the spontaneity of his Lisztian interpretations, but channelled it chronologically into insightful and spontaneous Beethoven interpretations, while respecting most of the rules and performance practices of the Classic era.
His Schumann was mercurial and spontaneous in a Romantic fashion, also, and - of course - brilliantly digitally played. As to the Liszt, it's par excellence; I've never heard that music played with such spontaneity and
digital fluency.
The sound quality is surprisingly good, altho somewhat uneven. I highly recommend this set to anyone who loves great piano-playing. My favorite pianist is still Richter, but Cziffra takes first prize in his Liszt, and runs a close second with other composers' music.

PORTRAIT OF AN ARTIST.......2006-10-15

The eight discs making up this set are invaluable to anyone interested in this extraordinary musician and pianist. His career was cut tragically short, and while it lasted he was most in demand to display his astounding technique in Liszt. He did it because he could. Not being enormously attracted to Liszt I was slow in coming to know Cziffra, but when I did what struck me forcibly was that the picture I had been given of him was seriously misleading. Any suggestion that he was a wilful virtuoso who turned the standard classics into something of his own is 180 degrees wide of the mark, and this selection enables us to hear what his playing was really like in music ranging from Lully and Couperin to the late 19th century, taking in on the way Rameau, Scarlatti, C P E Bach, Beethoven, Hummel, Chopin, Mendelssohn and Schumann. Liszt is here in the shape of the two concertos, the Totentanz and the Hungarian Fantasy plus some solos, my collection of least favourite romantic concertos is enhanced with his renderings of the Grieg and Tchaikovsky, but relief from these is provided with Franck's symphonic variations. Among the non-Liszt solo pieces we are given a number usually thought to call for exceptional virtuosity, namely Schumann's toccata, Mendelssohn's rondo capriccioso and Brahms's Paganini variations. Balakirev's Islamey is here too, but in a version of Cziffra's own, and so are some of his own virtuoso arrangements including one of the Flight of the Bumblebee as well as four similar efforts from Liszt.

Cziffra himself didn't aid popular comprehension by saying that he couldn't play Beethoven. I already owned his Waldstein, but here we have four more sonatas plus some smaller pieces, all early works. If I have a fault to find with his Waldstein it's that it is rather understated. What I don't fault at all is his sense of Beethoven's idiom, and the only flash of Cziffra's phenomenal technique comes where there can be no objection in the up-and-down octaves near the end. These are normally played glissando, because to finger them in strict time is impossible, allegedly. Even Horowitz can't do that - but Cziffra can. This really sums up his way of doing things - the technique is exercised strictly when needed, and then not in a showy way unless the sense of the music demands that. Try the Mendelssohn rondo here - light-fingered in the main rondo theme, relaxed in the episodes - then hear Serkin on Aura in his 1957 recital in Lugano, high-tension and full-speed-ahead. Serkin brought the audience to its feet, Cziffra is simply enjoying the piece, and very Mendelssohnian he sounds. Or again the Schumann toccata. Richter won raptures from the critics for his handling of the rat-tat fortissimo chords near the end while making no concessions to the tempo. He does that no better than Cziffra, if as well. The difference is that Richter `makes more' of the supposedly virtuoso sequences earlier. Now how about Cziffra's Beethoven here? It is natural, idiomatic and kept within a certain volume-level. There is no showing off let alone messing around. If Cziffra recalls anyone it is Kempff, and these performances would be safe models for teachers. In Schumann it's the same story. Not everyone could play Traumeswirren like this, and here and there the finger-work had me rubbing my eyes, but I keep sensing that Cziffra is not even aware that he's doing anything exceptional. The idiom is dead right, the rubato is natural, the lyricism is spontaneous if less `warm' than some, the sense of the overall structure is effortless - and I could say all that about Chopin's F minor fantasy too.

I can't avoid Liszt, but some comparisons are interesting. This high-powered Totentanz has been rightly praised, but both in this work and in the first concerto I feel that Michelangeli beats Cziffra at what is supposedly Cziffra's own game. I hear Michelangeli as Cziffra's solitary equal as a technician, but in second-rate music like this spontaneity and dexterity are trumped by an above-it-all Olympian aloofness, and Cziffra undoubtedly does not take the ultra-care that Michelangeli takes over perfect evenness of touch, sublime poise in the rhythm and super-perfection in the trills. (In the matter of trills, you can hear what Cziffra can do when he puts his mind to it in the fiendish 4th variation in book 1 of Brahms's Paganinis). In the 2nd concerto Cziffra is the best I have yet heard. In sheer technical address neither he nor anyone surpasses Richter, but where I like Cziffra better is in an aspect of his playing that gets too little attention, namely his natural and unaffected lyricism. In the Hungarian Fantasy, the Liszt solos and the various arrangements I imagine Cziffra is unsurpassed and unsurpassable, not that I propose to research that matter much.

The Grieg and Tchaikovsky concertos are here too. Cziffra adopts moderate tempi in the outer movements of the Grieg as the composer directs. The first movement of the Tchaikovsky is done as I like it, insofar as I like it at all. The introduction is taken fast, rather as Horowitz and Toscanini take it although I miss Toscanini's direction. The last movement however is taken at a very moderate pace, with the excitement saved for the end. Later performances are of some French music. In these pieces, as in the Scarlatti sonata, I wouldn't say that Cziffra stands out particularly - with one telling exception, Couperin's Barricades Mysterieuses, atmospheric and bewitching. Was this what they told you to expect from Cziffra?

He was a natural, a child of the gods. The near-unbelievable technique was an important part of his gift, but what I prize most is his lyric manner - simple, innocent and clear-eyed. His actual touch is not one that you could identify within seconds, as you could identify that of Horowitz, Serkin, Richter or Michelangeli, but it is utterly free from affectation. The better you know him, the more you will love him.

A world-changing musician.......2006-01-30

I've not a lot to add to Alan Thorpe's review except to say that to be young when Cziffra burst upon the world in 1956 after he left Hungary & started playing in western Europe was sheer intoxication--and it wasn't all Liszt either! Like Richter, who appeared at the same time, he played Schumann in a way that opened up entire new fields of tonal & interpretive possibility. I must say, too, that from the start, I admired his Beethoven--I like lyrically played Beethoven! Why shouldn't Beethoven sing as well as growl? He did write some lovely songs, after all. Cziffra's versions of Op.13, Op.14/2 & Op.26 on this set are very satisfying--I just wish they had managed to include a recording of his version of the Waldstein, too.

CZIFFRA - A Keyboard Phenomenon.......2001-05-26

Issued in 1991 by EMI France to celebrate Cziffra's 70th birthday this 8 CD boxed set is a bargain. The first CD is all Liszt and contains some of the most spellbinding playing you are ever likely to hear. Fire and brimstone reign as Cziffra tears up the keyboard in the Dante Sonata's demonic moments; surely a whiff of sulphur as he spontaneously combusts during the Mephisto-Valse; the Rhapsodie espagnole and Grand Galop chromatique {see him sweat playing this on Philip's `Great Pianists of the 20th Century video.}. As a contrast, be seduced by his heart-melting rendering of the third Liebestraume; the caprice of the Valse-Impromptu; and have the waters of `Les Jeux d'eau a la Villa d'Este' ever cascaded so onomatopoeically and with such a transcendental variety of touch and nuance. More diablerie follows on disc 2 with transcriptions by Liszt and those {in} famous ones by Cziffra himself. I have never heard a more demonic Gounod/Liszt ` Valse de Faust'; Auber/Liszt `Tarantelle de bravura'; or Tchaikovsky/Liszt Polonaise from `Eugene Onegin'; as for Cziffra's playing of his own transcriptions and paraphrases, especially the Strauss `Tritsch-tratsch polka' and Rimsky-Korsakov `Flight of the Bumble-bee; well, they are in a class of their own. Both Katsaris and Volodos recorded the latter pieces but I'm afraid they cannot compare with Cziffra's sheer electricity and panache. You will now need an ice pack as disc 3 opens with Balakirev's Islamey which starts steadily enough compared to say Simon Barere's famous account {now on APR} but increases in excitement as Cziffra adds all kind of gypsy embellishments as he builds to a fiery conclusion. Excitement is also the key to the next piece; Schumann's Toccata, which Cziffra plays with effortless abandonment and joie de vivre as he also does Mendelssohn's Rondo Capriccioso. Cziffra loved to play Baroque music and the rest of this disc is taken up by mainly short but characterful pieces by Couperin, Lully, Rameau and Krebs. Many were recorded in the 1980s and sound better if played back at a reduced volume level as they were obviously too closely miked. Cziffra once said that he couldn't play Beethoven so preferred to leave it to others who could. He did record a number of sonatas and this selection includes very fine accounts of the `Pathetique'; No. 13 in E flat Op27/1 {companion to the `Moonlight'};and Op. 26 in A flat. He brings a full cantabile to the latter works opening movt. and to the Adagio of the `Pathetique'. Elsewhere he plays with refinement and elegance; everything is in the best possible taste and there is nothing to offend, but those who like their Beethoven a bit more rough and gruff could be a bit disappointed as they might also be with Cziffra's Brahm's Paganini Variations which are technically stunning but find Cziffra musically out of sorts. The Schumann disc finds him on top form. Like many great artists Cziffra loved to play Schumann and he was equally at home with Eusebius { the dreamer} as he was with Florestan { the impetuous side of his character} and this is self evident in his brilliantly characterful accounts of Carnaval, Fantasiestücke, and Carnaval de Vienne - the latter piece highly praised by Cortot after he heard Cziffra during a Paris radio broadcast in the late 1950s. Discs 7 and 8 are all concertante works and show Cziffra at the very height of his stupendous powers. Again Cziffra has his demon up in the most astounding Liszt Totentanz ever recorded; a Hungarian Fantasy with all the improvisational colours of a band of gypsy fiddlers and an ideally recreative performance of the second concerto to make all others sound four-square . To cap this there is a fabulous Grieg concerto in which Cziffra dares to improvise the end of the Lisztian style cadenza; a meltingly beautiful slow movt with an excitingly brilliant finale. Last but certainly not the least, a very poetic reading of Franck's Symphonic Variations and a Tchaikovsky first concerto which combines thrilling virtuosity with all those individual touches that only a genuinely recreative artist can bring to such a familiar masterpiece. This collection is a splendid tribute to one of histories greatest pianists - an artist who knew the authentic meaning of ` bravura'.

Schumann: Carnaval; Brahms: "Paganini" Variations; Bach-Busoni: Chaconne

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One of the one hundred recordings in any age

Schumann: Carnaval; Brahms: "Paganini" Variations; Bach-Busoni: Chaconne

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Ravel/Rachmaninov: Piano Concertos
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Arturo Benedetti Michelangeli Vol. 2 [Germany]
Mussorgsky: The Nursery: Sunless; Songs and Dances of Death

ASIN: B0001O3YGC
Release Date: 2004-04-06

Tracks:

Chaconne
Theme
Variations I-VIII
Variations X-XII
Variations I & II
Variations V-VIII
Variations X-XIII
Variations III & IV
Variations XIII & XIV
No.38: Wintertime
No.37: Sailors' Song
1. Preambule
2. Pierrot
3. Ariequin
4. Valse Noble
5. Eusebius
6. Florestan
7. Coquette
8. Replique
9. Papillons
10. A.S.C.H. - S.C.H.A. (Lettres Dansantes)
11. Chiarina
12. Chopin
13. Estrella
14. Reconnaissance
15. Pantalon Et Colombine
16. Valse Allemande
17. Paganini (Intermezzo)
18. Aveu
19. Promenade
20. Pause
21. Marche Des 'Davidsbundler' Contre Les Philistins
No.39: Wintertime

Customer Reviews:

One of the one hundred recordings in any age.......2005-04-26

Arturo Benedetti Michelangeli felt an obssesive fascination by these three piano works.
This Chaconne performing maintains the perfect balance between the mistery and the elusiveness, in fact Benedetti gradually increases the tension level to unexpected heights. I got the Busoni version with this piece and Michelangeli gets very very close in idiomatic expresiveness.
The Carnaval was his glorious triumph in the famous London Recital in 1957. He recorded it several times. And recently I got a new perfomance recorded in Lugano where he makes with this work an absolute journey to the purest romatic tradition and far beyond.
Finally the Paganini Variations was another battlehorse for this legendary pianist. Benedetti remarks the dark side of the score with notable wisdom, and accents as anyone else the charming and rapture lyrical mood that Brahms knew to use so well. It's very difficult to play any Brahms variation due you must be inmersed in the real intention of every variation.
This Remastered album is a reference must for any serious collector item of refined taste and sensibility.
An authentic file tresure!

Schumann: Carnaval; Fantasiestücke; Papillons

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Hamelin Clears Away the Cobwebs
Great!
Beautiful

Schumann: Carnaval; Fantasiestücke; Papillons

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

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Dukas: Piano Sonata; Decaux; Clairs de Lune
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Brahms: Piano Concerto No. 2; Four Piano Pieces, Op. 119
Medtner: Forgotten Melodies I, II

ASIN: B000BOIWSW
Release Date: 2006-01-10

Customer Reviews:

Hamelin Clears Away the Cobwebs.......2007-06-11

Marc-André Hamelin has taken some critical brickbats when he has essayed standard repertoire, and he certainly got them for his first Schumann CD, the one containing the Fantasie. I was not among those who carped about those performances. And I do not sense any deficiency in this more recent disc that contains Papillons, Fantasiestücke and, best of, Carnaval. I think one reason some critics have taken Hamelin to task is that he has such a reputation as a virtuoso that they think he must not have any of the poet in him. (One used to hear the same sort of thing about Horowitz.) But anyone who has listened to his recordings of rather more off-beat composers -- Alkan, Roslavets, Medtner, Scriabin, Catoire -- will have to admit, I think, that there is plenty of poetry in his playing. However, he does not deal in sentimentality and perhaps that is what some listeners miss.

It seems to me that these readings of three of Schumann's most popular works are a breath of fresh air. Papillons and the Fantasiestücke, for instance, tend to move right along -- although the latter's 'In der Nacht' certainly dwells in a perfumed and romantic atmosphere. This briskness is all to the good, I believe.

When it comes to Carnaval Hamelin has come up with a new-sounding approach -- at least in my experience -- in that he does not romanticize the little character pieces, but rather plays them almost classically. This is not to say that 'Chopin' does not partake of that composer's tonal beauty or that 'Eusebius' is not pensive, musing. But on the whole Hamelin plays this music with bracing élan and I loved it. These are pieces I've played myself for nigh on fifty years and yet I heard things I'd never noticed, or heard things I'd never thought of before, and that is something I look for in a performances of these or any familiar works. Bravo, Mr Hamelin. You clearly are not just a virtuoso, you're a thinking and feeling musician.

A definite recommendation.

Scott Morrison

Great!.......2007-03-25

I owe to Hamelin my appreciation for Schumann's music. It was not until I attended one of his recitals that I really began to make sense of Schumann's compositions and let myself into his sad, tortured and yet unexplainably redeeming world. A friend told me that he always came forth from it as a slightly better and more compassionate human being, and I quite agree with that as far as I'm concerned. I had the invaluable opportunity to watch Hamelin play live the Fantasiestücke and I certainly will never forget it. The music in this disc is deeply moving and disarming. I've never heard the Fantasiestücke being played with such wisdom and insight. From the almost unbearably poignant "Des Abends" to the exhilarating and exciting "Carnival", Hamelin plays the piano soulfully and with jaw-dropping technical dexterity. A must-have.

Beautiful.......2006-06-20

What a stunning CD!

I thoroughly enjoy listening to this CD - the music is enchanting and Hamelin's performances are no less so. He has a great imagination with these groups of piano 'miniatures', giving each piece its own individual character. The 'Carnaval' is particularly spectacular, played with ease and such a high level of musicianship. My favourite moment is in the 'March of the Philistines' where hamelin plays a C octave an octave lower, with incredible sound! Not to mention the breath-taking pace at which he takes 'Paganini'!

A CD well-worth buying for lovers of Schumann, as well as for Hamelin fans.

Average customer rating:

Breath-taking to listen to
Highest Marks
Highest Marks
Romantic Piano - Nina Postolovskaya
Beautiful and uplifting, I would recommend this to all.

Romantic Piano

Manufacturer: Sugo Records
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Mazurkas | Ballets & Dances | Classical | Styles | Music

Pavanes | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

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Piano Serenade
Romantic Piano Adagios
Romantic Adagios
Romance of the Violin

ASIN: B0000005Z4
Release Date: 1993-10-27

Tracks:

Waltz (A-flat, Op.39, No.15)
Nocturne (E-flat, Op.9, No.2)
Waltz (C-sharp, Op.64, No.2)
Pathetique (Sonata, Op.13, Adagio cantabile)
Noturne (D-flat, Op.27, No.2)
Moment Musicale (F Minor, Op.94, No.3)
Clair De Lune
Arabesque (Op. 18)
Noturne (A-flat, Op.32, No.2)
Carnaval (Op.9, Promenade)
Pavane For A Dead Princess
Mazurka (C Major, Op.33 No.3)
Lyric Pieces, Op. 54: Notturno
Andaluza (Op.37, No.5)
Intermezzo (Op.118, No.2)

Album Description

Romantic Piano, by Russian-born concert pianist Nina Postolovskaya, features a beautiful collection of lyrical and passionate classical works by CHopin, Debussy, Schubert, Brahms and other great classical masters.

Customer Reviews:

Breath-taking to listen to.......2005-04-11

I've never heard classical piano played so perfectly and exquistely. Only one thing could bring me greater joy, and that would be to see her perform live. When you listen, try to imagen her fingers running up and down the keyboard.

Highest Marks.......2002-01-22

As a pianist whose goal in life is to find the most beautiful classical piano compositions written to perform for weddings, other functions, and for my own personal enjoyment, I find this CD contain an very nice selection. Excellent dinner music - we use it often. Nina plays well, very sensitively, and somehow the CD makes you feel calmed and centered. As a side note, I also use this CD to quickly induce the occasional restless baby into slumber. It usually works quickly and we enjoy the treatment! I'm ordered some for gifts as we speak. Well done, Nina.

Highest Marks.......2002-01-22

Romantic Piano - Nina Postolovskaya.......2000-06-03

Each piece is played with deep feeling and I thoroughly recommend this CD to all classic piano lovers.

Beautiful and uplifting, I would recommend this to all........1999-10-01

This is my favorite CD featuring classical piano. You simply float while listening; and even though some of the pieces are somber, you feel very uplifted. I recommend this to everyone who enjoys piano.

Robert Schumann: Carnaval/Scenes From Childhood/Arabeske

Average customer rating:

Solid CD, great value
A good recording
Nostalgia

Robert Schumann: Carnaval/Scenes From Childhood/Arabeske

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Robert Schumann: Symphonies Nos. 1-4
Stories Of Schumann And Grieg
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ASIN: B00000299E
Release Date: 1994-02-08

Tracks:

Carnaval, Op. 9 (Scenes mignonnes sur quatre notes): Preambule
Carnaval, Op. 9 (Scenes mignonnes sur quatre notes): Pierrot
Carnaval, Op. 9 (Scenes mignonnes sur quatre notes): Harlequin
Carnaval, Op. 9 (Scenes mignonnes sur quatre notes): Noble Waltz
Carnaval, Op. 9 (Scenes mignonnes sur quatre notes): Eusebius
Carnaval, Op. 9 (Scenes mignonnes sur quatre notes): Florestan
Carnaval, Op. 9 (Scenes mignonnes sur quatre notes): Coquette
Carnaval, Op. 9 (Scenes mignonnes sur quatre notes): Replique (Retort) - (Sphinxes)
Carnaval, Op. 9 (Scenes mignonnes sur quatre notes): Butterflies
Carnaval, Op. 9 (Scenes mignonnes sur quatre notes): A.S.C.H. - S.C.H.A. (Dancing Letters)
Carnaval, Op. 9 (Scenes mignonnes sur quatre notes): Chiarina
Carnaval, Op. 9 (Scenes mignonnes sur quatre notes): Chopin
Carnaval, Op. 9 (Scenes mignonnes sur quatre notes): Estrella
Carnaval, Op. 9 (Scenes mignonnes sur quatre notes): Recognition
Carnaval, Op. 9 (Scenes mignonnes sur quatre notes): Pantalon et Columbine
Carnaval, Op. 9 (Scenes mignonnes sur quatre notes): German Waltz
Carnaval, Op. 9 (Scenes mignonnes sur quatre notes): Paganini
Carnaval, Op. 9 (Scenes mignonnes sur quatre notes): Confession
Carnaval, Op. 9 (Scenes mignonnes sur quatre notes): Promenade
Carnaval, Op. 9 (Scenes mignonnes sur quatre notes): Pause
Carnaval, Op. 9 (Scenes mignonnes sur quatre notes): March Of The League Of David Against The Philistines
Scenes From Childhood, Op. 15: From Foreign Lands And Peoples
Scenes From Childhood, Op. 15: A Curious Story
Scenes From Childhood, Op. 15: Blind Man's Bluff
Scenes From Childhood, Op. 15: Pleading Child
Scenes From Childhood, Op. 15: Happiness
Scenes From Childhood, Op. 15: An Important Event
Scenes From Childhood, Op. 15: Dreaming
Scenes From Childhood, Op. 15: At The Fireside
Scenes From Childhood, Op. 15: Knight Of The Hobbyhorse
Scenes From Childhood, Op. 15: Almost Too Serious
Scenes From Childhood, Op. 15: Frightening
Scenes From Childhood, Op. 15: Child Falling Asleep
Scenes From Childhood, Op. 15: The Poet Speaks
Arabeske In C Major, Op. 18: Leicht und zart

Customer Reviews:

Solid CD, great value.......2006-03-16

I cannot compare these performances to others. Taken on its own merits, this CD provides enjoyable listening, and excellent sound quality. Traumerai, a long-time favorite, is well-realized but not wrenching, and a mild disappointment. Overall, well-worth $5!

A good recording.......2004-10-27

Pavel Jegorov's performance is excellent in Scenes from Childhood (and this piece is perhaps a bit more well-known than Carnaval or the Arabasqe), but it is just as good in these other two pieces.
The dynamics in the Carnaval performance are really rewarding, and the story behind it is very interesting as well. The whole work is a sort of tribute to Schumann's illegitamate love interest, Ernestine von Fricken, and so he wrote the letters of her hometown of Asch into the musical themes of this work! He chose these letters because they were both common to her hometown and his own last name. In fact, Schumann called this piece "Fasching, Schwanke auf vier Noten" or "Carnival, Frolic scenes on Four Notes".
In case you were wondering how "ASCH" translates into musical notes, "A" and "C" should be obvious, but "S" translates to E-flat and "H" translates to B-natural in Germanic notation.
Incidentally, Schumann points out these letters in the scoring of this piece in the track titled, "Sphinxes" even though he never intended anyone to actually play them in performance (yet Jegoov does on this recording, check it out). Enjoy!

Nostalgia.......2000-07-13

This CD holds a special place in my heart. My childhood best friend was an excellent pianist. I'd go over to her house everyday after school in 8th grade and listen to her practice pieces from this for an hour while I did Algebra. It truly is a scene from my childhood. Even if you don't identify a special memory with this music, the rythyms and sounds will bring you back to a time of anticipation and wonder.

Schumann: Carnaval Op. 9 & Carnival Jest from Vienna Op. 26 (Faschingsschwank aus Wien)

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Schumann: Carnaval Op. 9 & Carnival Jest from Vienna Op. 26 (Faschingsschwank aus Wien)
Robert Schumann , and Arturo Benedetti Michelangeli
Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Arturo Benedetti Michelangeli plays Mozart, Chopin, Brahms, etc. (Box) [Germany]

ASIN: B00000E3YS
Release Date: 1987-11-09

Tracks:

Carnaval- Preambule. Quasi Maestoso - Piu Moto - Animato - Vivo - Animato
Carnaval- Pierrot. Moderato
Carnaval- Arlequin.Vivo
Carnaval- Valse Noble. Un Poco Maestoso
Carnaval- Eusebius. Adagio
Carnaval- Florestan. Passionato
Carnaval- Coquette. Vivo
Carnaval- Rlique. LIstesso Tempo (Sphinxes)
Carnaval- Papillons. Prestissimo
Carnaval- A.S.C.H. - S.C.H.A. (Lettres Dansantes). Presto
Carnaval- Chiarina. Passionato
Carnaval- Chopin. Agitato
Carnaval- Estrella. Con Affetto
Carnaval- Resonnaissance. Animato
Carnaval- Pantalon Et Colombine. Presto
Carnaval- Valse Allemande. Molto Vivace
Carnaval- Paganini. Intermezzo. Presto
Carnaval- Aveu. Passionato
Carnaval- Promenade. Comodo
Carnaval- Pause. Vivo
Carnaval- Marche Des -Davidsbdler- Contre Les Philistins
Faschingsschwank- Allegro. Sehr Lebhaft
Faschingsschwank- Romanze. Ziemlich Langsam
Faschingsschwank- Scherzino
Faschingsschwank- Intermezzo. Mit GrTer Energie
Faschingsschwank- Finale. Hhst Lebhaft

Schumann: Carnaval Op.9; Papillons Op.2; Faschingsschwank Aus Wien Op.26 [Australia]

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Schumann: Carnaval Op.9; Papillons Op.2; Faschingsschwank Aus Wien Op.26 [Australia]
Andrei Gavrilov
Manufacturer: EMI
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
ASIN: B0000246CR
Release Date: 2005-07-13

Tracks: