Complete Orchestra Works 5

Editorial Reviews
Amazon.com
The Baroque orchestral suite, in which a grand overture was followed by a suite of dances, survived well into our century. Enescu's Second Suite is a case in point. True to form, it begins with a movement called "Overture" and continues with a selection of Baroque-style dances; only the tunes are just as likely to derive from Romanian folk music. A delightful work. The Third Suite, by contrast, abandons any Baroque pretensions and simply illustrates life in a Romanian village. It's a late piece, very sophisticated and refined. Both suites are played and conducted only as people who know and love the music well can. --David Hurwitz

Tracks:

Tuning Up
Amques (Original Version)
Po ectronique
Arcana
Nocturnal
Un Grand Sommeil Noir (Orchestral Version)

Tracks:

Un Grand Sommeil Noir (Original Version)
Offrandes: Chanson de laut
Offrandes: La Croix du Sud
Hyperprism
Octandre: Assez lent
Octandre: Trvif et nerveux
Octandre: Grave - Animt jubilatoire
Intales
Ecuatorial
Ionisation
Density 21.5
Drts: 1st Episode
Drts: 1st interpolation of organized sound
Drts: 2nd episode
Drts: 2nd interpolation
Drts: 3rd episode
Drts: 3rd interpolation
Drts: 4th episode
Dance for Burgess

Amazon.com essential recording

For a composer who is (now) recognizably part of the 20th-century classical canon, the French émigré Edgard Varèse's output was astoundingly meager. Just 15 compositions from his entire life (he destroyed the compositions from his early years, and was a merciless editor of his own material in general) made it out to the listening world. Varèse was caught in the chasm between the music of yesterday and the music of tomorrow: scoring music for modified theremin, steamboat whistles, or air sirens, all balanced with the force of a large orchestra; writing pieces based on the flows of water and wind because that's what shapes the earth; using the concepts of chemical reactions and specific gravity as a basis for his music. Using extremes of contrast, dissonance, and variety in sound, Varèse's pieces had power in the way he attacked and shaped the sound he imagined. From Ionisation (1929), scored almost entirely for unpitched percussion, to the electronic-only, three-dimensionally produced Poeme Electronique (1958), he's provided a foundation that many genres, musicians, and composers were to build from not only for the next 40 years, but inevitably beyond. --Robin Edgerton

Customer Reviews:

Superb with just one reservation.......2006-11-10

This complete works of Varèse, superbly performed and recorded, is a fine accomplishment. My only disappointment was its version of Poème Elèctronique being the sole representation of that ground-breaking work that still holds up for me today as one of the finest pieces of electronic music yet created. It is interesting to be able to hear the version in this collection, which appears to be a loving restoration of what must have been primarily the raw, performing version, to be further enhanced during its performances in a very large space? What I miss in the present version is the more clearly heard textures of its huge sound palette; the resonant and often humerous interplay between them, and its dramatic sweep as it was presented on a sparcely documented stereo mix that first appeared on a Columbia Records LP, later reissued on a CD, now out of print. That one is surely more like an actual performance, presumably mixed to re-create as well as possible then what it might have sounded like over its four hundred loudspeakers in the Philips Pavillion. I hope there will be further reissues. To me the CBS version's drama and energy are more like that of the performances of the other pieces in this wonderful Complete Works set. -Curt Wittig

Go ahead, test your intelligence..........2006-06-18

Frank Zappa used to play Varese to test the intelligence of his friends, and most of them used to look at him like he was "out of his f---ing mind" as he put it. As a major Zappa fan, I bought this compliation, and I love every minute of it. This 2 CD set contains all of Varese's work (needless to say, Edgar wasn't very prolific). You really hear Varese's influence in Zappa's work. Some favorite pieces are Deserts, Poem Electronique, and Un Grand Sommeil Noir (Original Version). Varese's music reminds me of universes being created, in all their violence, beauty, and glory. Instruments crashing down upon one another. This music is reminiscent of Zappa's Weasels Ripped My Flesh and his orchestral work especially. Varese is one of the great American composers, like Aaron Copland, John Cage, and Conlon Nancarrow. Superb....

The definitive recordings........2005-11-09

Riccardo Chailly once said Varèse was going to be the Brahms of the XXI Century. I really don't know if he will be right or wrong, specially because of the very conservative auditoriums we have all around the world, but it should be this way, as the french composer has died too many years ago and his music should be understood but most of the public. It's sad to know that composers, like the own Mahler said, use to be years, decades, even centuries in advance to the general public .

Anyway, it's very important for the popular knowledge of this composers to have recordings like this, in which everything works perfectly as if it was a clock. After many years having some good recordings conducted by Boulez (Sony) and Nagano (Erato) mainly, we have now the possibility of listening one of the most musical and technical orchestra & baton of this time: The Concertgebouworkest and Riccado Chailly.

Most of the versions in this 2CDs set are the best I know, specially the orchestral works, played with conviction and precision by the Concertgebouworkest, an orchestra that had some problems with Mr.Chailly when they begin to play this, for them, `rare' music. The way Arcana sounds its incredible, full of power, mistery and perfection, the performing of Ameriques is breathtaking and I can only compare it with the truly outstanding version by Pierre Boulez with the CSO for DG. Deserts is a new dimension in Chailly's hands, really terrible and full of dark emotions.

Of course, there are little things that could be a bit better, like the Spanish sung in Ecuatorial, better sung in Nagano's version, but generally the performing is marvellous and the instrumental and ondes Martenot's playing in this piece is perfect in Chailly's version.

The ASKO Ensemble versions are outstanding too, showing a very modern Varèse. The performing of Ionisation, that great jewel, listened with a good Hi-Fi system is a experience not to be lost.

The recordings are very good, not outstanding, as it sounds like distant sometimes, but clear and with good definition, of course better with good electronics.

Booklet and presentation of the box is marvellous too; as it has to be in real event in recorded music in the last decades.

Sound Splitting Music.......2002-06-25

First, let me state that I am a long-time Varese fanatic. I first heard Ionisation live at a contemporary music concert in my town when I was 12, and I was hooked. I immediately bought the old Robert Craft double album on Columbia and played it until there were scratches on the scratches. So I was overjoyed to see a modern "complete" recording with up to date sonics. For the most part, I haven't been too disappointed with the performances either.

Chailly is great on much of this music. Ameriques and Arcana are sonic extravagazas. And this is the best recording I've heard of Nocturnal and Ecuatorial. Chailly does a good job with the chamber pieces of the 20s and 30s, though I agree with other reviewers, Boulez is much clearer on Ionisation. Chailly misses some of my favorite parts, and I find it hard to hear the first snare drum theme. (I'm also quite partial to Craft's version, but I don't think it's available anymore.)

I also must add to the chorus of exceptions on the questionable material. The orhestrated version of the solo song has no place on this CD. It doesn't sound like Varese, more like Debussy, and though the song is quite impressionistic, I think we presume too much to orchestrate it and pass it off as "complete" Varese. And neither Tune Up nor Dance for Burgess really add much to our understanding of Varese, and are of questionable value. I suspect that Varese would have destroyed them completely had he been able. Much better to have a recording of the revised version of Ameriques. The revision is so extensive, that a side by side comparison would be illuminating.

All in all, I like this CD. Chailly's take on Varese is big and passionate, something that I think both Boulez and Craft miss. Abravanel comes close to this passion, but Chailly wins because of the gorgeous sonics. I highly recommend this CD to those interested in exploring the unique sound world of Varese.

An aural knockout.......2002-02-01

Here are two discs with some of the most exciting 20th-century music around. Chailly and the Concertgebouw give definitive readings of Varèse's complex pieces, some written for a huge orchestra, and recorded in typically opulent London sound.

My favorites are, without a doubt, "Ameriques" and "Arcana," two explosive showpieces that will give your sound system quite a workout. But far from being merely loud, the scores have many beautiful textures (including quiet ones) scattered throughout the orchestra, and Chailly captures much of the glittering detail.

I even like "Tuning Up," which may seem like a less substantial work to most ears. To be fair, if the piece is not the last word in Varèse's imagination, it is clever enough for its short duration, and as with everything on this disc, the orchestra sounds superb and totally undaunted. Their virtuosity is both satisfying and thrilling, especially in such seldom-performed music.

Make sure your neighbors are away before turning up the performance of "Ameriques," though - the last few pages will blow your roof off.

Customer Reviews:

The classical heritage .......2006-04-16

The visible embellishment of this noble instrument was enriched still more by the Spanish composers, who following the traces of his contemporaries. In the case of Fernando Sor, Haydn was his musical guide, where as Aguado, could establish himself with major vehemence, due its particular style, based in the notable right-hand articulation, eschewed the classical patterns, being able to print his own music a flamboyant and refined character.

In the particular case of Fernando Sor, we have a wisdom blending of the counterpoint technique, an evocative mood from his own that, added the well known influence of the Italian composers (Domenico Cimarrosa and Giovanni Batista Pergolesi) and his beloved love for the Operatic genre, allowed him to enrich still more the lyrical possibilities of the guitar. Besides, unlike Nicolo Paganini, for instance fortunately did not transform the guitar in a simple device to show his overwhelming gifts. He used the guitar to play music, on the opposite approach of Paganini who used the music as mere device to play his instrument.

In the guitar genre there has not been most deserved and superb tribute to Mozart that this Variations Op. 9 based on a motive of The most famous Mozart ?s Magic Flute. Loaded of such imaginative freshness and enraptured inspiration you may notice that one of the Variations conserves an undeniable Italian flavor; this is one of the most beloved hidden treasures the guitar can offers us, which raise with special charm in the hands of this formidable soloist.

Aguado on the contrary acquired due his personal state of things, a notable adroitness who excelled by far, to Sor, so his musical approaches rode in opposite directions, trying to exploit at maximum levels the technical possibilities of the instrument.

Julian Bream makes a colossal tribute to both composers in this egregious and golden album.

Saint-Saëns: The Complete Works for Piano & Orchestra

Average customer rating:

Russian Nights
Renaissance Man
Critically acclaimed - and a favorite of mine, too
A Fine Set, But Not as Fine as It Might Be
An Outstanding Set

Saint-Saëns: The Complete Works for Piano & Orchestra

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

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Saint-Saëns: Les 5 Symphonies
Rachmaninov: Piano Concertos / Paganini Rhapsody
Rubinstein: Piano Concerto No. 4; Scharwenka: Piano Concerto No. 1
Mendelssohn: Piano Concerti Nos. 1 & 2; Capriccio Brillant; Rondo Brillant
Scharwenka: Piano Concerto No. 4 in F minor; Sauer: Piano Concerto No. 1 in E minor

ASIN: B00005NUPA
Release Date: 2001-10-09

Amazon.com

Pianist Stephen Hough is a certified genius, recipient of a 2001 MacArthur Foundation "genius grant." Although he apparently received the award for his explorations of uncommon piano repertoire, he also deserved it for the quality of his piano tone, which is extremely beautiful, as conveyed here by Hyperion's lush recording of the Saint-Saens piano concertos. Unlike most previous volumes of Hyperion's Romantic Piano Concerto series, this one includes some familiar works, especially the Second Piano Concerto. If you listen to that first, you'll realize just how good Hough's performances are throughout this set, since he matches any of the great pianists who have recorded the work. Notice the way he zips through the incredibly fast finale without the slightest hint of effort or rush. Although the Second, Fourth, and Fifth Concertos are the only ones still heard in our concert halls, all these pieces have their attractions--especially the delightful waltz "Wedding Cake," which would make a great concert encore. Sakari Oramo, the new music director of the City of Birmingham Symphony Orchestra, provides alert accompaniment, rich in detail, and the orchestra plays beautifully. This isn't an inexpensive set, but quality like this is cheap at any price. --Leslie Gerber

Customer Reviews:

Russian Nights.......2007-05-08

Great music! And it came with a freebie trial CD of some other Classical CDs- like getting a free CD.

Renaissance Man.......2006-04-05

Saint-Saens was a Renaissance man: botany, astronomy, archeology, mathematics, natural history, and philosophy were subjects he participated in throughout his life. He wrote articles, read papers at scientific societies, contributed notes to learned journals on the eclipse of the sun, and published a volume of poetry. Saint-Saens was also a musical child prodigy; began piano lessons at age 2 ½, at 3 wrote his first composition, and memorized a recital of Mozart and Beethoven concertos, as well as music by Handel, Hummel, and Bach. This CD of piano/orchestral works is a showcase of Saint-Saens' brilliant musical mind, one which was considered old-fashioned by modern composers of the time, and fused Classicism and Romanticism together, a style today's society is happy to have, since Saint-Saens could have easily been successful in another career.

The four character pieces for piano and orchestra are all rather interesting. Wedding Cake (6')is a waltz-caprice for piano and strings alone; a dainty showpiece in a whimsical setting, sparring gentility vs. extroverted. The Allegro Appassionato (5') is also a showpiece with lightning-quick orchestral and piano work, with a lush, contrasted middle. Rhapsodie d'Auvergne (8') uses a folk-based melody Saint-Saens heard a French washer-woman singing. Fresh, captivating melody and orchestration, the music is emotionally moving, along with come snappier folk-like ideas in contrast. The last, Africa (9'), is taken from Saint-Saens' many travels abroad: Algeria, Canary Islands, Africa, Russia, South America, USA, Scandinavia, and Indonesia; Saint-Saens in fact studied the folk music of North Africa. The work, Africa, is a sort of fantasy on many tunes from North Africa, another neat orchestral/piano showpiece.

The five piano concertos show a growth in composition from Saint-Saens over a period of time. The first (26')is inspired by the Fontainebleau forest; there is fresh vitality, youthful optimism, as well as occasional Spanish harmonic inflections, a trend Saint-Saens will continue more in his lifetime. The second concerto (21'), with its gruff, minor opening, is a Romantic counterpart to his first; long sweeping lines, a fanciful scherzo, and dramatic sweep throughout show a maturing Saint-Saens. Concerto No. 3 (25')shows Saint-Saens' penchant for melody; while the opening is a bit wandering and ponderous, there is a catchy, heroic theme; an emotional second mvt., and an infectious finale theme, a heavy barcarolle/dance type feel, for an emotional and fun concerto. The fourth concerto (24'), only in two movements, begins with a sneaky theme in a sort of theme and variation form, along with a chorale reminiscent of his "Organ" Symphony, but ending with a lively scherzo, a simple melody, and a dashing finale, showing simplicity and classicism in his mature style. The last concerto (27'), often called "Egyptian", is unabashedly Romantic, including some bold and striking Spanish rhythms, some unusual modes and syncopations, some orientalism (weird voicings and multi-cultural devices that are unusually forward-looking for Saint-Saens), and an optimistic finale. The evolution of time shows Saint-Saens embracing the past, with a special hold on Romanticism, but surprises me with no lack of inventiveness in later life, not to mention a never-quelling mind for tunefulness, evident in all of these works.

These are very good performances by Stephen Hough on piano and the City of Birmingham Symphony Orchestra under Sakari Oramo. The orchestra is rich and full, all voices speak clearly and play with lightness, humor, and grandeur when asked for; all in all a terrific ensemble presentation. The pianist is remarkably at home; nothing is heavy (which is rarely called for in Saint-Saens), bringing out the classicism in his music. Instead, texture and color are Saint-Saens' best Romantic attributes, and Hough brings those out, not to mention extremely clean playing. The piano is miked close, and the sound is forward and "dry", but Hough backs off when his role requires it, and the piano and orchestra work remarkably well together, playing off one another at times. The Hyperion sound is excellent and makes the disk a success, a resonant atmosphere and crisp playing are captured on this disk well. The CD's are full as well: CD1 at 79+ minutes and CD2 at 76 minutes, is a lot of music, and the extra four character pieces on top of the concertos makes this a must-have. Excellent performances with amazing sound; recommended. TT: 155.28

Critically acclaimed - and a favorite of mine, too.......2003-09-24

This wonderful recording of the Saint-Saens concertos does a fine job of rendering the Romantic style without getting smug about it. Hough gives them an appropriately warm and colourful feel, without lapsing into the overly lush and indistinct sound I associate with other performances. The four non-concerto pieces make this a very nice set, and the flamboyant 'Africa' in particular will keep you coming back for more.

I have always been a fan of Stephen Hough, from the first time I saw his hands dissolve into an utter blur - not for one measure or passage, but for most of a fiery encore (we got three out of him that night!). These discs prove his facility with somewhat mellower fare, and have brought Saint-Saens back to my attention after years of (unintentional) neglect. If you want mighty and massive, Saint-Saens' German or Russian contemporaries will be more satisfying; but lyrical works like these should not be overlooked if you want to be acquainted with the best of the piano concerto form.

A Fine Set, But Not as Fine as It Might Be.......2003-07-29

The most remarkable feature of this recording may also be one of its chief drawbacks-namely that all of Saint-Saens' concerted music of piano is crammed onto two chock-a-block discs. I doubt, given the technical limitations of the compact disc, that Hyperion could have added a brief etude or caprice to either of these CDs. Great value, then, except that it seems this compactness came at a price. Almost all of these works seem rushed in spots, as if Hough and company knew they were working against space constraints. I can't say for a fact that this is true, but while there is no end of brio and élan in these performances, there is often a lack of the Gallic elegance that Saint-Saens also provides in works that, not surprisingly, the suave, fastidious craftsman Maurice Ravel cited as models for his concertos.

If all you know is the popular Second Concerto, which some wag once claimed as traversing music history "from Bach to Offenbach," then you only know the shallowest of Saint-Saens' concertos. If you are not familiar with the Fourth Concerto, Saint-Saens' finest orchestral work, you should be. Built on the same architectural principles as the composer's popular Organ Symphony, this is more successful still and certainly more tasteful, though, as in the Organ Symphony, the finale is the weakest bit and keeps the concerto in the realm of the near-great rather than the great. Hough and Oramo lavish their best work on this concerto, and the performance is a winner, from the mysterious opening to the resounding appearance of the motto theme in chorale treatment by the brass. (After that, it's all downhill for the concerto anyway, as Saint-Saens ends with some especially empty display work for the pianist.)

Elsewhere, I find a lack of willingness on the part of the soloist and conductor to let the music expand naturally. This is especially true in the slow movement of the Egyptian Concerto (No. 5), which here lacks the requisite exoticism and even mysticism, I think. Ditto Saint-Saens' other North Africa-inspired piece titled simply "Africa." There may be something of the slapdash about this work anyway, though I enjoy it, but the performers give this less-than-vintage Saint-Saens no time to breathe, which it sorely needs if it is to survive at all. There's a tendency to rush the charming First Concerto, too, and there, despite all the brilliance, goes some of the charm. On the other hand, the underrated Third Concerto sounds imposing and even important in Hough's performance, and if he can't do much for the commonplace music of the finale, no one else can either.

One other problem has to do with the recording. In general, Hyperion's Romantic Piano Concerto series has featured fine, natural sound, but here the sound is very close and dry, with the piano placed in an unnaturally forward and rather airless perspective.

So while I'm, as always, impressed by the brilliance of Hough's playing in these concertos, I think something important is missing. And as fine as the Fourth Concerto and parts of the other concertos are in these performances, overall I prefer Jean-Phillipe Collard and Andre Previn. The sound on their EMI discs (catalog number 73356) is more recessed and maybe a little lacking in presence but much more realistic overall. And the performances have all the Gallic elegance that Hough and Oramo's lack. Add to this EMI's two-fer price, and you can't go wrong.

So if your budget allows for two sets of Saint-Saens concertos, certainly Hough's should be one of them. Otherwise, I think Collard is your man.

An Outstanding Set.......2001-12-13

I read a comment several years ago by the pianist Phillipe Entremont that he felt the Saint Saens concerto's lacked the emotional charge of the German concertos (Beethoven, Schumann etc.) I think this comment is shortsighted in that it neglects the many concertos written for the instrument between Beethoven and Saint Saens, a tradition that the Romantic Piano Series provides insight into. It is arguable that Saint Saens (a true Renaissance man) was the most accomplished composer-performer of his day and his piano concertos represent a high point. Perhaps the awful truth is that these concertos are fun to listen to. They are virtuoso pieces that sparkle and delight. Perhaps not as profound as some concertos but works that should be heard much more frequently in the concert hall.

Tracks:

I. En Bateau
II. Cortege
III. Menuet
IV. Ballet
Marche Ecossaise Sur Un Theme Populaire
I. Pour Invoquer Pan
II. Pour Un Tombeau Sans Nom
III. Pour Que La Nuit Soit Propice
IV. Pour La Danseuse Aux Crotales
V. Pour L'Egyptienne
VI. Pour Remercier La Pluie Au Matin
Lindaraja
I. Avec Emportement
II. Lent - Sombre
III. Scherzando
Prelude A L'apres-Midi D'un Faune
I. Nuages
II. Fetes
II. Entre-Cloches

Tracks:

I. Pavane De La Belle Au Bois Dormant
II. Petit Poucet
III. Laideronnette, Imperatrice Des Pagodes
IV. Les Entretiens De La Belle Et De La Bete
V. Le Jardin Feerique
Frontispice: For Two Pianos And One Hand
Mouvement De Vaise Viennoise
I. Prelude A La Nuit
II. Malaguena
III. Habanera
IV. Feria
I. L'Escarpolette
II. La Toupie
III. La Poupee
IV. Les Chevaux De Bois
V. Le Volant
VI. Trompette Et Tambour
VII. Les Bulles De Savon
VIII. Les Quatre Coins
IX. Colin-Maillard
X. Saute-Mouton
XI. Petit Mari, Petite Femme!
XII. Le Bal
L'Apprenti Sorcier

Customer Reviews:

Superlative Performances.......2007-03-07

Superlative Duo in superlative music - really sums up these performances. The Debussy is sublime from the "Six Epigraphes antiques" the exotic,"Lindaraja", the spirited,"Marche Ecossaise",the charming, "Petite Suite", to the modern abstract,"En Blanc et noir". The Ravel is as ravishing and the music's strong linear sweep is revealed in two pianos or four hands(with Ravel's "Frontispice" for two piano with one hand - an unusual combination). This is music that brightens up your aural realm!

Average customer rating:

Outstanding music and great value!!
Excellent
Very Highly Recommended

Guitarra española

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Romance D'Amour
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Liszt: Works for Piano and Orchestra

ASIN: B0000B09Z5
Release Date: 2004-03-09

Customer Reviews:

Outstanding music and great value!!.......2006-04-02

Narciso Yepes is my favorite classical guitarist. I was delighted to hear a couple guitar concertos I had never heard before. Ohana, Bacarisse, and Ruiz-Pipo were great discoveries. Again, Yepes is the BEST. Strongly recommended.

Excellent.......2005-08-22

The late Narciso Yepes is perhaps my favorite guitarist- Spanish or otherwse. With each of his recordings there is the sense of a madman, master, and poet at one with his instrument. I recently purchased "Guitarra espagnola" and have found endless enjoyment listening critically and as background while I work. This is the perfect "not background music" background music to play when you have guests. You and your guests will find yourself withdrawing from lively conversations to enjoy a poignant, sweet, or sinister moment with the music. This is a compilation of recordings from the past 20 to 30 years. The compositions span from the 17th to 20th century. The quality of the recordings is very good but at times varied. The availability of the compilation is very limited. Get it while you can! I also recommend Alirio Diaz and John Williams.

Very Highly Recommended.......2004-05-08

I cannot recommend this retrospective of just a small amount of Yepes's work highly enough.

No matter what popular and lay opinions may be about Williams, Bream, Segovia, and others, the greatest classical guitarist of the 20th century was Narciso Yepes. It is a pity and a shame that the fear of the older generation of guitarists and their associates made Yepes a marginal figure.

He was a consummate technician and a knowledgeable interpreter of all musical idioms from the Middle Ages through to the height of the 20th Century avant-garde. His playing was characterized by intelligence, sensibility, clarity, power, majesty, poetry, and a devilish ability to separate and sustain contrapuntal lines.

In this box of 5 CDs you will find the definitive performance of Rodrigo's now famous "Aranjuez" concerto, which, incidentally, was first recorded and made famous by Yepes. There are also 2 CDs with rare concertos by Salvador Bacarisse, Antonio Ruiz-Pipo, and Maurice Ohana.

The other 3 CD's contain generally the best performances of the canon of solo guitar works that you are likely to find. The composers include Sanz, Mudarra, Narvaez, Soler, Sor, Albeniz, Granados, Tarrega, De Falla, Turina, Bacarisse, Rodrigo, Llobet, Pujol, Moreno Torroba, Montsalvatge, Ohana, and Ruiz-Pipo.

Every guitarist and every lover of the instrument should own this set. If it is not available, also refer to a similar box set with the ASIN number B00006L6RN or another B000026ZRL.

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Guitar Greatest Hits

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Guitar Greatest Hits

ASIN: B0000DJZ7L
Release Date: 2003-11-04

Tracks:

Sevilla - Eduardo Fernandez
Granada - Andres Segovia
Tango, Op. 165, No. 2 - Pepe Romero
Spanish Dance No. 5, Op. 37 'Andaluza' - Pepe Romero
Asturias - Pepe Romero
Recuerdos De La Alhambra - Eduardo Fernandez
Soleares - Eduardo Fernandez
Malague Pepe Romero
Romance D'Amore - Goran Sollscher
Bouree - Narciso Yepes
Gavotte - Pepe Romero
Canarios - Alexandre Lagoya
Sonata In E Major, K.380 (L23) - Pepe Romero
Cavatina - Goran Sollscher
Largo - Goran Sollscher
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Adagio - Pepe Romero
Villano Y Ricercare (Adagietto - Andante Moderato - Andres Segovia

Alexis-Emmanuel Chabrier Complete Piano Music / Rena Kyriakou (2 CDs)

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Imaginative & engaging music

Alexis-Emmanuel Chabrier Complete Piano Music / Rena Kyriakou (2 CDs)

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

Dances | Ballets & Dances | Classical | Styles | Music

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Bartok: Complete Solo Piano Music

ASIN: B000001K4C
Release Date: 1994-08-22

Tracks:

Pieces Pittoresques: Paysage
Pieces Pittoresques: Melancolie
Pieces Pittoresques: Tourbillon
Pieces Pittoresques: Sous-Bois
Pieces Pittoresques: Mauresque
Pieces Pittoresques: Idylle
Pieces Pittoresques: Danse Villageoise
Pieces Pittoresques: Improvisation
Pieces Pittoresques: Menuet Pompeux
Pieces Pittoresques: Scherzo-Valse
5 Pieces: Aubade
5 Pieces: Ballabile
5 Pieces: Caprice
5 Pieces: Feuillet D'Album
5 Pieces: Ronde Champetre
Bourree Fantasque

Tracks:

Capriccio
Inpromptu
Habanera
Air De Ballet
Ste De Valse
Marche Des Cipayes
Trois Valses Romantiques
Cortege Burlesque
Souvenirs De Munich - Rena Kyriakou/Walter Klien

Amazon.com

Chabrier's music isn't exactly essential for life, but it is extremely lighthearted and entertaining most of the time. This set, advertised as complete, may be missing some trivial brief items. But the essential Chabrier for piano, including his pieces for four hands, is all here, in performances whose spirit matches the essence of the music. Kyriakou's playing on most of the solo pieces matches Alain Planès performance on Harmonia Mundi HMC 901465, but Kyriakou's single disc costs more than this set. And don't miss the four-hand Souvenirs de Munich, a delightful nose-thumbing parody of Wagner's Tristan und Isolde. --Leslie Gerber

Customer Reviews:

Imaginative & engaging music.......2007-03-09

Great composers cast a shadow that often obscures lesser but still excellent talents. Emmanuel Chabrier seldom gets his due as a piano composer, and that's a shame. His music is well crafted, imaginative, and engaging. In the hands of a good artist, it can't fail to please. Greek pianist Rene Kyriakou (1918-1994) was just the right artiist for the job. Though not well known today, Kyriakou was a fine pianist with a sure feel for Chabrier's music. (It didn't hurt that she was a composer herself.) And she and Walter Klien play as one in the piano duets.

Angela Hewitt recently recorded an excellent all Chabrier CD. With Kyriakou, however, you get all his piano music, including the piano duets, in top flight performances. Although these recordings were made in 1965, the sound is good. Coupled with Vox's low price, you can't go wrong. Treat yourself to this wonderful music.

Farnon: Film Music & Others Works (Captain Horatio Hornblower R.N., etc.)

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Farnon Magic

Farnon: Film Music & Others Works (Captain Horatio Hornblower R.N., etc.)

Manufacturer: Reference Recordings
ProductGroup: Music
Binding: Audio CD

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Captain Horatio Hornblower
Master and Commander

ASIN: B000001591
Release Date: 1993-12-17

Tracks:

Captain Horatio Hornblower Suite: Introduction
Captain Horatio Hornblower Suite: The Wind
Captain Horatio Hornblower Suite: Polwheal
Captain Horatio Hornblower Suite: Lady Barbara
Captain Horatio Hornblower Suite: Natividad
A La Claire Fontaine
State Occassion
Lake Of The Woods
A Promise Of Spring
Intermezzo For Harp And String
Rhapsody For Violin And Orchestra

Customer Reviews:

Farnon Magic.......2007-01-18

Superlative state-of-the-art sound coupled with Farnon's superlative music. The film selections are a treasure but the additional pieces like "A La Claire Fontaine"{a beautiful setting of a beautiful French-Canadian Folk Song), "Lake of the Woods"(a hauntingly beautiful tone poem), and "Rhapsody for Violin and Orchestra"(a glorious piece)- all under the baton of the magic maestro himself with one of the greatest London orchestras at his command - this is as good as it can possibly get!

Vladimir Horowitz, The Complete Masterworks Recordings 1962-1973, Volume VII: Early Romantics

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The Schumann Kreisleriana is worth everything, and the Chopin is magical
Chopin + Schumann + Horowitz = Unforgettable Playing
Classic Chopin

Vladimir Horowitz, The Complete Masterworks Recordings 1962-1973, Volume VII: Early Romantics

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Mazurkas | Ballets & Dances | Classical | Styles | Music

Polonaises | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

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Late Russian Romantics
Vladimir Horowitz, Complete Masterworks Recordings 1962-1973, Vol. VI: Horowitz Performs Beethoven
The Complete Masterworks Recordings, Vol. 4: The Legendary 1968 TV Concert
Horowitz: The Historic Return Carnegie Hall 1965; The 1966 Concerts

ASIN: B00000290G
Release Date: 1994-07-19

Tracks:

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

Tracks:

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

Amazon.com essential recording

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Complete Beethoven Edition Vol. 6 - Piano Works / Demus, Alder, Gilels, Mustonen, Kempff, Barenboim

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A good deal to enjoy
Jazzy Ludwig!

Complete Beethoven Edition Vol. 6 - Piano Works / Demus, Alder, Gilels, Mustonen, Kempff, Barenboim
Ludwig van Beethoven , Jörg Demus , Emil Gilels , Olli Mustonen , Christopher Alder , Daniel Barenboim , and Wilhelm Kempff
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Ecossaises | Ballets & Dances | Classical | Styles | Music

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Complete Beethoven Edition, Vol. 14: Misc. Chamber Works
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Complete Beethoven Edition, Vol. 2: Concertos
Complete Beethoven Edition, Vol. 9: Piano Trios
Complete Beethoven Edition, Vol. 10: String Trios

ASIN: B000001GZ9
Release Date: 1997-11-25

Tracks:

7 Bagatelles, Op.33: No. 1 In E Flat Major - Andante grazioso quasi Allegretto
7 Bagatelles, Op.33: No.2 In C Major - Scherzo. Allegro
7 Bagatelles, Op.33: No.3 In F Major - Allegretto
7 Bagatelles, Op.33: No.4 In D Major - Andante
7 Bagatelles, Op.33: No.5 In C Major - Allegro ma non troppo
7 Bagatelles, Op.33: No.6 In D Major - Allegretto quasi andante
7 Bagatelles, Op.33: No.7 In A Flat Major - Presto
11 Bagatelles, Op.119: No.1 In B Flat Major - Allegretto
11 Bagatelles, Op.119: No.2 In C Major - Andante con moto
11 Bagatelles, Op.119: No.3 In D - a l'Allemande
11 Bagatelles, Op.119: No.4 In A Major - Andante cantabile
11 Bagatelles, Op.119: No.5 In C Minor - Risoluto
11 Bagatelles, Op.119: No.6 In G Major - Andante - Allegretto
11 Bagatelles, Op.119: No.7 In C Major - Allegro ma non troppo
11 Bagatelles, Op.119: No.8 In C - Moderato
11 Bagatelles, Op.119: No.9 In A Minor - Vivace moderato
11 Bagatelles, Op.119: No.10 In A Major - Allegramente
11 Bagatelles, Op.119: No.11 In B Flat Major - Andante ma non troppo
Bagatelle in C Minor: Presto
Bagatelle In C Major: Allegretto
6 Bagatelles, Op.126: No.1 In G Major - Andante con moto cantabile e compiacevole
6 Bagatelles, Op.126: No. 2 In G Minor - Allegro
6 Bagatelles, Op.126: No.3 In In E Flat Major - Andante cantabile e grazioso
6 Bagatelles, Op.126: No.4 In D Major - Presto
6 Bagatelles, Op.126: No.5 In G Major - Quasi Allegretto
6 Bagatelles, Op.126: No.6 In E Flat Major - Presto - Andante amabile e con moto - Tempo I
Bagatelle 'Fur Elise' In A Minor: Poco moto

Tracks:

3 Sonatas For Piano ('Electoral' Sonatas): No. 1 In E Flat Major: 1. Allegro cantibile
3 Sonatas For Piano ('Electoral' Sonatas): No. 1 In E Flat Major: 2. Andante
3 Sonatas For Piano ('Electoral' Sonatas): No. 1 In E Flat Major: 3. Rondo vivace
3 Sonatas For Piano ('Electoral' Sonatas): No. 2 In F Minor: 1. Larghetto maestoso - Allegro assai
3 Sonatas For Piano ('Electoral' Sonatas): No. 2 In F Minor: 2. Andante
3 Sonatas For Piano ('Electoral' Sonatas): No. 2 In F Minor: 3. Presto
3 Sonatas For Piano ('Electoral' Sonatas): No. 3 In D Major: 1. Allegro
3 Sonatas For Piano ('Electoral' Sonatas): No. 3 In D Major: 2. Menuetto. Sostenuto - Var. I-VI
3 Sonatas For Piano ('Electoral' Sonatas): No. 3 In D Major: 3. Scherzando. Allegro, ma non troppo
2 Sonata Movments In F Major: 1. Without Tempo Indication
2 Sonata Movments In F Major: 2. Allegretto
Piano Sonata In C Major: Allegro
Piano Sonata In C Major: Adagio
Allegretto In C Minor
'Lustig - Traurig' In C Major
Prelude In F Minor
Piano Piece In B Flat Major
Allegretto In B Minor
Allegretto quasi andante In G Minor
Allemande In A Major
Minuet In E Flat Major
Waltz In E Flat Major
Waltz In D Major
Ecossaise In E Flat Major
Fugue In C Major
Allegretto In C Minor

Tracks:

Rondo In C Major, Op. 51: Moderato e grazioso - Ludwig Van Beethoven
Rondo In G Major, Op. 51 No. 2: Andante cantabile e grazioso - Ludwig Van Beethoven
Rondo In C Major: Allegretto - Ludwig Van Beethoven
Rondo In A Major: Allegretto - Ludwig Van Beethoven
Polonaise In C Major: Alla polacca, vivace - Ludwig Van Beethoven
9 Variations (In C Minor) On A March By Ernst Christoph Dressler: Thema. Maestoso - Ludwig Van Beethoven
6 Variations On A Swiss Song In F Major: Thema. Andante con moto - Ludwig Van Beethoven
Thema. Allegretto - Var. I-XIII - Var. XIV. Allegretto - Adagio - Var. XV-XIX - Var. XX. Scherznado - Var. XXI-XXII - Var. XXIII. Adagio sostenuto - Var. XXIV. Allegro - Allegro stringendo - Presto assai - Ludwig Van Beethoven
12 Variations (In C Major) On The 'Menuett a la Vigano' From Jakob Haibel's Ballet 'Le nozze disturbate': Thema. Allegretto - Var. I-IX - Var. XII. Allegro - Adagio - Ludwig Van Beethoven
6 Variations (In G Major) On The Duet 'Nel cor piu non mi sento' From Giovanni Paisello's Opera 'La molinara': Thema. (Andantino) - Ludwig Van Beethoven

Tracks:

Fantasia In G Minor: Allegro - Poco adagio - allegro ma non troppo - Allegro con brio - Adagio - Presto - Adagio - Allegretto - Adagio
6 Variations (In D Major) On An Original Theme: Thema. Allegro risoluto - Var. I-V - Var. VI. Presto - Tempo I
Thema. Allegretto - Var. I-II - VarIII. Commodetto - Var. IV - Var. V. Risoluto - Arioso. Andante con moto - Var. VI. Espressivo - Var. VII. Allegro no nmolto - Var. VIII. Tempo I - Var. IX. Allegro
8 Variations (In C Major) On The Romance 'Une fievre brulante' From Gretry's Opera 'Richard Coeur de Lion': Thema. Allegretto - Var. I-VII - Var. VIII. Allegro - Presto
10 Variations (In B Flat Major) On The Duet 'La stessa, la stessissima' From Antonio Salieri's Opera 'Falstaff': Thema. Andante con moto - Var. I-IX - Var. X. Allegretto (alla Austriaca) - Tempo I
7 Variations (In F Major) On The Quartet 'Kind, willst du ruhig schlafen?' From Peter Winter's Opera 'Das unterbrochene Opferfest': Thema. Allegretto - Var. I-VI - Var. VII. Allegro - Allegro molto
8 Variations (In F Major) On The Trio 'Tandeln und Scherzen' From Franz X. Sussmayrs Opera 'Soliman II': Thema. Andante, quasi Allegretto - Var. I-VI - Var. VII. Adagio molto ed espressivo - Var. VIII. Allegro vivace - Adagio
6 Easy Variations (In G Major) On An Original Theme: Thema. Andante, quasi Allegretto - Var. I-VI

Tracks:

6 Variations (In F Major) On An Original Theme: Thema. Adagio. Cantabile
6 Variations (In F Major) On An Original Theme: Var. I
6 Variations (In F Major) On An Original Theme: Var. II - Allegro ma non troppo
6 Variations (In F Major) On An Original Theme: Var. III - Allegretto
6 Variations (In F Major) On An Original Theme: Var. IV - Tempo di Menuetto
6 Variations (In F Major) On An Original Theme: Var. V - Marcia. Allegretto
6 Variations (In F Major) On An Original Theme: Var. VI - Allegretto. Adagio molto
15 Variations And A Fugue (In E Flat Major) On An Original Theme ('Eroica' Variations): Introduzione col Basso del Tema. Allegretto vivace
15 Variations And A Fugue (In E Flat Major) On An Original Theme ('Eroica' Variations): Tema
15 Variations And A Fugue (In E Flat Major) On An Original Theme ('Eroica' Variations): Var. I
15 Variations And A Fugue (In E Flat Major) On An Original Theme ('Eroica' Variations): Var. II
15 Variations And A Fugue (In E Flat Major) On An Original Theme ('Eroica' Variations): Var. III
15 Variations And A Fugue (In E Flat Major) On An Original Theme ('Eroica' Variations): Var. IV
15 Variations And A Fugue (In E Flat Major) On An Original Theme ('Eroica' Variations): Var. V
15 Variations And A Fugue (In E Flat Major) On An Original Theme ('Eroica' Variations): Var. VI
15 Variations And A Fugue (In E Flat Major) On An Original Theme ('Eroica' Variations): Var. VII - Canone all'ottava
15 Variations And A Fugue (In E Flat Major) On An Original Theme ('Eroica' Variations): Var. VIII
15 Variations And A Fugue (In E Flat Major) On An Original Theme ('Eroica' Variations): Var. IX
15 Variations And A Fugue (In E Flat Major) On An Original Theme ('Eroica' Variations): Var. X
15 Variations And A Fugue (In E Flat Major) On An Original Theme ('Eroica' Variations): Var. XI
15 Variations And A Fugue (In E Flat Major) On An Original Theme ('Eroica' Variations): Var. XII
15 Variations And A Fugue (In E Flat Major) On An Original Theme ('Eroica' Variations): Var. XIII
15 Variations And A Fugue (In E Flat Major) On An Original Theme ('Eroica' Variations): Var. XIV
15 Variations And A Fugue (In E Flat Major) On An Original Theme ('Eroica' Variations): Var. XV - Largo
15 Variations And A Fugue (In E Flat Major) On An Original Theme ('Eroica' Variations): Coda
15 Variations And A Fugue (In E Flat Major) On An Original Theme ('Eroica' Variations): Finale. Alla Fuga. Allegro con brio - Andante con moto
9 Variations (IN A Major) On The Aria 'Quant'e piu bello' From Giovanni Paisiello's Opera 'La molinara': Allegretto
12 Variations (In A Major) On A Russian Dance From Paul Wranitzky's Ballet 'Das Waldmadchen': Allegretto
7 Variations (In C Major) On 'God Save The King': Thema - Var. I-V - Var. VI. Allegro. Alla Marcia - Var. VII. (Allegro) - Adagio - Allegro
5 Variations (In D Major) On 'Rule, Britannia' From Thomas Arne's Masque 'Alfred': Thema. Tempo moderato
32 Variations (In C Minor) On An Original Theme: Thema. Allegretto
6 Ecossaises In E Flat Major

Tracks:

33 Variations (In C Major) On A Waltz By Anton Diabelli: Thema.Vivace
33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. I - Alla Marcia maestoso
33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. II - Poco Allegro
33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. III. - L'istesso tempo
33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. IV. - Un poco piu vivace
33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. V. - Allegro vivace
33 Variations (In C Major) On A Waltz By Anton Diabelli: Var.VI-Allegro ma non troppo
33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. VII - Un poco piu allegro
33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. VIII - Poco vivace
33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. IX - Allegro pesante e risoluto
33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. X - Presto
33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. XI - Allegretto
33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. XII - Un poco piu moto
33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. XIII - Vivace
33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. XIV - Grave e maestoso
33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. XV - Presto scherzando
33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. XVI - Allegro
33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. XVII
33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. XVIII - Poco moderato
33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. XIX - Presto
33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. XX - Andante
33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. XXI - Allengro con brio
33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. XXII - Allegro molto
33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. XXIII - Allegro assai
33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. XXIV - Fughetta. Andante
33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. XXV - Allegro
33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. XXVI
33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. XXVII - Vivace
33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. XXVIII - Allegro
33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. XXIX - Adagio ma non troppo
33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. XXX - Andante, sempre cantabile
33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. XXXI - Largo, molto espressivo
33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. XXXII - Fuga.Allegro - Poco adagio
33 Variations (In C Major) On A Waltz By Anton Diabelli: Var. XXXIII - Tempo di Menuetto moderato

Tracks:

Andante In F Major - 'Andante favori: Andante grazioso con moto
6 Minuets: 6 Minuets - No. 1 In C Major; No. 2 In G Major; No. 3 In E Flat Major; No. 4 In B Flat Major; No. 5 in D Major; No. 6 In C Major
7 Landler In D Major
12 German Dances: No. 1 In D Major; No. 2 In B Flat Major; No. 3 In G Major; No. 4 In D Major; No. 5 in F Major; No. 6 In B Flat Major; No. 7 In D Major; No. 8 In G Major; No. 9 In E Flat Major; No. 10 In C Major; No. 11 In A Major; No. 12 In D Major
'The Rage Over The Lost Penny' In G Major: Allegro vivace
Canon A 2 In G Major, Hess 274
Canon A 2 In A Flat Major, Hess 275
8 Variations (In C Major) On A Theme By Count Waldstein: Thema. Andante con moto - Var. I-VII. Un poco Adagio - Capriccio - Allegro - Adagio - Allegro - Adagio - Allegretto - Allegro - Presto
6 Variations (In D Major) On The Lied 'Ich denke dein': Lied. Andantino cantabile

Tracks:

Sonata In D Major, Op. 6: 1. Allegro molto
Sonata In D Major, Op. 6: 2. Rondo. Moderato
3 Marches, op.45: No.1 In C Major - Allegro ma non troppo
3 Marches, op.45: No. 2 in E Flat Major - Vivace
3 Marches, op.45: No. 3 In C Major - Vivace
'Grosse Fuge' In B Flat Major, Op. 134: Overtura. Allegro - Meno mosso e moderato - Allegro - Fuga. (Allegro) - Meno mosso e moderato - Allegro (molto e con brio)
2 Preludes Through All Twelve Major Keys For Piano Or Organ: No. 1
2 Preludes Through All Twelve Major Keys For Piano Or Organ: No. 2
Fugue In D Major For Organ
5 Pieces For Mechanical Clock: No. 1 In F Major - Adagio assai
5 Pieces For Mechanical Clock: No. 2 In G Major - Scherzo. Allegro
5 Pieces For Mechanical Clock: No. 3 In G Major - Allegro
5 Pieces For Mechanical Clock: No. 4 In C Major - Allegro non piu molto
5 Pieces For Mechanical Clock: No. 5 In C Major - Menuett. Allegretto
Grenadier March For Mechanical Clock In F Major, Hess 107

Customer Reviews:

A good deal to enjoy.......2006-04-15

Though Beethoven could play the violin he was not a virtuoso on the instrument. The piano, on the other hand, was changed as an instrument by him. He was always on a quest for more sonorous and richer sounds and piano makers did their best to oblige. Many of Beethoven's avant guarde ideas about composition and the role of music in self expression started as piano sonatas and piano works. With this in mind, Beethovens compositions for the piano are some of the most outstanding, brilliant, and technically pure works to emerge from any composer. It is impossible not to feel the emotions Beethoven wishes to convey from piece to piece.

The piano sonatas are really self contained dramas. In them, you will hear the expressions of sadness, beauty, rage, and unbounded joy. It is impossible to listen to this collection and not find pleasure in it. The recordings as well as the performers are top-notch. Highly recommended.

Jazzy Ludwig!.......2005-02-17

An excellent set featuring Ludwig van's sets of variations wherein he gets jazzy and swings on catchy tunes! Highly recommended.

NOTE: For those of you who don't understand metaphor: what I'm saying here is that Beethoven used popular operatic hit-tunes of his day and improvised variations on those tunes--as is done in America's original art-form--Jazz. Get it?

Track Listings:

Track Listings

track listings

Track Listings

The Nuns

Arthur Bliss: Piano Quartet

All Blues'd Up! [Import]

Temperate Zone

Runner and the Thermodynamics

Black White & Blue [Import]

At The riviera, Las Vegas - Soca Dance [Live]

Brahms: Symphony in Cm No1, Op68

Anthology Road to Kingdom Come [Import]

Balloon Man

American Hi-Fi [Explicit Lyrics]

30 Pegaditas Originales, Vol. 1

20 Grandes Exitos [Import]

A Billy Graham Music Homecoming, Vol. 2

Rob McConnell Tentet