Forest Scenes

Track Listings

1. Goldberg Variations: Aria

2. Goldberg Variations: Variation 1

3. Goldberg Variations: Variation 2

4. Goldberg Variations: Variation 4

5. Goldberg Variations: Variation 13

6. Goldberg Variations: Variation 19

7. Goldberg Variations: Variation 9

8. Goldberg Variations: Variation 7

9. Goldberg Variations: Variation 15

10. Goldberg Variations: Variation 27

11. Goldberg Variations: Variation 30

12. Goldberg Variations: Aria

13. Forest Scenes: North Face

14. Forest Scenes: Hibiscus on the Water

15. Forest Scenes: Woodchuck Blues

16. Hebraic Contrasts: Meditation

17. Hebraic Contrasts: Hassidic Dance

18. Hebraic Contrasts: Intermezzo

19. Hebraic Contrasts: Hassidic Song

20. Reverie and March: Reverie

See all 22 tracks on this disc

Editorial Reviews
From the Label
Lynn Harting-Ware is heard hear in a tone beyond comparison. Her version of the Goldberg Variations is eurethral and spiritual. Collectors of Bach will love her sensitivity, sense of line and independent voicing. Other pieces on the disc, such as Forest Scenes, find her aggressive and powerful in command of virtuoso effects.

From the Artist
There were many exciting months as I endeavoured to capture the spirit and magic of this music on six strings, I was nevertheless entirely possessed and compelled by it. After Glen Gould^Rs death, I purchased a copy of his final recording in the belief that his final interpretation would convey a spiritual meaning and significance. Listening to the Aria, I found myself transported to another existence. For this reason, I arranged the Aria and played it for hours as a meditation. I found the... read more

Album Description
In 1741, Bach wrote the Aria and 30 variations that comprise the Goldberg Variations. Described by Glenn Gould as ^Sthirty very interesting but independent-minded pieces^T, this work has become legendary in its virtuoso technical and interpretative requirements. Kenneth Gilbert describes it as ^Sa gigantic chaconne^T. However one thinks of this magnificent work, it is spellbinding in it beauty.

Forest Scenes is a suite of three pieces with the general theme of nature. North Face opens boldly with brush strokes and snap pizzicato suggesting a violent wind. Later, a quiet tremolo evokes a sense of calm, but the tension mounts again building to its climax. Hibiscus on the Water contrasts in its pure lyricism. As a long-breathed melody unwinds over an undulating accompaniment, the music captures the beauty of fresh hibiscus blooms. Woodchuck Blues is a playful piece. Drawing from blues and jazz styles, syncopation, hemiola, blue notes and pizzicato combine to create a piece with real personality and pizzazz. Hebraic Contrasts is a collection of four movements extending from a piece recorded in 1990. Notable in Rollin^Rs style is the use of compound melody where the melodic line is displaced an octave or more. As this occurs, new lines emerge in contrasting registers, frequently resulting in a two-part dialogue punctuated with chords. Jewish folk melodies are interspersed in the second and fourth movements and add a sense of freshness and rhythmic vitality. Reverie and March was composed for a series of concerts in 1994 and is dedicated to my friend and colleague Gerhard Samuel. Inspired by the Berlioz Symphonie fantasique with its Dies Irae theme, I was impelled to bring the theme to the guitar in the Reverie.. The March presents a new theme in the upper voice, accompanied initially with free counterpoint and then with punctuating chords. A chromatic, rhythmic motive marks the phrases. The B section explores the March theme in a new melodic/rhythmic guise before the abridged return and closing chords. Drone is a study piece with driving energy and spirit. Richard Smoot derives it from the third movement of the Concerto for Guitar and Chamber Orchestra.

Forest Scenes

Tracks:

Konzert Fur Klavier Und Orchestera - Op. 54: 1. Allegro Affettuoso
Konzert Fur Klavier Und Orchestera - Op. 54: 2. Intermezzo Andantino - Attacca
Konzert Fur Klavier Und Orchestera - Op. 54: 3. Allegro Vivace
Introduction Und Allegro Appassionato G - Dur Op. 92
Novellette F - Dur Op. 21 No. 1
Toccata C - Dur Op. 7
Waldszenen Op. 82: Entry
Waldszenen Op. 82: Hunters On The Lookout
Waldszenen Op. 82: Lonely Flowers
Waldszenen Op. 82: Place Of Evil Fame
Waldszenen Op. 82: Friendly Landscape
Waldszenen Op. 82: Shelter
Waldszenen Op. 82: Bird As Prophet
Waldszenen Op. 82: Hunting Song
Waldszenen Op. 82: Farewell

Amazon.com essential recording

If you want to judge a pianist's versatility, listen to his or her recording of the Schumann Piano Concerto. It requires virtually everything a pianist should have to offer: poetry, virtuosity, expansive expression alternating with poised restraint. What a glorious test piece this is. Richter, who was famous for his Schumann playing, passes every test here. His meltingly beautiful delivery of Schumann's melodies touches the heart, and his execution of the most difficult passages is so smooth and effortless that it never calls a bit of attention to itself. In this piece and the Introduction and Allegro, the excellent orchestra also covers itself with glory. The solo pieces are no less wonderful. The way Richter plays the difficult Toccata is almost scary in its combination of power and velocity. The Forest Scenes is a slightly older recording (1956) than the others (1958), but it still sounds lovely. Catch Richter's whirlwind playing of "Traumes-Wirren" and you'll understand right away why other pianists had such respect for his technique. Listen to his "Prophet Bird" and he'll touch your heart. --Leslie Gerber

Customer Reviews:

Robert Schumann piano Sviatoslav Richter.......2007-03-08

Dexterity of Richter is world class . As a classical pianist I was disappointed with the frequency response of the recording. Although probably digitized still a lot of the frequencies were missing. If I had to choose again I would select a relatively recent performance .

Richter plays Schumann.......2005-12-05

All of us who admire the supreme interpretative status of Sviatoslav Richter know about his variable temperament. That personal feature permeated every piece he played in his fruitful career. The Piano Concerto has been played for so many pianists in the most different approach. It is a piece of irresistible romantic ethos, who can deny it? .

This version remained indeed, as one the most prominent in the market for years; but there were many more: Lipatti, Michelangeli, Rubinstein, Cortot ,Van Cliburn, Yves Nat among many others, we should wait until the most elegant, expressive, eloquent and committed performance ever recorded : Ivan Moravec with the Czech Philharmonic conducted by Vaclav Neumann (a very hard to find CD).

That fact established more than just a line; a true frontier, a reference pattern, very hard to surpass until this date. Richter 's performance is something inexpressive, he could make a major and best performance. But despite of it, remains among the ten best available and trustable versions.

The rest of the CD is absolutely perfect .I don't know about any other version of Introduction and Allegro capable to match with it. His Novelette is very expressive and sensitive with the only exception of the monumental version of Wilhelm Kempff and one register of Emil Gilels.

The Toccata is simply memorable; there are , however two very remarkable version: Martha Argerich and Vladimir Horowitz. The Waldzsenen Op. 82 is a a very genuine jewel.

Go for this, keeping in mind there are better options respect the piano Concerto.

& I thought Tchaikovsky's Piano Concerto #1 was my favorite!.......2004-11-04

That is...until I heard the first few notes of this Schumann concerto. I was literally in tears the first 50 times I listened to the 1st movement of this concerto. Personally I'm not a big fan of Schumann's work, but this is the absolute best piano concerto, and it is a "must buy" for any piano lover. This recording also substantiated my love for Richter's playing.

schumann's chamber concerto.......2003-07-17

as the other reviews have said, this is a remarkable performance. the ensemble playing is crisp without being rigid, and the players are recorded with the clarity of a chamber orchestra: all the instrumental soloists are distinguished and the balance with the soloist is perfect. richter creates a subtle range of moods within the overall perspective of each movement -- hard to do in a concerto role, as the orchestra must contribute to the effect -- though his dynamic contrasts are not as extreme as typical. the cumulative effect is apollonian, magisterial, and timeless. the solo pieces are marvelous technical and interpretive displays as well.

Best of the best.......2002-09-20

This recording of Schumann's concerto is simply the best: the orchestra is very good (despite reviews to the contrary), the soloist-orchestra interplay is superb, and Richter's playing is divine.

If you listen to this recording repeatedly, and then compare it with other good or very good recordings (Lipatti, Serkin, Moravec, Staier), you'll notice the differences: you will be aware how these latter pianists search for the correct interpretation of certain passages, and often they succeed. You'll be also aware, however, that Richter does not interpret. He simply plays it the way Schumann must have intended the work, i.e. the way it has to be played. It's not a matter of technique - in this respect, many(but not too many) pianists are as good as Richter. It's just like Schumann's spirit has penetrated Richter's nervous system and guides his fingers.

When you're not listening to the concerto for a long time, and then try to "play" it in your head, you will reckognize that it "sounds" like the Richter-Rowicki recording. And you will notice flaws in all other recordings.

Tracks:

Carnaval, Op.9: Preambule
Carnaval, Op.9: Pierrot
Carnaval, Op.9: Arlequin
Carnaval, Op.9: Valse Noble
Carnaval, Op.9: Eusebius
Carnaval, Op.9: Florestan
Carnaval, Op.9: Coquette
Carnaval, Op.9: Replique
Carnaval, Op.9: Papillons
Carnaval, Op.9: A.S.H.C.H.-S.C.H.A.
Carnaval, Op.9: Chiarana
Carnaval, Op.9: Chopin
Carnaval, Op.9: Estrella
Carnaval, Op.9: Reconnaissance
Carnaval, Op.9: Pantalon Et Colombine
Carnaval, Op.9: Valse Allemande
Carnaval, Op.9: Paganini (Intermezzo)
Carnaval, Op.9: Aveu
Carnaval, Op.9: Promenade
Carnaval, Op.9: Pause
Carnaval, Op.9: Marche Des 'Davidsbundler' Contre Les Philistins
Fantasiestucke, Op.12: Des Abends
Fantasiestucke, Op.12: Aufschwung
Fantasiestucke, Op.12: Warum?
Fantasiestucke, Op.12: Grillen
Fantasiestucke, Op.12: In Der Nacht
Fantasiestucke, Op.12: Fabel
Fantasiestucke, Op.12: Traumeswirren
Fantasiestucke, Op.12: Ende Vom Lied
Romance in F#, Op.28 No.2
Vogel Als Prophet (Waldszenen, Op.82 No.7)
Novellette in F, Op.21 No.1
Novellette in D, Op.21 No.2

Customer Reviews:

one of Rubinstein's great recordings.......2007-07-18

I heard Artur Rubinstein in recital only once - 1970 in San Diego - and recall that he played Bach, Schubert & Chopin. I was a teenager then & my exposure to serious music was limited, & even though Rubinstein played the famous "Heroic" polonaise of Chopin (which even I knew at the time) what I remember most vividly was his performance of Schumann's Fantasiestucke. Clearly this was music that he was very close to. Later, when I acquired my first Rubinstein album, it was these recordings of Carnaval & Fantasiestucke, & not Chopin, for which he was most famous, that I bought. I have heard many other Carnavals since, including Claudio Arrau's famous 1939 recording (as well as his disappointing stereo remake), but none have quite the same cohesiveness & sparkle as Rubinstein's. The technical challenges, which are considerable, are dispatched with consummate ease & the recorded sound is warm & rich. This is a recording that has stood the test of time very well. The same goes for Fantasiestucke, which is a completely magical recording. There is a stateliness combined with flights of fancy that are inimitable here - listeners would be hard pressed to find another interpretor with Rubinstein's insight & golden tone. As for the balance of the material on the disc, consider it a bonus; buy it for Carnaval & Fantasiestucke.

Very highly recommended!

Bold and Poetic Schumann.......2001-04-17

Arthur Rubinstein was more at home with Schumann than with any other German composer. This is understandable, especially when one considers that Rubinstein's mentor, Joseph Joachim, was a close associate of Johannes Brahms, who was in turn a close friend of both Robert and Clara Schumann.

Carnaval, Op. 9 was particularly close to Rubinstein's heart. It was a mainstay of his concert programs throughout his career, including at his very last concert in 1976. Rubinstein avoids the temptation to overly sectionalize the work--this is a remarkably direct performance. True, there is plenty of contrast between the extroverted Florestan and meditative Eusebius aspects of Schumann's musical nature, but Rubinstein never exaggerates these for pianistic effect. Incidentally, Rubinstein does not play the Sphinxes section midway through the piece. Schumann left it to the interpreter's discretion as to whether to play this part, which is notated unconventionally. Some have chosen to play it (Rachmaninoff {whose recording was considered by Rubinstein the greatest ever made, and which is mandatory for any serious piano collector}, Horowitz, and Uchida, among others); some have opted out (Rubinstein, Cherkassky, and Clara Schumann, to name a few).

The Fantasiestucke, Op. 12 featured on some of Rubinstein's earliest programs, including from his first American tour in 1906. He recorded it three times: in 1949; the stereo version featured here, from 1962; and in 1976 as part of his final solo recording. (There is an additional, live version from 1975 which Rubinstein did not authorize for release--it should be avoided at all costs.) The 1962 version is the finest of Rubinstein's recordings of the piece, and mainly for the same reasons which make the companion Carnaval work so well: the artful balance of detail with totality. This is balanced, as opposed to schizophrenic, Schumann playing.

The shorter pieces are effective makeweights to this collection. It is regrettable that Rubinstein never recorded a complete set of Novelettes or Waldszenen, but that was generally not Rubinstein's way.

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

Works for Solo Piano
Average customer rating:

Wonderful music, great playing, even better price

This is well worth the price

Not Ashkenazy's forte (pun on forte intended)

beautifully played, wonderful and overlooked pieces

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

Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
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ASIN: B00006IU8T
Release Date: 2003-03-11

Tracks:

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

Amazon.com

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

Album Details

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

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

Average customer rating:

Romantic Piano Classics

Manufacturer: St. Clair Entertainment
ProductGroup: Music
Binding: Audio CD

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Release Date: 2004-10-21

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Best of Schumann

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ASIN: B0000014HD
Release Date: 1997-09-11

Tracks:

manfred, Op 115 - overture
kinderszenen, Op. 15 - traumerei (Dreaming)
Piano quintet In E Flat Major, Op.44 - scherzo : molto vivace - trio 1 - trio 2 - l'istesso tempo
fantasiestuke, Op. 73 - zart und mit ausdruck
Piano concerto In A Minor, Op. 54 - allegro affettuoso
carnaval Op. 9 - marche des davidsbundler cotre les philistins
Symphony No. 3 In E Flat Major, Op. 97, 'rhenish' - scherzo: sehr massig
waldeszenen, Op. 82 - Bird As prophet
Symphony No.1 In B Flat Major, Op. 38, 'Spring' - Andante un poco maestoso - allegro molto vivace

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The facets of the lyricism!
Divine
To be avoided
aristocratic and heartfelt schumann
aristocratic and heartfelt schumann

Schumann: Piano Works

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B000001GFJ
Release Date: 1992-02-11

Tracks:

Papillons Op. 2, Introduction. Moderato...
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 1. Lebhaft
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 2. Innig
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 3. Mit Humor (Etwas hahnbuchen)
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 4. Ungeduldig
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 5. Einfach
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 6. Sehr rasch (Sehr rasch und in sich hinein)
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 7. Nicht schnell (Mit ausserst starker Empfindung)
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 8. Frisch
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 9. Lebhaft
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 10. Balladenmassig. Sehr rasch
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 11. Einfach
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 12. Mit Humor
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 13. Wild und lustig
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 14. Zart und singen
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 15. Frisch
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 16. Mit gutem Humor
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 17. Wie aus der Ferne
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 18. Nicht schnell
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 1. Preambule. Quasi maestoso - Piu moto - Animato - Vivo - Presto
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 2. Pierrot. Moderato
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 3. Arlequin. Vivo
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 4. Valso noble. Un poco maestoso
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 5. Eusebius. Adagio
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 6. Florestan. Passionato
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 7. Coquette. Vivo
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 8. Replique. L'istesso tempo - (Sphinxes)
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 9. Papillons. Prestissimo
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 10. A.S.C.H. - S.C.H.A. (Lettres dansantes). Presto
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 11. Chiarina. Passionato
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 12. Chopin. Agitato
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 13. Estrella. Con affetto
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 14. Reconnaissance. Animato
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 15. Pantalon et Colombine. Presto
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 16. Valse allemande. Molto vivace
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 17. Paganini. Intermezzo. Presto
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 18. Aveu. Passionato
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 19. Promenade. Comodo
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 20. Pause. Vivo
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 21. Marche des (Davidsbundler) contre les Philistins. Non Allegro - Molto piu vivo - Animato - Vivo - Animato molto - Vivo - Piu stretto

Tracks:

Symphonische Etuden, Op. 13 - Thema. Andante
Symphonische Etuden, Op. 13 - Etude I. Un poco piu vivo
Symphonische Etuden, Op. 13 - Etude II.
Symphonische Etuden, Op. 13 - Etude III. Vivace
Symphonische Etuden, Op. 13 - Etude IV.
Symphonische Etuden, Op. 13 - Etude V. Vivacissimo
Symphonische Etuden, Op. 13 - Etude VI. Agitato
Symphonische Etuden, Op. 13 - Etude VII. Allegro molto
Symphonische Etuden, Op. 13 - Etude VIII. Andante
Symphonische Etuden, Op. 13 - Etude IX. Presto possibile
Symphonische Etuden, Op. 13 - Etude X. Allegro
Symphonische Etuden, Op. 13 - Etude XI. Con espressione
Symphonische Etuden, Op. 13 - Etude XII. Finale. Allegro brillante
Kinderszenen, Op. 15 - 1. Von fremden Landern und Menschen
Kinderszenen, Op. 15 - 2. Kuriose Geschichte
Kinderszenen, Op. 15 - 3. Hasche-Mann
Kinderszenen, Op. 15 - 4. Bittendes Kind
Kinderszenen, Op. 15 - 5. Gluckes genug
Kinderszenen, Op. 15 - 6. Wichtige Begebenheit
Kinderszenen, Op. 15 - 7. Traumerei
Kinderszenen, Op. 15 - 8. Am Kamin
Kinderszenen, Op. 15 - 9. Ritter vom Steckenpferd
Kinderszenen, Op. 15 - 10. Fast zu ernst
Kinderszenen, Op. 15 - 11. Furchtenmachen
Kinderszenen, Op. 15 - 12. Kind im Einschlummern
Kinderszenen, Op. 15 - 13. Der Dichter spricht
Kreisleriana, Op. 16 - Fantasien - 1. Ausserst bewegt
Kreisleriana, Op. 16 - Fantasien - 2. Sehr innig und nicht zu rasch - Intermezzo, Sehr lebhaft - Intermezzo II. Etwas bewegter - Lngsamer (erstes Tempo)
Kreisleriana, Op. 16 - Fantasien - 3. Sehr aufgeregt
Kreisleriana, Op. 16 - Fantasien - 4. Sehr langsam
Kreisleriana, Op. 16 - Fantasien - 5. Sehr lebhaft
Kreisleriana, Op. 16 - Fantasien - 6. Sehr langsam
Kreisleriana, Op. 16 - Fantasien - 7. Sehr rasch
Kreisleriana, Op. 16 - Fantasien - 8. Schnell und spielend

Tracks:

Fantasie C-dur, Op. 17 - 1. Durchaus phantastisch und leidenschaftlich vorzutragen - Im Legendenton - Tempo Primo
Fantasie C-dur, Op. 17 - 2. Massig. Durchaus energisch - Etwas langsamer - Viel bewegter
Fantasie C-dur, Op. 17 - 3. Langsam getragen. Durchweg leise zu halten - Etwas bewegter
Arabeske, Op. 18 - Leicht und zart - Minore I. Etwas langsamer - Minore II. Etwas langsamer - Zum Schluss (Coda). Langsamer
Humoreske, Op. 20 - Einfach - Sehr rasch und leicht - Noch rascher - Erstes Tempo - Wie im Anfang
Humoreske, Op. 20 - Hastig - Nach und nach immer lebhafter und starker - Wie vorher - Adagio
Humoreske, Op. 20 - Einfach und zart - Intermezzo - (Wie vorher -) Innig
Humoreske, Op. 20 - Sehr lebhaft - Mit einigem Pomp - Zum Beschluss - Allegro
Novelette No. 9 - aus: Bunte Blatter, Op. 99 - Lebhaft

Tracks:

Sonate Nr. 2 g-moll Op. 22 - 1. So rasch wie moglich
Sonate Nr. 2 g-moll Op. 22 - 2. Andantino. Getragen
Sonate Nr. 2 g-moll Op. 22 - 3. Scherzo. Sehr rasch und markiert - attacca:
Sonate Nr. 2 g-moll Op. 22 - 4. Rondo. Presto - Prestissimo. Quasi Cadenza
Nachtstucke, Op. 23 - 1. Mehr langsam, oft zuruckhaltend
Nachtstucke, Op. 23 - 2. Markiert und lebhaft
Nachtstucke, Op. 23 - 3. Mit grosser Lebhaftigkeit
Nachtstucke, Op. 23 - 4. Ad libitum - Einfach
Drei Romanzen, Op. 28 - 1. Sehr markiert
Drei Romanzen, Op. 28 - 2. Einfach
Drei Romanzen, Op. 28 - 3. Sehr markiert - Intermezzo I. Presto - Intermezzo II. Etwas langsamer - Wie vorherPresto - Inter
Waldszenen, Op. 82 - Neun Klavierstucke - 1. Eintritt. Nicht zu schnell
Waldszenen, Op. 82 - Neun Klavierstucke - 2. Jager auf der Lauer. Hochst lebhaft
Waldszenen, Op. 82 - Neun Klavierstucke - 3. Einsame Blumen. Einfach
Waldszenen, Op. 82 - Neun Klavierstucke - 4. Verrufene Stelle. Ziemlich langsam
Waldszenen, Op. 82 - Neun Klavierstucke - 5. Freundliche Landschaft. Schnell
Waldszenen, Op. 82 - Neun Klavierstucke - 6. Herberge. Massig
Waldszenen, Op. 82 - Neun Klavierstucke - 7. Vogel als Prophet. Langsam, sehr zart
Waldszenen, Op. 82 - Neun Klavierstucke - 8. Jagdlied. Rasch, kraftig
Waldszenen, Op. 82 - Neun Klavierstucke - 9. Abschied. Nicht zu schnell

Customer Reviews:

The facets of the lyricism!.......2006-05-30

Wilhelm Kempff made sing the piano as any other pianist ever born. But besides, his profound domain of the thematic material as well as his tune produced a Schumann so original, expressive and eloquent with sentiment but no sentimentality.

This album is a formidable and fundamental set of the most remarkable Schumann piano works. To create such atmosphere and interpretative freshness in this composer is not easy, but in Kempff hands we are talking about another dimension of pianism.

In this age, pitifully, you cannot count with many thinkers pianists; ones due the very adjusted schedule and the rest by unknown reasons seem to consider a matter of second priority to play with a determined conception. The technique seems to prevail under any other aspect. And that's not a good symptom.

That is why among other arguments you should acquire as soon as possible this extraordinary set.

Absorbing and rewarding in summon grade.

Divine.......2005-07-18

When I first read the reviews here on Amazon, I was a bit concerned about buying this set. I truely love Kempff and elegant performing style, but after having almost around 150 of his collections and cd's, I know that he can be dreadful when he is not on form. So I was worried about this set, but it was useless.

This 4-cd set contains some of the best performances that Kempff could offer considering his age. There are numerous highlights here: Papillons, Davidsbündlertänze, fantasy,..... All of them find him on top form. Although one might argue that there are studio recordings and who knows how many takes one recording must have to become perfect, but let me tell you, even in his live and extremely nerve breaking situations and venues such as the Salzburg festival, he was always on top form.

So Kempff's fan, buy this. It's worth it. In here you won't quite find the excitement that Richter put into his Schumann, but you will find the poetry, emotions and sensitivity that many others lack in their recordings.

To be avoided.......2003-11-22

Despite his reputation as one of the towering exponents of the 19th Germanic repetoire, Kempff acquits himself poorly in these recordings, made at the end of his life. Whether these weak performances are due to his advanced age or to more basic flaws in his training and capabilities is purely academic. They are among the poorest choices in the catalogue, perhaps the very worst. But please - don't take my word for it. Listen to the Etde IX in the op. 13, on disc 2. Kempff's attempt to pull this off is embarrassingly amateurish; he cannot even cover all the notes at "presto possibile", much less raise his playing to something approaching an interpretation. Elsewhere, you can expect the same. The op. 17 is played with little poetry, no finesse and palpable frustration in following Schumann's basic roadmap. You cannot run away from this mess fast enough.

aristocratic and heartfelt schumann.......2003-08-28

this compilation has the benefit of including most of schumann's important keyboard works (among excluded works are the toccata, first sonata, bunte blatter and fantasiestucke), under the hands of an extraordinary schumann interpreter.

recorded in the 1970's, when kempff was nearing 80, this is genuinely classic schumann. the virtuosic extremes of the symphonische etuden and kriesleriana are not quite fully exploited, but there is no flubbing, stumbling or cutting corners: kempff has things always under control. look to argerich, pollini or pogorelich for white hot schumann, kempff delivers him as a human being.

for the sheer poetry of schumann, kempff has never been bettered. his davidsbundlertanze, especially the last 5 movements, is without peer. the kinderszenen is delightful. the poetry of the fantasie in C is magnificent. there is a lifetime of musical experience and temperament in this playing.

aristocratic and heartfelt schumann.......2003-08-28

kempff's approach stands apart for his remarkable ability to turn the mood and momentum of the music from one measure to the next, never in a random or willful manner, but with an alert insight and organic flow. other players tend to caricature schumann by emphasizing the contrasts, swinging from bombast to bathos: kempff emphasizes the transitions and continuities. if his fortissimo chords clang a little, the pianissimos are breathtakingly transparent. and no one, simply no one, captures schumann's nobility of heart and aching yearning for the beyond -- in the fantasie, in "zart und singend" -- better than kempff. a benchmark for any schumann collection.

Placido Domingo: Scenes from Wagner's "Ring"
Average customer rating:

Like A Fine Wine: Domingo Sings Wagner

Generally excellent (but Dessay WOEFUL)

to the point - BUY IT

Wonderful Domingo

A Wagnerian Feast!

Placido Domingo: Scenes from Wagner's "Ring"
Natalie Dessay , and David Cangelosi
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music
Domingo, Placido | ( D ) | Featured Performers, A-Z | Classical | Styles | Music
General | Classical | Styles | Music
Wagner, Richard | U to Z | Featured Composers, A-Z | Opera & Vocal | Styles | Music
General | Opera & Vocal | Styles | Music
Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music
German | Languages | Opera & Vocal | Styles | Music
Operettas | Opera & Vocal | Styles | Music
Similar Items:

Plácido Domingo & Deborah Voigt - Wagner Love Duets ~ Tristan und Isolde, Siegfried

Wagner: Tristan und Isolde [Includes Bonus DVD]

Tannhäuser / Domingo, Studer, Baltsa, Salminen, A. Schmidt; Sinopoli

An Introduction to Der Ring des Nibelungen

Wagner: Siegfried

ASIN: B00005YTLI
Release Date: 2002-05-07

Tracks:

"Nothung! Nothung" (Siegfried, Act I)
"Was am besten er kann" (Siegfried, Act I)
Forest Murmurs (Siegfried, Act II)
"In der Hohle hier lieg' auf dem Hort!" (Siegfried, Act II)
"Nun sing! Ich lausche dem Gesang" (Siegfried, Act II)
Dawn (Grderung)
"Zu neuen Taten, teurer Held" (Grderung)
Siegfried's Rhine Journey (Grderung)
"Brunnhilde, heilige Braut!" (Grderung, Act III)
Siegfried's Funeral March (Grderung, Act III)

Amazon.com

Placido Domingo is a phenomenon. He has preserved not only the beauty, flexibility, and flawless production of his voice over a career spanning four decades, but also his eagerness for new adventures and challenges. To several Wagnerian roles he performed recently, he has now added Siegfried, at least on record (having first tried out the role on his successful Wagner Love Duets). This disc proves that his vocal power is undiminished, while his ability to create and project character keeps gaining depth and conviction. That said, it cannot be denied that he is not a true "Heldentenor," vocally or temperamentally. Thus, one misses the unbridled boyish glee in the sword-forging scene, despite the ringing high A's.

However, his response to the Forest Bird is exuberant, his duet with Brünnhilde ardent and ecstatic. The lyrical, introspective passages--like his musings about his mother and his dying farewell--are most moving and persuasive. He is splendidly supported by Violeta Urmana, a dark-voiced, passionate Brünnhilde; Natalie Dessay, whose Forest Bird laughs merrily; and David Cangelosi, who makes Mime's devious villainy a bit too obvious. Since in Wagner the orchestra is almost as important as the singers, the disc includes several instrumental sections, and the playing is wonderful, though almost inaudible in the very soft passages. The wind soloists are grand, the forest murmurs, the Rhine swells and glitters, and the Funeral March is majestic. Since there are no set pieces in these through-composed operas, a feeling of disjointedness is inevitable, and the transitions between scenes do not really work. --Edith Eisler

Customer Reviews:

Like A Fine Wine: Domingo Sings Wagner.......2005-11-09

Even the biggest fan of Placido Domingo in the late 60's, 70's and 80's would have never imagined at that time that Placido Domingo was capable of singing Wagner's Siegfried, or anything by Wagner in general. It is now fall 2005 and by now the vocally gifted, incredibly versatile tenor has sung such diverse roles as Tchaikovsky's Eugene Onegin and Queen of Spades in Russian, Gounod's Romeo in French, Spanish-sung roles in Zarzuelas of his native homeland, contemporary Spanish romantic songs, Mozart's classical opera seria Idomeneo, Broadway's own Man of La Mancha, and of coure all the juicy tenor roles of the Italian repertoire-Pinkerton, Cavaradossi, Rodolfo, Pagliacci, Alfredo, Radames, Pellione, Edgardo, Otello, Andrea Chenier, Don Carlos and many others. To top off an illustrious and long career, he has sung Wagner heroes. Tannhauser, Lohengrin and the Flying Dutchman he has sung on recording and stage, and Parsifal as well. This year EMI has relesed Domingo's Tristan from Tristan and Isolde. As Tristan he sings gloriously. Siegfried presents no difficulty for him. I don't care for spiteful critics' constant criticism that he has no business sinigng Wagner and adding it to his fach or that he is not real heldentenor. Says who ? Just because most audiences are used to hearing an armored tenor singing fortissimi and using the "Bayreuth bite" invented by Cosima Wagner ? Just because most people associate Wagner heroes with such tenors as Wolfgang Windgassen or Jon Vickers ? Wagner admired and even imitated Italian bel canto styles and specified that some parts of his arias should be sung smoothly, beautifully, with a purity of line and not with excessive melodramatic ardor. Domingo's voice is big enough to essay the role of Siegfried. It is tinged with a sort of grand melancholy and rich with lyric beauty. I have never heard the German language sung more beautifully by a tenor. The magic of a Wagnerian love duet is expressively demonstrated in the scenes with the Brunhilde of Violeta Urmana, who sings both mezzo and soprano roles. Not even Birgit Nilsson and Wolfgang Windgassen sounded as beautiful. They make the lovers sympathetic and makes their tragic demise even grander. Papano does wonders with the score, approaching the music with calculated risk. There is no reason why you should dismiss this recording. This is Domingo's Siegfried and Wagner's vision come to beautiful fruition. Domingo, past 60 proves to the world that his is a voice that, like fine wine, only gets better with age.

Generally excellent (but Dessay WOEFUL).......2004-12-04

Yet another example of Domingo's ability to sing a wide range of opera. Gets a fairly good Heldentenor quality, despite his
very non-Germanic accent. Pity that Domingo probably will never do a full Goetterdaemmerung, but who knows? :-)

Good sound so very good in general.

But except that Natalie Dessay as Woodbird is WOEFUL. Mile-wide vibrato screeching on high notes. A good coloratura singer otherwise, but if only she could sing properly here!

to the point - BUY IT.......2004-07-20

There are good, great, excellent and superb recordings of Wagner with a vast array of wonderful artists spanning many years.
Then, there is this recording, which is exceptional by every possible measure.

If you HATE Wagner, buy this CD - If you ADORE Wagner, buy this CD - this is what a Wagnerian tenor should be, supported by a magnificent orchestra in passionate performances that, for lack of a better word, "soar".

Wagner boring??? Not here!
A complete jewel, do not hesitate one second!
Have you put it in your shopping cart yet??
You aren't listening!
BUY IT!

Wonderful Domingo.......2003-09-11

This is a terrific set of excerpts witt Domingo's golden tone. but the Brunnhilde here is weak compared to the great Brunnhildes. I also very very highly recommend the recent set of 3 CD excerpts by Astrid Varnay released by Deutsche Grammophon. Although it is supposed to be Astrid Varnay's CD, it features Wolfgang Windgassen in his absolute prime!! The exceprts include Walkure: Brunnhilde-Siegmund Death announcement scene, Siegfried: complete final scene between Brunnhilde-Siegfried and Gotterdammerung: opening love duet & Immolation Scene and Tristan & Isolde: Act 1 Isolde's Curse, Act 2 Love Duet and Liebestod. In the 3 CD set costing only 3 dollas more than this 1 CD set, you get Windgassen at the START of his career when his voice was absolutely unspoilt by the wear and tear of constantly singing the heaviest Wagnerian tenor roles. Yes, Windgassen is in glorious form in the 3 CD set MUCH fresher than he was to become in the Solti ring, Bohm ring or Bohm Tristan and Isolde. Added to that you have the glorious Brunnhilde and Isolde of Astrid Varnay in her absolute prime!! Again, this is before her voice became spoilt by the constant singing of heavy Wagnerian roles. All for 3 dollars (and 2 CDs more) more than this set which is only 1 CD. So while you enjoy this set, don't forget the other set which I think is even better.

A Wagnerian Feast!.......2003-08-30

What is left to be said after listening to this magic recording? Once again Placido Domingo proves that he is up to any challenge in the operatic repertoire. Though he has performed Wagner roles before the public on the concert stage, usually as part of an orchestral evening, he here approaches the Ring Siegfried as if to the role born. Hearing his musically focused, golden-hued voice traverse all of the terrifying hurdles inherent in this impossible tenor role leaves the listener aghast that Domingo is now in his 60's! He soars (in the sword forging scene) with ease and yet also communicates the tenderness and vulnerability of Siegfried with equal finesse, as in the heart-rending "Brunnhilde, helige Braut". But all of that aside, listening to this recording is a full experience also because of the wondrous conducting of Antonio Pappano, the earthy Brunnhilde of Violeta Urmana, the soaring Forest Bird of Natalie Dessay, and the smarmy comedy of David Cangelosi's Mime. The solo portions of Domingo's Siegfried are matched by his union in his duets with Brunnhilde and Mime. Then we have the majesty of the orchestra (the Orchestra of the Royal Opera House, Covent Garden) in a generous sampling of the Forest Murmurs, the Gotterdammerung 'Daybreak', the 'Rhine Journey', and finally the 'Funeral March'. Antonio Pappano continues to astonish with his conducting, his musicality. Opulent and dramatic and an intensely beautiful experience.

Schumann: Carnaval/Waldszenen/Nachtstücke

Average customer rating:

Schumann: Carnaval/Waldszenen/Nachtstücke

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

General | 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
ASIN: B000003F8K
Release Date: 1993-01-12

Schumann: Davidsbündlertänze Op6; Waldszenen Op82

Average customer rating:

Schumann: Davidsbündlertänze Op6; Waldszenen Op82

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

General | 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
ASIN: B0000027TM
Release Date: 1992-06-16

Tracks:

Davidsbundlertanze Op. 5: Lebhaft
Davidsbundlertanze Op. 5: Innig
Davidsbundlertanze Op. 5: Mit Humor (Etwas hahnbuchen)
Davidsbundlertanze Op. 5: Ungeduldig
Davidsbundlertanze Op. 5: Einfach
Davidsbundlertanze Op. 5: Sehr rasch (und in sich hinein)
Davidsbundlertanze Op. 5: Nicht schnell (mit auberst starker Empfindug)
Davidsbundlertanze Op. 5: Frisch
Davidsbundlertanze Op. 5: Lebhaft
Davidsbundlertanze Op. 5: Balladenmabig
Davidsbundlertanze Op. 5: Einfach
Davidsbundlertanze Op. 5: Mit Humor
Davidsbundlertanze Op. 5: Wild und lustig
Davidsbundlertanze Op. 5: Zart und lustig
Davidsbundlertanze Op. 5: Frisch
Davidsbundlertanze Op. 5: Mit gutem Humor
Davidsbundlertanze Op. 5: Wie aus der Ferne
Davidsbundlertanze Op. 5: Nicht schnell
Waldszenen Op. 82 - Forest Scenes: 1. Eintritt. Nicht zu schnell
Waldszenen Op. 82 - Forest Scenes: 2. Jager auf der Lauer. Hochst Lebhaft
Waldszenen Op. 82 - Forest Scenes: 3. Einsame Blumen. Einfach
Waldszenen Op. 82 - Forest Scenes: 4. Verrufene Stelle. Ziemlich langsam
Waldszenen Op. 82 - Forest Scenes: 5. Freundliche Landschaft. Schnell
Waldszenen Op. 82 - Forest Scenes: 6. Herberge. Mabig
Waldszenen Op. 82 - Forest Scenes: 7. Vogel als Prophet. Langsam, sehr zart
Waldszenen Op. 82 - Forest Scenes: 8. Jagdlied. Rasch, kraftig
Waldszenen Op. 82 - Forest Scenes: 9. Abschied. Nicht schnell
Fantasiestucke Op. 111: 1. Sehr rasch, mit leidenschaftlichem Vortrag
Fantasiestucke Op. 111: 2. Ziemlich langam
Fantasiestucke Op. 111: Kraftig und sehr markiert

Average customer rating:

Gieseking Plays Schumann

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

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | New Age | Styles | Music

Solo Instrumental | New Age | Styles | Music
ASIN: B0000061FU
Release Date: 1998-03-17

Tracks:

Etudes Symphoniques, Op.13: I. Thema
Etudes Symphoniques, Op.13: II. Var I (Etude I)
Etudes Symphoniques, Op.13: III. Var II (Etude II)
Etudes Symphoniques, Op.13: IV. Etude III
Etudes Symphoniques, Op.13: V. Var III (Etude IV)
Etudes Symphoniques, Op.13: VI. Var IV (Etude V)
Etudes Symphoniques, Op.13: VII. Var V (Etude VI)
Etudes Symphoniques, Op.13: VIII. Var VI (Etude VII)
Etudes Symphoniques, Op.13: IX. Var VII (Etude VIII)
Etudes Symphoniques, Op.13: X. Etude IX
Etudes Symphoniques, Op.13: XI. Var VIII (Etude X)
Etudes Symphoniques, Op.13: XII. Var IX (Etude XI)
Etudes Symphoniques, Op.13: XIII. Finale (Etude XII)
Waldscenen, Op.82: I. Entrance
Waldscenen, Op.82: II. Hunter on the Watch
Waldscenen, Op.82: III. Solitary Flowers
Waldscenen, Op.82: IV. Haunted Spot
Waldscenen, Op.82: V. Pleasant Landscape
Waldscenen, Op.82: VI. Roadside Inn
Waldscenen, Op.82: VII. The Prophet Bird
Waldscenen, Op.82: VIII. Hunting Song
Waldscenen, Op.82: IX. Farewell
3 Romances, Op.28: I. Allegro, molto marcato
3 Romances, Op.28: II. Semplice
Son No.1 in f#, Op.11 (Grosse Son): I. Intro. Un poco Adagio/Allegro vivace
Son No.1 in f#, Op.11 (Grosse Son): II. Aria
Son No.1 in f#, Op.11 (Grosse Son): III. Scherzo ed Intermezzo. Allegrissimo/piu Allegro
Son No.1 in f#, Op.11 (Grosse Son): IV. Finale. Allegro un poco maestoso/Presto/piu Allegro

Amazon.com

Walter Gieseking was like a musical water faucet. You turned the knob, and out came the complete standard piano repertoire. When he was inspired, or truly engaged in a work, he was one of the foremost pianists of the 20th century. There are moments in this 1951 German Radio broadcast (the Sonata dates from wartime) that brush with genius, but the results sound like a great pianist either sightreading or playing without having practiced. One can understand errors made in the heat of passion and risk taking, such as the unbridled, messy, and absolutely thrilling Schumann First Sonata. But the casual mistakes in the Etudes Symphoniques stick out like sore thumbs. Gieseking archivists, however, will welcome these greatly improved transfers from a previous M&A issue. --Jed Distler

Track Listings:

Track Listings

track listings

Track Listings

Unconditional, Pt. 2 [CD-single] [Enhanced] [Import]

Chopin: Famous Piano Music

Blind Pig Records: 20th Anniversary Collection

Stardust [Import] [Limited Edition]

Kershaw Sessions

Chris Brown [Content/Copy-Protected CD] [DualDisc]

Bobby Darin Sings Ray Charles [Import]

Beethoven: Symphony No. 6 "Pastoral"; Leonora Overture No. 2

Catch a Cherub

Ballads

Awake: The Best of Live (Deluxe Version - CD/DVD) [Live]

1. Goldberg Variations: Aria
2. Goldberg Variations: Variation 1
3. Goldberg Variations: Variation 2
4. Goldberg Variations: Variation 4
5. Goldberg Variations: Variation 13
6. Goldberg Variations: Variation 19
7. Goldberg Variations: Variation 9
8. Goldberg Variations: Variation 7
9. Goldberg Variations: Variation 15
10. Goldberg Variations: Variation 27
11. Goldberg Variations: Variation 30
12. Goldberg Variations: Aria
13. Forest Scenes: North Face
14. Forest Scenes: Hibiscus on the Water
15. Forest Scenes: Woodchuck Blues
16. Hebraic Contrasts: Meditation
17. Hebraic Contrasts: Hassidic Dance
18. Hebraic Contrasts: Intermezzo
19. Hebraic Contrasts: Hassidic Song
20. Reverie and March: Reverie