Russian Piano Concertos

Editorial Reviews
Album Description
Khachaturian was a late starter in music and largely self-taught. Like Prokofiev and Shostakovich, he burst on the Soviet music scene while still a student but, unlike his precocious confreres, he was already well into his thirties. His "Piano Concerto", one of the two or three works that brought him to public notice, was written in 1936 and premiered on July 12, 1937, the year he completed his studies at the Conservatory.

Prokofiev described his " Piano Concerto No.1" as his first "more or less mature composition, both with regard to the conception and its fulfillment." It was begun in 1911 as a brief one-movement showcase for himself but, by its completion the following year, it had grown into a considerably more ambitious project. He played it for the first time on July 25, 1912 at the Moscow People's House, with an orchestra conducted by Konstantin Solomonovich Saradzhev and again in August at an outdoor concert in Pavlovsk, an eighteenth century palace and park near St. Petersburg. The results, both times, were sensational.

The Shostakovich "Second Piano Concerto" had its first performance in Moscow on May 10, 1957. His son Maxim, who was 19, played the solo with Nikolai Anosov conducting the U.S.S.R. State Symphony. On January 2, 1958, Leonard Bernstein gave the American premiere, playing and conducting the New York Philharmonic. American commentators seemed to treat the work as if it were some kind of children's music but Maxim was hardly a child and sometimes the fun house romp is almost scary. Is this simply high spirits, high jinks and good, ol' socialist optimism? Or is there something else going on? There's really no way to tell for sure. Maybe it doesn't matter and that's just the fun of it. A Russian concerto, certainly, but of a very different kind.

Customer Reviews:

The young Fischer has a definite "wow" factor.......2007-03-11

Even a jaded listener would blink twice at this recording, which showcases the German violin prodigy Julia Fischer. She's quite a dynamic player, and although lightning-fingered virtuosos aren't that rare nowadays, Fischer also possesses real charisma. She exudes confidence in every bar, and besides her gorgeous tone, she has an uncanny ability to phrase for someone so young. In all three works here she's able to shift effortlessly from Khachaturian's brash, semi-kitschy Soviet fireworks to Prokofiev's lyrico-ironic modernism and finally Glazunov's plush-velvet sentimentality. Only the Prokofiev concerto comes close to being a masterpiece, but you'd never know that from Fischer's complete dedication to each one.

PentaTone's remarkably vivid sonics make a big impression--this company has been in the forefront of SACD sound for a while--bringing Fischer's violin to life quite remarkably. Even better is Yakov Kreizberg's conducting of the exuberant Russian National Orch. His style is extroverted, like Gergiev's, with unihibited Russian vitality. I'm on the verge of gushing, but how can one help it when confronted by such a brilliant all-around production?

THE FUTURE IS IN GOOD HANDS.......2007-01-03

The very young Violinist Julia Fischer demonstrates in this recording that (to me) the future for the performance of masterpieces of so-called classical music is very bright indeed. Julia gives very sensitive, virtuosic, and beautiful in tone performances of these Russian concertos for the violin. She is rhythmically astute in the Khachaturian concerto and very gorgeous in tone in the overtly romantic Galazunov concerto. Likewise, the Prokofiev's First Violin Concerto is given a finally nuanced performance with Yukov Kreizberg leading the Russian National Orchestra splendidly.

I heard Ms. Fischer in Aspen, Colorado in the summer of 2006 and was very impressed with her; this recording certainly confirms that most favorable impression.

If you want to hear some great violin playing, buy this disc.

By the way, the recorded sound is great-- very full and rich!

An Impressive Début Disc.......2006-07-26

Although this is not the young Julia Fischer's first recording, it is the first she has done in SACD format on the PentaTone label with whom she has signed as an exclusive artist. The CD came out in late 2004, if I'm not mistaken, and she has since released the Bach Partitas and Sonatas, and most recently a disc of Mozart Violin Concerti. I gave a rave to the latter here at Amazon. I had not heard this début disc until recently and was, I will admit, a little concerned that she might be too 'classical' a violinist to make the most of these mostly extrovert Russian concerti. I was wrong to have any hesitation; she plays them with verve, wit, style and plenty of extroversion where needed. But she also brings to them an inwardness -- particularly in the Prokofiev First, which certainly has a veil of mystery about it -- that makes them seem fresh.

In recent times the Khachaturian Concerto has to some extent fallen from favor. When I was a youth it was one of the big modern Russian concerti along with Prokofiev 2 and, late in the 1950s, the Shostakovich 1, and one heard it in concert with some regularity. Happily there has been a bit of a revival lately, in spite of the tendency of some critics and programmers to think it is rather lightweight and too much of a populist work. Whatever the drawbacks it might have, it is an extremely effective piece with plenty of Khachaturian's Armenian flavorings, lots of rhythmic interest and virtuosity galore. Fischer brings to it a musicianly concern for dynamic subtlety and nuanced phrasing along with complete mastery of the concerto's technical difficulties. She eschews the Oistrakh edition of the concerto -- he extended the first movement cadenza and cut some measures in the finale -- and uses Khachaturian's original version. This is a first-class performance of a wonderful concerto which is worth one's attention.

One cannot but adore Prokofiev's First Violin Concerto. And one cannot say enough about the masterful orchestration Prokofiev provides, with harp intertwined with violin harmonics and extraordinarily plangent woodwind writing. The Russian National Orchestra, a group formed not long after the breakup of the Soviet Union and the stirrings of a new freedom in Russia, is a marvelous group. Their conductor here is Yakov Kreizberg, incidentally the brother of the probably better-known conductor Semyon Bychkov, who is making a very favorable impression these days. I've heard a number of his recent recordings and am mightily impressed with his formally clear approach that is, ironically, coupled with a really poetic sensibility. Clarity and poetry make wonderful partners in his recordings. Both Kreizberg and Fischer show us the darker side of the Prokofiev and in the process present it as the lyrical yet fierce work it is.

Glazunov's concerto is a late Romantic work in one movement. It is notable for its heartfelt lyricism, gorgeous tunes, and the equality of the orchestral principals with the violin soloists. It is really more like a symphony with violin obbligato, particularly in the long and lovely andante middle section. That aspect of the work is emphasized here and one must give credit to Fischer and the recording engineers for allowing that to shine through. Fischer is more generous, even self-effacing, in this than some soloists in other recordings the concerto has had (Perlman, Heifetz) and this is to the benefit of the work's effect. (A comparable concerto, to give you some idea of what I mean, is Brahms's Second Piano Concerto where the piano is not always the spotlighted star.) This is a genial reading with Fischer's burnished tone riding above and around the contributions by the orchestra. The folksong aspects of the finale are emphasized and one is left with a kind of uplift that makes one want to start the concerto all over again.

This is, make no mistake, a marvelous disc and I cannot recommend it highly enough. In addition, all three concerti are given strikingly lifelike sound.

Scott Morrison

Quality Classical Music Listening.......2006-04-08

I am not an expert in classical music but I do enjoy listening to good classical music. This recording of Russian Violin Concertos is one that I have enjoyed listening too many times. I would not hesitate recommending it to anyone who enjoys classical music that highlights the romantic violin.

3 Russian Violin Ctos - Verve, Lilt, Dash, & Elegance.......2005-07-15

Julia Fischer is a violinist whose name is news to me, but then, What good news she is. Like the young Anne Sophie Mutter, she appears to have sprung whole from the head of Jove. She plays with a simply huge command of her instrument, and she grasps the music in both local nuances and larger paragraphs. Her intonation and fingerwork and bowing are well nigh faultless, so far as I can hear. She has a sort of wicked ease that actually might remind an older listener of the late, great Heifitz. He used to tell his student violinists to warm up by playing fingered octaves, which is rather like telling people to start just where most others are leaving off in happy achievement.

Nowhere are these capabilities put to better use than in her resuscitation of the much hackeneyed Khachaturian concerto, which she has the gruff to play as her opening. She obviously loves playing it, and has such a good time that it is quite easy to forget all the kitsch renderings you may have heard over the years. The RNO under Yakov Kreizberg (who is also a rising star among conductors now active in Europe) keep up with Julia all the way. Somehow all the flash just sounds scintillating, and the orientalisms just sound atmospheric and colorful. You think in some beautiful spots that Khachaturian knew what he was doing, after all.

Then Julia and company move on to the Prokofiev first violin concerto, and make deft, stunning magic of it, too. Again she and the conductor and the orchestra demonstrate remarkable unanimity of musical purpose. And, they have a good time with the Prokofiev, shattering our stuffy stereotypes that genius in classical western music is always tendentious, fat, and dressed in over-starched shirts with very stiff collars.

Thirdly, we get the Glazunov concerto. This, too, benefits from a completely fresh and straightforward reading, rooted in the players love of the music. Julia realizes the more brilliant moments of the Glazunov without forgetting that its heartfelt pusle is mainly lyrical, and her lyrical is so lithe and athletic that you don't feel for once that Glazunov was tempted to outstay the melodic welcomes embodied in his main themes.

The SACD surround sound is equally wonderful. It completely serves the music and the musicians, without calling attention to itself. You simply get a good, multichannel sense of everybody, including Julia, the super RNO as a whole body and as an unnervingly talented nexus of virtuosos, and of course, of conductor Kreizberg. The hall acoustic adds air and resonance, which is quite an accomplishment considering that we are talking about a recording studio and not one of the historic Moscovite venues like Tchaikovsky Hall at the conservatory.

If you like superior violin playing that is above all musical, with an orchestra and conductor that can keep up with such a soloist; then this disc will do fine. Five stars, fading into sunrise pinks and whites and blues. Where did the slow night go? Oh, well, play that SACD again, will you?

PS. Keep your ears and eyes on the lookout. Julia Fischer is now an exclusive Pentatone artist, and Yakov Kreizberg, maybe, too.

Average customer rating:

Ashkenazy - one of the best musicians of our time
Illustrious Dark
Ashkenazy's fluidity: a very good fit with Rachmaninov
My Favorite Rachmaninov Interpreter
Superb set of Rachmaninov's complete Piano works

Rachmaninov: The Piano Concertos

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000041ML
Release Date: 1997-08-12

Tracks:

Piano Concerto No. 1 In F Sharp Minor, Op. 1: I. Vivace - S. Rachmaninoff
Piano Concerto No. 1 In F Sharp Minor, Op. 1: II. Andante - S. Rachmaninoff
Piano Concerto No. 1 In F Sharp Minor, Op. 1: III. Allegro vivace - S. Rachmaninoff
Piano Concerto No. 2 In C Minor, Op. 18: I. Moderato - S. Rachmaninoff
Piano Concerto No. 2 In C Minor, Op. 18: II. Adagio sostenuto - S. Rachmaninoff
Piano Concerto No. 2 In C Minor, Op. 18: III. Allegro scherzando - S. Rachmaninoff

Tracks:

Piano Concerto No. 3 In D Minor, Op. 30: Allegro ma non tanto - S. Rachmaninoff
Piano Concerto No. 3 In D Minor, Op. 30: Intermezzo: Adagio - S. Rachmaninoff
Piano Concerto No. 3 In D Minor, Op. 30: Finale (Alla breve) - S. Rachmaninoff
Piano Concerto No. 4 In G Minor, Op. 40: Allegro vivace (Alla breve) - S. Rachmaninoff
Piano Concerto No. 4 In G Minor, Op. 40: Largo - S. Rachmaninoff
Piano Concerto No. 4 In G Minor, Op. 40: Allegro vivace - S. Rachmaninoff

Tracks:

Rhapsody On A Theme Of Paganini: Op. 43 - Rachmaninov
Piano Sonato No. 2 in B Flat Minor, Op. 36: I. Allegro agitato - Rachmaninov
Piano Sonato No. 2 in B Flat Minor, Op. 36: II. Non allegro - Rachmaninov
Piano Sonato No. 2 in B Flat Minor, Op. 36: III. Allegro molto - Rachmaninov
8 Etudes-tableaux, Op. 33: No. 1 in F minor - Rachmaninov
8 Etudes-tableaux, Op. 33: No. 2 in C major - Rachmaninov
8 Etudes-tableaux, Op. 33: No. 3 in C minor - Rachmaninov
8 Etudes-tableaux, Op. 33: No. 4 in D minor - Rachmaninov
8 Etudes-tableaux, Op. 33: No. 5 in E flat minor - Rachmaninov
8 Etudes-tableaux, Op. 33: No. 6 in E flat major - Rachmaninov
8 Etudes-tableaux, Op. 33: No. 7 in G minor - Rachmaninov
8 Etudes-tableaux, Op. 33: No. 8 in C sharp minor - Rachmaninov
Prelude in C sharp minor, Op. 3, No. 2 - Rachmaninov

Tracks:

10 Preludes, Op. 23: No. 1 In F Sharp Minor - Rachmaninov
10 Preludes, Op. 23: No. 2 In B Flat Major - Rachmaninov
10 Preludes, Op. 23: No. 3 in D minor - Rachmaninov
10 Preludes, Op. 23: No. 4 In D Major - Rachmaninov
10 Preludes, Op. 23: No. 5 In G Minor - Rachmaninov
10 Preludes, Op. 23: No. 6 In E Flat Major - Rachmaninov
10 Preludes, Op. 23: No. 7 In C Minor - Rachmaninov
10 Preludes, Op. 23: No. 8 In A Flat Major - Rachmaninov
10 Preludes, Op. 23: No. 9 In E Flat Minor - Rachmaninov
10 Preludes, Op. 23: No. 10 In G Flat Major - Rachmaninov
13 Preludes, Op. 32: No. 1 In C Major - Rachmaninov
13 Preludes, Op. 32: No. 2 In B Flat Minor - Rachmaninov
13 Preludes, Op. 32: No. 3 In E Major - Rachmaninov
13 Preludes, Op. 32: No. 4 In E Minor - Rachmaninov
13 Preludes, Op. 32: No. 5 In G Major - Rachmaninov
13 Preludes, Op. 32: No. 6 In F Minor - Rachmaninov
13 Preludes, Op. 32: No. 7 In F Major - Rachmaninov
13 Preludes, Op. 32: No. 8 In A Minor - Rachmaninov
13 Preludes, Op. 32: No. 9 In A Major - Rachmaninov
13 Preludes, Op. 32: No. 10 In B Minor - Rachmaninov
13 Preludes, Op. 32: No. 11 In B Major - Rachmaninov
13 Preludes, Op. 32: No. 12 In G Sharp Minor - Rachmaninov
13 Preludes, Op. 32: No. 13 In D Flat Major - Rachmaninov

Tracks:

Suite No. 1 for 2 pianos, Op. 5: I. Barcarolle: Allegretto - Rachmaninov
Suite No. 1 for 2 pianos, Op. 5: II. La Nuit, l'Amour: Adagio sostenuto - Rachmaninov
Suite No. 1 for 2 pianos, Op. 5: III. Les Larmes: Largo di molto - Rachmaninov
Suite No. 1 for 2 pianos, Op. 5: IV. Paques: Allegro maestoso - Rachmaninov
Suite No. 2, for 2 pianos, Op. 17: I. Introduction: Alla marcia - Rachmaninov
Suite No. 2, for 2 pianos, Op. 17: II. Valse: Presto - Rachmaninov
Suite No. 2, for 2 pianos, Op. 17: III. Romance: Andantino - Rachmaninov
Suite No. 2, for 2 pianos, Op. 17: IV. Tarantelle - Rachmaninov
Russian Rhapsody for 2 pianos in E minor: Moderato - Vivace - Andante - Rachmaninov
Variations on a theme by Corelli, Op. 42 - Rachmaninov

Tracks:

9 Etudes-tableaux, Op. 39: No 1 In C minor - S. Rachmaninoff
9 Etudes-tableaux, Op. 39: No 2 In A minor - S. Rachmaninoff
9 Etudes-tableaux, Op. 39: No 3 In F Sharp Minor - S. Rachmaninoff
9 Etudes-tableaux, Op. 39: No 4 In B Minor - S. Rachmaninoff
9 Etudes-tableaux, Op. 39: No 5 In E Flat Minor - S. Rachmaninoff
9 Etudes-tableaux, Op. 39: No 6 In A Minor - S. Rachmaninoff
9 Etudes-tableaux, Op. 39: No 7 In C Minor - S. Rachmaninoff
9 Etudes-tableaux, Op. 39: No 8 In D Minor - S. Rachmaninoff
9 Etudes-tableaux, Op. 39: No 9 In D Major - S. Rachmaninoff
Symphonic Dances for 2 pianos, Op. 45: I. Non allegro - Lento - Tempo I - S. Rachmaninoff
Symphonic Dances for 2 pianos, Op. 45: II. Andante con moto (Tempo di valse) - S. Rachmaninoff
Symphonic Dances for 2 pianos, Op. 45: III. Lento assai - Allegro vivace - S. Rachmaninoff

Customer Reviews:

Ashkenazy - one of the best musicians of our time.......2005-11-21

I consider Ashkenazy to be one of the most underrated pianists. Since he has this unmarketable father figure image in the piano world many people put him in the backburner of their recollections. First of all, anyone with such a prolific repertoire as Ashkenazy falls under the category of "genius" (Richter was also strong in this area). A pianist, in general, has much more credibility if he/she can tackle a variety of different pieces and styles. Many people assume by default that because he splits his time conducting and plays so much different music... that he is a jack of all trades but master of none.
One of the distinct attributes that Ashkenazy has is his amazing intelligence (this links him to Richter). Unlike Gould and Poglerelich who seem eccentric in a childish way at times, Ashkenazy has a very deep understanding of music and its foundations. He understand the composers styles and dynamics. This really sets him aside from many other pianists. I was pleasantly surprised by this Rachmaninoff. It is very flowing and the orchestra is great (better than in the Richter CD in my opinion). There is a feeling that this music is always going in the right direction. Ashkenazy also doesn't fall in the trap of playing Rach Chopin-style. I like the Richter CD better because I like Richter's temperament... but this is an excellent set for those that might find Richter overwhelming.

Illustrious Dark.......2005-03-19

The pianistic genius of Rachmaninov and his spirit incarnate: Vladimir Ashkenazy. If you have ever heard Rachmaninov play his own music, you probably pondered the impressive talent. But where his personal strengths lay in composition, his performances were a little too eccentric for me. For example, his renditions of militaristic Prelude No. 5 in G minor is a soft, cautious approach; his piano concerto no. 2 played so quickly, there is no time to enjoy each note.

Enter Ashkenazy. He plays that prelude with solid force and quick, snapping fingers, and thunderous chords, climaxing into those beautiful rolling hills...it is played beautifully. And of course, the piano concerto is slowed down to the proper tempo. (Incidentally, I find this concerto has some parts that are played too quickly, thereby losing a sense of largeness to some themes. In later recordings, Jean-Yves Thibaudet performed the concerto exactly to my tastes, and the orchestra was conducted, impressively, by Mr. Ashkenazy himself!)

For the piano enthusiast, this collection is nearly complete. The first three piano concertos are amazing. I grew up with Nos. 3 and then 2, and after a decade of waiting, finally listened to No. 1, which I hold in as high esteem as the later concertos. No. 4 is extremely modern, and I listen to it to let it grow on me, but I will always have a difficult time with this one. It's simply too influenced by his short Hollywood career, I feel. While it stands on its own, compared to the previous three, I tend to skip it.

I've heard Ashkenazy's recordings of the preludes before, but it was nice to finally own them. What can one say? Rachmaninov's forte was the prelude. Nowhere else can you hear chimes and bells with dark Russian themes underlying complex chord structures that scintillate or thunder.

New to me were the two Suites for 2 pianos. While much of it is a bit modern and avant-garde for my tastes, I enjoy them all the same.

For the price, you're getting quite a bargain, though. And if you don't care about the solo piano tracks, London has another release with only the four piano concertos.

Ashkenazy's fluidity: a very good fit with Rachmaninov.......2004-12-09

This boxed set contains the four piano concertos, along with the entire library of pieces for two pianos, and a good selection of Rachmaninov's major works for solo piano.

Packaged in an elegant Decca slimbox, the 6 CDs are simply a pure joy to listen to. Ashkenazy does not delivery the wildest version of the concertos, or the most passionate or energetic. What he delivers is an incredible legato and incomparable touch, with just the right amount of power when necessary. Previn's conducting is a very good fit with Ashkenazy's sobre and elegant interpretation.

Listen to "Les Larmes" - French for "The Tears" - and appreciate Ashkenazy and Previn's rendering of one of Rachmaninov's most emotional pieces.

This boxed set is, in my opinion, the best Rachmaninov package currently available. The sound quality is very good, and it contains a large selection of piano works by one of the world's finest interpreters.

My Favorite Rachmaninov Interpreter.......2003-04-06

while i dont have this particular set, i have most of ashkanazy's recordings via other the sets hes made, im assuming these are the same recordings. these are some of my favorite piano works ive ever heard in large part due to his interpretations of this music. i beleive there isnt an interpretation that i was unhappy with, so if you want all of ashkanasy's piano recordings and piano concertos in one set this is a great buy especially for the price and ammount of music.

Superb set of Rachmaninov's complete Piano works.......2001-02-04

Ashkenazy shows that he is as much at home here as he is playing Beethoven, Chopin, or Mozart. Although these performances may lack the drama of Argerich's tempestuous playing, they are very credible interpretations of the Russian composer's piano music. His performances of the concerti with Previn conducting the London Symphony Orchestra are regarded as among the finest of the entire Rachmaninov cycle. And his performances with Previn on the piano are fine, even if Previn's technique takes a back seat to Ashkenazy's. Aside from the concerti, the real gems have to be Ashkenazy's brilliant performances of the etudes. They are just as refined and as soulful as his excellent recordings of the entire Beethoven piano sonata cycle. This cheap set not only is a splendid introduction to Rachmaninov, but shows Ashkenazy at his finest, playing with technical elegance and lyricism.

Average customer rating:

Pletnev on Beethoven 1 & 3
Distinctive, Imaginative Playing from Pletnev and the RNO in these two Beethoven piano concerti
An imagiinative triumph for Pletnev

Beethoven: Piano Concertos Nos. 1 & 3

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B000L21DN0
Release Date: 2007-03-13

Amazon.com

These are aggressive, somewhat eccentric readings of these concerti. They are given performances of real fire, and Pletnev takes interesting liberties with dynamics. Sudden passages of very loud or very soft playing ensure that we will not be bored. At times he uses rubato the way an Italian tenor might, which is to say, interestingly but with dubious taste. There is a moment in the First Concerto's Largo that is taken so slowly it sounds as if something might have gone wrong with the CD. It appears that Pletnev has approached both of these works as exemplars of high Romanticism, whereas the first, in particular, looks back to Mozart. This is not to say that he does not play impeccably. His tone is always handsome and no matter how loudly he plays, he never distorts. Whether or not one agrees with his "re-interpretations," it is impossible not to be riveted. Pletnev says in the accompanying notes that his wish is that "every scream, every moment of joy" in the music "should be lived through as it's lived in our real lives." Those who know these concerti well might be surprised at how many screams Pletnev finds. The orchestra plays with great transparency under Christian Gansch. Nothing if not entertaining. --Robert Levine

Customer Reviews:

Pletnev on Beethoven 1 & 3.......2007-05-30

Pletnev is superb and the Russian orchestra is the best I have heard.

Distinctive, Imaginative Playing from Pletnev and the RNO in these two Beethoven piano concerti.......2007-03-28

Mikhail Pletnev has earned ample praise for his thoughtful, distinctive style of playing, never one to adhere strictly to time-worn traditions or the latest trends, such as period instrument-informed performance. Indeed, in the liner notes, Pletnev is quoted as saying that period instrument-informed performance is an idea that he regards as "ultimately self-defeating, because no great composer was ever satisfied with the instruments that he had at his disposal". Here he has embarked on a series of Deutsche Grammophon recordings recorded live late last year at the Beethovenfest in Bonn, Germany (Beethoven's birthplace) playing the entire Beethoven piano concerti cycle and conducting the entire Beethoven symphony cycle with the orchestra he founded, the Russian National Orchestra, which has earned ample worldwide acclaim inspite of its youth.

His playing of both Beethoven concerti is like none other that I've heard recently from the likes of Aimard, Brendel, Schiff, or Vogt to name but a few. While he adheres to Classical tradition only in soft, subtle playing of the keys where it is required, its mostly a fiery Slavic Romantic interpretation which we hear from him, in which he emphasizes loud, dramatic playing. His fiery, incandescent interpretation of the 1st Piano Concerto stands in stark contrast to a more elegant, refined interpretation I had heard earlier this month at Carnegie Hall from Martha Argerich accompanied by the Philadelphia Orchestra conducted by Charles Dutoit. Hers was a strictly Classical interpretation emphasizing the score's stylistic ties to Mozart's last, great piano concerti. In Pletnev's hands, the 3rd Piano Concerto receives a similar treatment, in which he emphasizes sudden changes in tempi and sound, such as in dramatic shifts between soft and loud playing, emphasizing a more Romantic connection to this work, than acknowledging its late Classical origins. While Pletnev adheres faithfully to the notes of Beethoven's scores, his style of playing is more improvisational, and thus perhaps more riveting, than other, more recent interpretations of both concerti that I have heard either live or in recordings.

I haven't heard of conductor Christian Gansch before, but he does an excellent job conducting the Russian National Orchestra in two performances that do acknowledge period instrment practice, but only to a certain extent, especially in the lean textures articulated by the wind and string sections. Indeed critic David Gutman observes in the liner notes that the Russian National Orchestra "combines lean-toned intimacy with darker Slavic sonorities. The authenticity sought is emotional, its only requirement to make the music live again for us in the here and now."

Needless to say the sound quality of this CD is superb, up to the usual high standards one expects from Deutsche Grammophon, even though this CD is from a live concert performance. I eagerly await the release of the rest of Pletnev's Beethoven piano concerto cycle, and his turns at the podium in conducting Beethoven symphonies. But I would recommend this CD as a viable, dramatic alternative to those interested in hearing a splendid recent recording of these two Beethoven piano concerti, not as a primary recommendation, even though it still earns high praise for me. For primary recommendations, I would recommend instead recordings made by Pierre-Laurent Aimard, Claudio Arrau (either of his Philips cycles), Alfred Brendel (especially from his first or second Philips cycles), Murray Perahia, and Andras Schiff.

An imagiinative triumph for Pletnev.......2007-03-14

Listening to the thousand-and-one tinkerings that Mikhail Pletnev makes in the simple Concerto #1 of Beethoven, I was reminded that this quirky artist feels free to embellish any composer, including Beethoven. You find this either irritatingly intrusive or delightfully imaginative. There are days when I can't decide which. Here the overall results are undeniably appealing, however. We know that Beethoven improvised freely at the keyboard, and althoug Pletnev doesn't add new notes, he improvises the feeling of the music, tending toward a romantic sprightliness. He makes phrases erupt, then whisper. He races around corners where other pianists don't realize that corners exist.

It's helpful that most of these expressive turns are on the micro scale. You won't hear gross distortions, and Pletnev's rubato isn't totally extreme (it comes close, though). The Concerto #3 is considered bigger and more romantic than the First, an entry into mature Beethoven, but Pletnev is light and playful in both works. I don't know his accompanist, conductor Christian Gansch, but he's a find. He gets very lovely, imaginative playing from the Russian National Orch., and DG's sound is excellent.

It all adds up to a novel, highly enjoyable version of two familiar works that Pletnev hears in unfamiliar ways.

Meeting in Moscow - Glazunov/Kabalevsky: Violin Concertos

Average customer rating:

Hauntingly beautiful melody, intricate polyrythms
Great Music-making
Russian Gems Shine in Shaham's Skillful Hands...
Mo from Cairo, Egypt
Wow...You gotta love it!

Meeting in Moscow - Glazunov/Kabalevsky: Violin Concertos

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Glazunov, Khachaturian, Kabalevsky: Violin Concertos
Mendelssohn, Bruch: Violin Concertos
Sibelius/Tchaikovsky: Violinkonzerte
Wieniawski: Violin Concertos Nos. 1 & 2
Kabalevsky: Piano Concertos Nos. 2 & 3; Colas Breugnon Overture; The Comedians

ASIN: B000001GZV
Release Date: 1998-02-10

Tracks:

Glazunov - Violin Concerto in A minor: Moderato -
Glazunov - Violin Concerto: Andante sostenuto - Tempo I -
Glazunov - Violin Concerto: Allegro
Kabalevsky - Violin Concerto in C major: Allegro molto e con brio
Kabalevsky - Violin Concerto: Andantino cantabile
Kabalevsky - Violin Concerto: Vivace giocoso
Tchaikovsky - Souvenir d'un lieu cher: Mtation. Andante molto cantabile
Tchaikovsky - Souvenir: Scherzo. Presto giocoso
Tchaikovsky - Souvenir: Mdie. Moderato con moto
Tchaikovsky - Valse-Scherzo op.34

Customer Reviews:

Hauntingly beautiful melody, intricate polyrythms.......2003-04-11

I am sure that most people have ever even heard the Kabalevsky concerto unless you happen to study the violin. Of all great Russian violin concertos, there are 5 that really stand out from the rest: Tchaikovsky, Glazunov, Prokofiev 2, Miakovasky and Kabalevsky. The focus of this review is regarding Shaham's recording of the Kabalevsky concerto, a concerto that should be more known to the masses.

Every one of those five concertos has a unique sound, the Tchaikovsky was the first written of them and was influenced by Lalo's great Symphonie Espagnole. The Lalo is a work with intricate polyrythms and it takes an advanced artist to play the temops correctly in synchronicity with the orchestra. It also takes a disciplined orchestra and skilled and sensitive conductor to allow for coordination between the soloist and the orchestra. The same could be said of the Tchaikovsky, requiring an advanced artist and conductor to play those intricate rythms togather and make it sound convincing. Well it is Tchaikovsky who influenced Glazunov, Prokofiev, Miakovasky and Kabalevsky, each wrote concertos with their own style and all seemed to contain that sence of intricate polyrythms that require a great degree of skill to pull off, it takes an artist with alot of bow control to make it really sound good. The Kabalevsky concerto is more brief than the forgotten Miakovsky making it a highly listenable work. It is so refreshing to hear the Kabalevsky with a a golden singing tone. I love the Oistrakh recording but the sound quality is so poor and dated so I listen to this recording more.

Glazunov actually wrote my favorite russian violin concerto, the brooding melody is so hauntinly beautiful and contains a melody so pure it is simply impossible not to fall in love with. The cadenza is so outrageous you will shake your head in disbelief it is so brilliant. The Tchaikovsky is much more popular but I seem to prefer the Glazunov for some reason, maybe because it it's more smooth and less choppy like in the third movement of the Tchaikovsky. This is not my favorite recording of the Glazunov as I perfer the Perlman recording. Actually Michael Rabin recorded my favorite Glazunov but that is very difficult to find.

The CD also includes incredibly melodic works by Tchaikovsky that will completely make you melt. This is appropriate because of Tchaikovsky's influence on Glazunov and Kabalevsky.

I play this CD when I want to hear the Kabalevsky, a lesser known concerto I am very fond of and you should be too.

5 stars for the Kabalevsky, 4 Stars for the Glazunov

Great Music-making.......2003-01-24

In our era of big egos, it's refreshing to see two artists of great stature come together to celebrate the magic of Russian music. Having been fortunate enough to see both Shaham and Pletnev live in recitals, I was delighted the moment Glazunov's moderato started playing. Pletnev brings his trademark energetic elegance and Shaham virtuosity (so perfectly demonstrated in recent "Devil's Dance" CD) accommodates with ease and finesse.
In Russia, Kabalevsky is most often thought of as a Bolshevik composer. While it's partly true, he also wrote some of the most exquisite violin music since - well - Glazunov, and it is actually a quite natural coupling of two great concertos.
To make this disc even better, the artists included some of Tchaikovsky's morsels. The intent, probably, was to show a connection in Russian music school even as it changed though the decades. It worked well (you can clearly hear Tchaikovsky's lyricism in Kabalevsky's 1948 concerto), but it also provided for some pure joy moments, such as Meditation (track 7).
DG, as usual these days, provided perfect sound quality. The only thing I would add, though, is the piece that "started it all," i.e. the Tchaikovsky violin concerto, but since Gil Shaham has already recorded it just a little while back with Giuseppe Sinopoli (coupled with Sibelius concerto) we could easily fill this "gap" by getting both discs.

Russian Gems Shine in Shaham's Skillful Hands..........2002-10-13

Among the violinists of his generation, Shaham is undoubtedly one of the most versatile and charismatic. His enthusiasm for the violin is evident in all his recordings. Indeed, a genuine zeal and passion for music, in general, appears to be an integral part of his engaging personality. I can attest for this, having personally heard Shaham's mesmerizing peformance of Vivaldi's Four Seasons last season with the Atlanta Symphony Orchestra. As for this particular recording, I was especially impressed by the Glazunov Concerto. In my opinion, Shaham's interpretation of this glorious work is on a par with Heifetz's majestic recording with Walter Hendl. The piece is truly a perfect vehicle for Shaham, whose lush, melodious tone is an ideal match for the Tchaikovsky-esque lyricism of Glazunov's composing. Although I'm less familiar with the Kabalevsky concerto, Shaham's exquisite rendering of it leaves me eager to collect other recordings of it such as David Oistrakh's archive performance from the 1940s. The Tchaikovsky Souvenir and Valse-Scherzo are impressive as well, but the two concerti are where Shaham's virtuousic talents are showcased most brilliantly. As a former violinist, I feel I must state that this recording should be a part of any violinist's CD collection. And even for those who are merely classical music buffs, this recording is a must-own! As I'm an enormous admirer of both Shaham and Pletnev, I can only hope the pair will collaborate on many future recordings.

Mo from Cairo, Egypt.......2001-01-10

I am in the process of studying one of the pieces from this cd (Kabalevsky), and out of all of the recordings of the kabaevsky that I have heard, this is the one that has been the most helpful to me! Gil Shaham knows how to show how it is REALLY played! The Glazanouve and the Tchaikowsky are also really beautifully played. If you like a fine balance of Russian music, BUY THIS CD!!!!

Wow...You gotta love it!.......2000-12-29

Wow this is one awesome CD! The Kabalevsky is my absolute favorite piece, and it's so fun to listen to (and fun to play too:). All the tracks on this CD are excellent, and Gil Shaham is the best violinist ever so you are bound to like it. Buy this right away! :)

Kabalevsky: Piano Concertos Nos. 2 & 3; Colas Breugnon Overture; The Comedians

Average customer rating:

First Rate Performances

Kabalevsky: Piano Concertos Nos. 2 & 3; Colas Breugnon Overture; The Comedians

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Kabalevsky: Piano Concerto Nos. 1 & 4; Symphony No. 2
Piano Concerto No. 3, Op. 50 "Youth Concerto": Schirmer's Library of Musical Classics, Vol. 2052
Rubinstein: Piano Concerto No. 4; Scharwenka: Piano Concerto No. 1
Meeting in Moscow - Glazunov/Kabalevsky: Violin Concertos
Mussorgsky: Pictures at an Exhibition; Tchaikovsky: Symphony No. 4

ASIN: B00008NRJI
Release Date: 2003-04-22

Tracks:

Allegro-Presto-L'Istesso Tempo-Presto
I. Allegro Moderato-L'Istesso Temp-Piu Mosso-Adagio Molto Sostenuto-Cadenza (Andante Con Moto-Poco Piu Mosso-Poco Sostenuto, Ma Con Fuoco-Piu Mosso)-Tempo I (Ma Poco Piu Animato)
II. Andantino Semplice-Andantino Con Moto-Meno Mosso-Tempo I
III. Allegro Molto-L'Istesso Tempo-Poco Meno Mosso-Doppio Meno Mosso-Tempo I (Doppio Piu Mosso) Poco Piu Mosso
Prologue. Allegro Vivace
Galop. Presto
March. Moderato
Waltz. Moderato
Pantomime. Sostenuto E Pesante
Intermezzo. Allegro Scherzando
Little Lyrical Scene. Andantino Semplice
Gavotte. Allegretto
Scherzo. Presto Assai E Molto Leggiero
Epilogue. Allegro Molto E Con Brio-Senza Ritardando
I Allegro Molto-Poco Piu Mosso-Cadenza (Sostenuto-Allegro Molto)-Tempo I-Poco Piu Mosso
II. Andante Con Moto-Pochissimo Piu Mosso-Ancora Pochissimo Piu Mosso-Tempo I
III. Presto-Tempo (Prestissimo)

Customer Reviews:

First Rate Performances.......2004-06-23

Dmitri Kabalevsky has been considered a Soviet composer whose music was written with one eye over his shoulder to stay in the good graces of the Communist party; hence his music was a compromise to the taste of party officials and devoid of the irony that is typical of Shostakovish's music. However, this assessment is not atypical of his music. The second movement of Kabelevsky's Second Piano Concerto, for example, is a finely wrought funeral march and his music exhibits the influence of Rachmaninov, Ravel and Prokofiev. Kabalevsky was also among the composers named in the 1948 decree that denounced Western influence in Soviet music.

This CD includes some of Kabalevsky's most popular music. It begins with the Overture to Colas Breugnon, an opera based on a novel by Romain Rolland. The story of the opera revolves around Breugnon, a Breton peasant, who thwarts a villainous Duke, thereby drawing parallels to the workers of the Soviet Union. Also on this disc is the Comedians suite, taken from the incidental music Kabalevsky wrote for a children's play called "The Inventor and the Comedians." The suite is an outstanding example of Kabalevsky's wonderful facility with melody and traditional music. The music of the Gallop is familiar from its use of the xylophone and its appearance as background music on television variety programs when someone is performing a feat of skill or coordination. The fame of the Gallop is certainly equal to Khataturian's Sabre Dance. The works of interest on this disc are the Second and Third Piano Concertos brilliantly played by Kathryn Stott. Seventeen years separate the concertos. The Second is a virtuoso work of about 24 minutes. The concerto beings with the piano stating the opening theme with the orchestra gradually joining in. The movement is strikingly like a Prokofiev concerto, witty and urbane in the dialogue between piano and orchestra. The demands on the performer are great, particularly in a difficult cadenza. The tragic tone of the center movement - a series of variations - is immediately clear in the muted tones of the orchestra and a plaintiff solo for oboe. The bleakness is somewhat relieved by a waltz-like variation but the tone of mourning is maintained throughout, a comment on the purges by Stalin that were going on in 1936. The movement is very like something Shostakovich would have written but Kabelevsky makes the movement his own. The final movement returns to the jaunty tone of the first movement. A passage with relentless percussion harkens back to the bleakness of the second movement briefly and the concerto ends on an upbeat note.

The Third Concerto was dedicated to Soviet youth and was first performed by a young Vladimir Ashkenazy. The concerto is written in a much simpler style, reflecting upon Shostakovish's Second Concerto and French music in its breezy style. The cheerfulness of the concerto is announced immediately by a short trumpet solo before the piano begins with a lyrical melody. One of the themes for the middle movement was drawn from a waltz theme written by one of Kabalevsky's children, and is presented as a charming second subject. The high spirits of this concerto make it immediately appealing and a work that will remain a pleasure to hear repeatedly.

Tracks:

I. Allegro Non Troppo - Allegro Con Spirito
II. Andante Semplice - Prestissimo - Tempo I
III. Allegro Con Fuoco
I. Quasi Rondo
II. Contrastes

Tracks:

I. Allegro Brillante
II. Andante Non Troppo
III. Allegro Con Fuoco
Allegro Brillante

Tracks:

I. Adagio - Allegro Con Brio
II. Allegro Con Grazia
III. Allegro Molto Vivace
IV. Finale: Adagio Lamentoso
Marche Slave Op.31
I. Prelude
II. Fugue A 4 Voix
III. Impromptu
IV. Marche Funebre
V. Mazurque
VI. Scherzo

Tracks:

Introduction
Danse Des Pages
Vision D'Aurore
Andante
La Fee-Argent
Le Chat Botte Et La Chatte Blanche
Gavotte
Canari Qui Chante
Le Chaperon Rouge Et Le Loup
Adagio
Finale
I. Janvier (Au Coin Du Feu)
II. Fevrier (Carnaval)
III. Mars (Chant De L'alouette)
IV. Avril (Perce-Neige)
V. Mai (Les Nuits De Mai)
VI. Juin (Barcarolle)
VII. Juillet (Chant Des Moissonneurs)
VIII. Aout (La Moisson)
IX. Septembre (La Chasse)
X. Octobre (Chant D'automne)
XI. Novembre (Course En Troika)
XII. Decembre (Noel)

Customer Reviews:

Very Impressive..........2006-10-10

this review concerns the piano concerto recordings. Pletnev and Fedoseyev and the Philharmonia play like a house on fire, and Pletnev delivers a refreshingly classical interpretation of the music..appropriate for music by a composer who loved Mozart.

Pletnev delivers a big performance that is, at the same time, utterly transparent at all times. No matter how treacherously difficult the music gets, he never comes close to losing his sange froide. But the performance is never cold. Pletnev and Fedoseyev capture Tchaikovsky's mercurial quality as well as anyone and better than most.

Most of all though, it just sounds as if Pletnev and Fedoseyev thought long and carefully about these performances..they understand this music from the inside out and nothing escapes them. Phrasing, in particular, has classical clarity and awareness that VERY few musicians every manage to find in these concertos. At the same time, this is deeply thrilling playing, especially in the outer movements. There is always a wonderful sense of occasion, and kudos to the Philharmonia, playing on the edge of their seats without ever breaking a sweat.

Additional kudos to the recording engineers, for making an ideal recording in every respect: ambience, inner-detail, attacks, dynamic range, overall perspective, solo perspective, are all simply perfect.

I have to confess to a soft-spot for Tchaikovsky's second concerto, which is, to me, a significantly better concerto than the first, although the first is much better-known...and Pletnev just plays the be-jeebers out of it, especially in the last movement, music and playing that would move a stone. You'll be on the edge of your seat yourself.

In short, this recording was when it was made, and still is, at the very top of Tchaikovsky Piano Concerto recordings.

A pleasant overall experience.......2006-08-06

Mikhail Pletnev is best known as a pianist, and then for founding the Russian National orchestra and being its first conductor. Some of his recordings as a conductor (such has his symphonic cycle of Tchaikovsky, which I have never heard, by the way) have been reviewed as poor, but these are certainly not poor. Granted, Pletnev only conducts two and plays in the rest.

That said, they are, in general, wonderful recordings. The playing in each of them is excellent, and the conducting in the Pathetique, despite Pletnev's reputation for being a better pianist that conductor, is very good. The symphony is excellent, worth the price of the set alone, and is reminiscent at times of the Mravinsky/Leningrad recording that has become something of a legend. In fact, I daresay this is better than the Mravinsky. He gets the tempi about right in it, as well, taking a bit faster tempo than I'm used to in the third movement, which I find I actually prefer. That is not as true for the Serbo-Russian March, which seems a bit fast to me. It's a fine recording, to be sure, and at times the tempo is actually very appropriate, and the playing more than makes up for the times when it isn't.

To be honest, many of the piano works I have little experience with, except the first concerto. However, I can say that the playing in the piano concertos is excellent, and Fedoseyev seems to have less of a problem with tempi than Pletnev. I have become quite a fan of Pletnev's version of the first concerto, and the second, while just as well recorded, I find to be less engaging. It is nonetheless a striking work and deserves a place in anyone's collection, and this is a good start. The Seasons (or 'musical pancakes', as Tchaikovsky put it), I find, are good pieces to listen to when I need some quiet music that doesn't distract me. The playing in them is nearly flawless, and they are pretty good pieces, given that each was written in one sitting ('quick to prepare and serve', Tchaikovsky said). Actually, nearly all of Tchaikovsky's piano music is like this. He wrote them for the money only, and considered them to be amateurish and unremarkable (though he cared little for the 1812 Overture and Fifth Symphony, as well, so don't take that to mean they are bad pieces). As such, they are considered to be nonessential, extraneous pieces. They are good to have in your collection, however, and given the quality of the other pieces, even if you're unimpressed with them, it is well worth the price. Finally, there is the arrangement of the Sleeping beauty. I can say little about the arrangement itself, not being all that familiar with the ballet and how it originally sounded, but I will say what I've said for the rest. It's played nicely. That pretty much sums up the set as a whole. I'm sure there are better, but the Pathetique justifies the price alone.

Average customer rating:

Bravo to RNO

Tchaikovsky Violin and Piano Concertos

Manufacturer: Pentatone
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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Beethoven: Sonatas Nos. 7, 14 "Moonlight," 22, 23 "Appassionata"
Chopin: 24 Préludes
Rachmaninov: Piano Concertos Nos. 2 & 4
Rachmaninov: Rhapsody on a Theme of Paganini; Variations on a Theme of Corelli; Variations on a Theme of Chopin
Beethoven: Violin Concerto; Violin Romances

ASIN: B0000BX5LQ
Release Date: 2003-09-23

Tracks:

Allegro Moderato - Christian Tetzlaff
Canzonetta (Andante) - Christian Tetzlaff
Finale (Allegro Vivacissimo) - Christian Tetzlaff
Allegro Non Troppo E Molto Maestoso - Allegro Con Spirito - Nikolai Lugansky
Andantino Simplice - Prestissimo - Tempo I - Nikolai Lugansky
Allegro Con Fuoco - Nikolai Lugansky

Customer Reviews:

Bravo to RNO.......2004-07-29

Initially, I did some research on RNO and noted that it pride itself as not related to government and only privately funded orchestra. I do not care about it. Then, I find out they receive a lot of praise for their performance in US, Europe and Japan. Lately, I discovered a wonderful recording of Peter and The Wolf (with Bill, ex-Soviet President and Sophia in it). Then, I found they are excellent in their performance.

When I bought this album, giving a high expectation of the performance. When I purchase this album with Piano concerto no 1 in it, I am pegging against Horowitz under Arturo Toscanini. It may be unfair. I noted that the performance is smooth and filled with genuine Russian soul. It is excellent in its right with the performance of Nikolai Lugansky. I have no regret and will recommend it to others who want to have an alternative playing by lesser unknown other than Lang Lang, Volodos. These piantist are over exposed in the media. Need to hear from someone with too much media praise.

Shostakovich: Concertos; Orchestral Suites; Chamber Symphonies

Average customer rating:

A Great Collection
A Mixed Bag of Shostakovich Offerings

Shostakovich: Concertos; Orchestral Suites; Chamber Symphonies

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Shostakovich: Piano Music; Chamber Works
Shostakovich: Songs; Lady Macbeth of Mtsensk
Shostakovich: The Symphonies
Prokofiev: The Complete Symphonies
Shostakovich: The String Quartets

ASIN: B000FG4KBO
Release Date: 2006-06-13

Tracks:

Waltz - Peter Masseurs
Polka - Peter Masseurs
Foxtrot - Peter Masseurs
I. Allegretto - Peter Masseurs
II. Lento - Peter Masseurs
III. Moderato - Peter Masseurs
IV. Allegro Con Brio - Peter Masseurs
March - Riccardo Chailly
Lyric Waltz - Riccardo Chailly
Dance 1 - Riccardo Chailly
Waltz 1 - Riccardo Chailly
Little Polka - Riccardo Chailly
Waltz 2 - Riccardo Chailly
Dance 2 - Riccardo Chailly
Finale - Riccardo Chailly
Tea For Two - Riccardo Chailly

Tracks:

A Spin Through Moscow - The Philadelphia Orchestra
Waltz - The Philadelphia Orchestra
Dances: Polka - Galop - The Philadelphia Orchestra
Ballet - The Philadelphia Orchestra
Introduction - The Philadelphia Orchestra
Polka - The Philadelphia Orchestra
Variations - The Philadelphia Orchestra
Tango - The Philadelphia Orchestra
Intermezzo - The Philadelphia Orchestra
Finale - The Philadelphia Orchestra
Overture - The Philadelphia Orchestra
The Cliff - The Philadelphia Orchestra
Youth (Romance) - The Philadelphia Orchestra
The Slap In The Face - The Philadelphia Orchestra
Barrel Organ - The Philadelphia Orchestra
Contredanse - The Philadelphia Orchestra
Galop - The Philadelphia Orchestra
The Market Place - The Philadelphia Orchestra
Escape - The Philadelphia Orchestra
Montanelli - The Philadelphia Orchestra
Finale - The Philadelphia Orchestra
The Austrians - The Philadelphia Orchestra
Gemma's Room - The Philadelphia Orchestra

Tracks:

Presto - Riccardo Chailly
Andante - Riccardo Chailly
The Song Of The Counterplan - Riccardo Chailly
March. The Street - Riccardo Chailly
Galop - Riccardo Chailly
Barrel Organ - Riccardo Chailly
March - Riccardo Chailly
Altai - Riccardo Chailly
In Kuzmina's Hut - Riccardo Chailly
School Children - Riccardo Chailly
Storm Scene: Storm Breaks - Riccardo Chailly
Storm Scene: Snow Storm - Riccardo Chailly
Storm Scene: Calm After The Storm - Riccardo Chailly
The Tale Of The Silly Little Mouse, Op.56 - Riccardo Chailly
Introduction - Riccardo Chailly
Palace Music - Riccardo Chailly
Ball At The Castle - Riccardo Chailly
Ball - Riccardo Chailly
In The Garden - Riccardo Chailly
Military Music - Riccardo Chailly
Scene Of The Poisoning - Riccardo Chailly
Funeral March - Riccardo Chailly
Waltz - Riccardo Chailly
Scherzo - Riccardo Chailly
Youth (Romance) - Riccardo Chailly
Finale - Riccardo Chailly

Tracks:

I. Largo - Rudolf Barshai
II. Allegro Molto - Rudolf Barshai
III. Allegretto - Rudolf Barshai
IV. Largo - Rudolf Barshai
V. Largo - Rudolf Barshai
I. Andante - Rudolf Barshai
II. Allegretto Furioso - Rudolf Barshai
III. Adagio - Rudolf Barshai
IV. Allegretto - Andante - Rudolf Barshai
I. Allegretto - Rudolf Barshai
II. Andantino - Rudolf Barshai
III. Allegretto - Rudolf Barshai
IV. Allegretto - Rudolf Barshai

Tracks:

Introduction And Night Patrol - Neeme Jarvi
Funeral March - Neeme Jarvi
Flourish And Dance Music - Neeme Jarvi
The Hunt - Neeme Jarvi
Pantomime Of The Actors - Neeme Jarvi
Procession - Neeme Jarvi
Musical Pantomime - Neeme Jarvi
Banquet - Neeme Jarvi
Ophelia's Song - Neeme Jarvi
Cradle Song - Neeme Jarvi
Requiem - Neeme Jarvi
Tournament - Neeme Jarvi
Fortinbras's March - Neeme Jarvi
Introduction - Neeme Jarvi
Adagio - Neeme Jarvi
Polka - Neeme Jarvi
Dance - Neeme Jarvi
Overture - Neeme Jarvi
Bureaucrat's Dance - Neeme Jarvi
Drayman's Dance - Neeme Jarvi
Tango - Neeme Jarvi
Intermezzo - Neeme Jarvi
The Colonial Slavegirl's Dance - Neeme Jarvi
The Yes-Man - Neeme Jarvi
General Dance And Apotheosis - Neeme Jarvi

Tracks:

Overture On Russian And Kirghiz Folk Themes, Op.115 - Bernard Haitink
When The War Ended - Nikita Storojev
We Will Clothe Our Homeland With Forests - Nikita Storojev
Memories Of The Past - Nikita Storojev
The Pioneers Plant The Forests - Nikita Storojev
The Young Communists Go Forth - Nikita Storojev
A Walk In The Future - Nikita Storojev
Glory - Nikita Storojev
Funeral And Triumphal Prelude, Op.130 - Royal Philharmonic Orchestra
The Execution Of Stepan Razini, Op.119 - Herbert Kegel

Tracks:

Festival Overture, Op.96 - Cristina Ortiz
I. Allegro - Cristina Ortiz
II. Andante - Cristina Ortiz
III. Allegro - Cristina Ortiz
Moderato - Royal Philharmonic Orchestra
Andante - Royal Philharmonic Orchestra
Largo - Royal Philharmonic Orchestra
Moderato - Royal Philharmonic Orchestra
Allegretto - Royal Philharmonic Orchestra
I. Allegretto - Rudolf Barshai
II. Moderato Con Moto - Rudolf Barshai
III. Allegro Non Troppo - Rudolf Barshai
IV. Adagio - Rudolf Barshai
V. Moderato - Rudolf Barshai
Symphonic Poem - Royal Philharmonic Orchestra

Tracks:

I. Nocturne: Moderato - Andre Previn
II. Scherzo: Allegro - Andre Previn
III. Passacaglia: Andante - Andre Previn
IV. Burlesque: Allegro Con Brio - Presto - Andre Previn
I. Moderato - Boston Symphony Orchestra
II. Adagio - Boston Symphony Orchestra
III. Adagio - Allegro - Boston Symphony Orchestra

Tracks:

I. Allegretto - Symphonieorchester Des Bayerischen Rundfunks
II. Moderato - Symphonieorchester Des Bayerischen Rundfunks
III. Cadenza - Symphonieorchester Des Bayerischen Rundfunks
IV. Allegro Con Moto - Symphonieorchester Des Bayerischen Rundfunks
I. Largo - Symphonieorchester Des Bayerischen Rundfunks
II. Allegretto - Symphonieorchester Des Bayerischen Rundfunks
III. Allegretto - Symphonieorchester Des Bayerischen Rundfunks

Customer Reviews:

A Great Collection.......2006-07-14

This collection of the orchestral suites and chamber symphonies filled a gap in my collection of Shostakovich's music with the exception of the concertos. The CDs are generously filled with the majority of the nine going over 70 minutes. For the most part, I thought the arrangement of the music on the discs was very good. I liked having the first piano concerto between the jazz suites but it is odd that the two tracks from the film Pirogov are separated by the Romance from The Gadfly. To the casual observer, it might appear that the CDs duplicates some music as the collection contains suites from both of the film versions of Hamlet (from 1932 and 1964) and two suites from the ballet The Bolt (from 1931 and 1934) but they are distinctly different (the Bolt suites share the Intermezzo and Tango). The only piece that is duplicated is the Romance found in the suite and by itself.

Perhaps the gem of this collection are the four chamber symphonies, orchestrated by Rudolf Barshai, that are played by the Chamber Orchestra of Europe with Maestro Barshai conducting. There are some other gems in the set like an inspired performance of the Execution of Stephan Razin conducted by Herbert Kegel and the Overture on Russian and Kirghiz Folk Themes conducted by Bernard Haitink. I had not heard the latter piece for several years; a very colorful overture and a delight. My preference is for David Oistrakh and Mstislav Rostropovich is the Violin and Cello concertos; they are well represented in this set. The Violin concertos are played by Victoria Mullova (No. 1) and Gidon Kremer (No. 2). Heinrich Schiff plays both Cello Concertos under Maxim Shostakovich and turns in fabulous performances. The First Piano Concerto is well-played but I did not care for the performance of the Second Piano Concerto with the middle movement being particularly slow in tempo.

So, there is much in this collection to enjoy. I was only duplicating the concertos with some of the music unknown to me (such as The Counterplan and Alone) or unheard for a long time. Highly recommended.

A Mixed Bag of Shostakovich Offerings.......2006-06-21

For those who love Shostakovich, this 9 disk set appears to be the definitive collection of his music which, apart from the concertos, does not fit in the more common categories of classical works. The Orchestral Suites include those from film works, ballets, and the like, and the Chamber Symphonies are, as the category implies, works for small orchestral groupings.

Shostakovich's works are often fun. When they aren't fun they are often, at least, satirical. But Shostakovich cannot be pigeon-holed so easily. He wrote some of the best "serious" classical works that came out of the 20th Century. This collection includes many such works, and all are worth listening to.

The major drawback in the set are the physical arrangement of the tracks. The first of the nine disks begin with a Jazz Suite, followed by Piano Concerto No. 1, followed by another Jazz Suite. (If you listen to the Jazz Suites as satire, they aren't half bad, but if you are expecting Coltrane, ..., well just remember that Jazz is an American idiom.) But why sandwich a major piano concerto between two more or less more frivolous works? This disk concludes with his satirical Tea for Two orchestration titled Tahiti Trot.

There are a couple of suites from various stage or film music: We get some of them in various versions. These are spaced among other works so one doesn't have to hear two versions back to back. For example "Youth" from Gadfly.

Then we get The Execution of Steven Razin shortly after the Songs of the Forests. To me these make strange disk fellows even though both are vocal works.

This is one of the first collections I would recommend you rip to MP3, WMA, or the like, and then create playlists more to what you would like. (Of course, if you are adept at programming your CD player you could do that as well, but unfortunately most of the pieces I want to hear together reside on several disks.

Given these drawbacks, the set is still worth while. Listen and enjoy, but expect some whiplash as the producers jerk you along.

Average customer rating:

Phenomenal recording of Russian Horn music
Amazing
Amazing

Russian Horn Concertos

Manufacturer: Koch Schwann (Germ.)
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

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

R. Strauss: Horn Concertos Nos. 1 & 2; Duet Concertino; Serenade for Wind
Brahms & Beethoven: Music for Horn
Virtuoso Horn

ASIN: B000001STL
Release Date: 1995-01-24

Tracks:

Con Op.91 for Hn & Orch: I. Allegro
Con Op.91 for Hn & Orch: II. Andante
Con Op.91 for Hn & Orch: III. Moderato. Allegro vivace
Four Pieces for Hn & Pno: 1. Romace, Op.35, No.6
Four Pieces for Hn & Pno: 2. Valse triste, Op.35, No.7
Four Pieces for Hn & Pno: 3. Intermezzo, Op.35, No.11
Four Pieces for Hn & Pno: 4. Nocturne, Op.35, No.10
Reverie, Op.24: Andantino
Ser, Op.11, No.2: Allegro scherzando
Idyll: Andante
Conc Op.14, No.2, for Hn & Orch: I. Andante cantabile. Allegro moderato
Conc Op.14, No.2, for Hn & Orch: II. Andante
Conc Op.14, No.2, for Hn & Orch: III. Vivo

Customer Reviews:

Phenomenal recording of Russian Horn music.......2004-04-07

This CD opens with the Gliere Horn Concerto - this is the best recording available of this piece. Neunecker has musicality that is unparalleled in any other recordings available. The other tracks are also played incredibly. The music of Glazunov though not a concerto, is played with an orchestra and is beautiful to listen to. The smoothness of the horn is wonderful. You won't find that on any other recording. The exciting Shebalin Concerto concludes this CD, and if there are other reecordings, I can guarantee that this is the best one. Basically, the only issue I have is with the title of the CD since only six of the thirteen tracks are from concerti.

Amazing.......2003-07-25

This is easily one of the best recordings of the Gliere horn concerto ever made. Marie Luise Neunecker plays with passion and an amazing sound to match. She is not afraid to approach this piece in a new light, and the results are stunning. I am more in love with this recording than any other, including the very acclaimed Hermann Baumann. This is essential Gliere, and an essential addition to any horn player's library. I would reccomend this Gliere recording over any other, and I think after you hear it, you will easily understand why.

Amazing.......2003-07-25

Rachmaninov: Piano Concertos Nos. 2 & 3 [Hybrid SACD]

Average customer rating:

Mr. Hall is confused about what is on this disk
CAUTION
Incredible

Rachmaninov: Piano Concertos Nos. 2 & 3 [Hybrid SACD]

Manufacturer: Lydian
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Tchaikovsky: Violin Concerto [Hybrid SACD]
Mozart: Flute Concertos; Rondo; Andante [Includes the Bis 2005 Catalog] [Hybrid SACD]
Bach: The Four Great Toccatas and Fugues [SACD]
Concord Records SACD Sampler 1 (Multichannel Hybrid SACD)
Rimsky-Korsakov: Scheherazade; Stravinsky: Song of the Nightingale [Hybrid SACD]

ASIN: B000001KMT
Release Date: 1994-08-23

Tracks:

Moderato - Allegro
Adagio Sostenuto
Allegro Scherzando
Allegro Ma Non Tanto
Intermezzo: Adagio
Finale: Alla Breve

Customer Reviews:

Mr. Hall is confused about what is on this disk.......2006-10-16

Mr. Hall's comments on this item correctly list the UPC number for the Rachmaninov Piano Concertos SACD which is pictured at the top of this page, but then goes on to make reference to an altogether different CD. Be assured that this is, indeed, Piano Concertos 2 & 3 with Konstantin Scherbakov performing, and Dmity Yablonsky conducting the Russian State Symphony Orchestra.

CAUTION.......2006-01-20

INQUIRE BEFORE PURCHASING!!!

This CD infomation and Picture are incorrect or have been crossed linked.
It is also possible that the two CDs carry the same UPC or the UPC has been recycled.
Regardless, for your's and sanity's sake... Purchase with caution, there is a 50/50 chance you will end up with either title.

The alternate info for this [UPC: 747313101320] is as follows:

Catalog No.: 18013
Label: Lydian

Mozart: Eine Kliene Nachtmusik / Three Salsburg Symphonies
Conductor: Eduard Fischer
Orchestra: Accademia Ziliniana

Track Listing:

Eine Kliene Nacchtmusik, K. 525
1. Allegro [8:00]
2. Romanze [5:50]
3. Menuetto [2:47]
4. Rondo: Allegro [2:57]

Salzburg Symphony No. 1, K. 136
5. Allegro [6:08]
6. Andante [5:16]
7. Presto [3:38]

Salzburg Symphony No. 2, K. 137
8. Andante [5:55]
9. Allegro di molto [3:32]
10. Allegro Assai [2:53]

Salzburg Symphony No. 3, K. 138
11. Allegro [5:39]
12. Andante [6:24]
13. Presto [1:59]

Incredible.......2005-10-12

I have only listened to the 2-channel SACD track (I've got a very good stereo setup), but the quality is honestly phenominal. The music is so incredibly fluid - the piano, percussion and brass are all almost startling and possess wonderful imaging. The clarity and instrument separation are amazing.. truly a top quality SACD recording. If you like Rachmaninov's music, you will love this recording, and if you have an especially high-end audio set-up, this could easily be one of your reference discs. I also found the performance itself extremely good. If conveys lots of emotion and made the listening experience just wonderful.

Track Listings:

Track Listings

track listings

Track Listings

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