Copland: Piano Sonata; Piano Fantasy

Editorial Reviews
Amazon.com
This extremely useful disc collects Copland's major piano works in fine performances. None of these pieces has much similarity to Copland's greatest hits like Appalachian Spring or Billy the Kid. They are among the composer's most adventurous works of their periods (one each from the 1930s, '40s, and '50s), and none is "easy listening." Instead, each one offers challenging, exciting music of great substance and greatly differing form, from the strict Variations to the lengthy, ruminative Fantasy. Interestingly enough, they are programmed here in reverse chronological order. Copland once told a friend that the Piano Variations was his favorite of his works. Pasternack makes you understand why, with a riveting, intense performance, more austere and thus grander than any since the composer's own magnificent version from 78s. Copland's friend Leo Smit recorded a more comprehensive collection of his piano music, worth having for its completeness. But Pasternack's playing serves the music even better than Smit's. The recorded sound is excellent and so are the program notes. --Leslie Gerber

Tracks:

Overture To 'Tannhauser'
Domna, Pos Vos Ay Chausida
We Don't Merely Use Instruments, We Play On Them. And They Play On Us.
Hungarian Dance No.7
The Violin Is One Of The Most Tender And Beautiful Instruments Ever Invented.
Violin Concerto In D Major (Adagio)
But For A Long Time It Was Seen As The Instrument Of The Devil.
The Soldier's Tale: Triumphal March Of The Devil
The Manipulative Seductiveness Of The Gypsy Violin.
Csardas Music
The Violin And The Initiation Of Nature
The Four Seasons (Spring, Mvt 1)
Birds Are Again Evoked In The Second Concerto, Especially Music's Natural Favourite.
The Four Seasons (Summer, Mvt 1)
Like The Devil, The Violin Is A Master Of Disguise.
Old Viennese Dance No.3 'Schon Rosmarin'
The Menacing Sensuality Of Ravel's Tzigane: A Very Different Side Of The Violin:
Tzigane
Do We Now Have The True Measure Of This Instrument? Not Just Yet.
Caprice No.24
The Many Effects Of The String Tremolando: Brandenburg Concerto No.4 (Last Mvt)/From Joy To Fright/Quartettsatz In C Minor/The String Tremolo Practically Spells The World Agitato.
Variations On A Theme Of Frank Bridge (No.7)
Prokofiev's Tremolo In Romeo And Juliet Should Not Be Heard Just Before Bedtime.
Romeo And Juliet: Act IV
Vivaldi Use It To Illustrate The Shivering Of Travellers Crossing The Ice.
The Four Seasons (Winter, Mvt 1)
The Violin Muted
Clair De Lune
The Gentleness Of Muted Strings Persists Even When A Whole Orchestra Plays.
Piano Concerto No.21 In C Major, K.467 (Slow Mvt)
The Pizzicato Violin
Pizzicato Polka
In Prokofiev's Second Violin Concerto, The Accompaniment Is Pizzicato.
Violin Concerto No.2 In G Minor (Slow Mvt)
Varieties Of Pizzicato: Colas Breugnon (The People's Feast)/Now A Drier, Leaner, Hungrier Pizzicato. There's Not A Lot Of Comfort Here./Capriol Suite (Tordion)/The Use Of Pizzicato As 'Percussion'/Romeo And Juliet (Act I)/Mahler Used Pizzicato...
The Planets (Mars - The Bringer Of War)
The Technique Of Double-Stopping Enables The Violin To Play Duets With Itself./Sonata No.3 In C Major For Unaccompanied Violin (Fugue)/Now A Later Example Of The Same Technique
Hungarian Dance No.4
Double-Stopping Is A Standard Feature Of A Lot Of Folk Music.
The Four Seasons (Autumn, Mvt 1)
Now The Same Technique, But The Sound Might Have Come From Another World.
Bolero
Double-Stopping Can Only Approximate The Sound Of A Real Violin Duet.
Cadenza To The Violin Concerto By Brahms
Now Compare That With A Real Violin Duet.
Forty-Four Duos (No. 1: Teasing Song)
Another Duo By Bartok, Demonstrating The Violin's Rich Lower Register
Forty-Four Duos (No.2: Maypole Dance)
And Now What May Be The Most Beautiful Accompanied Violin Duet In History
Concerto In D Minor For Two Violins (Largo)
The Soul Of The Violin Is In Song; But What About This Weird Passage?
Violin Concerto No.1 In D Major (Mvt 2)
The Use Of Harmonies In The Orchestra Can Be Both Magical And Unsettling.
Symphony No.1 'Titan' (Mvt 1, Opening)
Tchaikovsky's Use Of Harmonics In The Sleeping Beauty Is Both Strange And Darling.
The Sleeping Beauty (Act II, No.15: Entr'Acte)
Ravel's Harmonics In Mother Goose Effect A Magical Transformation.
Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
Stravinsky's Harmonics In The Firebird Transport Us Almost Into Another World./The Firebird (Introduction)
The Natural Upper Notes Of The Violins Have A Unique Emotional 'Grab'.
Also Sprach Zarathustra (Of The Afterworldsmen)
Still In Their Upper Register, The Violins Unleash The Energy Of A Young Colt.
Variations On A Theme Of Frank Bridge (No. 4)
Elsewhere, Britten Uses The Same High Register To Create A Very Different Mood.
Four Sea Interludes (Dawn) From 'Peter Grimes'
To End This Outing With The Violins, A Charming Little Elfin Dance
Elfenreigen

Tracks:

Introduction To The Viola
Viola Concerto (Mvt 1)
Khatchaturian Gets A Very Different Sound From It: Fuller, Fruitier, More Exotic.
Gayane Suite No.1 (Armen's Solo)
Very Nearly The Whole Of The Violin's Upper Register Is Also Available To The Viola.
Passacaglia, Op.33b From 'Peter Grimes'
The Viola Can Bring A Special, Rich Twanginess To Pizzicato That The Violins Lack./Don Quixote/Berlioz Drew Sounds From It That Retain Their Metallic Strangeness Even Today.
Harold In Italy (Mvt 4)
The Muted Viola: Intimate, Gentle, Poignant In Dvork
Cypresses (No.9)
The Massed Violas Of The Modern Symphony Orchestra In Mahler
Symphony No.4 (Mvt 3)
The 'Period' Viola In Bach
Brandenburg Concerto No.6 (Last Mvt)
The Cello: A Voice Of Unique Nobility
Suite No.1 For Unaccompanied Cello (Prelude)
Brahms And The 'Soul' Of The Cello
Piano Concerto No.2 In B Flat Major (Mvt 3)
Most Orchestral Composers Tend To Emphasize The Cello's Lower Register.
Cantata 'Herz Und Mund Und Tat Und Leben', BWV 147 (Soprana Aria: Bereite Dir, Jesu)
In The Time Of Beethoven The Cello Remained As Fundamental As Ever.
Symphony No.3 'Eroica' (Finale)
But The Cello Is Not Condemned To Spend Its Life In The Basement.
Elfentanz, Op.39
Not Only In Recital Showpieces Like That Is The Cello Is Used In Its Highest Register.
The Protecting Veil (Opening)
A Cello With An Identity-Crisis: The Pizzicato Flamencan
Flamenco
Double-Stopping In The Lower Reaches Of The Cello's Range
Solo Suiet For Cello And Piano (Sardana)
It's In The Middle Register That The Cello Really Comes Into Its Own.
Oriental Dance, Op.2 No.2
It Was To The Cellos That Beethoven Gave Two Of His Most Famous Themes./Symphony No.5 (Mvt 2)/Still More Famous Than That Theme Is This One From The Ninth Symphony.
Symphony No.9 (Finale)
Introduction To The Double-Bass
The Carnival Of The Animals (The Elephant)
But The Double-Bass Can Be Intensely Expressive And Graceful.
Elegy No.1 In D Major
The Range Of The Double-Bass Is The Greatest Of All The String Instruments/Allegro Di Concerto, 'Alla Mendelssohn'/And It's Also Capable Of Very Considerable Virtuosity.
Capriccio Di Bravura
Double-Bass Solos In Orchestral Scores Are Rare But Often Memorable./Symphony No.1 'Titan' (Mvt 3)/In His Third Symphony Mahler Makes A Very Different Use Of The Instrument./Symphony No.3 (Mvt 1)
The Double-Bass Muted In Prokofiev/Lieutenant Kije Suite (Kije's Wedding)/In Another Work Prokofiev Uses The Double-Bass To Enhance The Winds./Romeo And Juliet (Act III)/And He Combines The Bass Clarinet With A Shivering Tremolo From The Double-Basses....
Symphony No.5 (Mvt 3)/So Much For The Strings/On Now To The Winds

Tracks:

The Antiquity And Magic Of The Flute
Prelude A L'Apres-Midi D'Un Faune
The Versatility And Agility Of The Flute
Orchestral Suite No.2 In B Minor (Badinerie)
The Flute In Fifteenth-Century Spain
Sa'Dawi
Other Flutes: The Bass And Alto
Chamber Music No.II
The Piccolo - Aptly Named
La Naissance D'Osiris (Mvt 6)
From A Piccolo Of The Eighteenth Century To One Of Its Descendants In The Twentieth
Suite No.1 For Small Orchestra (Valse)
A Variety Of Techniques
Chamber Music No.II
Flutter-Tonguing. But Tchaikovsky Got There Eighty Years Before.
The Nutcracker (Act II, No.2: Scene)
From The Transverse To The Vertical: The Baroque Recorder
Recorded Suite In A Minor (Menuet II)
An Unfamiliar, Early Vision Of The Instrument
Naelden, Naelden
The Bachian Oboe
Cantata 'Ein Feste Burg Ist Unser Gott', BWV 80 (No.7: Duetto)
Introduction To The Cor Anglais Or 'English Born'
Symphony No.9 'From The New World' (Mvt 2)
The Loneliness Of The Cor Anglais
The Swan Of Tuonela
The Cor Anglais Joins The French Horn In Haydn.
Symphony No.22 'The Philosopher' (Opening)
Introduction To The Oboe D'Amore, Beloved Of Bach - But Also Of Ravel
Bolero
The Clarinet Family: Boxing The Compass, From The Depths Of The Bass Clarinet.../The Egyptian (Violence)/...To The Raucous And Squealy.../Taras Bulba (The Death Of Ostap)/...To The Shrill And Complaining...
Petrushka (No.8: Peasant With Bear)/...To The High Sprits Of A Playful Puppy./Symphonie Fantastique (Last Mvt)/And To The Downright Jazzy/Romeo And Juliet (Act II)
As The High Clarinets Tend To Be Loud, So The Bass Tends To Be Soft:
Gayane Suite No. 1 (Mvt 5)
The Bass Clarinet Is Used By Most Composers Mainly As A Colouring Agent.../Petrushka (No.4: The Blackamoor)/...But It Does Occasionally Get A Whole Tune To Itself./Iberia (Almeria).
The Range Of The Normal Clarinet Parts Goes Quite High...
The Snow Maiden (Scene 5: Melodrama)
...And Quite Low.
Peter And The Wolf (The Cat)
The Clarinet As Concerto Soloist
Clarinet Concerto In A Major (Rondo)
But That's Not The Instrument Mozart Wrote It For; This Is:
Clarinet Concerto In A Major (Rondo)
Introduction To The Saxophone
Hary Janos Suite (Mvt 4)
The Soprano Saxophone Has Quite A Different Feel To It.
L'Arlesienne Suite No.1 (Minuet)
The Little Sopranino Sax Goes Even Higher.
Bolero
The Most Famous Use Of The Saxophone Is In An Orchestration By Ravel.
Pictures At An Exhibition (The Old Castle)
The Saxophone Can Be Quite Contagiously Good-Humoured.
Sax-O-Phun
The Puffa-Puffa Image Of The Bassoon
Peter And The Wolf (Grandfather)
The Bachian Bassoon, In Accompanimental Mode
Cantata 'Weichet Nur, Betrubte Schatten' ('Wedding Cantata'), BWV 202 (Aria No.1)
Bizet Leaves The Puffa-Puffa Image Out, Allowing The Bassoon To Sing./Carmen Suite No.1 (Les Dragons D'Alcala)
And Ravel, Also In Spanish Mode, Does Likewise.
Bolero
The Bassoon As A Voice Of High Seriousness, Indeed Desolate Loneliness
Symphony No.3 (Opening)
The Eerie Bassoon In Its Highest Register
The Rite Of Spring (Opening)
Stravinsky Now Draws On Its Lowest Register, Lonely And Melancholy.
The Firebird Suite (1919, Berceuse)
The Bassoon As Concerto Soloist, Avoiding All Exaggeration
Bassoon Concerto In G Minor (Finale)
The Deep-Voiced Contra-Bassoon, As A Fairy-Tale Beast
Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
The French Horn Under Its Woodwind Hat
Wind Quintet, Op.43 (Last Mvt)
Now A More Prominent Role, In A Woodwind Quintet From An Earlier Era
Wind Quintet In A Minor, Op.100 No.5 (Mvt 2)
The Horn In Harmonious Blend With Strings In Another Quintet
Horn Quintet, K.407 (Finale)

Tracks:

The Trumpet As Virtuoso Soloist
Brandenburg Concerto No.2 (Last Mvt)
The Special Brillance Of Paired Trumpets
Concerto In C For Two Trumpets, RV537 (Mvt 1)
The Ceremonial Trumpet
Fanfare For The Common Man
Trumpets And Drums - An Incomparable Alliance
Messiah (The Trumpet Shall Sound)
The Versatility Of The Trumpet, From The Most Public To The Most Lonely
Piano Concerto In F (Slow Mvt)
The Trumpet As The Voice Of The City/An American In Paris/The Trumpet As Recruitment Officer/The Soldier's Tale (The March)/The Trumpet As Swaggerer
Carmen Suite No.2 (Habanera)
The Trumpet As The Voice Of Strength And Courage
Carmet Suite No.2 (Toreador's Song)
The Trumpet Muted/Petrushka (No.4: The Blackamoor)/Lieutenant Kije Suite (Opening)/The Trumpet As The Voice Of Weariness
Billy The Kid
The Trumpet As Character Actor
Pictures At An Exhibition (No.6)
The Trumpet As The Voice Of God
Mass In B Minor ('Et Exspecto')
The Birth Of The Trombone
Aenmerckt Nu Hier
The Birth Of The Brass As A Family
Canzon 12 In Double Echo
The Trombone In The Eighteenth Century
Trombone Concerto In B Flat Major (Finale)
The Tone Of The Tenor Trombone/Romance For Trombone And Organ/The Memorable Voice Of The Bass Trombone/Requiem (Mvt 2)/But The Bass Trombone Is More Than An Instrumental Bullfrog.
Hosannah
The Trombones Become Part Of The Orchestra.
Symphony No.5 (Finale)
The Wagnerian Trombone:/Overture To 'Tannhauser'
The Trombone As Caricaturist
Pulcinella (No.19: Vivo)
The Trombone As Raspberry/Concerto For Orchestra (Intermezzo)
The Horn And The Hunt
Horn Concerto No.4 In E Flat, K.495 (Finale)
The Challenging Horn Of The Baroque
Abaris Ou Les Boreades (Menuet)
The Scarcity Of First-Rate Players In Handel's Time
Walter Music (Minuet 1)
The Horn As Magician/The Firebird Suite (1919, Finale)
Horns And The Sound Of Nobility
Overture To 'Tannhauser' (Opening)
The Special Sound Of The Horn In Its Higher Register
Mass In B Minor ('Quoniam Tu Solus Sanctus')
The Trumpet-Like Sound Of Massed Horns
Symphony No.3 (Mvt 1, Opening)
The Tuba - Unfairly Maligned?
Symphony No.6 (Mvt 3)
The Tuba Perfectly Cast By Ravel
Pictures At An Exhibition (Bydlo)

Tracks:

Introduction. And We Begin With A Bang.
Fanfare For The Common Man/The Bass Drum On The Battlefields/Wellington's Victory, Op.91 (Opening)
At The Opposite Extreme Is The Triangle.
Piano Concerto No.1 In E Flat (Scherzo)
Categories Of Percussion: Tuned And Untuned. The Side Drum
Overture To 'La Gazza Ladra' - The Thieving Magpie (Opening)
The Side Drum In An Effective But Unexpected Role/Clarinet Concerto (Mvt 1)
The Tambourine. One Of The Oldest Instruments In The World
Den Hoboecken Dans
Even Older Is The Originally Oriental Gong.
Ma Mere L'Oye - Mother Goose (Laideronette)
No Single Instrument Can Match The Gong In Evoking The Breaking Of Waves./Passacaglia, Op.33b From 'Peter Grimes'/But Gongs Don't Have To Be Struck To Be Effective.
Gymnopedie No.2
The Cymbals Are Generally Discovered Early In Life./The Sanguine Fan/And They Do More Than Clash Together Loudly. They Can Be Clashed Together Softly./Studio Example: But They Needn't Be Clashed Together At All/Studio Example: They Can Be Lightly...
Other Untuned Percussion Instruments Include The Whip.: Piano Concerto In G Major (Opening)/And Here Are No Fewer Than Twenty, Cracked By Tchaikovsky: The Nutcracker (Act I, Scene 5)
More Versatile Than The Whip Are The Wood Blocks.../Studio Example/...Which Crop Up All Over The Place In Twentieth-Century American Music.
Rodeo (Hoe-Down)
Related To The Wood Blocks, By Sound, Are The Castanets./Jota Aragonesa/But The Castanets Were Also Used By Monteverdi Back In The Seventeenth Century.
Scherzi Musicali (Damigella Tutta Belle)
A Still Earlier Example From Fifteenth-Century Spain
Yo M'Enamori D'Un Aire
The Birth Of The Bongo
Symphonic Dances From 'West Side Story'
From The Streets Of New York To The Blacksmith's Shop/Il Trovatore ('Anvil Chorus')
Desert-Island Decibels: Grand Canyon Suite (On The Trail)/Arcana
From One Vegetable To Another: The Humble Squash, Or Marrow/Huapango
Onwards To The Tuned Percussion. First, The Timpani
Also Sprach Zarathustra (Introduction)
But The Drum Roll Can Be More Effectively Frightening Than The Big Bang.: Symphony No.2 'Resurrection' (Mvt 3)
Not One Drum Roll, But Many/Grand Canyon Suite (Sunrise)/Symphonie Fantastique (Last Mvt)
Taking Advantage Of Tunability
Music For Strings, Percussion And Celeste (Mvt 2)
The Russian Composer Rodion Shchedrin Takes A Downward Turn./Carmen Suite (Changing Of The Guard)/Tuned, Yes; But For The Truly Melodic We Must Look Elsewhere.
Introducing The Glockenspiel/Carmen Suite (Carmen's Entrance And Habanera)
Saint-Saens And The Xylophone
The Carnival Of The Animals (Fossils)
Ravel And The Xylophone
Ma Mere L'Oye - Mother Goose (Laideronette)
Introducing The Marimba/Carmen Suite (First Intermezzo)
Introducing The Vibraphone
The Treasure Of The Sierra Madre (Narange Dolce)
The Vibraphone Goes Russian.../Carmen Suite (Carmen's Entrance And Habanera)/...And Is Joined By The Marimba./Carmen Suite (Carmen's Entrance And Habanera)
Introducing The Hungarian Cimbalom
Folk Dances
The Cimbalom And The Symphony Orchestra
Hary Janos Suite (Mvt 3)
Introducing The Tubular Bells
Hary Janos Suite (Viennese Musical Clock)
A More 'Up-Front' Approach From Rodion Shchedrin
Carmen Suite (Introduction)
But The Bells Can Also Make The Sinister Even More Sinister./Symphony No.7 'Sinfonia Antartica' (Mvt 1)
Introducing The Celeste
The Nutcracker (Dance Of The Sugar Plum Fairy)
Magic, In The Use Of Collective Percussion
Miroirs (La Vallee Des Cloches)
Plucked Instruments: The 'Undercover Percussion'/Carmen Suite (Scene)
A Prime Case In Point Is The Harp, Irresistible To The Romantics./The Nutcracker (Act II, No.1: Scene)/The Non-Solo Harp As An Integral Part Of The Orchestra/Hungarian Rhapsody No.1
The Traditionally Subservient Role Of The Harpsichord In The Baroque Orchestra
Brandenburg Concerto No.2 (Slow Mvt)
The Piano: King Of The Tuned Percussion/Symphony No.3 'Organ' (Mvt 3)/And A Quarter Of A Century After That:
Petrushka (Russian Dance)
The Anti-Romantic Piano As An Integral Part Of The Orchestra
Music For Strings, Percussion And Celeste (Last Mvt)

Tracks:

Keyboard Instruments In The Orchestra - The Most Powerful Of Them All:
Symphony No.3 'Organ' (Finale)
But Things In Handel's Day Were Very Different.
Organ Concerto In B Flat, Op.4 No.3 (Last Mvt)
The Organ Is Difficult To Classify.
An Unexpected, Organ-related Guest
Concerto Pour Zampogna (Last Mvt)
Peasant-Fancying... And A Touch Of The Roaming Cowboy
Les Miserables (Drink With Me)
Outside Artefacts And The Power Of Association
Mahler's Sleighbells
Symphony No.4 (Opening)
A Roll-Call Of Some Unusual Guests/The Typewriter/Parade
Chains, And More/Integrales/An American In Paris/Sandpaper Ballet
Purpose-Built Oddities: Wind Machines/Symphony No.7 'Sinfonia Antartica' (Opening)
Don Quixote (Variation VIII)
National Calling Cards: The Guitar For Spain/Concierto De Aranjuez (Finale)
And The Guitar's Poor American Relative, The Banjo/Washington Breakdown
And Poorer Still, The Mouth Organ/The Treasure Of The Sierra Madre (Packing Up)
The Balalaika For Russia/Romeo And Juliet (Act II: No.14)
The Maracas For Mexico/The Treasure Of The Sierra Madre (El Desayuno)
The Bongos And Congas And A Whole Wealth Of Other Drums For Africa And Central America/Studio Example
The Sitar Of India/Evening Raga: Bhapoli
The Accordion For France (Especially Paris)/Paris Canaille
The Zither For Vienna/The Third Man (Theme)
The Cimbalom For Hungary/Folk Dances
The Guitar As An Integral Part Of The Orchestra/Rondena
There Are Whole Orchestras Of Balalaikas./Sveit Mesiats
The Effect Of The Wordless Human Voice, Used Purely As An Instrument/Symphony No.7 'Sinfonia Antartica' (Mvt 1)
Nocturnes
Instruments And the Imitation Of Nature. The Clarinet As Cuckoo
The Carnival Of The Animals (The Cuckoo)
The Flute As An All-purpose Aviary
The Carnival Of The Animals (The Aviary)
The Oboe As Duck
Peter And The Wolf (The Duck)
The Recording Of Reality. Does It Work As Well?
The Pines Of Rome (The Pines Of The Janiculum)
The Recording Of Reality Electronically Reborn In New Guises
Cantus Articus - Concerto For Birds And Orchesra (Mvt 2)
Beethoven Turns Avian: Cuckoo, Nightingale, And Quail
Symphony No.6 'Pastoral' (Andante Molto Mosso)
Some Improbable Casting: The Violin As Braying Donkey
The Carnival Of The Animals (Persons With Long Ears)
A Truly Orchestral Hee-haw To Be Reckoned With
Overture To 'A Midsummer Night's Dream'
A Thunderstorm In A Million
Symphony No.6 'Pastoral (Allegro-Allegretto)
the Instrumental Depiction Of A Silent World
The Carnival Of The Animals (The Aquarium)
Saint-Saens' Menagerie Takes A Curtain Call.
The Carnival Of The Animals (Finale)

Tracks:

The Grouping Of Instrumental Families. An Additive Approach. First, Two Violins
Forty-Four Duos (No.4)
A Great Contrast, Of Both Pitch And Character: Violin And Viola
Duo For Violin And Viola In B Flat Major, K.424 (Finale, Vars 1 & 2)/Studio Example
Arrival Of The Standard String Trio: Violin, Viola, And Cello
String Trio In B Flat (Menuetto)
The String Quartet: Two Violins, Viola, And Cello
String Quartet In F, Op.18 No.1 (Mvt 3)
The String Quintet - When The Extra Instrument Is A Second Viola
String Quartet No.5 In D, K.593 (Adagio)
The String Quintet - When The Extra Instrument Is A Second Cello
String Quintet In C (Mvt 3)
The String Sextet: Two Violins, Two Violas, And Two Cellos
String Sextet In B Flat (Mvt 2)
The String Octet: The Standard String Quaret Times Two
Octet In E Flat, Op.20 (Mvt 1)
Double The String Octet: A Fully Fledged String Orchestra
String Symphony No.2 (Finale)
The Massed Strings Of A Symphony Orchestra
Fantasia On A Theme Of Thomas Tallis
Contrasts Of Pitch And Instrumental 'Colour' In The Woodwind Section
Wind Quintet In A Minor, Op.100 No.5 (Theme)
In The First Variation It's The Horn That Gets The Lion's Share.
Wind Quintet In A Minor, Variation 1
In Variation Two The Torch Is Handed To The Bassoon.
Wind Quintet In A Minor, Variation 2
In Variation Three The Oboe Leads.
Wind Quintet In A Minor, Variation 3
Variation Four: Conversation Before Returning To A Solo-dominated Texture
Wind Quintet In A Minor, Variation 4
And Variation Five is Dominated By The Clarinet.
Wind Quintet In A Minor, Variation 5
The Next To Be Featured Is The Virtuoso Flute.
Wind Quintet In A Minor, Variation 6
Individual Farewells And A Closing Chorus
Wind Quintet In A Minor, Variation 7
A Mixed Group: Clarinet, Bassoon, Horn, String Quartet, And Double-Bass
Octet In F (Mvt 3)
The Early Classical Symphony Orchestra Of Haydn And Mozart
Symphony No.29 In A, K.201 (Finale)
Strings, Wind, But No Brass. What Haydn And Mozart Never Knew
Canzon 28
Beethoven's Fifth: Two Horns, Two Trumpets, And Three Trombones Join The Team.
Symphony No.5 (Finale)
From Beethoven To The Massive Orchestras Of Berlioz, Wagner, And Mahler
Beethoven Changed The Face Of The Symphony And The Orchestra Forever
Symphoy No.6 'Tragic' (Mvt 1)
The Cult Of Orchestral Elephantiasis Reaches Its Peak.
Symphony No.1 'Gothic' (VI: Te Ergo Quaesumus)
When Large Doesn't Necessarily Mean Loud: Debussy
Images (Gigues)
A Crisis Of Confidence; The Orchestra's Survival Hangs In The Balance, But It Still Develops. The Ondes Martenot:
Turangalila Symphony (Chant D'amour 1)
The Advent Of The 'Early Music' Movement Brings A New Vitality And Freshness.
Balle De Xerxes (Gavotte En Rondeau)
Computer And Synthesiser: Friends Or Foes?
Concerto In D Minor For Two Violins (Largo)
A Speculative Look Ahead/Mass In B Minor ('Dona Nobis Pacem')

Customer Reviews:

Instruments of the Orchestra - Great Reference Material!.......2007-04-04

This set lends itself to greatly enhancing one's knowledge of the orchestra, instruments in it, and their usage. I am a huge music buff, and I still picked up a great deal I previously did not know. I highly recommend this for all who wish to understand the origin of music, as well as the processes that are employed to create music!

Beginner or Expert.......2007-03-12

This CD is excellent for the beginner or expert! To be able to haear the instrumets separately and then together really provides a good education. and/or refresher. The book thaty comes with the CD is alomost worth the price by itself!

Very Informative and Enjoyable.......2006-11-20

Whether you're a music novice or pro, "The instruments of the Orchestra" is a very worthwhile purchase. The 7 CDs, with a total of 8 hours, are expertly narrated by Jeremy Siepmann. He's a great speaker, very much like the late Leonard Bernstein was. Mr. Siepmann takes you on an unforgetable musical journey covering the origins and use of the various orchestral instruments throughout musical history. The balance between his narration and a wealth of musical examples, which range from snippets to entire movements, is superb. The comprehensive enclosed booklet is excellent and faithfully follows the 7 CDs in content. Even with my 40+ years of music training I still learned new things from this wonderful collection. Considering the excellence of the content, and a cost that translates to about $5 per disc, this collection is a great value. Grab it, you won't regret that you did. Five solid stars!

Frank's view.......2006-08-19

This boxed set of CD's with booklet achieved all I had hoped that it would. There are good samples of individual instruments and well done commentary on each. The only drawback was that some of the samples were too brief and could have been longer, hoiwever I guess this fits in with time constraints of the medium. It has given me a lot of clues as to future purchases of CD's for listening to individual instruments. Altogeth a satisfactory purchase and a welcome addition to my collection.

Excellent Intro for Those Not Familiar with the Orchestra.......2003-11-08

I've listened to classical music for years and am interested in composition. I bought this CD set to learn how an orchestra and its instruments work. I thought the CDs would be a nice but boring lecture. They aren't! Not only are they FUN but they are informative as well. I learned a huge amount from each CD and couldn't wait to listen to the next one.

The narrator and writer is a great speaker and holds your attention well. He is definitely knowledgeable. He provides musical examples for each point he makes, so you get to "hear" what he just talked about. I'd say the CDs are about 65% music and 35% narration. You'll learn about the range of instruments, some history, different ways to play them, how they sound, and how they are used in the orchestra. This CD set was a great learning experience and is sold at such a low price!

I recommend this CD for those who want to learn about classical music and those who know about it but are interested in learning more about the inner workings of an orchestra. You'll learn much useful information. For instance, the Rite of Spring (with that eerie start) is written for bassoon! I never knew a bassoon could sound like that but now I do.

Tracks:

Adagio
Air on the G String: Air on the G String, Excerpt
Brandenburg Concerto: Third Movement, Excerpt
Jesu, Joy of Man's Desiring: Jesu, Joy of Man's Desiring, Excerpt
Tocatta & Fugue: Excerpt
Adagio for Strings: Excerpt
Synphony No. 5: First Movement, Excerpt
Symphony No. 9: Fourth Movement, Excerpt
Fse: Excerpt
Turkish March: Turkish March, Excerpt
Moonlight Sonata: Excerpt
Symphonie Fantastique: March Ot the Scaffold, Excerpt
Damnation of Faust: Excerpt
Carmen - Habanera: Habanera, Excerpt
Toreador Song [From Carmen]
Minuet: Minuet, Excerpt
Prince Igor: Polovtsian Dance No 17, Excerpt
Hungarian Dance No. 5: No 5, Excerpt
Lullaby: No 4, Lullaby, Excerpt
"Minute" Waltz: Excerpt
Grande Valse Brillante: Excerpt
Marche Fune: Marche Fune
Appalachian Spring: Excerpt
Fanfare for the Common Man: Excerpt
Clair de Lune: Excerpt
Prelude to the Afternoon: Excerpt
Lakm Flower Duet: Flower Duet, Excerpt
Symphony No. 9 "New World": Second Movement, "Going Home" Theme, ...
The Sorcerer's Apprentice: Excerpt
Pomp & Circumstance: Excerpt
El Amor Brujo
Pavane: Excerpt
Rhapsody in Blue: Excerpt
American in Paris: Excerpt
Funeral March of Marionette: Excerpt
Piano Concerto in a Minor: Excerpt
Peer Gynt Suite No. 1 - Morning: Morning, Excerpt
Messiah - Hallelujah Chorus: Hallelujah Chorus, Excerpt
Water Music - Hornpipe: Hornpipe, Excerpt
Symphony No. 94 "Surprise": Second Movement, Excerpt
The Planets - Mars: Mars, Excerpt
Sabre Dance: Sabre Dance, Excerpt
Pagliacci: Vesti la Giubba, Excerpt
Hungarian Rhapsody
Liebestraum No. 3: No 3, Excerpt
Cavalleria Rusticana - Intermezzo: Intermezzo, Excerpt
Midsummer Night's Dream - Wedding March: Wedding March, Excerpt
Symphony No. 4 "Italian": Fourth Movement, Excerpt
Rondeau: No 1, Rondeau
Piano Concerto No. 21: Andante, Excerpt
Eine Kleine Nachtmusik: First Movement, Excerpt
The Marriage of Figaro - Overture: Overture, Excerpt
Sonata in A - Rondo Alla Turca: Rondo Alla Turca, Excerpt
Symphony No. 40: First Movement, Excerpt
Night on Bald Mountain: Excerpt
Pictures at an Exhibition - Great Cave of Kiev: Great Gate of ...
Barcarolle: Barcarolle, Excerpt
Orpheus in Hades - Theme II: Excerpt (Theme)
Carmina Burana - O Fortuna: O Fortuna, Excerpt
Canon: Canon, Excerpt
Romeo & Juliet - Montagues & Capulets: Montagues & Capulets, Excerpt
Lt. Kije's Wedding: Lt. Kije's Wedding, Excerpt
Turandot - Nessun Dorma: Nessun Dorma, Excerpt
Piano Concerto No. 2: Second Movement, Excerpt
Symphony No. 2: Third Movement, Opening, Excerpt
Rhapsody on a Theme: Variation 18, Excerpt
Bolero
Flight of the Bumblebee
Concierto de Aranjuez - Adagio: Adagio, Excerpt
The Barber of Seville - Overture: Excerpt
The Barber of Sville - Largo Al Factotum: Largo Al Factotum, Excerpt
William Tell Overture - Theme II: Excerpt
Danse Macabre: Excerpt
Gymnope No. 1
Symphony N0. 8 "Unfinished": Excerpt
Ave Maria: Excerpt
Finlandia [Finale: Finale, Excerpt]
Valse Triste: No 1, Valse Triste, Excerpt
Stars & Stripes Forever: Excerpt
Semper Fidelis: Excerpt
Blue Danube Waltz: Excerpt
Tales from the Vienna Woods: Excerpt
Also Sprach Zarathustra: Fanfare, Excerpt
Firebird - Infernal Dance & Main Theme: Infernal Dance & Main ...
The Nutcracker - Waltz of the Flowers: Waltz of the Flowers, Excerpt
Swan Lake - Waltz: Waltz, Excerpt
Sleeping Beauty -: Waltz, Excerpt
Romeo & Juliet - Theme II: Theme LL, Excerpt
Piano Concerto No. 1 - Opening: Opening, Excerpt
1812 Overture - Finale: Finale, Excerpt
Fantasia on "Greensleeves": Excerpt
Alda - Grand March: Grand March, Excerpt
Il Trovatore - Anvil Chorus: Anvil Chorus, Excerpt
Requiem - Dies Irae: Dies Irae, Excerpt
Rigoletto - La Donna Mobile: La Donna Mobile, Excerpt
The Four Seasons "Spring" - Allegro: Allegro, Excerpt
The Four Season "Winter" - Largo: Largo, Excerpt
Lohengrin - Bridal Chorus: Bridal Chorus, Excerpt
Die WalkRide of the Valkyries: Ride of the Valkyries, Excerpt

Customer Reviews:

I can name that tune in three notes.......2005-02-19

My family likes to put this disc in on shuffle and play name that tune. I wish they made more discs like this, only with more obscure works.

A Fabulous CD.......2004-10-14

The Idiot's Guide to Calssical Music is an awesome Cd for those people who want to have a tiny sample of all the great classical compositions. Track 61 and 63 are my favorite.

Mega-Sampler! This really does have 99 tracks!.......2002-03-20

Yes, this CD really does have 99 tracks. How do they do it? Each is about a minuet long. Some are longer, some are shorter, but you get the micro-essential moments of the music.

If you like burning your own CDs, then this is a great source for intra-track fillers, along the lines of They Might Be Giants' "Apollo 18" album, which has all of those short tracks on the end. The idea is to put your CD player on shuffle, so the short tracks get mixed in with the bona fide songs. The result being a very unusual album.

The booklet gives an explanation of the track, where you heard it (i.e. the Warner Brother's Cartoons, or on famous films), and where you can get the full piece of music. So it's a mega sampler CD.

I can honestly say that this CD is a great gift for the friend who has everything.

Fun Sampler.......2001-11-09

For the beginner. You will be surprised at how many of the 99 themes you recognize here. It is an easy introduction to classical music. Nice booklet too.

Useful........1999-03-22

Take it for what it is, a clever and useful GUIDE to classical music. No, it is NOT an uncut rendition of Beethoven's 9th symphony. It IS a cd that will jog your memory. You have heard many of the tunes presented here, but not always knowing what the work was. This is your chance to catch up with all the great classical music you have been exposed to. Cheap too.

RCA Red Seal Century: Soloists and Conductors

Average customer rating:

RCA Red Seal Century: Soloists and Conductors

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

Mazurkas | Ballets & Dances | 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

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Compilations | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

English | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music

Marches | Miscellaneous | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

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Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
ASIN: B00005OLDB
Release Date: 2001-10-23

Tracks:

Sicilienne And Rigaudon - Mischa Elman/Percy Kahn
Nocturne in G, Op.37 No.2 - Vladimir de Pachmann
Ste No.1 in D, Op.43 - IV: March Miniature - Boston SO/Karl Muck
Vn Con in D, Op.35 - II: Canzonetta - Fritz Kreisler/Carl Lamson
Litanei, D.343 - Alfred Cortot
Gotterdammerung - Closing Scene - Leopold Stokowski
Ste, Op.15 - Valse - Harold Bauer/Ossip Gabrilowitsch
Mazurka in D, Op.33 No.2 - Ignace Jan Paderewski
Vn Partita No.3 in E, BWV 1006 - I: Prld - Sergei Rachmaninoff
Etude in a, Op.25 No.11 'Winter Wind' - Josef Lhevinne
Jalousie - Tango Tzigane - Boston Pops Orch/Arthur Fiedler
Vc Con No.2 in e, Op.30 - II: Lento - Andante Tranquillo (Abridged) - Emanuel Feuermann/Albert Hirsh
Schon Rosmarin - William Primrose/David Stimer
Ser in C, Op.48 - II: Waltz - Boston SO/Serge Koussevitzky
Beatrice Et Benedict - Ov - Boston SO/Charles Munch
Messiah, Pt.II, No.44 - Hallelujah Chor - Hugh Porter/Robert Shaw Chorale/Robert Shaw
Carnival Of The Animals: The Swan - Gregor Piatigorsky/Ralph Berkowitz
Don Pasquale - Ov - NBC SO/Arturo Toscanini
Mazurka In a, Op.7 No.2 - William Kapell
Cancion De Cuna (Cradle Song) - Jose Iturbi

Tracks:

Prld in c#, Op.45 - Arthur Rubinstein
Fant On Themes From Bizet's Carmen - Vladimir Horowitz
Fant in c, BWV 906 - Wanda Landowska
Coppelia - Prld: Mazurka - Boston SO/Pierre Monteux
Colas Breugnon, Op.24: Ov - Chicago SO/Fritz Reiner
Porgy And Bess - Jascha Heifetz
A Woman Is A Sometime Thing - Jascha Heifetz
Five Bagatelles - No.1: Allegro - Julian Bream
I Vespri Siciliani-Ballet: The Four Seasons: Winter - New Philharmonia Orch/James Levine
L'Isle Joyeuse - Van Cliburn
La Flute De Pan: Pan And The Birds - James Galway
Rosamunde, D.797 - Ballet Music No.II - Cologne RSO/Gunter Wand
Fantasiestuck, Op.73 No.3 - Rasch Und Mit Feuer - Richard Stoltzman
Light In Darkness - Evelyn Glennie
Fanfare For The Uncommon Woman, No.1 - Saint Louis SO/Leonard Slatkin
Transcendental Etude No.5 'Feux Follets' - Evgeny Kissin
A Hymn To New England - Boston Pops Orch/Keith Lockhart
Fanfare For The Common Man - San Francisco Sym/Michael Tilson Thomas

Average customer rating:

It's only snippets of the music!

Classical Music 101

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music

Quartets | Chamber Music | Classical | Styles | Music

Quintets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

Scherzo | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

Modern & 20th Century | Symphonies | Classical | Styles | Music

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

French | Languages | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music

Oratorios | Opera & Vocal | Styles | Music

Cantatas | Vocal Non-Opera | Opera & Vocal | Styles | Music

Choruses | Vocal Non-Opera | Opera & Vocal | Styles | Music

Hymns | Vocal Non-Opera | Opera & Vocal | Styles | Music

Oratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music

Requiems | Vocal Non-Opera | Opera & Vocal | Styles | Music

Movie Scores | Soundtracks | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music

Marches | Miscellaneous | Styles | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

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4-for-3 All Music | 4-for-3 Music | Stores | Music

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Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
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Classical Music for People Who Hate Classical Music
Classical Music 101: A Complete Guide to Learning and Loving Classical Music
25 Classical Favorites
The Most Relaxing Classical Album in the World...Ever!
Best of the Millennium: Top 40 Classical Hits

ASIN: B0002XEECK
Release Date: 2004-09-28

Tracks:

Adagio - Baroque Chamber Orchestra
Air On The G String - Festival Strings Lucerne
Mvmt. III - Festival Strings Lucerne
Aria - Peter Serkin
Jesu, Joy Of Man's Desiring - Norman Luboff Choir
Toccata & Fugue In D Minor - Philadelphia Orchestra
Adagio For Strings - Boston Symphony Orchestra
Mvmt. I - Boston Symphony Orchestra
Mvmt. IV - New York Philharmonic
Fur Elise - Nellie Kokinos
Turkish March - Arthur Fiedler
'Moonlight' Sonata - Jorg Demus
March To The Scaffold - Boston Symphony Orchestra
Rakoczy March - Arthur Fiedler
Habanera/Toreador Song - Arthur Fiedler
Minuet - Arthur Fiedler
Polovtsian Dance No.17 - Arthur Fiedler
Hungarian Dance No.5 - London Festival Orchestra
Lullaby - Arthur Fiedler
Minute Waltz - Geza Anda
Grande Valse Brillante - Geza Anda
Marche Funebre - Emanuel Ax
Simple Gifts - Copland
Fanfare For The Common Man - Philadelphia Orchestra
Clair De Lune - Arthur Fiedler
Prelude To The Afternoon Of A Faun - Philadelphia Orchestra
Flower Duet - Philharmonia Virtuosi
Mvmt II. Going Home Theme - Arthur Fiedler
The Sorcerer's apprentice - Philadelphia Orchestra
March No.1 - Arthur Fiedler
Ritual Fire Dance - Arthur Fiedler
Pavane - National Philharmonic
Rhapsody In Blue - Arthur Fiedler
An American In Paris - Arthur Fiedler
Funeral March Of A Marionette - Arthur Fiedler
Piano Concerto In A Minor - Kjel Baekkelund
Morning - Philadelphia Orchestra
Hallelujah Chorus - Royal Philharmonic Chorus
Alla Hornpipe - Festival Strings Lucerne
Mvmt. II - English Chamber Orchestra
Mars - Philadelphia Orchestra
Sabre Dance - Arthur Fiedler
Vesti La Giubba - Placido Domingo
Hungarian Rhapsody No.2 - Philadelphia Orchestra
Liebestraum No.3 - Arthur Fiedler
Intermezzo - National Philharmonic
Wedding March - Philadelphia Orchestra
Mvmt. IV - Boston Symphony Orchestra
Rondeau - U.K. Symphony
Andante - Geza Anda
Mvmt. I - Boston Symphony Orchestra
Overture - Bavarian Radio Symphony Orchestra
Rondo Alla Turca - Walter Hautzig
Mvmt. I - English Chamber Orchestra
A Night On Bald Mountain - Philadelphia Orchestra
Great Gate Of Kiev - Philadelphia Orchestra
Barcarolle - Arthur Fiedler
Theme II (Can Can) - Arthur Fiedler
O Fortuna - New England Conservatory Chorus
Canon - Baroque Chamber Orchestra
Montagues & Capulets - Boston Symphony Orchestra
Lt. Kije's Wedding - Arthur Fiedler
Nessun Dorma - Jussi Bjorling
Mvmt. III - Rome Opera Chorus
Mvmt. III. Opening - London Symphony Orchestra
Var. 18 - Leonard Pennario
Bolero - Boston Symphony Orchestra
Flight Of The Bumblebee - Arthur Fiedler
Adagio - Julian Beam
Overture/Largo Al Factotum - Metropolitan Opera Orchestra
Theme II - Arthur Fiedler
Danse Macabre - Philadelphia Orchestra
Gymnopedie No.1 - National Philharmonic
Symphony No.8 'Unfinished' - Boston Symphony Orchestra
Ave Maria - Robert Shaw Chorale
Finle - Morton Gould & His Orchestra
Valse Triste - Finnish Radio Orchestra
Stars & Stripes Forever - Arthur Fiedler
Semper Fidelis - Arthur Fiedler
Blue Danube Waltz - Arthur Fiedler
Tales From The Vienna Woods - Arthur Fiedler
Fanfare - Chicago Symphony Orchestra
Infernal Dance & Main Theme - Boston Symphony Orchestra
Waltz Of The Flowers - Arthur Fiedler
Waltz - Philadelphia Orchestra
Waltz - Philadelphia Orchestra
Theme II - Philadelphia Orchestra
Opening - Barry Douglas
Finale - Chicago Symphony Orchestra
Fantasia On Greensleeves - Philadelphia Orchestra
Grand March - Arthur Fiedler
Anvil Chorus - Rome Opera Chorus
Libiamo (Drinking Song) - Carlo Bergonzi
Die Irae - Chicago Symphony Chorus
Rigoletto - Placido Domingo
Allegro - Jose-Luis Garcia
Largo - Jose-Luis Garcia
Bridal Chorus - Robert Shaw Chorale
Ride Of The Valkyries - Philadelphia Orchestra

Customer Reviews:

It's only snippets of the music!.......2006-02-12

This CD only contains 30-60 second long snippets of each of the pieces. It could be a teaching tool but is not something you can just put on to listen. It does contain reference to popular TV and Film works that contain the music.

Average customer rating:

A different Copland
Meditations of a Brilliant Musical Mind
The Modernist Copland
Copland's Three Most Important Piano Works
Misses the point of the Piano Fantasy

Copland: Piano Sonata; Piano Fantasy

Manufacturer: Naxos American
ProductGroup: Music
Binding: Audio CD

Fantasies | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music
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William Schuman: Symphonies Nos. 4 and 9; Orchestra Song; Circus Overture
Alban Berg: Lulu Suite/The Wine/Lyric Suite

ASIN: B0008JEKFO
Release Date: 2005-05-17

Tracks:

Piano Fantasy
I. Molto Moderato
II. Vivace
III. Andante Sostenuto
Piano Variations

Amazon.com

This extremely useful disc collects Copland's major piano works in fine performances. None of these pieces has much similarity to Copland's greatest hits like Appalachian Spring or Billy the Kid. They are among the composer's most adventurous works of their periods (one each from the 1930s, '40s, and '50s), and none is "easy listening." Instead, each one offers challenging, exciting music of great substance and greatly differing form, from the strict Variations to the lengthy, ruminative Fantasy. Interestingly enough, they are programmed here in reverse chronological order. Copland once told a friend that the Piano Variations was his favorite of his works. Pasternack makes you understand why, with a riveting, intense performance, more austere and thus grander than any since the composer's own magnificent version from 78s. Copland's friend Leo Smit recorded a more comprehensive collection of his piano music, worth having for its completeness. But Pasternack's playing serves the music even better than Smit's. The recorded sound is excellent and so are the program notes. --Leslie Gerber

Customer Reviews:

A different Copland.......2007-05-12

I would have never guessed that this was Copland! And interestingly it's early Copland. Copland's Americana style emerged later in his composing life. I was turned on to this by Michael Tilson Thomas's PBS "Keeping Score." I hope that this is released in DVD. The Copland and Stravinski videos were EXCEPTIONAL.

Meditations of a Brilliant Musical Mind.......2006-07-16

These three works show a completely different side of Copland than his most popular works, such as Rodeo, Appalachian Spring, or Billy the Kid. This is not popular classical music. It is about as far from easy listening as one can possibly get. It is an abstract exploration of sound, silence, intervals, rhythms, and textures on the piano keyboard. At moments, it is harsh. But it is never dull.

At times striking in its power, with massive chords that resonate and virtually shake with percussive force, at other times quiet, slow, subtle, introspective, and hypnotic, as in moments of the Andante sostenuto section of the Piano Sonata that give the impression of gently floating in vast regions of empty space, this is a musical journey that is demanding, austere and intense, but very well worth making. The CD essay is well-written and informative. Total Playing Time = 63:08. Very highly recommended.

The Modernist Copland.......2006-02-06

Aaron Copland (1900 -- 1990) is best known for his populist works, such as Appalachian Spring, Rodeo, Billy the Kid, and Old American Songs, that incorporate American folk idiom into a classical style. As inspiring as these works are, they do not represent all of Copland. Aaron Copland was a learned, modernist composer who had studied in Paris with Nadia Boulanger in the early 1920's. In addition to his popular, accessible compositions, he wrote experimental, austure works showing his mastery of serialism and other components of 20th century style.

Among Copland's modernist works are the three piano compositions on this CD written at widely-spaced times in his career. These three works are deeply personal and tightly written. They make frequent use of serial technique, which Copland combines with tonal sections, and shifting rhythms (the bar indications change every few measures). The works make use of deep, open harmonies particularly in the lower register of the piano, and every note tells. These austure works give the feeling of solitude, of meditiation, of spacial distance and of personal expansiveness. They are essential works of American piano music.

The performer, pianist Benjamin Pasternak, is on the faculty of the Peabody Conservatory of Music and he plays this intense music with feeling and understanding. My fellow reviewers below prefer other readings for some of this music. Be that as it may, this CD presents Copland's major works for solo piano on one CD, well-performed, and at a low price. It is an ideal way for the newcomer to Twentieth Century American music to get to know three seminal works.

The earliest of the three works is the short (11 minute) Piano Variations composed in 1930 when Copland was 30. This work consists of an eleven-measure theme followed by 20 variations based upon four notes -- E -- C -- D# -- C# -- sounded loudly and slowly at the beginning of the work. Tempos and rhythms shift throughout as the four-note theme is repeated in different patterns and guises. The work is tightly written as the variations flow seamlessly from one to another. Copland stated most of his work on this piece consisted in ordering and organizing the variations in a coherent pattern as opposed to composing the variations themselves. The theme and variations conclude about nine minutes into the work. They are followed by a lengthy majestic coda which closes with loud held chords.

Copland's three-movement piano sonata dates from 1941, more that ten years subsequent to the piano variations. This three movement work has the austure, highly reflective character of the earlier piano work, but its range is broader and it is more lyrical. By the time of the piano sonata, Copland had already composed some of his more popular scores, including Billy the Kid, and El Salon Mexico. The first movement opens with a slow, chordal, solemn theme followed by a more lyrical second theme. These themes form the basis of an extensive movement which includes contrasts between swirling figures and runs in the upper register of the piano and heavy, slow chords and notes in the bass. The second movement is a scherzo based upon an opening fluttering figure and has a jazzy feel. The finale, andante sostenuto, is slow and serious. It has a feeling of interiority, wide spaces, and of a composer who knew what it meant to be alone. The opening material of the first movement returns to conclude the work in a close of great peace and acceptance.

The piano fantasy dates from 1955 -- 1957, over a decade after the sonata, and was composed after Copland had composed most of his folk-idiom tinged music, including his opera, "The Tender Land" (1954). It is a lengthy work, about 30 minutes, consisting of a single movement; and it returns to the introspection of the variations and the sonata. The fantasy is a largely serial work based upon a ten-note pattern stated at the outset in slow, deep tones. The work succeeds both in having an improvisatory character and in conveying a sense of tightness, close organization, and discipline. The fantasy is a seamless work which moves through three closely interrelated sections. In the opening part, the tenor slowly shifts from the long, slow opening, through a more lyrical section, through a rapid driving third section. This is followed by a scherzo leading to some highly passionate writing, and a quiet, introspective long concluding section which brings back some of the opening material. Copland makes full use of the sonorities of the piano in long, single tones interspersed with brilliant runs and arpeggios. This is a difficult work which rewards the demands it places upon the listener and performer.

This CD will introduce the listener to a side of Aaron Copland that may be unfamiliar and to three of the great works of the piano literature of the Twentieth Century.

Robin Friedman

Copland's Three Most Important Piano Works.......2005-06-22

Aaron Copland composed at the piano. It was his instrument and he was a competent pianist. Most of the works for which he is best known -- the ballets, the 'Fanfare for the Common Man,' and the rest of it -- were composed initially at the piano and only later orchestrated. These three works -- interestingly presented here in reverse order to that in which they were composed -- are his most important solo piano works. As far as I know they have not appeared on the same CD before. There are, of course, well-known recordings of each of them, most importantly by William Masselos and Leo Smit, but those are getting a bit long in the tooth. So, it is nice to have them gathered here in what are acceptable performances by Benjamin Pasternack, student of Mieczeslaw Horszowski and Rudolf Serkin, former pianist with the Boston Symphony and for some time now a professor of piano at the Peabody Conservatory in Baltimore. I have learned that exactly the same program played by Robert Weirich will be released later this year on the Albany label. Having heard Weirich play the 'Piano Fantasy' in concert, I am eager to hear that release.

As I say, these are competent performances. Certainly nothing is lost in these traversals. One can quibble with Pasternack's choices in certain instances -- for instance, he plays the 'Piano Fantasy' noticeably faster than Masselos, who gave the work its première; the metronome marking for the declamatory opening of the 'Piano Fantasy' is quarter note = 48 and Pasternack takes it at something more like quarter note = 60. Not a huge difference, but enough to feel it. And it gives the opening a different character than one has come to expect. Just a word further about the 'Piano Fantasy': although it is essentially a twelve-tone composition it is not only discernibly by Copland, with his typical jazzy rhythms and accentual displacements, along with other Coplandesque gestures, it is entirely listener-friendly. I can almost guarantee that anyone familiar with and fond of the 'Piano Variations' will have no problem whatever with the 'Fantasy.' [The material in the 'Piano Fantasy' is taken from the early sketches for a piano concerto Copland was writing for William Kapell but which had to be scrapped when Kapell died in a plane crash. The work is dedicated to his memory.]

I find little to quibble with about Pasternack's performance of the 'Piano Sonata.' Possibly that's because I am less familiar with it than the other two pieces, and I do not own a score. Still, it has never, to me, seemed to be at quite as high a level of inspiration as the two pieces that bracket it. It is in three movements, a typical slow-fast-slow form, and for me the most attractive is the jazz-inflected middle movement, Vivace, which has a subtle and inward slower middle section.

The 'Piano Variations' are much better-known than the other two pieces, and have been recorded many times. The story is often told how Leonard Bernstein at his first meeting with Copland impressed the composer by sitting down and playing the 'Variations' from memory. The 'Variations' are often called 'thorny' or 'difficult', although they have never struck me that way. And certainly Pasternack's way with them is rather more lyrical than one generally hears. This has both advantages and disadvantages. It makes it sound less like the ground-breaking work that it is (both for Copland and for American piano music of the 1930s) but it makes it a little more accessible to those listeners who might be a bit allergic to the granitic declamatory style Copland used in this work.

At the budget Naxos price, I would recommend this issue. I will still be waiting to hear Robert Weirich's CD of these three pieces, though, and am hoping that his performances will have just a bit more élan, edge and depth than Pasternack's.

Scott Morrison

Misses the point of the Piano Fantasy.......2005-06-21

Pasternak's performances of the Piano Sonata and the Piano Variations are quite good, but he completely misses the mark with the Piano Fantasy. He plays all three pieces in the same style. But the Fantasy is different from the others. About 30 years ago, I attended a recital by the late William Masselos at Bryn Mawr College. The main work of the program was the Piano Fantasy, which he had premiered for Copland back the in the 1950s. The performance was absolutely mind-bending! Luckily, Masselos original LP recording was still available on the old Columbia Odyssey label, so I ran out to buy it. Masselos performance is presumably a definitive interpretation, because of his interactions with the composer himself. What is unique about this performance is that the Fantasy doesn't come across as a harsh, percussive, composition, but rather as the first example of what one might call "new age space music." The piece is PSYCHEDELIC, not a Bartok retread as it is in Pasternak's recording. This is exemplified by the timings -- Masselos' recording was several minutes longer than Pasternak's. So I hope the Sony remasters and reissues Masselos' recording. Until then, listen to Pasternak for the Sonata and for the Variations only.

Average customer rating:

Very touched
In Memorium
Priceless Souvenirs from a Rare Genius: Ave Atque Vale
Poetry without words
What Is Technically Difficult Is Not Always Pleasant To Hear

William Kapell Edition (Box Set)

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Ecossaises | Ballets & Dances | Classical | Styles | Music

Mazurkas | Ballets & Dances | Classical | Styles | Music

Polonaises | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | 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

Classical | Box Sets | Stores | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

William Kapell in Performance: Brahms & Prokofiev Piano Concertos
Prokofiev: Sonata No.7/Toccata, Op.11/Barber: Sonata, Op.26/Kabalevsky: Sonata No.3/Fauré: Nocturne No.13/Poulenc: Pr
William Kapell, Vol.I: Rachmaninov/Khachaturian
Plays Schubert
Furtwangler Conducts Beethoven - Beethoven: symphonies no 3,4,5, & 9, Leonore

ASIN: B00000B9MR
Release Date: 1998-09-29

Tracks:

Mazurkas: Op. 6, No. 2
Mazurkas: Op. 7, No. 2
Mazurkas: Op. 7, No. 5
Mazurkas: Op. 17, No. 2
Mazurkas: Op 17, No 3
Mazurkas: Op. 17, No. 4
Mazurkas: Op. 24, No. 1
Mazurkas: Op. 24, No. 3
Mazurkas: Op. 30, No. 3
Mazurkas: Op. 33, No. 1
Mazurkas: Op. 33, No. 3
Mazurkas: Op. 33, No. 4
Mazurkas: Op. 41, No. 1
Mazurkas: Op. 41, No. 2
Mazurkas: Op. 50, No. 2
Mazurkas: Op. 50, No. 3
Mazurkas: Op. 56, No. 3
Mazurkas: Op. 59, No. 1
Mazurkas: Op. 59, No. 2
Mazurkas: Op. 63, No. 2
Mazurkas: Op. 63, No. 3
Mazurkas: Op. 67, No. 2
Mazurkas: Op. 67, No. 3
Mazurkas: Op. 67, No. 4
Mazurkas: Op. 68, No. 2
Mazurkas: Op. 68, No. 3
Mazurkas: Op. 68, No. 4
Mazurkas: Op posth. - 'Notre temps'
Mazurkas: Op posth - In B Flat

Tracks:

Sonata No. 3, Op. 58 In B Minor: Allegro maestoso
Sonata No. 3, Op. 58 In B Minor: Scherzo: Molto vivace
Sonata No. 3, Op. 58 In B Minor: Largo
Sonata No. 3, Op. 58 In B Minor: Finale: Presto, non tanto
Waltz, Op. 18 In E Flat Major
Sonata No. 2, Op. 35 In B-Flat Minor: Grave; Doppio movimento
Sonata No. 2, Op. 35 In B-Flat Minor: Scherzo
Sonata No. 2, Op. 35 In B-Flat Minor: Marche funebre
Sonata No. 2, Op. 35 In B-Flat Minor: Presto
Nocture, Op. 9, No. 1 In B Flat Minor
The Sheperd's Complaint: No. 5, Songs Without Words, Op. 67
Romance, Op. 28, No. 2 In F Sharp
Sonata No. 16, K. 570 In B Flat: II. Adagio

Tracks:

Rhapsody On A Theme Of Paganini, Op. 43: Introduction: Allegro vivace; Variation I: (Precedente)
Rhapsody On A Theme Of Paganini, Op. 43: Tema: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Varation II: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Varation III: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Varation IV: Piu Vivo
Rhapsody On A Theme Of Paganini, Op. 43: Varation V: Tempo precedente
Rhapsody On A Theme Of Paganini, Op. 43: Varation VI: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Varation VII: Meno mosso, a tempo moderato
Rhapsody On A Theme Of Paganini, Op. 43:: Varation VII: Tempo 1
Rhapsody On A Theme Of Paganini, Op. 43: Varation IX: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Varation X: Poco marcato
Rhapsody On A Theme Of Paganini, Op. 43: Varation XI: Moderato
Rhapsody On A Theme Of Paganini, Op. 43: Varation XII: Tempo di minuetto
Rhapsody On A Theme Of Paganini, Op. 43: Varation XIII: Allegro
Rhapsody On A Theme Of Paganini, Op. 43: Varation XIV: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43:: Varation XV: Piu vivo scherzando
Rhapsody On A Theme Of Paganini, Op. 43: Varation XVI: Allegretto
Rhapsody On A Theme Of Paganini, Op. 43: Varation XVII: [Allegretto]
Rhapsody On A Theme Of Paganini, Op. 43: Varation XVIII: Andante cantabile
Rhapsody On A Theme Of Paganini, Op. 43: Varation XIX: A tempo vivace
Rhapsody On A Theme Of Paganini, Op. 43: Varation XX: Un poco piu vivo
Rhapsody On A Theme Of Paganini, Op. 43: Varation XXI: Un poco piu vivo
Rhapsody On A Theme Of Paganini, Op. 43: Varation XXII: Un poco piu vivo (Alla breve)
Rhapsody On A Theme Of Paganini, Op. 43: Varation XXIII: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Varation XIV: A tempo un poco meno mosso
Concero No. 2, Op. 18 In C Minor: Moderato; Allegro
Concero No. 2, Op. 18 In C Minor: Adagio sostenuto
Concero No. 2, Op. 18 In C Minor: Allegro scherzando
Prelude, Op. 3, No. 2 In C Sharp Minor
Preludes, Op. 34: No. 24 In D Minor
Preludes, Op. 34: No. 10 In C Sharp Minor
Preludes, Op. 34: No. 5 In D Major

Tracks:

Concerto No. 3, Op. 26 In C: Andante; Allegro
Concerto No. 3, Op. 26 In C: Tema: Andantino
Concerto No. 3, Op. 26 In C: Variation I: Listesso tempo
Concerto No. 3, Op. 26 In C: Variation II: Allegro
Concerto No. 3, Op. 26 In C: Variation III: Allegro moderato (poco meno mosso)
Concerto No. 3, Op. 26 In C: Variation IV: Andante meditativo
Concerto No. 3, Op. 26 In C: Variation V: Allegro giusto
Concerto No. 3, Op. 26 In C: Tema: Listesso tempo
Concerto No. 3, Op. 26 In C: Allegro ma non troppo
Concerto: Allegro mastoso
Concerto: Andante con anima
Concerto: Allegro brillante
Preludes, Op. 34: No. 14 In E Flat Minor
Preludes, Op. 34: No. 10 In C Sharp Minor
Preludes, Op. 34: No. 5 In D Major

Tracks:

Concerto No. 2, Op. 19 In B Flat Major: Allegro con brio
Concerto No. 2, Op. 19 In B Flat Major: Largo
Concerto No. 2, Op. 19 In B Flat Major: Rondo: Allegro scherzando
Moment Musical: Moment Musical In F Minor, D. 780, No. 3
Waltz: Waltz In B Major, D. 145, No. 2
Waltz: Waltz In B Major, D. 145, No. 6
Waltz: Waltz In E Major, D. 365, No. 26
Waltz: Waltz In F Major, D. 365, No. 32
German Dances: German Dance In B Flat Major, D. 783, No. 6
German Dances: German Dance In B Flat Major, D. 783, No. 7
Waltz: Waltz, In F Major, D. 365, No. 34
Landler: Landler, In G Major, D. 734, No. 1
Landler: Landler, In D Major, D. 734, No. 2
Impromptu: Impromptu In A Flat Major, D. 935, No. 2
Romance: Romance In F Sharp Major, Op. 28, No. 2
Intermezzo: Intermezzo In E Major, Op. 116, No. 6
Sonetto No. 104 del Petrarca - Liszt
Hungarian Rhapsody No. 11 - Liszt
Mephisto Waltz No. 1 - Liszt

Tracks:

Partita No. 4 In D Major, BWV 828: Ouverture
Partita No. 4 In D Major, BWV 828: Allemande
Partita No. 4 In D Major, BWV 828: Courante
Partita No. 4 In D Major, BWV 828: Aria
Partita No. 4 In D Major, BWV 828: Sarabande
Partita No. 4 In D Major, BWV 828: Menuet
Suite In A Minor, BWV 818: Allemande
Suite In A Minor, BWV 818: Courante
Suite In A Minor, BWV 818: Sarabandes 1 & 2
Suite In A Minor, BWV 818: Gigue
Sonata In E Flat Major, K. 380 - L. 23
Sonata In B Flat Major, K. 570: 2. Adagio
From Iberia: Evocacion
Piano Playtime: No. 1: Waltz Of The Rainbow
Piano Playtime: No. 4: By The Brook
Piano Playtime: No. 5: Dancing Bagpipes
Piano Playtime: No. 6: Tricky Trumpet
Children's Corner: Dr. Gradus ad Parnassum
Children's Corner: Jimbo's Lullaby
Children's Corner: Serenade For The Doll
Children's Corner: The Snow Is Dancing
Children's Corner: The Little Shepherd
Children's Corner: Golliwog's Cakewalk
Toccata ostinato

Tracks:

Sonata In G Minor, Op. 19: Lento; Allegro moderato
Sonata In G Minor, Op. 19: Allegro scherzando
Sonata In G Minor, Op. 19: Andante
Sonata In G Minor, Op. 19: Allegro mosso; Meno mosso; Moderato; Piu vivo
Sonata In F Minor, Op. 120, No. 1: Allegro appassionato
Sonata In F Minor, Op. 120, No. 1: Andante un poco adagio
Sonata In F Minor, Op. 120, No. 1: Allegretto grazioso
Sonata In F Minor, Op. 120, No. 1: Vivace
Sonata In D Minor, No. 3, Op. 108: Allegro
Sonata In D Minor, No. 3, Op. 108: Adagio
Sonata In D Minor, No. 3, Op. 108: Un poco presto e con sentimento
Sonata In D Minor, No. 3, Op. 108: Presto agitato

Tracks:

Piano Sonata (1941): Molto moderato
Piano Sonata (1941): Vivace
Piano Sonata (1941): Andante sostenuto
Nocturne In E - Flat - Op 55, 2
Mazurka In C - Op 33, 3
Polonaise-Fantasie In A - Flat - Op 61
Pictures At An Exhibition: Promenade
Pictures At An Exhibition: The Gnome
Pictures At An Exhibition: Promenade
Pictures At An Exhibition: The Old Castle
Pictures At An Exhibition: Promenade
Pictures At An Exhibition: Tuileries
Pictures At An Exhibition: Bydlo
Pictures At An Exhibition: Promenade
Pictures At An Exhibition: Ballet Of The Unhatched Chicks
Pictures At An Exhibition: Samuel Goldenberg And Schmuyle
Pictures At An Exhibition: Promenade
Pictures At An Exhibition: Limoges - The Market
Pictures At An Exhibition: Catacombs
Pictures At An Exhibition: Con mortuis In lingua Mortua
Pictures At An Exhibition: The Hut On Fowl's Legs
Pictures At An Exhibition: The Great Gate At Kiev
No 1 - Kinderszenen: About Foreign Lands And People
Sonata In E (K 380) - L. 23

Tracks:

Partita No. 4 In D Major, BWV. 828: Allemande (Beginning)
Sonata No. 10 In C Major, K. 330: 1. Allegro moderato (Beginning)
Sonata No. 3 In B Minor, Op. 58: 1. Allegro maestoso (Beginning)
Sonata No. 3 In B Minor, Op. 58: 3. Largo
Mazurka In A Flat Major, Op. 17, No. 3
Sonata No. 3 In D Minor, Op. 108: 2. Adagio
No. 4, Songs Without Words, Op. 67: Spinning Song
Interview With William Kapell

Amazon.com essential recording

Blessed with transcendent technique and an affinity for big, bold Romantic works, William Kapell has been hailed as America's greatest homegrown pianist. This comprehensive collection of his complete recorded output, previously unreleased recordings, and broadcast tapes adds luster to a reputation that's become legendary since his tragic death in a plane crash at age 31. The earliest recordings, from the mid-1940s, bristle with raw energy and virtuosic flourishes tempered by an innate musicality that rises above mere display.

The disc coupling Khachaturian and Prokofiev concertos is charged with excitement; the Rachmaninoff pairing of the Paganini Variations and the Concerto No. 2 weds the Grand Romantic style to poetic lyricism; and an inspired Liszt group is charged with dynamic energy. Best may be the two Chopin discs: spontaneous, rhythmically flexible sonatas and mazurkas. The later recordings demonstrate the repose that comes with artistic maturity, and the "live" broadcasts reveal Kapell's warmth and spontaneity in concert. Splendid transfers help make this long-awaited set appealing to music lovers in general, as well as piano buffs. --Dan Davis

Customer Reviews:

Very touched.......2006-09-24

I wrote my doctoral dissertation on William Kapell (we share the same school, and my teacher was a student of his), and to still see the outpouring of admiration and love for Kapell's art is still very moving for me.

In Memorium.......2005-10-29

I heard William Kapell play the Rachmaninov Rhapsody on a Theme by Paganini with the fledgling Atlanta Symphony Orchestra in the late 1940's or very early 1950's. My only memory of the occasion is that I was enthralled. Kapell has held me in thrall ever since.

A few years later, in the middle 50's, I bought Kapell's recording of the same work, with Fritz Reiner and the Robin Hood Dell Orchestra (alias of The Philadelphia Orchestra). I still have that LP, though I wore it out long ago. It was the beginning of my musical education. But since 1998, we have had this wonderful box of reissues from the vaults of RCA. The sound is mostly excellent, considering the age of the monophonic originals. To this day, Kapell's Rachmaninov Rhapsody remains-in my opinion-the most impassioned, yet the most musical, reading of the piece ever recorded. No one had, or has, Kapell's combination of white-hot temperament, technical brilliance, and musical insight. We have had musical geniuses; technical wizards abound. It is the combination of these gifts, as Kapell possessed them in particular, married to his incendiary passion, that made him unique.

He was still learning, and he was learning at such an astounding rate! He had moved from Khachaturian to the most unforgettable Chopin B minor Sonata ever recorded in little more than a decade. His deep throated, noble, and articulate Bach has caused some to speculate that Glenn Gould might have found his inspiration in Kapell. One Gould biographer, and a New York critic, wrote that the reverse was true. The critic acknowledged the error, in print, noting that Kapell could not have been influenced by Gould's style since he had been dead for two years by the time of Gould's debut recital in New York City in 1955.

The lyrical side of romantic music is not what Kapell was or is known for, not his "style" as people remember him now. But listening to the lyrical music in this set shows a side of him that was, nevertheless, as real as any, and perhaps more revealing. It also gives us a notion of what we might have expected of William Kapell had he lived a normal span of years and played a normal variety of music. In a live performance, he plays Chopin's Nocturne, Op. 9, No. 1, with melting legato and exquisite timing: his innate sense about when to tug on the beat and when to surge forward makes the music breathe. His use of dynamic variety demands the greatest respect: at one point, the repetition of a melodic phrase is but a pale echo of its first statement. His tonal palette is no less wondrous. When a deep bass note suddenly appears, early in the A section of the ABA structure, it sounds-not loud nor quiet, not muffled nor distinct-but awesomely subterranean. Kapell begins the piece without much sustaining pedal, but in the B section, he subtly adds more and more. Then, when the A section returns near the end, the pedal disappears. This dramatic change in color-along with Chopin's change of key-seems like the parting of clouds. We are in the hands of two masters here, Chopin and Kapell. Kapell gave this performance in Carnegie Hall in February of 1945, when he was twenty-two years old.

In the Bach and Chopin works I've discussed, the steely, percussive tone that some speak of is nowhere to be heard. Rather, we hear a full, rich, and complex piano tone. In the Chopin Sonatas, the Debussy pieces, and the Schubert, Schumann, Mendelssohn, Debussy, and Albeniz, the sound Kapell produces is beautiful and varied.

He was a chamber musician of the first order, as his collaborations with Heifetz prove. (He was one of the very few musicians who had the force of personality to make Heifetz accompany HIM. And you can hear it.) And if you've never heard Rachmaninov's great Cello Sonata, played here with the grand Russian/German cellist Edmund Kurtz, you're in for a treat. There are several fine, modern stereo recordings, but this one is special. The piano part is very important-Rachmaninov did write it, after all-and Kapell is magnificent. This was Rachmaninov's next published work after the 2nd Piano Concerto, to give you an idea of its melodic grandeur. If there is a flaw here, it is that the piano is recorded too far back, relative to the cello.

Kapell died on October 30, 1953. He had just turned thirty-three. He played his last recital in Geelong, Australia, on the 22nd. It included the Chopin 2nd Piano Sonata which contains the well-known "Marche funèbre." That performance is included here, transferred from the original acetates. It is a great performance but very hard to listen to now, in light of what was to follow just over a week later. I am writing this one day short of the 52nd anniversary of Kapell's death. Had he lived until today, he would be younger than either Earl Wild or Ivan Moravec, both of whom are still making magnificent music. For those of us who love William Kapell's music, it is heartbreaking to consider, and fruitless. Thank Heaven we have recordings like the ones in this set. They are essential for any lover of good music.

John Pendley

Priceless Souvenirs from a Rare Genius: Ave Atque Vale.......2005-10-28

During the last century we have had many tragic losses in the arts, often affecting men and women who are at the peak of their careers, shimmering with excellence, only to be silenced by death and all too often, by accidental death. The names of Anton Webern, Fritz Wunderlich, WG Sebald, Sylvia Plath, Dinu Lipatti, and so many others arise, but none as tragic as the death of William Kapell in 1953.

William Kapell is still considered by most as the America's greatest pianist, even fifty odd years after his death at the age of 31 in a plane crash. Those who heard him perform still rhapsodize over the magic he created. Those of us who are left with only recordings, such as this spectacular boxed set of all of his recordings, can only be uplifted by the man's genius, his extraordinary technical facility, and his intuitive, profound approach to the great works of music.

All styles of music were easily accessible to Kapell. Listen to the Mozart, Bach, Scarlatti, Paganini and Mendelssohn and try to imagine performances of more clarity and finesse than these. His Chopin is well represented in this set and glows with the uncanny power and tenderness that Chopin combined in his works. His works for solo piano by Rachmaninov and Shostakovich are the gold standard, and yet his Schubert, Schumann, Brahms, Mussorgsky and Liszt raise the bar for excellence that has since not been excelled. Joyously this set includes concerti including Prokofiev, Beethoven, Khachaturian, and Rachmaninov with the various conductors who saw Kapell's gifts and championed them.

The memory of this great artist is felt throughout the year, but never as acutely as on October 29th which marks the date of his cruel death. The world was brightened for too short a time by William Kapell, yet because of his recorded legacy his legend lives on. This is an impossibly fine box set of treasures. Highly Recommended. Grady Harp, October 05

Poetry without words.......2004-12-14

In listening ot this collection, I think of the other 20th century pianistic genius who died tragically young: Dinu Lipatti (d. 1950). Both men excelled at Chopin but each had a thoroughly individual sound. In addition to Chopin, the Rachmaninoff and Prokofiev are especially fine. Highly recommended.

What Is Technically Difficult Is Not Always Pleasant To Hear.......2004-10-02

Piano enthusiasts might find this set incredible, but I prefer my music to be pleasant. Consider your tastes before buying.

Copland: The Young Pioneers (The Complete Music for Solo Piano)

Average customer rating:

American Piano Music
Copland's Growing Musical Style
great music

Copland: The Young Pioneers (The Complete Music for Solo Piano)
Aaron Copland , and Leo Smit (piano)
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Scherzo | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Soundtracks | Styles | Music

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Copland the Modernist
Copland: Music For The Theatre/Piano Concerto
Copland: Symphony No3; Symphony
American Classics: Barber: COMPLETE PUBLISHED SOLO PIANO MUSIC
Copland: Music for Films

ASIN: B000002AR2
Release Date: 1994-08-23

Tracks:

Scherzo Humoristique: The Cat and the Mouse (1920)
Piano Variations (1930)
In Evening Air (1966)
Passacaglia (1922)
Piano Sonata (1939-1941): I. Molto moderato
Piano Sonata (1939-1941): II. Vivace
Piano Sonata (1939-1941): III. Andante sostenuto
Midday Thoughts (1944-1982)]
Proclamation (1973-1982)
Three Moods (1920-21): 1. embittered (November 14, 1920)
Three Moods (1920-21): 2. wistful (January 8, 1921)
Three Moods (1920-21): 3. jazzy (July 1921)

Tracks:

Petit Portrait (1921)
Sentimental Melody (1926)
Piano Fantasy (1926)
Four Piano Blues (1955-57): 1. Freely Poetic
Four Piano Blues (1955-57): 2. Soft and Languid
Four Piano Blues (1955-57): 3. Muted and Sensuous
Four Piano Blues (1955-57): 4. With Bounce
Midsummer Nocturne (1947)
The Young Pioneers (1935)]
Sunday Afternoon Music (1935)
Down a Country Lane (1962)
Night Thoughts (Hommage to Ives) (1972)

Amazon.com

Most of this set was recorded for LP in 1978, but Leo Smit returned to the studios in 1993 to add some recently discovered short pieces. Smit, a friend of Copland and a composer himself, plays all of Copland's piano music with great comprehension. He sustains the flow throughout the difficult half-hour Piano Fantasy, though he doesn't create as much excitement in the Piano Variations as the composer did in 1935 on 78s (now on Pearl GEMM CD 9279). Much of Copland's piano music is occasional works or pieces for students, but the major works in the set make it well worth hearing. --Leslie Gerber

Customer Reviews:

American Piano Music.......2007-02-12

It was a pleasure to hear the complete piano music of Copland. Pianist Leo Smit brings pleasure and enlightment to the listeners ear. Who better than an American pianist to interpret the music of Copland.

Ellis L. Marsalis, Jr

Copland's Growing Musical Style.......2001-11-06

Leo Smit has done more than just give us a complete collection of the piano music of Aaron Copland. In doing so, he has also given us a sizeable record of Copland's growth as a composer stretching from the angry tones of the Passacaglia and the Piano Variations, to the majestic and sometimes poetic Piano Fantasy, and beyond. The two CD's also showcase Copland in his many moods, sometimes light hearted and fun as in the Scherzo Humoristique and the second movement of the Piano Sonata, or sometimes nostalgic as in Down a Country Lane or the third movement of the Piano Sonata. This is a must-have for all Copland fans.

great music.......2000-06-03

A great buy for anyone who loves Copland or American contemporary music. Absolutely beautiful.

Sony Classical: Great Performances 1903-1998

Average customer rating:

What I Bought From Sony Companies
Strange interpretation of "classical"
An interesting mix...
A touch of history....
A touch of history....

Sony Classical: Great Performances 1903-1998

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Mazurkas | Ballets & Dances | Classical | Styles | Music

Octets | Chamber Music | Classical | Styles | Music

Quartets | Chamber Music | Classical | Styles | Music

Quintets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Fugues | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

Scherzo | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

German | Languages | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music

Psalms | Vocal Non-Opera | Opera & Vocal | Styles | Music

Movie Scores | Soundtracks | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

Star Wars | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music

Marches | Miscellaneous | Styles | Music

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Jazz: The Definitive Performances
Pop Music: The Modern Era 1976-1999

ASIN: B00000K2EX
Release Date: 1999-10-12

Tracks:

Il Barbiere di Siviglia: 'Largo Al Factotum'
Mazurka In G Major, 'Obertass,' Op.19, No.1
Contrasts For Violin, Clarinet And Piano: II. 'Piheno'
String Quartet In C Minor, Op.18, No.4: IV. Allegro - Prestissimo
Bachiana Brasileira No.5: Aria - Cantilena
Violin Concerto In E Minor, Op. 64: Allegro Molto Vivace
Rigoletto: 'La Donna E Mobile'
String Quartet No.4: II. Prestissimo, Con Sordino
Carnival Of The Animals: 'Fossils'
Concerto For Violin And Orchestra: III. Rondo. Allegro Spirituoso
Le tombeau de Couperin: I. Prelude
Hermit Songs: 'The Desire For Hermitage'
Variation 30 A 1 Clav. Quodlibet
From 'Goldberg' Variations: Aria
The Threepenny Opera: 'Mack The Knife'
Symphony No. 36 In C Major, K. 425 'Linz': III. Menuetto - Trio
Piano Concerto No. 21 In C Major: III. Allegro Vivace Assai
Symphonie espagnole In D Minor, Op. 21: V. Rondo (Allegro)
'Battle Hymn Of The Republic'
Madama Butterfly: 'Un Bel Di'

Tracks:

Le Sacre du printemps: 'Danse Sacrale'
El Amor Brujo: 'Ritual Fire Dance'
Rodeo (Four Hour Dance): 'Hoe-Down'
Fugue In G Minor, BWV 578 'Little'
The Well-Tempered Clavier, Book I: Prelude No. 1 In C Major, BWV 846
Syphony No. 8 In F Major, Op. 93: II. Allegretto Scherzando
Slavonic Dance No. 8 In G Minor, Op. 46
Symphony No.2 In C Minor 'Resurrection': IV. 'Urlicht'
Chichester Psalms: I. Psalm 108
Octet In E-Flat Major, Op.20: III. Scherzo: Allegro Ieggierissimo
Etude In C-Sharp Minor, Op. 2, No.1
Etude In A-Flat Major, Op. 72, No.11
Concierto de Aranjuez: I. Allegro Con Spirito
Karelia Suite, Op.11: III. Alla Marcia. Moderato
Canzon Septimi Toni No.2
Fanfare For The Common Man
'Beau Soir'
Suite For Flute And Jazz Piano: 'Baroque And Blue'
Piano Concerto No. 20 In D Minor, K. 466: III. Rondo. Allegro Assai
Daphnis et Chloe: 'Danse Generale'

Tracks:

Eubie's Classical Rag
Intermezzo In B Minor, Op. 119, No. 1
III. Alegro
Behind The Gardens - Behind The Wall - Under The Tree
Perhaps Love
Facades
O mio babbino caro
Passo pel prat
III. Finale. Allegro
I. Allegro
Promenade (Walking The Dog)
Sonata No.5 In D Major For Cello And Piano: III. Alegro fugato
Turangalila II
IV. Rondo alla Zingarese. Presto
Mazurka In C Minor , Op. 56, No.3
String Quartet In D Minor, Op. 56 'Voces intimae': II. Vivace
Ch'ella mi creda libero e lontano

Tracks:

Main Theme From Star Wars
Andante
Salut d'amour, Op. 12
Minuet
Appalachia Waltz
Appalachia Waltz
Gershwin,
All The Delights Of The Season
Steam Engine
Summon The Heros
Prelude To Suite No. 1 In G Major
Brunnhilde's Battle Cry
Sonata In A Major
A Suite For Strings: The Murder
Flight Of The Bumblebee
Prelude To Suite No. 3 IN E
Libertango
Angel (Lust)
Theme From Schindler's List
I. Allegro ben ritmato e deciso
La donna e mobile
Gymnopedie No. 3
Song Of Peace

Customer Reviews:

What I Bought From Sony Companies.......2005-08-20

Bach, Goldberg Variations, Gould, Haydn, L. Mozart, Hummel, Wynton Marsalis, Leppard, Joseph Haydn, Walter (Japanese), Mozart Piano Concertos & Rondos, Murray Perahia, Mozart Quartets by Ax, Stern, Laredo, and Ma, Mozart Concerto Violin, Zukerman, Chopin, Concertos Piano, Gilels, Ormandy, Watts, Schippers, Bruckner, L'Archibudelli, Johannes Brahms, Gould, Brahms, Stern, Trios and Quartets, Brahms, Ax, Ma, Bizet, Carmen and L'Arlesienne suites, Bernstein, Dvorak, Herbert, Ma, Masur, Faure, Quartets, Ax, Stern, Laredo, Ma, Janacek, String Quartets, Alban Berg, Lyric Suite, Juilliard String Quartet, Copland Collection, Debussy, nocturnes, Upshaw, Esa-Pekka Salonen, Canteloube, John Williams Plays Barrios, Ligeti Edition, Claude Bolling, suites and such Jazz, 4 CDs, Joshua Bell, Bernstein, West Side Story. Albert, Bartok, Bloch, Ma, Zinman, John McLaughlin, Concerto for Guitar, and with Katia Labeque, Kathleen Battle.Wynton Marsalis, Baroque Duet,Kathleen Battle Jean-Pierre Rampal in Concert, Bobby McFerrin paper music, with Yo-Yo Ma in Hush, Katia & Marielle Labeque, Love of Colours, Wynton Marsalis, Baroque Music for Trumpets, and Elliot Goldenthal, Fire Water Paper, A Vietnam Oratorio.
I list these because I am trying to figure out what of value is in the Columbia, CBS, and Sony sound legacy in case they come back to the U.S. and revive classical music recording in this country.
Duane Crawford

Strange interpretation of "classical".......2005-01-17

I bought this CD because it contained some songs I was having a hard time finding elsewhere, such as Passo pel prat, Chants d'Auvergne sung by Fredrica Von Stade. However, some of the songs on this CD do not seem to belong e.g. all three songs by John Williams, Mack the Knife, Barbra Streisand, and the Psycho Murder Theme for starters, and many more.

I gave the CD 4 stars only because I was happy that I was able to find a few somewhat rare tracks.

An interesting mix..........2002-05-18

This is a sampler in the truest meaning of the word. I bought this 4 CD work primarly for two tracks, but also because I was interested to see what else was out there without investing a fortune in CD's I wouldn't like! I was surprised by the wide diversity of music ranging from true classical and jazz to contemporary compositions and interpretations.

While I find some tracks divine (Williams's _Schindler's List_), I find other tracks unsettling (_Beau Soir_ performed by Barbra Streisand). But when you are trying to span 100 years of music, you will (and should) encounter all tastes and styles. Overall, I really enjoy listening to this set. My only regret is that I don't have a CD changer...

A touch of history...........2002-01-28

An exceptional set. The history of music making of the 20th century in 4 CDs. Even from the first track with Giuseppe Campanari and Charles Adams Prince you can see that people put much time in collecting the best interpretations and putting together an amazing collection. Other highlights include the "Mack The Knife" with Lotte Lenya, the Bachiana Brasileiras, The Fanfare For The Common Man with LSO conducted by the composer and so many more. An undespiuted *****

A touch of history...........2002-01-28

Average customer rating:

Some Pictures Never Fade
Lovely
unforgettable "Pictures"
A Phenomenal and fortunate find.
Technically flawed recording nevertheless has gems in it.

Frick Collection Recital

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Mazurkas | Ballets & Dances | Classical | Styles | Music

Polonaises | Ballets & Dances | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

Bach: Partita No. 4; Suite in A minor; Debussy: Children's Corner
William Kapell Edition Vol.2 - Chopin: Sonatas; Mendelssohn, Schumann, Mozart
William Kapell, Vol.I: Rachmaninov/Khachaturian
Brahms: Violin Sonata No. 3; Viola Sonata No. 1; Rachmaninoff: Cello Sonata
William Kapell in Performance: Brahms & Prokofiev Piano Concertos

ASIN: B00000HZRV
Release Date: 1999-02-09

Tracks:

Piano Sonata (1941): Molto Moderato
Piano Sonata (1941): Vivace
Piano Sonata (1941): Andante Sostenuto
Nocturne Op. 55, No. 2, In E-Flat
Mazurka, Op. 33, No. 3 In C
Polonaise-Fantaisie, Op. 61 In A-Flat
Pictures At An Exhibition: Promenade
Pictures At An Exhibition: The Gnome
Pictures At An Exhibition: Promenade
Pictures At An Exhibition: The Old Castle
Pictures At An Exhibition: Promenade
Pictures At An Exhibition: Tuileries
Pictures At An Exhibition: Bydlo
Pictures At An Exhibition: Promenade
Pictures At An Exhibition: Ballet of the Unhatched Chicks
Pictures At An Exhibition: Samuel Goldenberg and Schmuyle
Pictures At An Exhibition: Promenade
Pictures At An Exhibition: Limoges - The Market
Pictures At An Exhibition: Catacombs
Pictures At An Exhibition: Con mortuis in lingua mortua
Pictures At An Exhibition: The Hut on Fowl's Legs
Pictures At An Exhibition: The Great Gate At Kiev
About Foreign Lands And People (No 1 - Kinderszenen, Op. 15)
Sonata, K.380 - L.23, In E

Customer Reviews:

Some Pictures Never Fade.......2004-12-06

The now deceased Sviotoslav Richter has long enjoyed the title as interpreter supremo of Moussourgsky's Pictures at an Exhibition. Very recently, Yevgeny Kissin, who is no slouch himself, entered the fray with his own recording. It is one of music's little ironies that modern-day critics still quibble over which of of these two prodigiously talented Russian pianists owns what might be the most prodigiously Russian mainstay of the piano literature, when this prize should have gone to an American over 50 years ago. The world is a remarkable place, and the short-lived William Kapell was a remarkable pianist.

Sadly, Kapell's record suffers from every conceivable technical disadvantage. It was recorded live at New York's Frick Collection months before his death in 1953. The source material is a poorly preserved, "bootleg" tape. From all indications, the Frick recital was recorded over something else which remains faintly audible at virtually all times. To top it all off, the piano is slightly out-of-tune! It is no exaggeration to float the term "disastrous" with respect to the original production merits of this album.

The performance is another matter entirely. Despite ostensibly insurmountable odds, Kapell's recording of "Pictures at an Exhibition" deserves the gold. Kapell did not indulge virtuosity for virtuosity's sake. Within each piece, he exposed colors and motifs in such bold relief that each "Picture" seemed more vibrant on his badly recorded piano than on most accounts of the fully-orchestrated version.

In comparison, Richter and Kissin's recordings sound decidedly dull. They may lean more muscle into it and rarely miss a note,but Richter and Kissin persistently gloss over passages that Kapell tenaciously probed.

Kapell's achievement on this album didn't end with Moussourgsky. He performed engaging accounts of Schumann and Chopin, and charged nobly through Aaron Copland's intriguing if not entirely gratifying Piano Sonata.

I realize one is not supposed to cross-comment on other customer reviews, but I was rather surprised that one review panned "Pictures" and praised the Scarlatti. The Scarlatti was the only piece recorded over a span of tape beyond repair. This recording had to be "reconstructed" by manually splicing the notes missing from the "Frick" tape. It well may be that the Frick run-through was brilliant, but the Scarlatti heard here required rather agile post-production abracadabra.

This disc is a sad but provocative hint at what might have been had William Kapell lived more than one month beyond his 31st birthday. Buy it for the "Pictures," but decide for yourself if you want to invest further in RCA's valiant attempt to touch-up the few extant recordings of this brilliant and woefully underappreciated American pianist.

Lovely.......2003-11-10

This disk served as my introduction (and so far, my only exposure) to Kapell. I'd read favorable reviews and so decided to take the plunge (I was looking for a recording of "Pictures").
I would recommend this performance (recorded live at New York City's Frick Collection in 1953) to anyone, including newcomers to classical music. While Richter's Sofia reading of Pictures is in a class by itself, this one comfortably manages to more than hold its own. The other works are all beautifully played by someone who truly understands and "lives with" them; the Copland, which I'd never heard before, was a particular treat. The variety offered is especially nice--the listener travels backwards through time from the 20th Century to the 17th, with Kapell serving as masterful guide. The sonics are quite clean thanks to a super remastering job, allowing this disk to hold its head up in the company of more modern recordings.
Ironically, the lion's share of the performance consists of works composed by men who, like Kapell, died much too young. That his work remains available is his parting gift to us for which we should be grateful. Show your appreciation and respect by sampling his legacy--I promise you won't regret it. Highest recommendation.

unforgettable "Pictures".......2003-09-28

I disagree strenously with Frank Walker. I've heard quite a number of performances of "Pictures at an Exhibition" and Kapell's is by far the best. Where others offer an empty showy display of virtuosity with a rapid blur of sounds, Kapell brings out the melodies, revealing the beauty and intrinsic dramatic qualities of the various sections. Some of the sections are a real revelation, and others are just breathtaking. This is one of my very favorite piano CDs.

A Phenomenal and fortunate find........1999-08-27

The first and greatest of American pianists demonstrates his capabilites in a searing rendition of Pictures. The Copland sonata is down with a devastating conviction and drive. A must have for Kapell fans.(and that's with a 'K')

Technically flawed recording nevertheless has gems in it........1999-08-01

This mono recording was apparently recovered from a damaged tape, and despite the modern technology used to remaster it, the recording remains distractingly flawed. The piano has quite a "ringy" tone and its bass register sounds attenuated. But what is really annoying is the faint, background presence of some voices from a wholly separate recording (apparently inadequately erased from a previous tape-recording.)

Once you get over the recording flaws, the disc does have its moments. I would not include the "Pictures" rendition among them, although its performance is certainly adequate. The Copland piece is interesting, while the Chopin (which I normally find difficult to be enthusiastic about) is quite vibrant and is delicately nuanced.

Capell demonstrates his originality in the rendition of the deceptively simple (and far too brief) Scarlatti piece. He virtually breathes life into this Baroque harpsichord piece, amazingly, managing to do so with minimal reliance on the piano's inherently better amplitude dynamics.