Godowsky's Studies on the Chopin Etudes

Track Listings
Disc: 1

1. Op. 10 No. 1 in C Major

2. Op. 10 No. 1 in D Flat Major

3. Op. 10 No. 2 in A Minor

4. Op. 10 No. 2 in A Minor

5. Op. 10 No. 3 in D Flat Major

6. Op. 10 No. 4 in C Sharp Minor

7. Op. 10 No. 5 in G Flat Major

8. Op. 10 No.5 in C Major

9. Op. 10 No. 5 in A Minor

10. Op. 10 No. No. 5 in A Major

See all 27 tracks on this disc
Disc: 2

1. Op. 25 No. 1 in A Flat Major

2. Op. 25 No. 1 in A Flat Major

3. Op. 25 No. 2 in F Minor

4. Op. 25 No. 2 in F Minor

5. Op. 25 No. 2 in F Minor

6. Op. 25 No. 2 in F Minor

7. Op. 25 No. 2 in F Sharp Minor

8. Op. 25 No. 3 in F Major

9. Op. 25 No. 3 in F Major

10. Op. 25 No. 4 in A Minor

See all 27 tracks on this disc

Tracks:

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

Tracks:

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

Amazon.com

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Leopold Godwosky: Studien über die Etüden von Chopin, Vol. 1: Nos. 1-20

Average customer rating:

This music requires an almost supernatural technique...
Nonsense.
Good Godowsky.
The Definitive Performance of these Murderous Pieces

Leopold Godwosky: Studien über die Etüden von Chopin, Vol. 1: Nos. 1-20

Manufacturer: Altarus
ProductGroup: Music
Binding: Audio CD

Etudes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
ASIN: B000003IYG
Release Date: 1995-12-01

Tracks:

Studies After The Etudes Of Chopin: 1 Op.10 No.1 C Major-diatonic
Studies After The Etudes Of Chopin: 2 Op.10 No.1 D Flat Major-Left Hand
Studies After The Etudes Of Chopin: 3 Op.10 No.2 A Minor-Left Minor
Studies After The Etudes Of Chopin: 4 Op.10 No.2 A Minor-'Ignisfatuus'
Studies After The Etudes Of Chopin: 5 Op.10 No.3 D Flat Major-Left Hand
Studies After The Etudes Of Chopin: 6 Op.10 No.4 C Sharp Minor-Left Hand
Studies After The Etudes Of Chopin: 7 Op.10 No.5 G Flat Major
Studies After The Etudes Of Chopin: 8 Op.10 No.5 C Major
Studies After The Etudes Of Chopin: 9 Op.10 No.5 A Minor-'Tarantella'
Studies After The Etudes Of Chopin: 10 Op.10 No.5 A Major-'Capriccio'
Studies After The Etudes Of Chopin: 11 Op.10 No.5 G Flat Major
Studies After The Etudes Of Chopin: 12 Op.10 No.5 G Flat Major
Studies After The Etudes Of Chopin: 12A Op.10 No.5 G Flat Major-Left Hand
Studies After The Etudes Of Chopin: 13 Op.10 No.6 E Flat Minor-Left Hand
Studies After The Etudes Of Chopin: 14 Op.10 No.7 C Major
Studies After The Etudes Of Chopin: 15 Op.10 No.7 G Flat Major
Studies After The Etudes Of Chopin: 15A Op.10 No.7 E Flat Major-Left Hand
Studies After The Etudes Of Chopin: 16 Op.10 No.8 F Major
Studies After The Etudes Of Chopin: 16A Op.10 No.8 G Flat Major-Left Hand
Studies After The Etudes Of Chopin: 17 Op.10 No.9 C Sharp Minor
Studies After The Etudes Of Chopin: 18 Op.10 No.9 F Minor-Imitation Of Op.25 No.2
Studies After The Etudes Of Chopin: 18A Op.10 No.9 F Sharp Minor-Left Hand
Studies After The Etudes Of Chopin: 19 Op.10 No.10 D Major
Studies After The Etudes Of Chopin: 20 Op.10 No.10 A Flat Major-Left Hand

Customer Reviews:

This music requires an almost supernatural technique..........2001-07-15

Composer Godowsky has beautifully augmented the Etudes of Chopin, adding textures and even extra melody lines, with just two hands expected to somehow play it all. Carlo Grante is a very good pianist, but this music requires amazing dexterity. This is a noble attempt, but too often Grante is forced to break the rhythm and fluidity of the pieces in order to accomodate the extra material. Many of the pieces are simply played too slowly. Imagine Chopin etudes plodding like dinosaurs, like someone's got a thumb on the record! Marc-Andre Hamelin has the supernatural technique to play these pieces well. Grante plays some of the studies well enough. It's interesting to hear him attempt some of the most complex pieces ever written. But perhaps he needs another few years of practice. Someone wrote that Grante has re-recorded these pieces for release this year. It should be VERY interesting to see what eight extra years of practice has yielded!

Nonsense........2001-05-22

Grante has no idea at all of style appropriate to this idiom. Most of these are unrecognizable. No sense of texture, tone, legato, or anything else that would have meant anything to Godowsky. Check out Godowsky's American records, e.g. the Berceuse, (not the Columbias) to hear what I mean. As bad as I've heard since Szidon's hysterical Scriabin or Pollini's brutal Chopin. No bueno. Really no stars at all.

Good Godowsky........2000-12-15

Good performances, but inferior to this very same pianist's second recording of these studies found on Music & Arts... Also, a bit over-priced.

The Definitive Performance of these Murderous Pieces.......2000-02-12

Carlo Grante shows that he has the heart of a lion by tackling these fiendish pieces. One would be hard pressed to find more difficult music for the piano. The intellectual and technical demands are titanic. Mr. Grante shows that he is more than equal to them. There is no finer recording of these pieces available. This recording alone would catapult Mr. Grante to the front rank of today's best pianists. Only Arcadi Volodos, Marc-Andre Hamelin, and Jack Gibbons deserve to be mentioned in the same breath with him. The music itself is delightful. Godowsky has an odd art deco sensibility that makes his music the sonic analog of a Tiffany stained glass window. All three volumes of this set are well worth having.

Miami International Piano Festival of Discovery, 2000, Vol. 1

Average customer rating:

Five Excellent Pianists and a Feast of Musical Delights!
random sheeyat

Miami International Piano Festival of Discovery, 2000, Vol. 1

Manufacturer: Mip / Miami Int'l
ProductGroup: Music
Binding: Audio CD

Polkas | Ballets & Dances | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Fugues | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
ASIN: B00005R5L8
Release Date: 2001-10-23

Tracks:

Fourteen Bagatelles, Op.6: Bagatelle, Op. 6 No. 1 - Piotr Anderszewski
Fourteen Bagatelles, Op.6: Bagatelle, Op. 6 No. 2 - Piotr Anderszewski
Fourteen Bagatelles, Op.6: Bagatelle, Op. 6 No. 3 - Piotr Anderszewski
Fourteen Bagatelles, Op.6: Bagatelle, Op. 6 No. 4 - Piotr Anderszewski
Fourteen Bagatelles, Op.6: Bagatelle, Op. 6 No. 5 - Piotr Anderszewski
Fourteen Bagatelles, Op.6: Bagatelle, Op. 6 No. 6 - Piotr Anderszewski
Fourteen Bagatelles, Op.6: Bagatelle, Op. 6 No. 7 - Piotr Anderszewski
Fourteen Bagatelles, Op.6: Bagatelle, Op. 6 No. 8 - Piotr Anderszewski
Fourteen Bagatelles, Op.6: Bagatelle, Op. 6 No. 9 - Piotr Anderszewski
Fourteen Bagatelles, Op.6: Bagatelle, Op. 6 No. 10 - Piotr Anderszewski
Fourteen Bagatelles, Op.6: Bagatelle, Op. 6 No. 11 - Piotr Anderszewski
Fourteen Bagatelles, Op.6: Bagatelle, Op. 6 No. 10 - Piotr Anderszewski
Fourteen Bagatelles, Op.6: Bagatelle, Op. 6 No. 13 - Piotr Anderszewski
Fourteen Bagatelles, Op.6: Bagatelle, Op. 6 No. 14 - Piotr Anderszewski
Prelude And Fugue In G-sharp Minor - Denis Burstein
Prelude And Fugue In G-sharp Minor - Denis Burstein
, Op.20 No.1 In B-Flat Minor: Fairy Tale, Op. 20 No. 1 In B-Flat Minor - Denis Burstein
Fairy Tale, Op.20 No.2 In B Minor: Fairy Tale, Op. 20 No. 2 In B Minor - Denis Burstein
Fairy Tale, Op.26 No.3 In F Minor: Fairy Tale, Op. 26 No. 3 In F Minor - Denis Burstein
Prelude Op.27 No.1 - Denis Burstein
Prelude Op.27 No.2 - Denis Burstein
Etude Op.42 No.4: Etude Op. 42 No. 4 - Denis Burstein
Liebesfreud - Denis Burstein

Tracks:

Sonata In G Minor K. 8, L. 488 - Kemal Gekic
Sonata In F Minor, K 519, L. 475 - Kemal Gekic
Etude No.2 In E-flat Major - Kemal Gekic
Sonata No.1 in D Minor Op. 28: Sonata No.1 in D Minor Op. 28: Allegro Moderato - Kemal Gekic
Vocalise - Ilya Itin
Polka - Ilya Itin
Prelude Op. 23 No. 1 In F-sharp Minor - Ilya Itin
Prelude Op. 32 No. 6 In F Minor - Ilya Itin
Prelude Op. 32 No.7 In F Major - Ilya Itin
Prelude Op.23 No. 10 In G-flat Major - Ilya Itin
Prelude Op. 23 No. 7 In C Minor - Ilya Itin
Prelude Op. 32 No. 13 In D-flat Major - Ilya Itin
Studies On Etudes Of F. Chopin: Etude Op. 10 No. 2 'Ignis Fautuus' - Francesco Libetta
Studies On Etudes Of F. Chopin: Etude Op. 25 No. 2 - Francesco Libetta
Studies On Etudes Of F. Chopin: Etude Op. 25 No. 9 'Badinage' - Francesco Libetta
La Soiree Dans Grenade - Francesco Libetta
Etude In Form Of A Waltz - Francesco Libetta
Grande Sonate Op. 33: Grande Sonate Op. 33: First Movement - Francesco Libetta

Customer Reviews:

Five Excellent Pianists and a Feast of Musical Delights!.......2005-12-29

The Miami International Piano Festival of Discovery is well named: this two CD set offers fresh young talent in a variety of music played with all the drama of a competition. It is very well recorded and contains some truly magical moments.

There are five pianists represented here and their choices of competition entries in many ways helps define their abilities and musicality. Piotr Anderszewski offers the Bartok Opus 6 Bagatelles, electing to explore all 14 of these little pieces to keep with the unity of Bartok's conception. They are models of clean definitive performances. Denis Burstein on the other hand selects various works by Scriabin, Rachmaninov, Medtner, and Taneyev showing his penchant for the obscure as well as the well known. Kemal Gekic programs Scarlatti with Liszt and Rachmaninov and offers valid stances on each. Ilya Itin opts of an all Rachmaninov collection from the lovely 'Vocalize' through six of the Preludes. Francesco Libetta closes with paraphrases on Chopin by Godowsky and works by Debussy, Saint-Saens and Alkan.

Of interest the pianist who has become most popular with the public since this 2000 year competition is Piotr Anderszewski, but from the experience of listening to the entire group, one would expect more will come from the other four, too! A delightful set of recordings. Grady Harp, December 05

random sheeyat.......2005-04-27

hahaha, diz CCD haz some random hardcore sheeeeeeeyat from da LIB

tiz tru says:
INSANE HARDCORE MIND CONTROL tech

Average customer rating:

An Altogether Satisfying Recital Recorded Live
These performances are absolutley breathtaking
As Mr. Schonberg says..
Uncomfortable Readings Only Hint at Performers Skill

Presenting Francesco Libetta

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

Mazurkas | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
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Libetta in Lecce: The Art of the Virtuoso

ASIN: B00005ABH7
Release Date: 2001-03-13

Tracks:

Galilei: Gagliarda
Anon.: Siciliana
Gesualdo: Canzon Francese
Studies On The Chopin Etudes: Op. 10, No. 3
Studies On The Chopin Etudes: Op. 10, No. 5/Op. 25, No. 9
Ravel: La Valse
Debussy: Estampes: Pagodes
Debussy: Estampes: La soiree dans Grenade
Debussy: Estampes: Jardins sous la pluie
Liszt: Two Operatic Transcriptions: O die mien holder Abendstern
Liszt: Two Operatic Transcriptions: Valse
Chopin: Mazurka in A minor, Op. 68
Saint-Saens: Etude in D-flat, Op. 52, No. 6
Mompou: Cancion VI

Customer Reviews:

An Altogether Satisfying Recital Recorded Live.......2006-01-02

Francesco Libetta's name has been bruited about for a few years and the buzz has universally almost ecstatic. I first heard about him because he has played the Godowsky-Chopin Études in concert and recorded some of them, to great acclaim. This CD is the first I've actually heard of his playing and I would have to agree with what I've heard and read about him -- he is an extremely talented pianist with technique to spare and musicianship to match it. His playing does not so much call attention itself as command attention for the music itself. (This is in contrast to the recording I've just reviewed by another youngish phenom, Kemal Gekic, whose playing strikes me as the reverse of that.) Frankly, in this recital recorded in 2000 as part of the Miami International Piano Festival of Discovery, there is not a weak performance.

Libetta's playing is marked by extremely sensitive shaping of musical phrases, dynamic variety, natural rubato, rich sonority and understanding of harmonic tension and release. This recital contains works as disparate as Mompou's reticent (and gorgeous) Canción VI and Saint-Saëns's knuckle-busting D Flat Étude, Op. 52, No. 6 ('Étude in forme de valse'). Each is given a magnificent performance, the latter being almost superhumanly virtuosic, the former gently melancholic and seemingly the simplest thing in the world (it's not!).

Two of the Godowsky-Chopin Études are included: one on Op. 10, No. 3 and the 'Badinage' (a combination, in blazing counterpoint of features of Op. 10, No. 5 and Op. 25, No. 9). The first is, like the Mompou, delicate and soulful, the latter full of fireworks and breathtaking simultaneous fingerwork in both hands. Another highlight is his performance of Ravel's own arrangement of 'La Valse.'

I would suggest you try the clips provided here at Amazon and hear for yourself the wondrous abilities of this rising pianist. I personally am hopeful that I will one day be able to hear Signor Libetta in person.

Scott Morrison

These performances are absolutley breathtaking.......2005-08-24

Francesco Libetta is an immensly underrated pianist who has the best technique ever (that's right EVER!), surpassing the likes of a Marc-Andre Hamelin or Gyorgy Cziffra. This CD showcases that along with his incredible ability to play any piece from any composer from any time period. The Saint-Saens Etude is the best recording I have ever heard and it alone is worth the cost of the CD. The Godowsky is equal to that of Hamelin's and the Liszt transciption after Gounod is played beautifully. I suggest buying anything that has Francesco Libetta's name on it, you will not be disappointed.

As Mr. Schonberg says.........2002-01-02

An Italian pianist, born in 1968, Libetta makes a formidable impression in this recording of a concert given in Miami, January 27, 2000. He is a super-virtuoso who does not dowse you with pail-full of notes. No technical showmanship here: with his kind of technique Libetta does not need to try to make an impression. He takes his wonderful fingers for granted (he makes the difficult Ravel sound easy), and the listener is swept along. He has put together an interesting program, from Gesualdo to Mompou - mostly arrangements - and he is the master of every period or style represented. Seems that a new generation of virtuosos is appearing: a generation that accepts virtuosity not as tightrope walking but as a species of literalism, where musical meaning is more important that knockÕ-Ôem dead fingerwork. Libetta is the best of this modern style. He obviously can play, most convincingly, everything he wants, and he has an acute feeling for style: but he never makes a big thing of his technical expertise. Melodic lines are graceful shaped: the pieces sing. I have no hesitation calling him an important pianist.

Harold Schonberg on AMERICAN RECORD GUIDE, June 2001

Uncomfortable Readings Only Hint at Performers Skill.......2001-07-30

There are several problemns with this particular item. Firstly the sound is excessively boney on some playback devices,something that breaks up the sweep of phrases and makes even the most miniscule inconsistancy sound enormous, fortes are also a bit clangy. The artist seems to be pulling his punches which leads to awkward hesitations and disjointed readings. Also half of the disc showcases the weakest points of libettas musical personality. If you have a way to turn up the mid range or have a processor on your playback device which will make the sound less sharp and more reverberent much of this recital is excellent. Also the piano was voiced in a way I feel was rather monochrome. I was expecting much more from libetta as I had heard much pirate material which is honestly some of the more sensational playing I have ever heard. This recital though riddled with nervous performances is still worth getting however. The godowsky Badinage and the Saint-Saens numbers are played in a jaw dropping manner none-the-less. The badinage clocking in in about a minute and a quarter! And the Etude in the form of a Waltz eclipsing even Cziffra!

Average customer rating:

Miraculous
Miraculous

Godowsky's Studies on the Chopin Etudes

Manufacturer: Music & Arts Program
ProductGroup: Music
Binding: Audio CD

Etudes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
Similar Items:

Liszt: Transcendental Studies
Beethoven: Complete Works for Cello & Piano
Rubinstein: Piano Concerto No. 4; Scharwenka: Piano Concerto No. 1
Piano Transcriptions of works by Johann Strauss II
Bach: Well-Tempered Clavier

ASIN: B00005QHQE
Release Date: 2006-01-01

Tracks:

Op. 10 No. 1 in C Major
Op. 10 No. 1 in D Flat Major
Op. 10 No. 2 in A Minor
Op. 10 No. 2 in A Minor
Op. 10 No. 3 in D Flat Major
Op. 10 No. 4 in C Sharp Minor
Op. 10 No. 5 in G Flat Major
Op. 10 No.5 in C Major
Op. 10 No. 5 in A Minor
Op. 10 No. No. 5 in A Major
Op. 10 No. 5 in G Flat Major
Op. 10 No. 5 in G Flat Major
Op. 10 No. 5 in G Flat Major
Op. 10 No. 6 in E Flat Minor
Op. 10 No. 7 in C Major
Op. 10 No. 7 in G Flat Major
Op. 10 No. 7 in E Flat Major
Op. 10 No. 8 in F Major
Op. 10 No. 8 in G Flat Major
Op. 10 No. 9 in C Sharp Minor
Op. 10 No. 9 in F Minor
Op. 10 No. 9 in F Sharp Minor
Op. 10 No. 10 in D Major
Op. 10 No. 10 in A Flat Major
Op. 10 No. 11 in A Major
Op. 10 No. 12 in C Sharp Minor
Op. 25 No. 1 in A Flat Major

Tracks:

Op. 25 No. 1 in A Flat Major
Op. 25 No. 1 in A Flat Major
Op. 25 No. 2 in F Minor
Op. 25 No. 2 in F Minor
Op. 25 No. 2 in F Minor
Op. 25 No. 2 in F Minor
Op. 25 No. 2 in F Sharp Minor
Op. 25 No. 3 in F Major
Op. 25 No. 3 in F Major
Op. 25 No. 4 in A Minor
Op. 25 No. 4 In F Minor
Op. 25 No. 5 in E Minor
Op. 25 No. 5 in C Sharp Minor
Op. 25 No. 5 in B Flat Minor
Op. 25 No. 6 in G Sharp Minor
Op. 25 No. 8 in D Flat Major
Op. 25 No. 9 in G flat Major
Op. 25 No. 9 in G flat Major
Op. 25 No. 10 in B Minor
Op. 25 No. 11 in A Minor
Op. 25 No. 12 in C Sharp Minor
Methode Mosch.: Fetis No. 1 in F Minor
Methode Mosch.: Fetis No. 2 in E Major
Methode Mosch.: Fetis No. 2 in D Flat Major
Methode Mosch.: Fetis No. 3 in G Major
Op. 10 No. 5 and Op. 25 No. 9 in G Flat Major
Op. 10 No. 11 and Op. 25 No. 3 in F Major

Customer Reviews:

Miraculous.......2002-02-13

Grante's insights into Godowsky's mazelike world offers the most detailed attention to counterpoint, revealing with spectacular finish, sparkling clarity and a daredevil mechanism innumerable details of voicings that the composer expressly sought, as can be evidenced by an acute study of these scores. These performances succeed further by their executant's rhythmic characterization, where he pushes, pulls, teases if never actually seduces melodic lines and inner voices, intuitively emphasizing subtle dissonances and their resolutions for their intrinsic emotional value. Never does Grante impress upon the listener a need to impress through his mechanism, which is in any case perfect in its precision, velocity, and most importantly its direction by the most acutely perceptive listening apparatus. Grante's pearly clarity and stunning ease of execution alone are worth the price of admission, and the whole is an astounding accomplishment of concentration, poise and authority.

Miraculous.......2002-02-13

Average customer rating:

(No title).

Godowsky: 18 Studies on Chopin Etudes

Manufacturer: Arabesque Recordings
ProductGroup: Music
Binding: Audio CD

Etudes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical | Imports | Stores | Music
ASIN: B000000T69
Release Date: 1993-08-04

Tracks:

No. 47 in G flat ('Badinage')
No. 13 in e flat ('For the Left Hand Alone')
No. 36 in g# ('Study in Thirds')
No. 38 in D flat ('Study in Sixths')
No. 15 in G flat
No. 27 in f ('Waltz')
No. 32 in f ('Polonaise')
No. 34 in c# ('In the Form of a Mazurka')
No. 42 in a
No. 22 in c# ('For the Left Hand Alone')
No. 25 in A flat
No. 4 in a ('Ignus Fatuus')
No. 5 in D flat ('For the Left Hand Alone')
No. 17 in c#
No. 45 in E
No. 46 in G ('Menuetto')
No. 48 in F
No. 1 in C

Customer Reviews:

(No title)........2000-12-15

Godowsky's 53 studies on Chopin's etudes are considered to be amongst the most taxing piano pieces ever written. On this disc, Ian Hobson does remarkably well in sorting out the myriad of polyphonic lines, juxta-position of complex rhythmic patterns--showing the listener that every note has its place and reason, and nothing is excessive, which it can easily seem in the hands of a lesser pianist. He does an admirable job of keeping a firm hold on the melodic line, but he is not perfect. Athough keeping his cool in his valiant, intriguing, and poetic efforts among these Herculian monstrosities, he can sometimes lack fluency. When this disc was first out, it served as a first release for many of the featured selections, and their performances have since faired quite well among increasing standards. Sound is good, if a bit boxy.

Average customer rating:

A great new piano played by a lesser known master
(No title).
Great performances on a superb instrument

David Stanhope Plays

Manufacturer: Tall Poppies
ProductGroup: Music
Binding: Audio CD

Etudes | Forms & Genres | Classical | Styles | Music

Fugues | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
ASIN: B0000507YE
Release Date: 2000-10-24

Tracks:

Prld And Fugue in E flat
Study Op.10, No.5
Studies On Chopin's Studies, Op.10, No.5: First Version
Studies On Chopin's Studies, Op.10, No.5: Second Version: Study On The White Keys
Studies On Chopin's Studies, Op.10, No.5: Third Version: Tarantella
Studies On Chopin's Studies, Op.10, No.5: Fourth Version: Capriccio, Study On Black And White Keys
Studies On Chopin's Studies, Op.10, No.5: Fifth Version: Inversion, For The Left Hand
Studies On Chopin's Studies, Op.10, No.5: Sixth Version: Inversion, For The Right Hand
Studies On Chopin's Studies, Op.10, No.5: Seventh Version: For The Left Hand Alone
Study Op.25, No.6
Study On Chopin's Study, Op.25, No.6
Passacaglia
Sym No.8: I
Sym No.8: II
Sym No.8: III
Sym No.8: IV

Customer Reviews:

A great new piano played by a lesser known master.......2004-12-31

I wish David Stanhope were as well known as the man who bought the first of these monster pianos, Rowen Atkinson, a.k.a. Mr. Bean, alias Black Adder. This 2.9 meter, 97 key, four on the floor (pedals) aircraft carrier is the Stuart & Sons concert grand. Stanhope puts the mighty Stuart through its paces on this one. And mighty like a rose, not just power. These are difficult and lovely selections, rarely performed, all linked to more popular pieces; and yet genuine in their own right.

(No title)........2000-12-07

The pianist here, David Stanhope, claims to only 'occasionally finds time to practice the piano.' How blessed he is then, with the natural ability to tackle and conquer some of the most formidable peaks of the virtuoso repertoire with an ease and grandeur that brings shame and bewilderment to even the most celebrated pianists. One notable instance, the Godowsky Passacaglia, which Horowitz gave up in despair, claiming he needed at least six hands to perform it. And what a massive and masterly aplomb Stanhope brings to the work, especially in the final pages; although it seems to lack in some of the mind-numbing inspiration apparent in Carlo Grante Music & Arts recording. The Busoni, if not intimate, is loyal and joyous. In the Chopin-Godowsky , every intricacy is spun off with dazzling fluency, but there isn't the wit one usually associates with our beloved Popsie. The Liszt Beethoven 8th symphony transcription really is Allegro vivace con brio; it's exuberant and taken at an incredible clip, though lacking in clarity... An excellent disc, really, even if inward-looking tenderness is seemingly substituted with meer technique. But what a meer technique it is!

Great performances on a superb instrument.......2000-11-19

David Stanhope is a conductor, composer, and sometime pianist. It seems a little counterintuitive that someone so obviously occupied with other matters would choose to record a disk of some of the heaviest knucklecrunchers in the repertoire. But make no mistake -- the performances are hardly those of a part-time pianist. This release features a recording on the fascinating Stuart piano, designed by Australian Wayne Stuart. The Stuart's timbre is immediately distinctive -- the sound is light, but satisfyingly full-bodied, giving an exemplary clarity to this densely detailed music.

Tracks:

Vars On 'La, Ci Darem La Mano,' Op.2: Intro. Largo
Vars On 'La, Ci Darem La Mano,' Op.2: Tema. Allegretto
Vars On 'La, Ci Darem La Mano,' Op.2: Var I. Brillante
Vars On 'La, Ci Darem La Mano,' Op.2: Var II. Veloce, Ma Accuratamente
Vars On 'La, Ci Darem La Mano,' Op.2: Var III Sempre Sostenuto
Vars On 'La, Ci Darem La Mano,' Op.2: Var IV. Con Bravura
Vars On 'La, Ci Darem La Mano,' Op.2: Var V. Adagio
Vars On 'La, Ci Darem La Mano,' Op.2: Alla Polacca
Etudes Symphoniques, Op.13
Vars On A Theme Of Paganini, Op.35: Book 1
Vars On A Theme Of Paganini, Op.35: Book 2
Kaleidoscope, Op.40
Three Chinese Pieces: Rush Hour In Hong Kong

Tracks:

Partita in d: Chaconne
Son, Op.1
Funerailles Harmonies Poetiques Et Religeuses No.7
Son in E flat, Op.27, No.1 'Quasi Una Fant': Andante-Allegro
Son in E flat, Op.27, No.1 'Quasi Una Fant': Allegro Molto E Vivace
Son in E flat, Op.27, No.1 'Quasi Una Fant': Adagio Con Espressione
Son in E flat, Op.27, No.1 'Quasi Una Fant': Allegro Vivace

Tracks:

Impromptu No.2 in E flat, Op.90
Impromptu No.3 in G flat, Op.90
Kreisleriana, Op.16: 1. Ausserst Bewegt
Kreisleriana, Op.16: 2. Sehr Innig Und Nicht Zu Rasch
Intermezzo I: Sehr Lebhaft
Intermezzo II: Etwas Bewegter
Intermezzo II: 3. Sehr Aufgeregt
Intermezzo II: 4. Sehr Langsam
Intermezzo II: 5. Sehr Lebhaft
Intermezzo II: 6. Sehr Langsam
Intermezzo II: 7. Sehr Rasch
Intermezzo II: 8. Schnell Und Spielend
Scherzo in b, Op.20
Wine, Women And Song

Tracks:

Son in b, Op.58: I. Allegro Maestoso
Son in b, Op.58: II. Scherzo-Molto Vivace
Son in b, Op.58: III. Largo
Son in b, Op.58: IV. Finale-Presto Non Tanto
Mazurka in b, Op.33, No.4
Nocturne in D flat, Op.27, No.2
Mazurka in c#, Op.63, No.3
Nocturne in E, Op.62, No.2
Nocturne in e, Op.72
Andante Spianato & Grand Polonaise in E flat, Op.22

Tracks:

Son in b
Trois Movts De Petrouchka: I. Danse Russe
Trois Movts De Petrouchka: II. Chez Petrouchka
Trois Movts De Petrouchka: III. La Semaine Grasse
Hungarian Rhap No.2

Tracks:

Prld, Chor Et Fugue: Prld. Moderato
Prld, Chor Et Fugue: Chor. Poco Piu Lento
Prld, Chor Et Fugue: Fugue. Tempo I
Son in e, Op.7: I. Allegro Moderato
Son in e, Op.7: II. Andante Molto
Son in e, Op.7: III. Alla Menuetto, Ma Poco Piu Lento
Son in e, Op.7: IV. Finale: Molto Allegro
Quatre Etudes De Rythme-Ile De Feu I And II: Ile De Feu-I. Presque Vif
Quatre Etudes De Rythme-Ile De Feu I And II: Ile De Feu-II. Vif Et Freoce
Vars On A Theme Of Corelli, Op.42: Theme. Andante
Vars On A Theme Of Corelli, Op.42: Var I. Poco Piu Mosso
Vars On A Theme Of Corelli, Op.42: Var II. L'istesso Tempo
Vars On A Theme Of Corelli, Op.42: Var III. Tempo Di Menuetto
Vars On A Theme Of Corelli, Op.42: Var IV. Andante
Vars On A Theme Of Corelli, Op.42: Var V. Allegro (Ma Non Tanto)
Vars On A Theme Of Corelli, Op.42: Var VI. L'istesso Tempo
Vars On A Theme Of Corelli, Op.42: Var VII. Vivace
Vars On A Theme Of Corelli, Op.42: Var VIII. Adagio Misterioso
Vars On A Theme Of Corelli, Op.42: Var IX. Un Poco Piu Mosso
Vars On A Theme Of Corelli, Op.42: Var X. Allegro Scherzando
Vars On A Theme Of Corelli, Op.42: Var XI. Allegro Vivace
Vars On A Theme Of Corelli, Op.42: Var XII. L'istesso Tempo
Vars On A Theme Of Corelli, Op.42: Var XIII. Agitato
Vars On A Theme Of Corelli, Op.42: Intermezzo
Vars On A Theme Of Corelli, Op.42: Var XIV. Andante (Come Prima)
Vars On A Theme Of Corelli, Op.42: Var XV. L'istesso Tempo
Vars On A Theme Of Corelli, Op.42: Var XVI. Allegro Vivace
Vars On A Theme Of Corelli, Op.42: Var XVII. Meno Mosso
Vars On A Theme Of Corelli, Op.42: Var XVIII. Allegro Con Brio
Vars On A Theme Of Corelli, Op.42: Var XIX. Piu Mosso. Agitato
Vars On A Theme Of Corelli, Op.42: Var XX. Piu Mosso
Vars On A Theme Of Corelli, Op.42: Coda. Andante

Tracks:

Pictures At An Exhibition: Promenade
Pictures At An Exhibition: Gnomus
Pictures At An Exhibition: Promenade
Pictures At An Exhibition: Il Vecchio Castello
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 Chicks In Their Shells
Pictures At An Exhibition: Two Polish Jews, Rich And Poor
Pictures At An Exhibition: Promenade
Pictures At An Exhibition: Limoges, The Market-Place
Pictures At An Exhibition: Catacombae: Sepulcrum Romanum
Pictures At An Exhibition: The Hut On Fowl's Legs
Pictures At An Exhibition: The Great Gate Of Kiev
Son in A, Op.120: Allegro Moderato
Son in A, Op.120: Andante
Son in A, Op.120: Allegro
Touches: I. Chor. Andante A Piacere, Molto Rubato (With A Blues Feel)
Touches:II. Var 1. Vivace
Touches: III. Var 2. L'istesso Tempo
Touches: IV. Var 3. Piu Mosso
Touches: V. Var 4. Molto Moderato
Touches: VI. Var 5. Larghetto
Touches: VII. Var 6. Andante Moderato
Touches: VIII. Var 7. Allegro Molto
Touches: IX. Var 8. Vivace Come II
Touches: X. Coda. Largo
Con Paraphrase On Tchaikovsky's Eugene Onegin, Op.81

Customer Reviews:

Shura Cherkassky in his old age.......2000-07-12

Nimbus has done all fans of this legendary pianist quite a service by releasing these recordings on a bargain package. Needless to say, as in all Nimbus recordings, the sound is very well proportioned and it is pure delight to sense such intimacy as recorded here by Shura. To all those who know his playing, there are some surprises and also some dissapointments in this set. Most memorable are surprisingly those works which require a higher degree of instrospection such as the Shumann Kreisleriana and the Rachmaninov Corelli Variations, unfortunately we must keep in mind that these recordings were made towards the end of his life and highly-virtuosic works such as the Bach-Busoni Chaconne and the Pabst Eugene Onegin Paraphrase come through only after some obvious struggle - yet, there are some extraordinary moments which should cause envy on most younger performers. But all throughout, these recordings show Cherkassky as the master he was in his old age: reminiscent of piano-playing where the performer played as an extension of the keyboard and the composer - and that ever present sense of discovery found in his performances. This is always an ideal combination for great music making.

Leopold Godowsky: Studien über die Etüden von Chopin, Vol. 2: Nos. 21-43

Average customer rating:

Same review as other 2 volumes, EDITED :)
Jaw Dropping Pianistic Fireworks

Leopold Godowsky: Studien über die Etüden von Chopin, Vol. 2: Nos. 21-43

Manufacturer: Altarus
ProductGroup: Music
Binding: Audio CD

Etudes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music
ASIN: B000003IYH
Release Date: 1996-01-05

Tracks:

Studies After The Etudes of Chopin: Op. 10 No. 11 in A Major - Left Hand
Studies After The Etudes of Chopin: Op. 10 No. 12 in C Sharp Minor - Left Hand
Studies After The Etudes of Chopin: Op. 25 No. 1 in A Flat Major - Left Hand
Studies After The Etudes of Chopin: Op. 25 No. 1 in A Flat Major - 'like a piece for 4 hands'
Studies After The Etudes of Chopin: Op. 25 No. 1 in A Flat Major
Studies After The Etudes of Chopin: Op. 25 No. 2 in F Minor
Studies After The Etudes of Chopin: Op. 25 No. 2 in F Minor - 'Waltz'
Studies After The Etudes of Chopin: Op. 25 No. 2 in F Minor - in octaves
Studies After The Etudes of Chopin: Op. 25 No. 2 in F Sharp Minor - Left Hand
Studies After The Etudes of Chopin: Op. 25 No. 3 in F Major
Studies After The Etudes of Chopin: Op. 25 No. 3 in F Major - Left Hand
Studies After The Etudes of Chopin: Op. 25 No. 4 in A Minor - Left Hand
Studies After The Etudes of Chopin: Op. 25 No. 4 in F Minor - 'Polonaise'
Studies After The Etudes of Chopin: Op. 25 No. 5 in E Minor
Studies After The Etudes of Chopin: Op. 25 No. 5 in C Sharp Minor - 'Mazurka'
Studies After The Etudes of Chopin: Op. 25 No. 5 in B Flat Minor - Left Hand
Studies After The Etudes of Chopin: Op. 25 No. 6 in G Sharp Minor - in Thirds
Studies After The Etudes of Chopin: Op. 25 No. 8 in D Flat Major - in Sixths
Studies After The Etudes of Chopin: Op. 25 No. 9 in G Flat Major
Studies After The Etudes of Chopin: Op. 25 No. 9 in G Flat Major - Left Hand
Studies After The Etudes of Chopin: Op. 25 No. 10 in B Minor - Left Hand
Studies After The Etudes of Chopin: Op. 25 No. 11 in A Minor
Studies After The Etudes of Chopin: Op. 25 No. 12 in C Sharp Minor - Left Hand

Customer Reviews:

Same review as other 2 volumes, EDITED :).......2000-12-15

Godowsky's magnum opus, the 53 Studies on 26 of Chopin's Etudes is probably the piano repetoire's peak of poetic and pyrotechnical decadence. Sometimes I wonder how Chopin would have responded to Chopin's fantastic elaborations, but I'm sure, both as firm-held creative pianistic genuises, it wouldn't have involved much temper, especially considering the drawing on possibilities, extending the originals' already formidable technical demands into a realm of polyphonic, rhythmic, and dynamic utopia. Personally, I consider Godowsky's efforts an enormous compliment, or at least so it seems from the hands of this phenomenal (and very personable) pianist, who captures every breath-taking shade and nuance of Godowsky's crippling wit, mischeviousness, insouciance, and audacity. Although sadly not in the best recorded sound, Grante brings an earthy, unruffled, almost aristocratic ease to the fiendish and outlandish difficulties throughout the entire set. Although--as is common among pianists playing this impossible music, the fast ones are a little slow and the slow ones are a little fast, Grante seems to surpass what has been required with flying colors. He really does have a perfect demand of every bright-and-shinging and dark-and-tumultous element in the music, and with a gloriously rich and full tone. Essential! -- I have it on good word of the pianist and the president of Music and Arts that he/they will be releasing newly recorded versions of this set. GOD SPEED!

Jaw Dropping Pianistic Fireworks.......2000-02-12

The intrepid Carlo Grante continues his flawless traversal of Godowsky's murderous Chopin studies. These are the definitive recordings of these remarkable works. Godowsky, arguably the greatest pianist that has ever lived, wrote these for himself, and they require a pianist of comparable skill to bring them off. Mr. Grante does so with panache. The music is an intoxicating kind of art deco, opium dream of Chopin. There is nothing like them. All three volumes of this set are a must have for piano lovers.

Solo Flights - 20th Century Works for Piano

Average customer rating:

Whetting the Taste for more from each great pianist

Solo Flights - 20th Century Works for Piano

Manufacturer: Composers Recordings
ProductGroup: Music
Binding: Audio CD

Etudes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical | Indie Music | Stores | Music

Classical | Imports | Stores | Music
ASIN: B000056BLF
Release Date: 2000-11-01

Tracks:

Two Sonatinas: I - Andrew Violette
Two Sonatinas: II - Andrew Violette
In Retrospect - 5 Pieces: A) Prld - Robert Helps
In Retrospect - 5 Pieces: B) Dance - Robert Helps
In Retrospect - 5 Pieces: C) Song - Robert Helps
In Retrospect - 5 Pieces: D) Pastorale - Robert Helps
In Retrospect - 5 Pieces: E) Toccata - Robert Helps
Three Bagatelles: A) Grazioso - Sarah Cahill
Three Bagatelles: B) Very Calm - Sarah Cahill
Three Bagatelles: C) Playful - Sarah Cahill
Opposites Attract - David Del Tredici
Solitude: A Portrait Of Lou Harrison - David Del Tredici
A Portrait Of Robert Indiana - Andrew Violette
Spring Music With Wind - Jed Distler
Triftmusik - Sara Laimon
Carny - Phillip Bush
The Woman Who Danced - Jed Distler
Our Mingling Arms - Kathleen Supove
Studies On Chopin's Etudes, No.45 - Robert Helps
The Anthem At Woodstock - Jed Distler

Customer Reviews:

Whetting the Taste for more from each great pianist.......2002-09-14

This is a musical feast from well knowns like David Del Tredici
and lesser knowns (who will be better known after hearing this!)
like Andrew Violette. Contemporary classical music is largely
absent from the radio airwaves, so unless you *know* about it, you don't get to hear it. Well, get this CD and get in the know. It's wonderful. There's substance and style here. Great value.

Track Listings:

Track Listings

track listings

Track Listings

Quicksand/Cradlesnakes [Enhanced]

Sprotar

Reckoning

Premonition

Bordertown/Viva San Antone/Bandido Rock

Universal Masters Collection [Import]

The Last Leaf and The Gift of the Magi [Cast Recording]

Ture Rangström: Symphonies Nos. 3 & 4 [Box set]

Stripped [Enhanced]

Tchaikovsky: Violin Concerto; Dvorak, et al / Perlman, et al

The Essential Glenn Miller [Box set]

Regresa

Tesoros De La Musica

In Concert

An Introduction: His Best Recordings 1927-1931

1. Op. 10 No. 1 in C Major
2. Op. 10 No. 1 in D Flat Major
3. Op. 10 No. 2 in A Minor
4. Op. 10 No. 2 in A Minor
5. Op. 10 No. 3 in D Flat Major
6. Op. 10 No. 4 in C Sharp Minor
7. Op. 10 No. 5 in G Flat Major
8. Op. 10 No.5 in C Major
9. Op. 10 No. 5 in A Minor
10. Op. 10 No. No. 5 in A Major

1. Op. 25 No. 1 in A Flat Major
2. Op. 25 No. 1 in A Flat Major
3. Op. 25 No. 2 in F Minor
4. Op. 25 No. 2 in F Minor
5. Op. 25 No. 2 in F Minor
6. Op. 25 No. 2 in F Minor
7. Op. 25 No. 2 in F Sharp Minor
8. Op. 25 No. 3 in F Major
9. Op. 25 No. 3 in F Major
10. Op. 25 No. 4 in A Minor