Chopin: The Complete Etudes

Editorial Reviews
Amazon.com
At 77, Earl Wild realized his long-held ambition to record all the Chopin etudes, which have been in his repertoire for years. Given the legendary pianist's flamboyant reputation, however, the results are more mild than wild. His legendary technique, to be sure, is more than up to the task, but the inhibiting aura of posterity and permanence hover over the proceedings, not to mention the Urtext police. One misses the fire, abandon, and sense of risk Wild unfailingly brings to these works in concert. It is obvious that a seasoned master is at work, although I wish he had been more at play! The engineering is superb. --Jed Distler

Tracks:

Piano Concerto No. 3 In D Minor: 1. Allegro ma non tanto
Piano Concerto No. 3 In D Minor: 2. Intermezzo. Adagio
Piano Concerto No. 3 In D Minor: 3. Finale. Alla breve
Polonaise No. 6 In A Flat, Op. 53 (Heroic)
Kinderszenen, Op. 15: No. 10 Fast zu ernst
Prelude In D Flat, Op. 28 No. 15 (Raindrop)
6 Etudes d'execution transcendante d'apres Paganini: No. 3 La campanella
Gloria In D, RV 589: Gloria In excelsis Deo - Allegro

Tracks:

19 Hungarian Rhapsodies: No. 2 In C Sharp Minor
Prelude In C Sharp Minor, Op.3 No.2
Suite From 'The Tale Of Tsar Saltan': The Flight Of The Bumble-bee
Symphony No.9 In D Minor, Op. 125 (Choral): Presto - Allegro assai (Ode To Joy)
3 Etudes de concert, S. 144: No. 3 Un sospiro
Nulla In mundo pax, RV 630

Customer Reviews:

An Inspirational CD for an Inspirational Movie!.......2000-08-16

The movie for this CD actually played a large part in my decision to become a serious pianist! The CD itself portrays all the pieces used in the movie wonderfully with the top recordings by the most talented artists. The Rachmaninov piano concerto no.3 is extremely exciting to listen to. If you enjoy exciting and romantic classical music, then this is the CD for you!

Awesome CD!.......2000-08-09

When I first saw the movie "Shine", I knew I had to get the soundtrack right away. When I got to the store, I was hoping that the soundtrack will include the complete list of all the songS. Many times, I get disapointed when I buy soundtracks (espeically classical music) because they tend to include only the part that they used in the movie. But when I saw this CD, I knew this was IT!!! And when I listened to it, it was even better than I expected. I love classical music and a lot of times, I am very disappointed by the presentation of the music in many CDs. It seems as if they hired someone who barely understand the piece to play the song. But from the first song you hear, you know this CD isn't that case. You can "feel" every song. Every time I listen to this CD, I get emotional. If you love classical music, I guarantee that you will love this CD. MUST HAVE!!

notwithstanding.......2000-02-01

This is a wonderful collection of classical music. Liszt, Rachmaninoff, and Chopin pieces are featured with such an artistic interpretation. Notwithstanding the cut made in movement 3, Rafael Orozco's version of Rach3 touches your soul. And this is coming from a Vladimir Horowitz fan, and a pianist!

Outstanding!.......1999-04-09

Just a grand selection of classical music, very fitting and complementary to this this marvelous film. The Rach III is exceptional; it really allows you to appreciate the struggle Helfgott endured as a child, as well as a young adult. A very complete collection compared to the actul movie soundtrack. Well worth buying!

Wonderful!.......1999-01-07

The full version of everything you heard in "Shine." The pieces are played very beautifully, and I listen to the CD all the time. You'll like it!

Abbey Simon Plays Chopin's Etudes and Waltzes (Complete)

Average customer rating:

Dionysian temperament!
What else can I say??
What else can I say??
Splendid interpretation
Chopin a su mayor nivel

Abbey Simon Plays Chopin's Etudes and Waltzes (Complete)

Manufacturer: Vox (Classical)
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Simon Abbey: Chopin
Ravel: Complete Music for Solo Piano
Complete Works for Piano and Orchestra
Abbey Simon Play Chopin, Vol. 3
Abbey Simon Plays Chopin, Vol. 2

ASIN: B000001K5N
Release Date: 1996-10-22

Tracks:

Etudes, Op. 10: No. 1 In C
Etudes, Op. 10: No. 2 In A Minor
Etudes, Op. 10: No. 3 In E 'Tristesse'
Etudes, Op. 10: No. 4 In C Shrap Minor
Etudes, Op. 10: No. 5 In G Flat 'Black Key'
Etudes, Op. 10: No. 6 In E Flat Minor
Etudes, Op. 10: No. 7 In C
Etudes, Op. 10: No. 8 In F
Etudes, Op. 10: No. 9 In F Minor
Etudes, Op. 10: No. 10 In A Flat
Etudes, Op. 10: No. 11 In E Flat
Etudes, Op. 10: No. 12 In C Minor 'Revolutionary'
Etudes, Op. 25: No. 1 In A Flat 'Aeolian Harp'
Etudes, Op. 25: No. 2 In F Minor
Etudes, Op. 25: No. 3 In F
Etudes, Op. 25: No. 4 In A Minor
Etudes, Op. 25: No.5 In E Minor
Etudes, Op. 25: No. 6 In G Sharp Minor 'Etudes In Thirds'
Etudes, Op. 25: No. 7 In C Sharp Minor 'Cello'
Etudes, Op. 25: No. 8 In D Flat
Etudes, Op. 25: No. 9 In G Flat
Etudes, Op. 25: No. 10 In B Minor
Etudes, Op. 25: No. 11 In A Minor
Etudes, Op. 25: No. 12 In C Minor

Tracks:

Waltzes: No. 1 In E-Flat Op. 18
Waltzes: No.2 In A-Flat Op. 34, No. 1
Waltzes: No.3 In A Minor Op. 34, No. 2
Waltzes: No.4 In F Op. 34, No. 3
Waltzes: No. 5 In A-Flat Op. 45
Waltzes: No. 6 In D-Flat, Op. 64, No. 1
Waltzes: No. 7 In C Sharp Minor, Op. 64, No. 2
Waltzes: No. 8 In A-Flat Major, Op. 64, No. 3
Waltzes: No. 9 In A-Flat, Op. Posth 69, No. 1
Waltzes: No. 10 In B Minor, Op. Posth 69, No. 2
Waltzes: No. 11 In G-Flat, Op. Posth. 70 No. 1
Waltzes: No. 12 In F Minor, Op. 70 No. 2
Waltzes: No. 13 In D-Flat Op. 70, No. 3
Waltzes: No. 14 In A-Flat, B.I. 21
Waltzes: No. 15 In E, B.I. 44
Waltzes: No. 16 In E Minor, B.I. 56
Waltzes: No. 17 In A Minor, B.I. 150
Waltzes: No. 18 In E-Flat B.I. 133
Waltzes: 19 In E-Flat, B.I. 46

Customer Reviews:

Dionysian temperament! .......2006-11-11

Abbey Simon is an American pianist, gifted with astonishing skills and marvelous tune, an enviable technique and a vigorous temperament.

His Chopin is far to be widely known, but he is colorist and solvent player that will amaze you. He possesses imagination, expression, personality and vivid imagination, essential factors demanded to play Chopin efficiently.

Absolutely recommended.

What else can I say??.......2002-04-02

the program notes say it all: super-virtuoso. excellent performances of both etudes and waltzes. no technical problems present themselves, etudes and waltzes are both played perfectly. This disc is a great value.

What else can I say??.......2002-04-02

Splendid interpretation.......2001-12-26

I listened Abbey SIMON on a Philips record during 1970's years with the 2nd Beethoven concerto for piano. A few month later,
i dicovered Abbey simon with the CHOPIN music for piano and orchestra in 1974. After i found all CHOPIN'S recodings, and now, i buy the collection of Abbey SIMON'S cd records. The vyniles are nos pieces de collection as we say in FRANCE, and in PARIS, not possible to find those records. I think , in a few months , i will find PETER FRANKL'S integrale op the 16 Polonoaises de CHOPIN in the same collection

Chopin a su mayor nivel.......2000-09-07

De Abbey Simon se han dicho muchas cosas, pero nadie puede negar que se trata de uno de los pianistas más dotados de los últimos tiempos. Sus interpretaciones son muy llenas de sentimiento, y hacen que la música absorba al escucha de una forma tal que fácilmente puede olvidarse de que existe el mundo allá afuera. En esta colección de 2 discos, Simon nos presenta los Estudios Op. 10 y 25 de Chopin, así como los 19 valses que este compositor produjo a lo largo de su vida. La interpretación resulta fenomenal, y su vesión de los valses resulta superior a cualquier otra que haya escuchado anteriormente; si a esto añadimos un precio increíble por dos CDs (gracias al sello Vox), esta es una compra segura para quien admire la música para piano.

Godowsky: The Complete Studies on Chopin's Etudes

Average customer rating:

The real deal
Amazin'
Dull compositions generally, with one brilliant exception
Incredible! BUY THESE DISCS!
If I could, I'd give this SIX stars! It's that good!

Godowsky: The Complete Studies on Chopin's Etudes
Leopold [composer] Godowsky , Frederic [composer] Chopin , and Marc-Andre Hamelin
Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

Etudes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical | Imports | Stores | Music
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Godowsky: Sonata; Passacaglia
Alkan: Grande sonate 'Les quatre âges', Sonatine, Le festin d'Esope
Alkan: Symphony for solo piano
Marc-André Hamelin Live at Wigmore Hall
Busoni: Piano Concerto, Op. 39

ASIN: B00004S3BF
Release Date: 2000-04-11

Tracks:

Study No.1 in C, 1st Version (From Etude in C, Op.10 No.1): Allegro Maestoso
Study No.2 in D flat, 2nd Version (From Etude in C, Op.10 No.1): Allegro
Study No.3 in a, 1st Version (From Etude in a, Op.10 No.2): Allegro
Study No.4 in a 'Ignis Fatuus', 2nd Version (From Etude in a, Op.10 No.2): Allegro
Study No.5 in D flat (From Etude in E, Op.10 No.3): Lento Ma Non Troppo
Study No.6 in c# (From Etude in c#, Op.10 No.4): Presto
Study No.7 in G flat, 1st Version (From Etude in G flat, Op.10 No.5): Vivace
Study No.8 in C, 2nd Version (From Etude in G flat, Op.10 No.5): Vivace
Study No.9 in a 'Tarantella', 3rd Version (From Etude in G flat, Op.10 No.5): Vivace
Study No.10 in A, 4th Version (From Etude in G flat, Op.10 No.5): Vivace
Study No.11 in G flat, 5th Version (From Etude in G flat, Op.10 No.5): Vivace
Study No.12 in G flat, 6th Version (From Etude in G flat, Op.10 No.5): Vivace
Study No.12a in G flat, 7th Version (From Etude in G flat, Op.10 No.5): Vivace
Study No.13 in e flat (From Etude in e flat, Op.10 No.6): Quaver=108-132
Study No.14 in C 'Toccata', 1st Version (From Etude in C, Op.10 No.7): Vivace
Study No.15 in G flat 'Nocturne', 2nd Version (From Etude in C, Op.10 No.7): Allegretto Espressivo
Study No.15a in E flat, 3rd Version (Etude in C, Op.10 No.7): Allegro
Study No.16 in F, 1st Version (From Etude in F, Op.10 No.8): Allegro Risoluto
Study No.16a in G flat, 2nd Version (From Etude in F, Op.10 No.8): Allegro
Study No.17 in c#, 1st Version (From Etude in f, Op.10 No.9): Allegretto
Study No.18 in f, 2nd Version (From Etude in f, Op.10 No.9): Mesto
Study No.18a in f#, 3rd Version (From Etude in f, Op.10 No.9): Allegretto
Study No.19 in D, 1st Version (From Etude in A flat, Op.10 No.10): Allegro Moderato
Study No.20 in A flat, 2nd Version (From Etude in A flat, Op.10 No.10): Presto Ma Non Troppo
Study No.21 in A (From Etude in E flat, Op.10 No.11): Allegretto Sostenuto
Study No.22 in c# (From Etude in c, Op.10 No.12): Allegro Con Fuoco
Study No.23 in A flat, 1st Version (From Etude in A flat, Op.25 No.1): Allegro Sostenuto
Study No.24 in A flat, 2nd Version (From Etude in A flat, Op.25 No.1): Allegro Sostenuto

Tracks:

Study No.25 in A flat, 3rd Version (From Etude in A flat, Op.25 No.1): Allegro Sostenuto
Study No.26 in f, 1st Version (From Etude in f, Op.25 No.2): Vivace
Study No.27 in f 'Waltz', 2nd Version (From Etude in f, Op.25 No.2): Tempo Di Valse
Study No.28 in f, 3rd Version (Version A)(From Etude in f, Op.25 No.2): Allegro Moderato
Study No.28 in f, 3rd Version (Version B)(From Etude in f, Op.25 No.2): Allegro Moderato
Study No.28a in f#, 4th Version (From Etude in f, Op.25 No.2): Presto Ma Non Troppo
Study No.29 in F, 1st Version (From Etude in F, Op.25 No.3): Allegro Moderato
Study No.30 in F, 2nd Version (From Etude in F, Op.25 No.3): Allegro Moderato
Study No.31 in a, 1st Version (From Etude in a, Op.25 No.4): Allegro Moderato
Study No.32 in f 'Polonaise', 2nd Version 9From Etude in a, Op.25 No.4): Allegro Drammatico
Study No.33 in e, 1st Version (From Etude in e, Op.25 No.5): Allegro Ma Non Troppo
Study No.34 in c# 'Mazurka', 2nd Version (From Etude in e, Op.25 No.5): Tempo Di Mazurka
Study No.35 in b flat, 3rd Version (From Etude in e, Op.25 No.5): Allegro Moderato
Study No.36 in g# (From Etude in g#, Op.25 No.6): Allegro
Study No.38 in D flat (From Etude in D flat, Op.25 No.8): Allegro Sostenuto E Cantabile
Study No.39 in G flat, 1st Version (From Etude in G flat, Op.25 No.9): Allegro Vivace
Study No.40 in G flat, 2nd Version (From Etude in G flat, Op.25 No.9): Allegro
Study No.41 in b (From Etude in b, Op.25 No.10): Allegro Con Fuoco
Study No.42 in a (From Etude in a, Op.25 No.11): Lento - Allegro Con Brio
Study No.43 in c# (From Etude in c, Op. 25 No.12): Allegro Molto E Con Fuoco
Study No.44 in f (From Nouvelle Etude No.1 in f): Allegretto Con Moto
Study No.45 in E, 1st Version (From Nouvelle Etude No.2 in A flat): Allegretto
Study No.45a in D flat, 2nd Version (From Nouvelle Etude No.2 in A flat): Allegretto
Study No.46 in G 'Menuetto' (From Nouvelle Etude No.3 in D flat): Allegretto Grazioso
Study No.47 in G flat 'Badinage' (From Etudes in G flat, Op.10 No.5/Op.25 No.9 Combined): Vivace...
Study No.48 in F (From Etudes in E flat, Op.10 No.11/in F, Op.25 No.3, Combined): Allegretto...

Amazon.com

While some great pianists play the core works we've heard countless times, Marc Andre-Hamelin has an affinity for those lesser-heard gems. On his recording of Busoni's epic Piano Concerto, Op. 38, the pianist revealed abilities that couldn't be overshadowed by the complex composition at hand. But his take on Godowsky's thoroughly challenging studies on Chopin's Études is, quite simply, mind-boggling. Godowsky's 53 studies are some of the most difficult piano pieces ever written, requiring performers to dissect, reverse hand positions, and dramatically change the tempo of Chopin's well-loved compositions (not to mention his 22 transcriptions of the Études to be played by left hand alone!). Originally written as a playful diversion by Godowsky (1870-1938), a self-taught composer barely in his 20s, these pieces never sacrifice listening experience for ivory pyrotechnics. They're a joy to hear--a fresh (and sometimes dizzying) take on Chopin, with added voices, multiple arabesques, and inventive fingering positions. Hamelin handles it all, making these challenges sound like a walk in the park. A great recording. --Jason Verlinde

Customer Reviews:

The real deal.......2007-03-03

I wrote elsewhere that Hamelin is probably one of the greatest pianists ever. Aside from the obvious technical prowess, which is always employed thoughtfully and without any hint of histrionics, what strikes me the most about his playing is the seriousness with which he approaches every single piece he decides to study and perform. While he was still a little child, his father, himself a very talented non-professional pianist, got him interested in Godowsky and piano music in general; they'd both sit together on the couch and gape in awe at the seemingly unfathomable pages of the Godowsky's Études, which had long been out of print. This little kid would eventually grow up to become one of the very finest musicians in the whole world and the greatest champion and interpreter of Godowsky's music. His amazing cd with the complete Godowsky's Études features some of the most compelling piano recordings you're ever likely to hear in your life. This music will haunt you forever and you'll soon realise that there's no way you can possibly get rid of it - most of the piano repertoire will look rather tame, poor and thin when compared to such a thunderous re-criation of the Chopin's Études.

Amazin'.......2006-10-14

This set is testament to Mr. Hamelin's technique. For those who want greater understanding, read not only the liner notes, but all the copious notes and annotations in The Godowsky Collection, Vol. 3 (Paperback)
by Millan Sachania (Compiler.) I arranged the music on my Ipod so Iwould listen to the original etude, and then the studies after it. Kind of like a "piece and variations". I won't add what others have already said about how great Hamelin is, but I do want to clarify something said in one of the poorest reviews. The reviewer criticizes Godowsky for saying that there are deficiencies in the Chopin etudes, and the reviewer took offense. The "deficiencies" that Godowsky are referring to are in terms of technique, not the writing. Godowsky adored the etudes. He wanted to clear up "left-hand technique" deficiencies (if I read the book correctly). THat's why the tricky right hand parts are switched to the left hand, become the accompaniment, and a newer (and sometimes harder) part is added for the right hand. Please check out the score above which contains warmup exercises by Godowsky to prepare you to learn the studies for yourself.

Dull compositions generally, with one brilliant exception.......2006-05-06

The very first piece in the set (in C) is the standout. Unlike most of them, which seem muddled compositionally or pointlessly embellished, this track is musically impressive, not just technically so. Hamelin's playing shows tremendous dexterity and accuracy, but if there's a way to make poetry out of most of this collection, it's not here. This set is for performance gurus, but not for listeners who are more interested in beautiful melodies.

Incredible! BUY THESE DISCS!.......2005-09-19

I bought these discs expecting pure pianism - which is there in plenty, for sure! What I did not expect was to be bowled over by the pure musicality. I expected embellishment of the wonderful etudes but here we get added insights!

I copied the disc to my computer and interspersed it with the original etudes. The result was a constant joy of discovering new aspects to these well loved pieces.

As for the pianism - it is flawless! I only wish it were a three disc set with the originals included played by Hamelin.

If you have any interest in romantic piano music - or any pianism for that matter - BUY THESE DISCS! You won't regret it. I am sure Chopin would have approved!

If I could, I'd give this SIX stars! It's that good!.......2005-03-12

Ten years ago, following a severe accident where I broke my right upper forearm and my shoulder, I undertook paraphrasing eight of the Chopin etudes to be played with the left hand alone. I was really proud of that accomplishment: I stayed faithful (mostly) to the original compositions, and I thought my paraphrases were wickedly difficult to play!

After listening to Hamelin's performance of the Godowsky Paraphrases on the Chopin Etudes, I have concluded:

1) Godowsky's paraphrases leave mine in the dust, both technically and musically.
2) Hamelin's performance of Godowski's paraphrases is nothing short of amazing.

These paraphrases are FIENDISHLY difficult to play -- but Hamelin makes them sound almost *easy*. It would be one thing merely to be able to PLAY these paraphrases -- and some of us have the technique to pull it off; but Hamelin's technique is so completely secure that one hears the tonal coloring, the inner voices, the occasional canons and the utter musicality of the compositions which Godowsky obviously wants us to hear.

In particular, listen to the performances of the Etudes arranged for the left hand alone. A good left hand transcription (or composition) should give the effect of two hands playing the instrument -- Godowsky (and Hamelin) often give the impression of *three* hands playing.

Note: if you are a Chopin "purist", you're probably not going to like these paraphrases. Godowsky is strongly influenced by the post-Romantic musical idiom in the time he wrote, and you'll hear very strong elements of the pianistic and harmonic language used by Scriabin and (particularly) Rachmaninov infused throughout each paraphrase. (Actually, I think Godowsky's musical language is very effective for what he does with these pieces!)

On the other hand, if you approach these paraphrases with an open mind just to see what can be done with the material Godowsky used -- and you want to hear it exquisitely performed -- you're in for a REAL treat!

Complete Masterworks Recordings, 1962-1973

Average customer rating:

Horowitz: good. Amazon: good. Sony Classical: BAD.
ARE YOU CRAZY RICH OR CRAZY STUPID?
merely spectacular!
I have never regretted buying this...
The greatest 20th Cent. pianist at his best!

Complete Masterworks Recordings, 1962-1973

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Mazurkas | Ballets & Dances | Classical | Styles | Music

Polonaises | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Ballads | Forms & Genres | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

Toccatas | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

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Similar Items:

Complete Recordings on Deutsche Grammophon
Chopin: The Piano Works
Liszt: Piano Works
Horowitz Encores
Brahms: Works for Solo Piano

ASIN: B000002909
Release Date: 1993-10-05

Tracks:

Sonata In E Major, K 531 (L430): Allegro
Sonata In A Major, K322 (L483): Allegro
Sonata In G Major K455 (L209): Allegro
Sonata No. 8 In C Minor, Op. 13 'Pathetique': I. Grave - Allegro di molto e con brio
Sonata No. 8 In C Minor, Op. 13 'Pathetique': II. Adagio cantabile
Sonata No. 8 In C Minor, Op. 13 'Pathetique': III. Rondo. Allegro
Impromptu In G-flat Major, Op. 90 (D899) No. 3: Andante
Etude in C minor, Op. 10 No. 12: Allegro con fuoco
Etude In C-sharp Minor, Op. 25 No. 7: Lento
Scherzo No. 1 In B Minor, Op. 20: Presto con fuoco
3 Preludes - From Book II: IV. Les fees sont d'exquises danseuses. Rapide et leger
3 Preludes - From Book II: V. Bruyeres. Calme
3 Preludes - From Book II: VI. General Lavine - eccentric.
Poeme In F-sharp Major, Op. 32 No. 1: Andante cantabile
Etude In C-Sharp Minor, Op. 2 No. 1: Andante
Etude In D-Sharp Minor, Op. 8 No. 12: Patetico

Tracks:

Piano Sonata No.2 In B- Flat, Op.35: I. Grave- Doppio movimento
Piano Sonata No.2 In B- Flat, Op.35: II. Scherzo
Piano Sonata No.2 In B- Flat, Op.35: III. Marche funebre. Lento
Piano Sonata No.2 In B- Flat, Op.35: IV. Finale. Presto
Etude-Tableau In C, Op.33 No.2: Allegro
Etude-Tableau In C, Op.33 No.2: Appassionato
Arabeske In C, Op.18: Leicht und zart
Kinderszenen, Op.15 - Scenes From Childhood: 1. Von fremden Landern und Menschen
KINDERSZENEN, OP.15: 2. Kuriose Geschichte
KINDERSZENEN, OP.15: 3. Hansche-Mann
KINDERSZENEN, OP.15: 4. Bittendes Kind
KINDERSZENEN, OP.15: 5. Gluckes genug
KINDERSZENEN, OP.15: 6. Wichtige Begbenheit
KINDERSZENEN, OP.15: 7. Traumerei
KINDERSZENEN, OP.15: 8. Am Kamin
KINDERSZENEN, OP.15: 9. Ritter vom Steckenpferd
KINDERSZENEN, OP.15: 10. Fast zu ernst
KINDERSZENEN, OP.15: 11. Furchtenmachen
KINDERSZENEN, OP.15: 12. Kind im Einschlummern
KINDERSZENEN, OP.15: 13. Der Dichter spricht
Toccata In C, Op.7: Allegro
Hungarian Rhapsody No.19 In D Minor: Lento patetico (Lassan)- Vivace (Friska)

Tracks:

Keyboard Sonatas: Allegro
Keyboard Sonatas: Allegro
Keyboard Sonatas: Allegro
Keyboard Sonatas: Andante moderato
Keyboard Sonatas: Allegretto
Keyboard Sonatas: Allegro
Keyboard Sonatas: Andante
Keyboard Sonatas: Andante e cantabile
Keyboard Sonatas: Allegro
Keyboard Sonatas: Allegro
Keyboard Sonatas: Andante e cantabile
Keyboard Sonatas: Allegro
Keyboard Sonatas: Allegro
Keyboard Sonatas: Andante
Keyboard Sonatas: Allegro
Keyboard Sonatas: Andante moderato
Keyboard Sonatas: Vivo
Keyboard Sonatas: Allegro

Tracks:

Toccata, Adagio And Fugue In C, BWV 564: I. Preludio, quasi improvvisando. Tempo moderato
Toccata, Adagio And Fugue In C, BWV 564: II. Intermezzo. Adagio
Toccata, Adagio And Fugue In C, BWV 564: III. Fuga. Moderamente sherzando, un poco umoristico
Fantasie In C, Op.17: I. Durchaus phantastisch und leidenschalflich vorzutragen
Fantasie In C, Op.17: II. Massig. Durchaus energisch
Fantasie In C, Op.17: III. Langsam getragen. Durchweg leise zu halten
Piano Sonata No.9, Op.68 'Black Mass': Moderato quasi andante-Molto meno vivo-Allegro-Piu vivo-Allegro...
Poeme In F-Sharp Major, Op.32 No.1: Andante cantibile

Tracks:

Mazurka In C-sharp Minor, Op. 30. No. 4: Allegretto
Etude In F major, Op. 10 No. 8: Allegro
Ballade No. 1 In G Minor, Op. 23: Largo - Moderato - Meno mosso - Presto con fuoco
Serenade For The Doll. Allegro ma non troppo
Etude In C-Sharp Minor, Op. 2 No. 1: Andante
Etude In A-Flat Major, Op. 72 No. 11: Presto e con leggierezza
Traumerei
Sonata No. 11 In A Major, K.331: I. Tema.Andante grazioso e variazioni
Sonata No. 11 In A Major, K. 331: II. Menuetto - Trio
Sonata No. 11 In A Major, K. 331: III. Rondo alla Turca
Polonaise-Fantaisie In A-Flat Major, Op. 61: Allegro maestoso

Tracks:

Mazurka In B minor, Op. 33 No. 4: Mesto
Nocturne In E Minor, Op. 72 No. 1: Andante
Piano Sonata No. 10, Op. 70: Moderato - Allegro - Puissant, radieux - Allegro - Piu vivo - Presto - Moderato
Piano Sonata In F Major, Hob. XVI: 23: I. Allegro
Piano Sonata In F Major, Hob. XVI: 23: II. Adagio
Piano Sonata In F Major, Hob. XVI: 23: III. Finale
Blumenstuck In D-Flat Major, Op. 19: Leise bewegt
L'ISLE JOYEUSE: Quasi una cadenza - Tempo.
Vallee d'Obermann: Lento assai - Piu lento - Un poco piu di moto ma sempre lento - Presto - Lento

Tracks:

Ballade No. 1 In G Minor, Op. 23: Largo - Moderato - Meno mosso - Presto con fuoco
Nocturne In F Minor, Op. 55 No. 1: Andante
Polonaise In F-Sharp Minor, Op. 44: Tempo di polacca - Doppio movimento, tempo di Mazurka - Tempo I
Sonata In E major, K 380 (L23): Andante commodo
Sonata In G major, K 55 (L335): Allegro
Arabeske In C Major, Op. 18: Leicht und zart
Etude In D-Sharp Minor, Op. 8 No. 12: Patetico
Traumerei
Variations On A Theme From Bizet's Opera 'Carmen'

Tracks:

Sonata In E-Flat Major, Op. 12 No. 2: III. Rondo
Adagio sostenuto In F Major
Sonata In B-Flat Major, Op. 25 No. 3: II. Rondo
Sonata In A Major, Op. 50 No. 1: II. Adagio
Corale Prelude 'Lch ruf zu dir, Herr Jesu Christ'
Sonata In F-Sharp Major, K 319 (L35): Allegro
Sonata In G Major, K 260 (L124): Allegro
Sonata In C Major, HOB. XVI: 48: I. Andante con espressione
Sonata In C major, Hob. XVI:48: II. Rondo
Sonata No. 28 In A Major, Op. 101: I. Allegretto ma non troppo
Sonata No. 28 In A Major, Op. 101: II. Vivace alla Marcia
Sonata No. 28 In A Major, Op. 101: III. Adagio ma non troppo, con affetto - Allegro

Tracks:

Piano Sonata No. 14 In C-Sharp Minor, Op. 27, No. 2 'Moonlight': I. Adagio sostenuto
II. Allegretto
Piano Sonata No. 14 In C-Sharp Minor, Op. 27, No. 2'Moonlight': III. Presto agitato
Piano Sonata No. 21 In C Major, Op. 53 , 'Waldstein-Sonata': I. Allegro con brio
Piano Sonata No. 21 In C Major, Op. 53 , 'Waldstein-Sonata': II. Introduzione. Adagio molto - attacca
Piano Sonata No. 21 In C Major, Op. 53 , 'Waldstein-Sonata': III. Rondo. Allegro moderato - Prestissimo
Piano Sonata No. 23 in F Minor, Op. 57, 'Appassionata': I. Allegro assai
Piano Sonata No. 23 in F Minor, Op. 57, 'Appassionata': II. Andante con moto -attacca
Piano Sonata No. 23 in F Minor, Op. 57, 'Appassionata': III. Allegro, ma non troppo - Presto

Tracks:

Mazurka in A minor, Op. 17 No. 4: Lento, ma non troppo
Etude in G-flat major, Op. 10 No. 5: Vivace
Introduction & Rondo In E-Flat Major, Op. 16: Introduzione. Andante - Rondo. Allegro vivace
Waltz in A minor, Op. 34 No. 2: Lento
Polonaise in A-flat Major, Op. 53: Maestoso
Mazurka in F-sharp minor, Op. 59 No. 3: Vivace
Mazurka in C-sharp minor, Op. 50 No. 3: Moderato
Mazurka in D-flat major, Op. 30 No. 3: Allegro non troppo
Mazurka in E minor, Op. 41 No. 2: Andantino
Mazurka in D major, Op. 33 No. 2: Vivace
Etude in C-sharp minor, Op. 10 No. 4: Presto
Etude in E major, Op. 10 No. 3: Lento, ma non troppo
Etude in C minor, Op. 10 No. 12: Allegro con fuoco
Prelidu In B Minor, Op. 28 No. 6: Lento assai

Tracks:

Posonaise in A major, Op. 40 No. 1: Allegro con brio
Prelude in D-flat major, Op. 28 No. 15: Sostenuto
Etude in E-flat minor, Op. 10 No. 6: Andante
Etude No. 2 in A-flat major from 'Trois Nouvelles Etudes': Allegretto
Mazurka In F Minor, Op. 7 No. 3
Waltz in C-sharp minor, Op. 64 No. 2: Tempo giusto
Variations On A Theme By Clara Wieck From Sonata No. 3 In F Minor,Op. 14: Andantino
Kreisleriana, Op. 16: I. Ausserst bewegt
Kreisleriana, Op. 16: II.Sehr innig
Kreisleriana, Op. 16: III. Sehr aufgeregt
Kreisleriana, Op. 16: IV. Sehr langsam
Kreisleriana, Op. 16: V. Sehr lebhaft
Kreisleriana, Op. 16: VI. Sehr langsam
Kreisleriana, Op. 16: VII. Sehr rasch
Kreisleriana, Op. 16: VIII. Schnell und spielend

Tracks:

Impromptu In A-Flat Major Op. 90 (D899) No. 4: Allegretto
Impromptu In F Minor Op. 142 (D935) No. 1: Allegro moderato
Impromptu In A-Flat Major Op. 142 (935) No. 2: Allegretto
Impromptu In E-Flat Major Op. 90 (D899) No. 2: Allegro
Consolation In E Major S. 172 (R.12) No. 2
Pour les arpeges composes: Dolce e lusingando
La terrasse des audiences du clair de lune: Lent
Etude In A Minor Op. 104b No. 3: Allegro vivace
Scherzo & March S. 177 (R.20)

Tracks:

Feuillet d'album In E-Flat Major Op. 45 No. 1: Andante piacevole
Etude In F-Sharp Minor Op. 8 No. 2: A capriccio, con forza
Etude In B-Flat Minor Op. 8 No. 11: Andante cantabile
Etude In D-Flat Major Op. 8 No. 10: Allegro
Etude In A-Flat Major Op. 8 No. 8: Lento (Tempo rubato)
Etude In F-Sharp Major Op. 42 No 3: Prestissimo
Etude In F-Sharp Major Op. 42 No. 4: Andante
Etude In C-Sharp Minor Op. 42 No. 5: Affannato
Etude Op. 65 No. 3: Molto vivace
No. 1: Allegretto
2 Poemes Op. 69: No. 2: Allegretto
Vers la flamme Op. 72: Allegro moderato
Feuillet d'album Op. 58
Fairy Tale In A Major Op. 51 No. 3
Sonata No. 2 In B-Flat Minor Op. 36: I. Allegro agitato
Sonata No. 2 In B-flat, Minor, Op. 36: II. Non allegro
Sonata No. 2 In B-Flat Minor, Op. 36: III. Allegro molto
Prelude In G-Sharp Minor Op. 32 No. 12: Allegro
Moment musical In B Minor Op. 16 No. 3: Andante cantabile
Etude-Tableau In E-Flat Minor Op. 33 No. 5: Non allegro - Presto
Etude-Tableau In C Major Op. 33 No. 2: Allegro
Etude-Tableau In D Major Op. 39 No. 9: Allegro moderato (Tempo di Marcia)

Amazon.com

It may surprise you to learn that, despite his untouchable reputation with the public, Vladimir Horowitz enjoyed a certain dubious reputation with the critics. For many, he was the epitome of the witless virtuoso, all technique and vulgar display, and no brains. There was some truth in this to the extent that he really could be variable on record, but by general consensus his Masterworks recordings show him at his absolute best. Aside from his famous Carnegie Hall concerts from 1965, you get stunning performances of music by Schumann, Haydn, Beethoven, Chopin, Scriabin, and above all, Scarlatti--the composer that Horowitz, more than anyone, put back on the map for pianists the world over. A great set. --David Hurwitz

Customer Reviews:

Horowitz: good. Amazon: good. Sony Classical: BAD........2004-05-24

I bought this set in December, and because I have so many classical CD's (more than 300), it took me 5 months to realize that the set contained TWO volume 8's and NO volume 9's. Worried that it might be too late, I e-mailed Amazon. Their first reply was that the replacement was already on its way (with return shipping paid for as well). Wow, that was a relief!

When I got the new set, I decided to study it closely and make sure that everything was good. It turns out that several of the discs (in both sets) had holes through the aluminum reflective layer -- which seemed to be because it was too thin to begin with. One disc was cracked, and another looked like the aluminum was "rotting out" on the edge. You would think that for $230, Sony Classical would put more quality into their discs. So what good is "Super Bit Mapping" and "High Definition Remastering" if the discs are so cheap that the player will misread the data? And I don't have much confidence that the discs will last many years, either.

Fortunately I got to pick the best discs from the 2 sets, so I won't need to replace this one for another. But I certainly lost respect for Sony Classical.

And kudos to you Amazon; you're really looking out for your customers!

ARE YOU CRAZY RICH OR CRAZY STUPID?.......2002-08-25

Why would any one in the right mind plunk down [money] for 13 CDS by the same pianist? Is it so you can brag about owning 11 years' worth of the same old thing? Or did you get it as a gift designed to impress but not really to listened to? Now you could probably get [money] for it whether you used it or not. Columbia Masterworks should have brought along new and younger talent. For my bet I can't think of many American pianists who are currently recording. Do we have to recycle Schumann, Rachmaninoff, Schubert, Beethoven, Liszt, Chopin, Scriabin, and others over and over? This is the Twenty-first Century. We should at least be thinking of Twentieth Century piano works. I can get 10 CDs by 10 pianists currently recording if I look to Europe.

merely spectacular!.......2001-03-10

I've only had this set about a week and have already indulged three complete listenings; it's a gold mine! - the power of preaching is persuasive in the Temple of Horowitz! I'm taken aback by the unity and continuity of sonics, an excellent and remarkable display of high engineering art. Everything important is here (almost! I wish some of the Scriabin Preludes had been included). There are sketches of incomparable pianism and supreme intelligence in these discs: Liszt's 'Vallee d'Obermann', and the Consolations; Debussy's 'L'isle joyeux' - so 'russian playing french'! - Scriabin's 'Vers le flamme' and the Black Mass sonata - one simply can't climb out of the volcano, it's terrifying and beautiful! - and the Scarlatti and Chopin. Only Gilels approaches Horowitz's indigenous understanding of Chopin. In the course of thirteen discs the glory can start to crash in around you, but at the last moment of endurance along comes 'Serenade of the Doll', or one of the Consolations. The Bach-Busoni is cerebral and fine. Horowitz gets rapped for the wrong romanticism - it's the romanticism of artistic intelligence that his art claims! I love that famous C clunker at the beginning of the Bach-Busoni in the Return to Carnegie Hall recital; more than that, I appreciate how Horowitz played his public pride in it, no retouches, etc. Shrewd, and very real, I think. He was a pianist of enormous humility on the inside, so completely knowing of his gifts - one of the reason his playing was something special. He possessed the often disregarded ability to stand completely outside his playing and admire it as one might a beautiful woman, with complete humility. It affords us the privilege of reaping joy after joy of a remarkable art the likes of which will surely stand true for a long time. 200 bucks is a lot of money, I probably would have thought it too much for the convenience of a collection; I'm glad someone else didn't feel that way, and gave me the set! - now I find it curiously too clever a package to be considered merely a consolidation of recordings into a 'set' - there is something indefinably congruent about these recordings. They fit together with harmonious intent, and shine and shadow the land with a marvelous music. Highest recommendation without reservation.

I have never regretted buying this..........2000-08-22

Considering that this set is devoted to a single instrument played by one artist in a 12-year period, the depth is mind-blowing. If variety is the spice of life, than this set is a very warming set indeed.

For the most part, Horowitz communicates a deep respect for the specific style of each composer: his Scarlatti is done articulately and without any smear with the pedal. His Liszt is demonic. His Rachmaninov is dazzling, with all of the "superfluous" notes (!) and Russian virtuosity in tact. Horowitz's Schumann is sensitive, passionate and Romantic.

And then there are his interpretations of Chopin. To me, Vladimir Horowitz is one of Chopin's best ambassadors. In particular, I draw attention to the Polonaise-Fantaisie in Vol. 3 and the mazurkas and etudes of Vol. 7.

For a good summary of this collection, listen to Vol. 4, "The Legendary 1968 TV Concert." Applause is omitted between selections, and the repertoire is tailored to Horowitz's pianistic gifts.

The first disc of Vol. 3 (Including the Bach-Busoni Toccata and the Schumann Fantasy) is not top-notch piano-playing... It's a little sloppy and inaccurate. I'm sure there are other minor slips elsewhere in this collection, but here they are most obviously seen.

Regardless, this collection is a MUST for Horowitz fans. Save up your money little by little and go and buy it. It is truly the most rewarding purchase of classical music I have ever made.

The greatest 20th Cent. pianist at his best!.......2000-04-15

If you were to take a set of piano music from only one performer to a desert island, this would be the set. Vladimir Horowitz was a pianist of incredible, almost unique, technical prowess capable of creating wonderful piano textures and tone colorings, and possessing his own dark, distinctive sound on a wonderful Steinway he had transported to each of his concerts or studio recording sessions. Of almost limitless ability, he suffered criticism from music critics because he severely limited his performing repertoire and stayed away from the concert stage for several prolonged periods because of his terrible insecurity and stagefright. He was especially criticized in his early years for bravura performances which were brilliant, but loud and not always tasteful. He was known for giving his enthralled audiences what they wanted, but it should be remembered that he championed Scarlatti and almost single-handedly brought him back into the performing world from near-oblivion, and it was Horowitz who premiered several important works by twentieth century composers such as Barber and Khatchaturian. He kept the works of the mysterious and exotic Alexander Scriabin from disappearing from piano benches in the conservatories, and he created some of the most imaginative and thrilling encore transcriptions ever heard in the concert hall. In later years, his repertoire expanded and he played some wonderful Mozart, Haydn, and Beethoven, much of which is featured in this set. The highlight of this disc collection from the early 60's through about 1973 is the historic return concert at Carnegie Hall in 1965. After a self-imposed exile from public performing for 12 years, he made this famous recital which is one of the most memorable in the history of recorded piano performance. Although he made several nerve-induced mistakes in the opening Bach piece, he settled down quickly and delivered a thrilling performance, highlighted, for me, at least, by the Chopin Ballade in G minor, which took away my breath and featured one of the most dazzling climaxes I have ever heard on a piano. His incredible performance possessed a youthful vitality which belied his 62 years. Throughout the other discs in this set one hears Horowitz at his best: still technically awesome yet more musically mature and capable of producing little miracles from pieces well-known, and less-known. No longer pandering to the expectations of the audience, he gave as his encore at the Carnegie Hall return concert, a precious, child-like Traumerei from Kinderszenen. The Schumann featured on these discs includes some of the most beautiful offerings available anywhere of this composer, including a wonderful Fantasy in C and perhaps the best performance ever on record of Kreisleriana. The Schubert impromptus are little miracles, and the Debussy that's thrown in makes us fantasize about the other French music he could have given us! His wonderful Chopin reminds us there are other views besides Rubinstein's to this most-important-of-all piano literature, and his Rachmaninoff is glorious. Performing into his eighties, he was a wonder of music and the 13 discs offered here give a personal record of a dazzling career from his very best years. It might be pointed out that several pieces are offered more than once in the set as they were recorded in several concerts and studio sessions and it is interesting to hear the differences in his performances. One might wish that his piano oeuvre had included more composers and a wider range of pieces, but this collection certainly highlights the work he was best known for, including as it does the various Chopin, Rachmaninoff, Liszt, Schumann, Scarlatti, Scriabin, Bach, Mozart, Haydn, Schubert, Clementi, and Beethoven gems he was noted for throughout his long career. Anyone loving the piano, or just beautiful music must hear these discs!

Average customer rating:

The Sound of Music
Buy This
chopin's etudes
WILD ABOUT WILD (AGAIN!!!)

Chopin: The Complete Etudes

Manufacturer: Chesky Records
ProductGroup: Music
Binding: Audio CD

Etudes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
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The Complete Chopin Nocturnes (2-CD's)
Earl Wild at 88
Earl Wild - Living History 'At 90'
Earl Wild Plays Johannes Brahms
Earl Wild - The Romantic Master

ASIN: B000003GDP
Release Date: 1992-09-05

Tracks:

Twelve Etudes, Op. 10: No. 1 In C Major, Op. 10, Allegro
Twelve Etudes, Op. 10: No. 2 In A Minor, Op. 10, Allegro
Twelve Etudes, Op. 10: No. 3 In E Major, Op. 10, Lento, ma non troppo
Twelve Etudes, Op. 10: No. 4 In C-Sharp Minor, Op. 10, Presto
Twelve Etudes, Op. 10: No. 5 In G-Flat Major, Op. 10, Vivace
Twelve Etudes, Op. 10: No. 6 In E-Flat Minor, Op. 10, Andante
Twelve Etudes, Op. 10: No. 7 In C Major, Op. 10, Vivace
Twelve Etudes, Op. 10: No. 8 In F Major, Op. 10, Allegro
Twelve Etudes, Op. 10: No. 9 In F Minor, Op. 10, Allegro, molto agitato
Twelve Etudes, Op. 10: No. 10 In A-Flat Major, Op. 10, Vivace assai
Twelve Etudes, Op. 10: No. 11 In E-Flat Major, Op. 10, Allegretto
Twelve Etudes, Op. 10: No. 12 In C Minor, Op. 10, Allegro con fuoco
Twelve Etudes, Op. 25: No. 1 In A-flat Major, Op. 25, Allegro sostenuto
Twelve Etudes, Op. 25: No. 2 In F Minor, Op. 25, Presto
Twelve Etudes, Op. 25: No. 3 In F Major, Op. 25, Allegro
Twelve Etudes, Op. 25: No. 4 In A Minor, Op. 25, Agitato
Twelve Etudes, Op. 25: No. 5 In E Minor, Op. 25, Vivace
Twelve Etudes, Op. 25: No. 6 In G-sharp Minor, Op. 25, Allegro
Twelve Etudes, Op. 25: No. 7 In C-Sharp Minor, Op. 25, Lento
Twelve Etudes, Op. 25: No. 8 In D-Flat Major, Op. 25, Vivace
Twelve Etudes, Op. 25: No. 9 In G-Flat Major, Op. 25, Allegro assai
Twelve Etudes, Op. 25: No. 10 In B Minor, Op. 25, Allegro con fuoco
Twelve Etudes, Op. 25: No. 11 In A minor, Op. 25, Allegro con brio
Twelve Etudes, Op. 25: No. 12 In C Minor, Op. 25, Molto allegro con fuoco
Twelve Etudes Without Opus Number: No. 1 In F Minor,
Twelve Etudes Without Opus Number: No 2 In A-Flat Major
Twelve Etudes Without Opus Number: No. 3 In D-Flat Major

Amazon.com

At 77, Earl Wild realized his long-held ambition to record all the Chopin etudes, which have been in his repertoire for years. Given the legendary pianist's flamboyant reputation, however, the results are more mild than wild. His legendary technique, to be sure, is more than up to the task, but the inhibiting aura of posterity and permanence hover over the proceedings, not to mention the Urtext police. One misses the fire, abandon, and sense of risk Wild unfailingly brings to these works in concert. It is obvious that a seasoned master is at work, although I wish he had been more at play! The engineering is superb. --Jed Distler

Customer Reviews:

The Sound of Music.......2007-04-25

Seirawan has said that aspiring chess players should not plan to become professionals unless they have reached the grandmaster title by the age of 18. With the evolution of piano technique over the last half century a similar point could be made that if you do not master all Chopin etudes by the age of 12, as Maurizio Pollini did, you may think of reconsidering a career as concert pianist. From this not unrealistic perspective it might seem a curiosity to encounter a complete recording by a 77 year old pianist. Well, pianophiles rest assured Mr. Wild has provided us here with a recording that belongs on every shelf and that couples supreme musicianship with a beautiful recording.

While I bought Wild's entry in the great pianists of the 20th century series a couple of years ago, did full transcription double cd did not blow me away. Yet, frequent inclusions in the NPR play list kept this master on my radar. By living long, and I hope prosperously, and retaining so much of his prodigious technique in even his current nineties, he by now may make a fair claim to being "the last romantic".

With a current catalog of "athletic" recordings (Pollini, Gavrilow, Ashkenazy, etc., etc, etc.) it was only a matter of time for someone to choose to shove technical display to the back ground and put music first. Even compared to Perahia's recent recording, this record easily outshines them all musically. Earl Wild's technique was still very strong at 77 and he was fully up to meeting these 27 works' taxing demands, yet in the Hamelin era there are many who can take some of the twist and turns better than the old master. Yet, the equally deep understanding of the score and musicality afford Wild a position next to my historic favorite Pollini recording.

With the wisdom of age and a long history of critical acclaim Wild chose a different way to impress by slowing things down -some of the etudes are a little slower than prescribed in the score- and to focus more on the quality of sound of each note than their speed. In addition, he has his own vision of Chopin and a deep understanding of each of these pieces. In the recent "It's all about the music" Marc-Andre Hamelin DVD a musicologist comments on the linear nature of the Chopin studies; a nature that according to him Godowsky had ameliorated and enriched with counterpoint. Listening to Wild, one hears works that are allowed to sing and have no linear shortcomings, moreover the articulation of each note -listen for example to Opus 10, no. 1- is outstanding throughout this recording.

In all, this disc is an easy recommendation, with its beautiful recording and use of a Baldwin. Especially in the light of the historic status of the final recordings of Jorge Bolet one may wonder whether the Steinway would indeed be the instrument of choice for this repertoire.

Buy This.......2006-05-26

What I like about Earl Wild's playing is its clarity - he doesn't hold the sustain pedal down too much and slur things together. You can hear the clarity and the skill required in hitting each note.

chopin's etudes.......2006-03-22

Excellent artistry. Earl Wild shows that the mature artist can interpret the masters to the fullest extent. The vigorous compositions are a fully met challenge performed by this virtuouso....I am honoured by Earl's performance....I wish in a future life to be Earl Wild.

WILD ABOUT WILD (AGAIN!!!).......2003-01-24

When I first heard Mr. Wild's interpretation of the complete Chopin Etudes, I wasn't immediately reminded of any other pianist. Cornerstone artists of this repertoire--- Pollini, Ashkenazy, Arrau, and a multitude of new names, such as Ohlsson (whose own performance on Arabesque I reviewed here 12 December 2001), Gavrilov, Berezovsky and Lugansky, all of whom I've lent an ear--- never entered my mind.

Why? It's simple, I suppose. Rather than astound us by the strength of his virtuosity, by slapdash bravado incurred merely to impress, or by exerting the forefront of his persona, instead of allowing the music to reveal itself, Mr. Wild impresses completely by his lack of artifice, his utter sensitivity, and his uniquely distinctive approach. By no means is there a want of passion or fire; afterall, Earl Wild is still Earl Wild. However, and this is the key issue, the reason Mr. Wild's Chopin keeps us unfailingly mesmerized is the endless and absolute poetry of his glowing performance.

Every etude impresses; every etude leaves an emotional mark; every etude, in Mr. Wild's hands, sounds newly-written, whether dreamy or impulsive, steeped in the deepest musical understanding and conception, the most penetrating awareness and clarity.

Yes, certain liberties are taken by Wild, but never at the expense of the music; in fact, the idiosyncrasies make the etudes all the more intriguing, all the more compelling. One can only speculate on how all these "facets" of Chopin's marvelously inventive miniatures escaped our noticing.... until now. This is Mr. Wild's "magic." And, in his case, would that it were so for us all--- with age has come a great, wondrous wisdom, generously shared.

Tracks:

Mazurka in A minor, Op. 17 No. 4: Lento, ma non troppo
Etude in G-flat major, Op. 10 No. 5: Vivace
Introduction & Rondo in E-flat major, Op. 16
Waltz in A minor, Op. 34 No. 2: Lento
Polonaise in A-flat Major, Op. 53: Maestoso
Mazurka in F-sharp minor, Op. 59 No. 3: Vivace
Mazurka in C-sharp minor, Op. 50 No. 3: Moderato
Mazurka in D-flat major, Op. 30 No. 3: Allegro non troppo
Mazurka in E minor, Op. 41 No. 2: Andantino
Mazurka in D major, Op. 33 No. 2: Vivace
Etude in C-sharp minor, Op. 10 No. 4: Presto
Etude in E major, Op. 10 No. 3: Lento, ma non troppo
Etude in C minor, Op. 10 No. 12: Allegro con fuoco
Prelude in B minor, Op. 28 No. 6: Lento assai

Tracks:

Posonaise in A major, Op. 40 No. 1: Allegro con brio
Prelude in D-flat major, Op. 28 No. 15: Sostenuto
Etude in E-flat minor, Op. 10 No. 6: Andante
Etude No. 2 in A-flat major from 'Trois Nouvelles Etudes': Allegretto
Mazurka in F minor, Op. 7 No. 3
Waltz in C-sharp minor, Op. 64 No. 2: Tempo giusto
Variations on a Theme by Clara Wieck from Sonata No. 3 in F minor, Op. 14: Andantino
Kreisleriana, Op. 16: I. Auberst bewegt
Kreisleriana, Op. 16: II. Sehr innig
Kreisleriana, Op. 16: III. Sehr aufgeregt
Kreisleriana, Op. 16: IV. Sehr langsam
Kreisleriana, Op. 16: V. Sehr lebhaft
Kreisleriana, Op. 16: VI. Sehr langsam
Kreisleriana, Op. 16: VII. Sehr rasch
Kreisleriana, Op. 16: VIII. Schnell und spielend

Amazon.com essential recording

Schumann and Chopin were staples of Horowitz's repertory, and this late 1960s-early 1970s collection finds him at his mature peak, playing with elan and imaginative fantasy. The Kreisleriana is one of his greatest recordings, trumping rivals with its spectacular pianism and complete identification with the composer. The Chopin set typifies Horowitz's approach--big and bold, with personalized editorial emendations and an energy that shatters the conventional salon approach. But he also sings Chopin's touching melodies as few others can, making the lovely Op. 10 No. 3 Etude an achingly touching poem. --Dan Davis

Customer Reviews:

The Schumann Kreisleriana is worth everything, and the Chopin is magical.......2005-12-20

This is a must have dual CD set of one of the great pianists of all time playing some of his favorite music. Later in life Horowitz made a TV show that became a best selling VHS tape entitled "Horowitz: The Last Romantic". If you ever heard him play, you know that title is appropriate and what the grand piano style was all about.

I have often referred to recordings of music as photographs of music. And just as photographs of people a wonderfully valuable, they are not the real person and do not capture the real person. Even a movie or documentary distorts the reality of the person. Still, we treasure our home movies, photos, and recordings. And we should. We just need to remember what they really are and that they are representations of reality (or of fictions if that is what they are) rather than real life.

It was my good fortune to hear Horowitz in recital three times; twice here in Ann Arbor and once in East Lansing. While I have heard dozens of great pianists, and hundreds of very fine quality, Horowitz (and Rubenstein) had a special charisma that was totally involving. His playing had special qualities that were unique to him. He played more quietly and yet was able to send that whisper of sound to the farthest rows in Hill Auditorium. I believe the secret of his power was that he had so many shades of pianissimo. While we clearly here a great dynamic range in these recordings, the compressed nature of recordings cannot capture the full range of what we heard in live performance.

The other thing he had was the ability to not only keep the voices clear in the music he was playing, but to give each voice its own character and sound. The recording of Schumann's fabulous Opus 16, Kreisleriana included here captures this ability to a stunning degree. This recording should be in your collection and studied carefully. While these phantasies are full of contrasts that make listening to them seemingly easy, there is so much quality and interesting music that they will reward as much close listening and study as you can lavish on them.

The other Schumann work included is the "Variations on a theme by Clara Wieck" (who became Schumann's wife and was a superb and important pianist).

The Chopin pieces included here are a wonderful collection of etudes, mazurkas, the two famous polonaises, preludes, waltzes, and the wonderful but not often heard "Introduction and Rondo in E-flat major Op 16". These are all full of magic and will hold your imagination closely. I find myself saying, "Oh, I LOVE this piece" and then the next one comes on, and I say the same thing again and then again for the next one. They are all pieces I have learned to play or want to learn (like the Intro & Rondo).

Get a hold of these disks if you can. Just a number of wonderful listening experiences.

Chopin + Schumann + Horowitz = Unforgettable Playing.......2003-04-12

Volume Seven of Sony's Horowitz reissue contains very convincing performances of Chopin and Schumann, Romantic composers whose music was sympathetic to the pianist's interpretive style.

It was not uncommon for Horowitz to bring to light a rarely played work by a well known composer, which is the case with Chopin's Introduction & Rondo in E-flat. This early composition (probably written for Chopin's most advanced pupils) abounds with glittery passagework and technical configurations similar to his Concertos (which Horowitz never recorded). Under Horowitz's hands, the work exceeds the boundaries of mere salon piece and emerges as a virtuoso tour de force.

Horowitz (who had a Polish grandmother and was fond of pointing out that he was "half as much a Pole as Chopin") considered the Mazurkas to be Chopin's greatest works, and often stated that there was more music in the shortest Chopin Mazurka than in the longest Mahler Symphony. The pianist treated the Mazurkas less as dance pieces than as "dance-fantasies" and his playing of the works was freer than the more straightforward Rubinstein. Highlights of this set include a seductive F-sharp Minor, Op. 59 No. 3.

Horowitz made several recordings of the ever popular A-flat Polonaise, and this one adheres most closely to Chopin's text. The introduction is very sparsely pedalled (as if Horowitz were saying "Look! I can play the tricky introduction without using the pedal to cover up insufficient fingerwork. Take THAT, Rubinstein!"). The remainder of the piece goes with gusto and flair (too fast to be a Maestoso), but he somehow misses the grandeur which Rubinstein brought to the piece--and which Horowitz himself would attain in his last years. The A-major Polonaise is also taken at a fast clip, but this somehow seems more appropriate to this work, and one is reminded of Chopin's remark that if he were able to play the piece the way he meant it to be played, the piano would lay in ruins afterward.

If anyone thought Horowitz, then approaching 70, had lost any of his fire, their worries were quickly dispelled with the Etudes included here. The C-sharp Minor goes at a rapid clip, but unlike many pianists, there is no loss of clarity. The famous Revolutionary Etude is given a more outwardly virtuosic performance then the pianist's 1963 recording, yet somehow the piece has less impact here.

The ubiquitous C-sharp Minor Waltz is from the Boston concert of April 7, 1968. Three days previously, the Reverend Martin Luther King had been murdered in Memphis. At the beginning of this concert, Horowitz came onstage with an African-American minister, and played Chopin's Funeral March in memory of Dr. King.

Horowitz learned Shumann's Kreisleriana in the 1930s, but did not play it in public until 1968. Several attempts to record the work in concert were not successful, and Horowitz came to the conclusion that he needed the peace and quiet of a recording studio to achieve the concentration for a performance suitable for posterity. Horowitz recorded the work at one inspired session on December 1, 1969, and this may well be the most successful Kreisleriana ever recorded. Ironically, Horowitz, who often had trouble holding together a Beethoven Sonata, makes this structurally splintered work emerge as one piece. This is one Kriesleriana which is never rambling or boring. There is virtuosity here, but never for its own sake, and there is poetry in plenty. This stands alongside the 1932 Liszt Sonata and 1951 Rachmaninoff Third Concerto as one of Horowitz's greatest recordings. However, it should be pointed out that this reissue of Kriesleriana uses a few alternate takes, which are markedly different from the original LP and an earlier CD issue (MK42409). Although the performance is basically similar, there are several differences in detail.

Schumann's Variations on a Theme by Clara Wieck, originally included as a filler for the Kriesleriana record, is given a straightforward reading here. It a lovely little work, but it is even more beautiful in its original context: as the third movement from the composer's Sonata in F Minor, another rarely played work Horowitz would bring to light in 1975.

The sound is more than acceptable here, and especially fine in the Schumann works.

Classic Chopin.......2000-11-23

Volume Seven of Vladimir Horowitz's "Complete Masterworks Recordings" ("Early Romantics") compiles almost two discs worth of classic Chopin performances. There's a little bit of everything here -- Polonaises, Etudes, Mazurkas and Preludes, but sadly no Nocturnes. The Chopin renditions here are as good as, if not better than, anything available -- Rubinstein, Kissin, Pollini and Cliburn included. And just when you thought the highlight of this collection was the Chopin material, on come two amazing pieces by Schumann, "Variations on a Theme by Clara Wreck" and "Kreislerania." The latter piece is a particular favorite of mine -- a wild and turbulent, and at times poetic and lovely, masterpiece which Horowitz captures in all its brilliance. In all, "Early Romantics" is a thoroughly enjoyable couple of discs that anyone should love.

Average customer rating:

At least 16 / 19 well spent hours
Enlightening but slighly blemished
Chopin - Luisada, Jean-Marc
Chopin - Luisada, Jean-Marc
Learn, learn, learn!

Chopin: Complete Edition
Krystian Zimerman , Claudio Arrau , Stefan Askenase , Anatol Ugorski , Maurizio Pollini , Jean-Marc Luisada , and Zilberstein, Lilya
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

Bourees | Ballets & Dances | Classical | Styles | Music

Dances | Ballets & Dances | Classical | Styles | Music

Ecossaises | Ballets & Dances | Classical | Styles | Music

Galops | Ballets & Dances | Classical | Styles | Music

Mazurkas | Ballets & Dances | Classical | Styles | Music

Polonaises | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Trios | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

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Etudes | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Fugues | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Rondos | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Lullabies & Berceuse | Vocal Non-Opera | Opera & Vocal | Styles | Music

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Similar Items:

Liszt: Piano Works
Bach: Complete Works - 155 CD Box Set
Wolfgang Amadeus Mozart: Complete Works (170 CD Box Set)
Chopin: The Piano Works
Haydn: The Masterworks [Box Set]

ASIN: B00001X58Z
Release Date: 1999-10-12

Amazon.com

On the 150th anniversary of his death, Deutsche Grammophon released this impressive box set featuring the complete works of Frédéric Chopin. Spread out over 17 CDs, it contains some truly big-name artists--Argerich, Pollini, Barenboim, and Ashkenazy--and a few you've probably never heard of. The majority of the set's nine volumes contain some music newly produced for this undertaking, and a few items (Chopin's songs, for instance) were recorded specifically for this collection. A well-illustrated book is included--it contains an essay, dateline, and illustrations--and each volume in the set gets its own liner notes. The music? It varies from great to less than great, but most of it is worth hearing. Those accustomed to Rubinstein's readings of the Mazurkas will find those played by Jean-Marc Luisada less fluid and lacking Rubinstein's power. Chopin's songs, seldom heard and filled with elements of Polish folk dances and the less-than-stellar lyrics of the composer's friend Stefan Witwicki, get a college try here by soprano Elzbieta Szmytka. They sound as good as you'll hear anywhere (if you can find them). It probably goes without saying that Martha Argerich's rousing 26 Préludes are some of the set's more exciting moments. But, really, the entire collection is solid. It should be noted that budget label Naxos has released its own Chopin edition at less than half the price of this set. With Idil Biret as the only performer on that set, you miss out on some of the diverse performances and personalities found here. Also, to please those of us who already own favorite performances of these works, each two-CD volume in the Complete Chopin Edition can be purchased individually. Bravo. --Jason Verlinde

Customer Reviews:

At least 16 / 19 well spent hours.......2004-10-11

In my opinion there is no more effective way to ruin a great musical performance than to record it in front of an audience who cannot control their coughs. The first disc starts out with a 1979 live recording of Chopin's first piano/orchestra concerto featuring pianist Krystian Zimerman and the Royal Concertgebouw Orchestra of Amsterdam. The performance is good, but doesn't allow the listener full concentration,--and therefore not full enjoyment--as a distracting and annoying audience can be heard coughing, sneezing, and clearing their throats even above the orchestra's playing in mezzo forte - it gets worse, of course, at dynamically quieter musical parts. Other distractions, like chairs creaking, cracking and squeaking, pages being turned probably inches away from a microphone (perhaps to give the page-turner a chance to say "Did you hear that? That was me,") and people stomping/dropping things (?) add to the incapability of the listener's full enjoyment. I've heard much worse, however, but considering that the recording technique is no older than 25 years, this is on the verge of being unacceptable. Sure - there can be a certain charm in hearing such "humanity" on a recording, especially when it's older, but I don't think many would disagree that this is a bit too much. Hearing the opening of piano/orchestra concerto no.2, and knowing that the 18+ hours of music to come aren't going to be interrupted by coughs, is a big relief. My favorite Chopin interpreter is--and might always be--Rubinstein; his playing is straight forward, he cuts to the chase quickly, yet somehow manages to leave room for sensitivity and emotion. His performances, of course--since he never recorded a note for Deutsche Grammophon,--are not included in this "complete edition," so aside from suggestions that certain waltzes are missing, that is something that makes this boxed set incomplete for me. Pollini's general interpretation of Chopin is in my opinion, as in many others', quite weak in comparison to Argerich's, Zimerman's, or the passionate playing of Daniel Barenboim. Here Pollini performs Etudes, Scherzos, Sonatas and Polonaises. At times, during the Etudes of op. 10, I feel like I'm getting more Maurizio than I am getting Fryderyk, even though the performance (especially on no.3) may invite feelings of thriving despite the performer's occasional roaring in the left channel. The Scherzos feature some troublesome factors; first and foremost the sound (of this 1990 recording) isn't at all as good as one would expect. It's far worse than several older recordings of this set - at only six seconds into the first Scherzo (op.20) one can't avoid acknowledging obvious distortion - the recording has clearly been done with too much input level. Clips noises continue throughout the grainy and dull sound picture of these pieces. Second of all, the noises Pollini makes while playing can be quite off putting. At times he sounds like a boy with a voice just breaking experiencing climax of coition, and as we all know, Chopin had a prudish aversion to overt sexuality. One reason why Pollini's performance of the Scherzos being called "troublesome" might be harsh, is that musically he handles them ok, and I'd think that's what's essential, but Deutsche Grammophon has made the odd decision of including Pollini's recording of Sonata no. 2, op.35 (a.k.a. "Funeral March") from 1984 in this set, instead of Argerich's recording from 1975. First of all, Argerich's version has clearer sound (at least on the newly refurbished "The Originals" edition...but then again, that was released in 2002,) but second of all, and more importantly, her playing is far more straight forward during the first part of the Sonata (Grave,) whereas Pollini shows too much mercy both for strong dynamics and tempo throughout. Furthermore he's on the verge of playing parts of the March suggesting "lento," as if it read "rubato" (it's a MARCH!) His performance of Piano Sonata no.3 is also a bit lifeless, but the hour long disc of Polonaises recorded 1975 he handles surprisingly well (the occasional phlegmatic karaoke-roars may need a little time getting used to, though.) Several of these interpreters make some less musical noises while playing - Zimerman, for instance, breathes heavily through the nose after each and every completed phrase throughout all off his performances (although it can't be heard with orchestra.) When listening to his solo performances in head phones, the constant snuffling can distract and annoy quite a bit, but I know that I do the exact same thing when I play, myself, so perhaps I shouldn't complain until I've managed to rid the inconvenient problem myself. Besides Pollini's Polonaise interpretations, there's another (76 minute long) disc of Polonaises featuring mainly Ugorski, but also Argerich. Something that seems odd to me is that the sound quality of Argerich's 1974 recording once again is superior to a newer recording - in this case to the 1999 recording of Ugorski, which doesn't feature much middle in the sound picture, but uneven soughing and clip noises! Both their performances (but especially Argerich's,) are about as enjoyable as Chopin interpretations can be, I'd think, as is the technically and musically perfect, touching and mesmerizing Nocturne interpretations of Daniel Barenboim, recorded in 1981 - his playing here equals close to two hours of pure magic. While being a Rubinstein fan, I'm going to have to say that Barenboim's way of playing the Nocturnes is just how I think they should be played; they call for this somewhat gentle touch mixed in with their brutal sincerity, but I suggest for those who (especially) enjoy the Etudes, Sonatas and Scherzos to listen to Rubinstein's recordings of the works (available on RCA's Rubinstein Collection, vol. 26, vol. 45 and vol. 46.) Pollini is, of course, a fine performer, but I'd suggest listening to his interpretations of Prokofiev's and Stravinsky's work instead.
Rubinstein recorded the preludes (op.28) in their entirety only once, in 1946, which means that they aren't available in RCA's collection with preferable sound quality, but on this set Martha Argerich delivers a great performance of the 26 preludes (no.1-24, op.28, plus 25, op.45, and 26, op. 35,) recorded in 1975. One prelude that in my opinion should always be played as slow and gentle as possible is no.15 (a.k.a. "The Raindrop Prelude.") What I'd like to describe as a prefect version of the piece is performed by--despite my having done a lot of research--a, to me unknown performer, but runs at 6:08 minutes. Argerich rushes the whole piece a bit (the drops fall too closely -) the fact that her version runs at 4:51 should say a lot. Of the approximately 20 different performances I've heard of this particular prelude (obviously one of my favorites,) Argerich's is the shortest, and lays somewhere in the swamp among other "medium integral" versions. She delivers exciting performances of the other preludes, though - the first time I heard them, I hit repeat on my CD player, and listened to nothing else for three days.
The Mazurkas, here performed by Jean-Marc Luisada and Lilya Zilberstein, are performed--while beautifully--quite carefully and loosely. For those who'd like a more restrained performance of the pieces, RCA's Rubinstein Collection, vol. 50, is recommended.
Besides all the music for only piano(s,) Chopin also composed 80 minutes worth of chamber music, which here is performed by Beaux Arts Trio, et al. He also wrote 45+ minutes worth of songs, which here is performed by soprano Elzbieta Szmytka and pianist Malcolm Martineau on a 1999 performance. I don't feel qualified to comment on solo singing in Polish, but while I don't care for the occasional close-to-full effect vibrato, I like Martineau's piano playing and the almost folksy melodies and arrangements. This music distinguishes itself by far from the rest of the music in the set. Translations to several languages of the lyrics to the 19 songs are included.
The stereophony on all recordings is great, the overall sound quality on all discs (when considering the years of the recordings) I'd give a 4/5, but still rate the whole package 9/10 - I'd think that some (both older and newer) recordings could have been transferred better, while some sound superior to what you'd dare dream of. This is definitely the best complete edition of Chopin's music available, and perhaps the best collection of works available on disc by any classical composer. A lot of work has been put into the set's design, the sound, and certainly the amount and accuracy of interesting info given in the enclosed illustrated 140 page hard-cover book (of which a fifth is written in English) and in the 40-60 page booklets (also illustrated) included in each volume; practically everything you'll ever need to know about the composer (and these recordings) is included here along with all the music he wrote. Well worthy of your time and money.

Enlightening but slighly blemished.......2004-07-05

I commend DG on producing this comprehensive and thoughtfully packaged/annotated collection of Chopin's output. In it one can appreciate the wondrous manner in which Chopin at once appeased the conservative appetites of the Paris salon set while revolutionizing the genre of piano music in both traditional and more intimate forms.

The greatest virtue of this collection is the opportunity to hear more obscure elements of Chopin's collected ouevre. He wrote some lovely chamber music and wrote highly effective variations with and without orchestra. Among his 17 songs are a few gems.

As for the strength of the performances, some of them are rightly considered definitive. I love Zimerman in the piano concerti, Argerich owns the Op. 28 preludes, and I find in Pollini's scherzos the unbridled energy and interpretive depth required by these challenging pieces. Even if Daniel Barenboim's nocturnes do not set any records, they are well-done and completely satisfying.

I was less enthusiastic about Pollini's readings of the latter 2 piano sonatas, which I find prosaic on the whole. I was equally underwhelmed by Bunin's impromptus, which again betray interpretive rather than technical deficiencies. My greatest disappointment is Jean-Marc Luisada's controversial readings of the mazurkas. An unwieldy rubato rules the day here, and distorts the harmonic language to the point that it sounds like Debussy or Ravel's frequent (and unshakeably French-sounding) evocations of Spain. I much prefer any of the Rubinstein mazurka sets, which are colorful but rhythmically mindful of their namesakes.

Properly supplemented in the more familiar repertory (mazurkas, impromptus, sonatas, in particular), I believe this set is indispensable to anyone who appreciates or seeks a broader understanding of Chopin the composer. I recommend it highly.

Chopin - Luisada, Jean-Marc.......2002-04-14

I am a professional Pianist and Piano-pedagoge trained at the University of Graz and Vienna (Austria).
It seems as often reviewers/critics/listeners have the same opinions: I wonder if it isn't in some cases the old story of the Emperors new clothes - nobody dares to have a different opinion, as they do not want to appear stupid.
Some of the reviewers here, didn't like Luisadas performances of the Mazurkas. I hold the heretical opinion that Jean-Marc Luisadas performances are much better than Rubinsteins (I possess the three different complete Mazurka recordings of Rubinstein). There are few pianists that like Luisada know how to treat the piano as a truly polyphonic instrument, with absolute control of every line, and at the same time being able to emphasise every harmonic detail - giving every chord its differing and appropriate degree of tension. Furthermore he understands how to display the different moods and characters of the music. All these factors make Luisadas performances extremely colourful. Every Mazurka with Luisada is a unique experience.

Ps. Other recordings do occasionally wet the critical appetite: For instance the everywhere highly acclaimed Chopin recordings with Pollini are often musically awful, the Etudes opus 10 nr. 1 and opus 25 nr. 1 are examples. For the complete Etudes, buy Boris Berezovsky's recording for Teldec, it surpasses Pollini by far. Ds.

Chopin - Luisada, Jean-Marc.......2002-04-14

Learn, learn, learn!.......2000-10-16

This box set is a must for any lover of piano music.

DG deserves praise for coming with an excellent set of records as well as presentation of the booklets. It is breathtaking to have the opportunity to really know Chopin so well.

Performers are first rate and speak for themselves, and for the price of 8 CD's you get the whole collection. Yes, you can get in some cases better performances, but overall you can find a better compilation. Naxos has its own, and I am going to exchange it with a friend, problem will be to get mine back!

Tracks:

Twelve Etudes, Op. 10: No. 1 In C Major
Twelve Etudes, Op. 10: No. 2 In A Minor
Twelve Etudes, Op. 10: No. 3 In E Major
Twelve Etudes, Op. 10: No. 4 In C-Sharp Minor
Twelve Etudes, Op. 10: No. 5 In G-Flat Major
Twelve Etudes, Op. 10: No. 6 In E-Flat Major
Twelve Etudes, Op. 10: No. 7 In C Major
Twelve Etudes, Op. 10: No. 8 In F Major
Twelve Etudes, Op. 10: No. 9 In F Minor
Twelve Etudes, Op. 10: No. 10 In A-Flat Major
Twelve Etudes, Op. 10: No. 11 In E-Flat Major
Twelve Etudes, Op. 10: No. 12 In C Minor
Twelve Etudes, Op. 42: No. 1 In A-Flat Major
Twelve Etudes, Op. 42: No. 2 In F Minor
Twelve Etudes, Op. 42: No. 3 In F Major
Twelve Etudes, Op. 42: No. 4 In A Minor
Twelve Etudes, Op. 42: No. 5 In E Minor
Twelve Etudes, Op. 42: No. 6 In G-Sharp Minor
Twelve Etudes, Op. 42: No. 7 In C-Sharp Minor
Twelve Etudes, Op. 42: No. 8 In D-Flat Major
Twelve Etudes, Op. 42: No. 9 In G-Flat Major
Twelve Etudes, Op. 42: No. 10 In B Minor
Twelve Etudes, Op. 42: No. 11 In A Minor
Twelve Etudes, Op. 42: No. 12 In C Minor
Trois Nouvelles Etudes, Op. Posth.: No. 1 In F Minor - Andantino
Trois Nouvelles Etudes, Op. Posth.: No. 2 In D-Flat Major - Allegretto
Trois Nouvelles Etudes, Op. Posth.: No. 3 In A-Flat Major - Allegretto

Amazon.com

We can't hope for a "perfect" or "definitive" recording of Chopin's Etudes, which have so many aspects. But we can hope for performances like these, which are alive in every moment and which reflect appropriate measures of the composer's and the performer's personalities. Ohlsson has obviously made a profound study of this music (which he plays with a few interesting textual variants), and he brings out expressive elements and inner voices. He rarely stresses technical elements in the music, but his virtuosic command is complete and impressive. Outstanding, insightful program notes by Frank Cooper and excellent recording contribute to a highly recommendable release. --Leslie Gerber

Customer Reviews:

Stunning Technique, Spellbinding Beauty. It deserves 7 Stars! .......2006-03-20

This is one of those rare recordings that capture a pianist at his technical and artistic peak.

Garrick Ohlsson's rendition of the Etudes is nothing short of miraculous. If Chopin were alive to hear this he would cry out in religious ecstacy! I imagine Chopin saying, "I can now rest knowing my work has finally been given justice!" One can only hope he hears from beyond the grave. Ohlsson succesfully combines the often exclusive elements of lightness of touch combined with extreme speed, accuracy and exceptional artistry without pathos.

This performance will expand your intellect and satisfy your soul.

Mind Boggling!!!.......2006-01-12

I agree with the reviewer who comments on how easily Ohlsson handles the fiendish difficulties of the great Chopin Etudes. I read somewhere that he did not practice scales, arppegios, etc. like the rest of us poor mortals - his technical studies were the Etudes!!! If this is true, I'm sure that he is so secure with the notes and technical 'study' of each etude, that he can consentrate soley on the music, rather than its technical aim. Examples: The great "Winter Wind"Etude, in c minor, simply roars in his hands, and the "Harp" and Etude in Double Thirds are like gossemer. Gorgeous sounds. The study in broken chords, I never liked until I heard Ohlsson play it. After many playings, they are still a spell-binding joy to listen to.

Wow, Ohlsson is such an underrated pianist.......2005-12-31

People buy Pollini's record of these because they haven't heard Ohlsson's.

These etudes come so easily to Ohlsson that he can play everything with speed, dexterity, and MUSICALLY!!! who would have thought?

He's incredible.

QUITE SATISFYING .......2001-12-13

Chopin's two sets of Etudes, Op. 10 (1833) and Op. 25 (1837), have been known to set many pianists' teeth a-chatterin', and for good reason: they are fiendishly difficult to play and equally so to communicate easily, to render afresh. Not, apparently though, for Mr. Ohlsson, whose transcendental virtuosity enables him to subdue the nearly technically impossible and immerse himself in the sheer beauty, myriad moods, colors, textures and emotional utterances these twenty-four etudes have to offer.

So deep is Ohlsson's understanding of these studies that each literally takes on a life of its own, while, at the same time, becomes inseparable from the whole. So seemingly effortless is his technical command, so fruitful his passion, so revelatory his "voice," we become transfixed by a comforting trust in his interpretation of these works... and by our profound sense that his expressivity runs so deep within him that his musical simpatico enables us to feel completely secure--- wherever he wishes to take us. There is no bogus bravura here, no blatant showmanship, both of which are traits that would cripple these pieces.

Amidst etudes that sing, thunder, weep or misbehave, Ohlsson truly guides us, his pianism full of charismatic authenticity, balance and gossamer poetry. The ease with which Mr. Ohlsson obtains our rapt attention resides within the power of his own convictions regarding each and every one of these etudes. It is a wonderment. [Ah, Chopin, you genius, melancholy Pole!] The Trois Nouvelles Etudes of 1840, as well, are superb pieces, performed beautifully: hypnotic, wistful, nostalgic.

Consistent is the exemplary sound given this exemplary artist: rich, warm, detailed and intimate. The match couldn't be more perfect or enveloping. Excellent liner commentary, too, by Frank Cooper.

[Running time: 67:05]

His technique is so secure, these 'studies' become music........1998-12-19

Ohlsson plays these with such technical security, that he can and does shape them into individual jems. The big etudes are huge, and the softer one,(like the double thirds) weave in out beautiful dynamics and colors. They are spectacular performances.

Average customer rating:

Which Hofmann?
Josef Hofmann: Wonderful performances, lots of surface noise

The Complete Josef Hofmann, Vol. 3

Manufacturer: Video Artists Int'l
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Gavottes | Ballets & Dances | Classical | Styles | Music

Polonaises | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Rondos | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Lullabies & Berceuse | Vocal Non-Opera | Opera & Vocal | Styles | Music

Caprices | Vocal Non-Opera | Opera & Vocal | Styles | Music
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Josef Hofmann, Vol. 4
The Complete Josef Hofmann, Vol. 2
The Chopin Concertos

ASIN: B000003LJ8
Release Date: 1994-09-01

Tracks:

Valse In A Flat, Op. 34, No. 1
Valse C Sharp Minor, Op. 64, No. 2
Valse In E Minor, Op. Post
Polonaise In A Minor, Op. 40, No. 1
Impromptu No. 1, A Flat, Op. 29
Fantasie-Impromptu, C Sharp Minor, Op. 66
Berceuse In D Flat, Op. 57
Chant Polonaise, 'The Maiden's Wish'
Liebestraum No. 3 In A Flat
Conccert Etude No. 1, 'Waldesrauschen'
Venezia E Napoli - 'Tarantella' (Abridged)
Marche Militaire
Der Erlkonig
Gavotte
'Moonlight Sonata In C Sharp, Op. 27 No. 2 First Movement
Fantasiestucke, Op. 12, No. 3 'Warum?'
Papillon, Op. 43, No. 1
Spinning Song, Op. 67, No. 14
Rondo Capriccioso, Op. 14 (Abridged)
Spring Song, Op. 62, No. 6
Hunting Song, Op. 19, No. 3
La Jongleuse

Tracks:

Caprice Espagnole, Op. 37 (Abridged)
Minuet In G
Valse-Caprice
Miniatures, Book. 9 No. 7, 'El Dachtarawan'
The Sanctuary
Prelude In C Sharp Minor, Op. 3, No. 2
Prelude In G Minor, Op. 23, No. 5
Valse Gracile
Birds At Dawn, Op. 20, No. 2
Third Etude In C Minor, Op. 120
Polonaise In A Major, Op. 40, No. 1
Hunting Song, Op. 19, No. 3
Spring Song, Op. 62, No. 6
Marche Militaire
Der Erlkonig
Nocturne In E Flat, Op. 9, No. 1
Valse In E Minor, Op. Post.
Papillon, Op. 43, No. 1
Spinning Song, Op. 67, No. 4
Prelude In C Sharp Minor, Op. 3, No. 2

Amazon.com

Volume 3 gathers Hofmann's complete acoustic Columbia 78s, including seven previously unissued sides. While Hofmann allowed a lot of leeway in live performance, he took recording seriously, both from an artistic and technical standpoint. The myriad subtleties of touch, pedaling, and articulation in Hofmann's playing come through loud and clear in these vintage 1912-1918 recordings. Each selection reveals the pianist's singing tone, extremely even fingerwork, aristocratic poise, and taste. There's a sense of purpose and proportion to the playing that belies the notion that all Romantic pianists took insane liberties. --Jed Distler

Customer Reviews:

Which Hofmann?.......2004-09-06

Hofmann - particularly late Hofmann - may be an acquired taste.
Despite having been the protégé of Anton Rubinstein, "the wonderful boy" was recognized from quite an early age as the exemplar of a modern style of playing - textually faithful, eschewing swooning or bombast. (See, for example, the references to Hofmann in Henry Lahee's wonderful survey from 1900, Famous Pianists of Today and Yesterday.)
Still, a number of younger colleagues expressed ambivalence. Horowitz was floored by Hofmann's keyboard command - everyone was - but he, Artur Rubinstein and Arrau, to name just three - seem not to have been terribly moved by Hofmann's musicianship.
But which Hofmann are we considering? His playing for the gramophone - as early as 1903 and as late as 1935 - was as disciplined as it was imaginative and dazzling. The late Harold Schonberg called it "perfection plus."
However, as Gregor Benko makes clear in his essays for the Marston reissues, Hofmann switched on what the pianist called a "spectacular" style for many public performances. This may sound cynical. Often it sounds terribly cynical. Hofmann was not speaking merely of the need to project in a large concert hall. In public performance - at least those performances we have from the late `30s and early `40s - the aristocrat often becomes a mountebank, lurching from the softest pianissimos to explosive fortissimos, rattling off passages or entire pieces even faster than Simon Barere boasted he could do.
Schonberg - and Hofmann's friend and admirer Rachmaninoff - reminded us that during this period Hofmann had many personal troubles, including a severe drinking problem. We must believe that at his greatest Hofmann played as scrupulously and with as much refined feeling in public as he did on many of his studio recordings, though his manner may have differed somewhat. And there are some marvelous live performances. The Rubinstein 4th from his Golden Jubilee concert beggars description.
So where does that leave us? As an introduction to Hofmann, I would recommend the early Columbia recordings, those he made somewhat later for Brunswick, and the American and British test pressings from 1935 - perhaps his greatest recorded playing. These are Volumes 3, 4 and 5 of the complete Hofmann series. Serious listeners will also want the ups and downs of the Golden Jubilee (Volume 2). The Chopin concertos in Volume 1 have some splendid moments, but the superlative (not spectacular; superlative) performance there is a fragment of the first movement of the E minor concerto performed in London -- far more poised and committed than its counterpart from New York. (I wonder if Hofmann played differently in America than he did in Europe? Some musicians - for instance, Mahler, Toscanini, Bernstein - for varying reasons apparently did.)
Having said all this, the entire Hofmann series is priceless. Heartfelt thanks to Gregor Benko and Ward Marston for making it available in superb transfers with fascinating notes.

Josef Hofmann: Wonderful performances, lots of surface noise.......2000-03-15

For Hofmann lovers and devoted students of piano performance, this collection is priceless! For others, the surface noise will be a serious drawback. My assumption is that anyone interested in Hofmann will start by getting Volumes 1 & 2 -- the Chopin Concertos and the 1937 Golden Jubilee Recital. Beyond that, in choosing among Volumes 3 through 6, Volume 3 offers a wide range of Hofmann's repertoire in shorter pieces -- 42 tracks on two CD's. These are Josef Hofmann in his prime and the performances are marvelous. Unfortunately, they were recorded in 1912-18 (with six tracks from way back in 1903!) and the surface noise is pretty severe. Listening to them is an effort, but the effort is well worth while!

MONIQUE HAAS Complete Recordings on Deutsche Grammophon

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The Magnificent Monique Haas

MONIQUE HAAS Complete Recordings on Deutsche Grammophon

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

Etudes | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
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ASIN: B000FBHSPE
Release Date: 2006-08-08

Tracks:

Piano Concerto No.14 In E Flat, K.449
Sonata For Piano Duet In B Flat, K.358
Sonata For Piano Duet In D, K.381
Sonata For 2 Pianos In D, K.448
Piano Concerto No.23 In A, K.488
Piano Sonata In F Major, Hob Xvi:23
Variations In E Flat Major, Hob.Xvii:3
Piano Sonata In E Flat, H.Xvi No.52
Fantasia In C, H.Xvii No.4
Piano Concerto In A Minor, Op.54
8 Fantasiestke, Op.12
12 Etudes, Op.10 - No. 5. In G Flat "Black Keys"
12 Etudes, Op.10 - No. 3. In E "Tristesse"
Prudes - Book 1
Prudes - Book 2
12 Etudes Pour Le Piano
Valses Nobles Et Sentimentales
Le Tombeau De Couperin
Capriccio For Piano & Orchestra
Piano Concerto In G
Piano Concerto No.3, Bb 127, Sz. 119
Pour Le Piano - 3. Toccata
Prudes - Book 1 - 8. La Fille Aux Cheveux De Lin
12 Etudes Pour Le Piano - 6. Pour Les Huit Doigts
Prudes - Book 2 - 12. Feux D'artifice
Piano Concerto In G
Piano Concerto For The Left Hand In D
Sonatine
Konzertmusik
Ricercari Op.46
3 Pies Pour Piano, Op.49
Sonatine
Violin Sonata In G
Violin Sonata No.2 Op.45

Album Details

Monique Haas was One of Dg's Principal Pianists in the 1950s. Her Play is Marked by Its Elegance, Passion and Wonderful Articulation. Here, for the First Time, We Present the Complete Recorded Legacy of this Great Artist on CD. This is a Wide-ranging Box - from Haydn and Mozart to Bartók and Mihalovici (Haas's Rumanian Husband). Featured Artists Include Conductors Eugen Jochum and Ferdinand Leitner, but above all Violinist Max Rostal, who Gives a Marvellous Account of the Ravel Sonata, Along with Marcel Mihalovici's Second Violin Sonata. Other Highlights Include Mozart Piano Duet and Two-piano Works with Heinz Schroter - Brilliantly Virtuosic and a Wonderful Partnership; The Award-winning Recording of the Debussy Etudes, which Has Come Up Excellently in Its First CD Transfer. Rarities Include Test Recordings for Dg from 1949 - Individual Pieces by Debussy.

Customer Reviews:

The Magnificent Monique Haas.......2006-09-29

Before I begin writing this review I would like to pose a question to the folks at DG/Universal. Among the great French classical musicians of the 20th Century, is Monique Haas more fondly remembered in the United States than Pierre Fournier? Clearly the answer must be yes, because you have decided to reissue your new Monique Haas Original Masters box set domestically while the recent Pierre Fournier is only available as a pricey import. UNI, you once again leave me scratching my head at your marketing decisions, but then I never was very good at judging popularity contests.

Ultimately, the music is all that matters, and there are some fine examples on this 8CD set, "Monique Haas: The Complete Recordings on Deutsche Grammophon." Haas was best known for her interpretations of French music, and in particular for reacquainting German audiences with Debussy and Ravel after WWII. Among the French fare included here are two remarkably differing accounts of the Ravel Piano Concerto. The first is a delightfully jazzy mono rendition with Schmidt-Isserstedt from 1948, and the second the famous 1965 stereo recording with Paul Paray (recently reissued as a single title in the DG "Originals" series and reviewed by yours truly), with whom she also produced the Concerto for Left Hand. But as good as the Ravel is, it is the Debussy that steals the show here, and if her award-winning performances of the Preludes and Etudes weren't enough, DG archivists have unearthed four previously unreleased Debussy test recordings from 1949.

While these aforementioned recordings are the cornerstones of this set, they are far from the only compelling material. CDs 1 & 2 are dedicated to Mozart and Haydn, including the 14th and 23rd Piano Concertos with Ferdinand Leitner conducting, and various Sonatas. A touch of the Romantic crops up on disc 3 with the Schumann PC (Jochum/Berlin, 1951), Fantasiestucke, and a couple of Chopin Etudes. These recordings are definitely not Haas' finest moments, but they are interesting if not remarkable. Something that Haas does have a firm grasp of is 20th Century music and she illustrates that on ecstatic readings of the Stravinsky Capriccio and Bartok 3rd, both in mono with Fricsay and the Berlin RIAS, and Hindemith's "Konzertmusik" with the composer conducting. (Unfortunately, the latter performance has already been made available in the Hindemith "Original Masters" set, causing annoying, but I suppose necessary duplication as "Complete" has to be complete.) This set fittingly concludes with an eighth disc of music for Violin and Piano, performed with violinist Max Rostal, and including a composition by her husband Marcel Mihalovici -- Ricercari Op. 46, Variations libres pour piano.

In all, the Monique Haas "Original Masters" set is a most welcome addition to a great series of box sets. I only wish that Universal would make all their sets as universally available as this one.

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