Piano Concertos Nos 1&2; Village Fai [Import]

Track Listings

1. Piano Concerto #1

2. Piano Concerto #2

3. Village Fair

Piano Concertos Nos 1&2; Village Fai, Music, Miriam Hyde, Geoffrey Simon, West Australian Sym., Classical

A Day to Remember - Instrumental Music for Your Wedding Day
Average customer rating:

A Beautiful Wedding

Wonderful!

Good CD for Wedding

A Day To Remember--Instrumental Music for Your Wedding Day, O'Neill Brothers

great choice!

A Day to Remember - Instrumental Music for Your Wedding Day
O'Neill Brothers
Manufacturer: O'Neill Brothers
ProductGroup: Music
Binding: Audio CD

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A Day to Remember vol II

Classical Wedding

25 Wedding Favorites

Heart Beats: Now & Forever - Timeless Wedding Songs

I Will Be Here: 25 of Today's Best Wedding & Love Songs

ASIN: B000066RG3
Release Date: 2002-04-25

Tracks:

Falling in Love - Tim and Ryan O'Neill
Wachet Auf - J.S. Bach
Air on a G String - J.S. Bach
Air (from Water Music) - Handel
Reminiscent Joy - Tim and Ryan O'Neill
Canon in D - Pachelbel
Jesu, Joy of Man's Desiring - J.S. Bach
The Wedding Song (There is Love) - Stookey
Ave Maria - Schubert
I Will Be Here - Steven Curtis Chapman
The Gift of Love (Water is Wide melody)
Spring (from The Four Seasons) - Vivaldi
Ode to Joy - Beethoven
From This Moment On - Shania Twain
The Way You Look Tonight - Kern
Forever in Love - Kenny G

Album Description

After performing at more than 200 weddings, Tim and Ryan O'Neill recorded this beautiful CD of favorite wedding songs. It features a full hour of instrumental piano, string quartet, flute, and guitar music that can be played at your ceremony or reception.

It also gives suggestions for music at your wedding, including a special bridal website!
*Over 1,000 song titles listed
*Listen to samples of songs
*More ideas for each part of your ceremony, reception, and dance

Customer Reviews:

A Beautiful Wedding.......2007-07-10

This CD made all the difference in our wedding celebration. The songs were simply beautiful. The CD was delivered promptly. I would definitely buy from this vendor again.

Wonderful!.......2007-03-23

This is exactly what I was looking for for my wedding day. It's a beautiful cd, absolutely perfect.

Good CD for Wedding.......2007-03-21

All great music for weddings. It really does have all the music I want to use!

A Day To Remember--Instrumental Music for Your Wedding Day, O'Neill Brothers.......2007-02-07

The music was just perfect for our wedding--not too formal, not too simple.

great choice!.......2007-01-10

There are so many different songs to choose from on this cd and it's a great buy. whether you want to play it while eating dinner at the wedding, to walking down the isle, it's wonderful!!!!

Average customer rating:

Counting Stars with Lang Lang.
False emotion
dexterity unquestioned
Without soul!
Artistically Improving

Beethoven: Piano Concertos Nos. 1 & 4

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Lang Lang: Dragon Songs (Plus DVD)
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Lang Lang Live at Carnegie Hall
Memory [Includes Bonus CD]
Piano Quintet in F Min / Complete String Quartets (1, 2, 3)

ASIN: B000OYC3FM
Release Date: 2007-05-08

Tracks:

1. Allegro Con Brio
2. Largo
3. Rondo. Allegro
1. Allegro Moderato
2. Andante Con Moto
3. Rondo. Vivace

Amazon.com

What a beautiful recording! Perhaps the most exciting thing about Lang Lang's playing is that when he plays softly and lyrically, he doesn't sound as if he's holding back; when he opts to stomp and yell, it sounds equally natural. The First Concerto is played with lightness and bounce in the outer movements and is as tuneful as imaginable in the stunning second movement's Largo. The Fourth Concerto is a whole other matter - mature Beethoven - and Lang rises easily to the occasion, playing with potency and handsome tone. The first movement makes us sit and admire his skill, and he is poetic and sensitive in the second movement. It would have been easy for him to run away with the final movement in a blaze of virtuosity, but he sticks to its classical outlines. These are superb performances, and the sonics are gloriously rich. --Robert Levine

Album Description

Lang Lang delivers his first-ever Beethoven recording, a stunning reading of the extensive Concerto no. 4 and the jubilant Concerto no. 1. Even though he has performed this repertoire extensively in concert, Lang Lang waited for the perfect moment and the perfect team to record his first pair of concertos from these milestones of piano repertoire When Lang Lang embarked on his international career, Christoph Eschenbach became one of his first and most enthusiastic proponents - and a mentor and close friend ever since, Eschenbach was the ideal collaborator for Lang Lang's first Beethoven recording. Nimbly supported by Eschenbach's superb Orchestre de Paris, with its tradition of having been the first orchestra ever in France to perform music by Beethoven, Lang Lang's performance gives further proof as to why he is one of today's most acclaimed pianists

Customer Reviews:

Counting Stars with Lang Lang........2007-07-18

The sheer fact that some of those signing in here could decide to down rate this disc by such level reveals how nonsensical the so-called classical music market has become.
I don't care how Lang Lang `behaves' at the pianoforte. These are quite irrelevant to his music, as any seasoned listener would tell. Lang Lang and Eschenbach both embark on what could be called a novel to almost revolutionary course in this recording. Instead of resorting to `copy and paste' of some Gilels, some Kempff, some Pletnev and many others, Lang/Eschenbach work on originality. The result yields plenty of fireworks and impassioned music, showering listeners with unexpected joy note after note.
Lang Lang has managed to present `his' version of Beethoven's two challenging concertos for the pianoforte (compare the LP version of the same two pieces by Eschenbach/Karajan decades ago) in his lusciously youthful style, yet leaving much more in his listeners (not for those who adamantly refuse to `listen', though) to long for his future re-releases of these same pieces, where definitely more new things could and would be said then.
As for the collaboration, however revolutionary in interpretation, however unconventional in expression, both Lang and Eschenbach are never in doubt as to where and when to hold on to the reigns, and when and where to let go, even though at times at the least expected places. The teamwork is almost perfect. The cadenza of the first movement of No. 4 is shatteringly novel, while the third movement is one whole piece of explosive firework blowing the listeners away. The No.4 alone justifies the cost for this disc.
I absolutely look forward to the Lang/Eschenbach collaboration of Beethoven's Choral Fantasy, and more others.

False emotion.......2007-07-10

Lang Lang is the worst pianist imaginable. If you want someone who can play the notes, go for it. But there's simply nothing more here. Even worse, he pretends that there is more. Every phrase is unbelievably contrived. It is like someone who apes all the moves of a great actor with none of the substance behind it. Absolutely abominable, atrocious, and offensive playing. Cannot believe that people are taken in by this charlatan.

dexterity unquestioned.......2007-07-07

He can do anything with a piano. All he needes now is to grow into these masterpieces.

Without soul!.......2007-06-10

Does he play Beethoven at all? If you like Beethoven piano concerto, please listen to Backhaus, Schnabel, Fischer or Perahia!

Artistically Improving.......2007-05-23

Lang Lang's technical abilities have overrun his artistic interpretations since the start of his recording career. While that remains a fairly accurate description, this recording shows definite progress. It seems somewhat unfair to denigrate the talents of so dextrous a musician as this young man but there you have it: when you are put on the world stage you are assessed by different standards.

And yet, Lang Lang shows signs of development that are encouraging. His performance of the First Concerto is both lively and exquisitely melodic, except for the occassionally ham-fisted showmanship he is often (and deservedly) derided for. However, the Fourth Concerto seems beyond his artistic grasp. While technically brilliant, it is a soulless and showy performance that displays none of the depth a more mature artist would be capabale of. Beethoven was not a composer known for showmanship but artistry and restraint. These are not qualities Lang Lang is exactly reknown for.

Still, Lang Lang's occassional lyricism can override his more exaggerated tendencies, which makes he and Beethoven quite compatible. This is what makes this CD as effective as it is. Perhaps this young man has received too much acclaim too soon. He needs time to mature as an artist but has so far chosen to present himself to the public at every possible turn. This recording indicates that there is something more to him than has consistently met the ear. Frustrating and encouraging at the same time, Lang Lang's latest CD shows a definite progression in his interpretive skills. It's exciting to think what may be coming in his future.

Finally, the typically exquisite DG sound and fidelity must be acknowledged. Every note and romantic passage is beautifully displayed in a pristine recording of gourgeous beauty. A wothwhile addition to any modern classical collection.

Average customer rating:

This is the one to buy!
An easy first choice
The champion of Rachmaninov's music.
Thoughtful but passionate interpretations
Very good

Rachmaninov: Piano Concertos Nos. 1 - 4

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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Similar Items:

Rachmaninov: The Symphonies
Rachmaninov: 24 Preludes/Piano Sonata No.2
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Rachmaninoff plays Rachmaninoff

ASIN: B00000427L
Release Date: 1996-02-13

Tracks:

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

Tracks:

Piano Concerto No.3 In D Minor, Op.30: I Allegro ma non tanto
Piano Concerto No.3 In D Minor, Op.30: II Intermezzo: Adagio
Piano Concerto No.3 In D Minor, Op.30: III Finale (Alla breve)
Piano Concerto No.4 In D Minor, Op.40: I Allegro vivace (Alla breve)
Piano Concerto No.4 In D Minor, Op.40: II Largo
Piano Concerto No.4 In D Minor, Op.40: III Allegro vivace

Customer Reviews:

This is the one to buy!.......2007-06-13

A number of years ago, I went to the Classical Record Store in Toronto to acquire a copy of Rachmaninov's Piano Concertos. Like many others, I'd been introduced to Rachmaninov's 3rd Piano Concerto by the movie "Shine". When I asked the resident musicologist for Rach 3, she rolled her eyes. I explained that I wasn't remotely interested in the commercial David Helfgott version. I wanted the definitive version. She smiled knowingly and took me to a shelf. This is the version she handed me. Buy it. You won't be disappointed! Ashkenazy is at the peak of his powers and Previn does a phenomenal job with the London Symphony. It doesn't get any better than this.

An easy first choice.......2006-06-12

If you are looking for a standard stereo recording of the four concertoes, you don't have to look hard to realize that this set would be a nice and easy choice. Ashkenazy's performances of the Rachmaninov concertos are poetic, full of passions and yearnings, and technically excellent. This 2CD set is sold at the price of one full-priced CD, so it should be a good bargain. If you are a newcomer to Rachmaninov, this set is highly recommended. Later on when you have become familiar with these concertos you might also want to check out the renditions by Argerich and Horowitz, both of which contain some of the most spectacular displays of keyboard fireworks. These recordings by Ashkenazy have been reissued many times and the most recent one I believe is the 2 separate disks in the Eloquence series. Sonically the Eloquence reissues were artificially reprocessed in order to create wider dynamics and better sense of immediacy. Get either this one or the other, it doesn't matter which, what matters is that every Rachmaninov lover should have these recordings as basic items in his/her collection.

The champion of Rachmaninov's music........2005-12-25

This is a very good set of Rachmaninov's piano works for a very reasonable price indeed. For those who are unfamiliar with the great russian composer's piano works, from the blazing horns, swelling piano chords and seductive strings opening the first piano concerto you feel right away you're in for a very special musical experience.

Normally, when you know and appreciate what a musician has created throughout his career, there's almost always one piece of work that stands out or that you like more than the others. When it comes to Rachmaninov's piano works, mine would certainly be the Piano Concerto no 3, one of the most beautiful piano works that were ever written, and also the Concerto no 4. There's a certain nostalgia about this latter work, like feelings about a past gone forever, and you can feel this leitmotiv during the whole concerto. Maybe the fact that Rachmaninov wrote this wonderful concerto after having moved permanently to the US and therefore feeling homesick has something to do with it.

As for Mr Ashkenazy, he simply is the best interpreter when it comes to Rachmaninov's piano works. The great Vladimir is temperate rather than romantic, cool and constantly in control: sometimes he seems pouring out rivers of emotions and passion without getting carried away though. He has the musicality and intelligence to understand exactly how these concertos work. He has phenomenal technique, original approach, and his touch is quite fiery at times, gentle and tender at others. He can be poetic and passionate when he needs to.

In Rachmaninov's piano concertos the orchestra plays a vital role, often playing the main theme melodies while the piano accompanies, which is rather unusual. In this regard, the London Symphonic Orchestra and conductor A. Prévin are one of the best. Couple this with Rachmaninov's music and Ashkenazy's interpretation, and you're in for a very special musical treat indeed.

Thoughtful but passionate interpretations.......2005-07-09

After listening to a recording of Rachmaninoff's 2nd concerto and hearing a lot about the 3rd concerto, I jumped at buying this CD because of the low cost for two CDs - I was not disappointed.

For me the highlight by far is the third piano concerto, where Ashkenazy seems to pour out passion without getting carried away. This recording I much prefer to Argerich's recording (passionate, but little restraint and thought put into that performance) and even Horowitz's (although this may be because of it's worse sound quality). The first movement is played slower than most other performances, but is filled with passion and technical mastery. I am starting to learn this concerto and know how difficult it is! I was glad to see that Ashkenazy used the longer, chordal codenza rather than the shorter one used by Horowitz and Argerich (those are the only other recordings I've heard) with I much prefer.

The first and fourth concertos are also fabulously played but for me they don't compare to the third. The second concerto, however, was a little bit of a disappointment for me (not enough for me to give the discs 4 stars, however). Because I have already learned this concerto, I'm probably quicker to find faults with Ashkenazy's playing here. If I could put my finger on what I don't like about it it would be the balance between the piano and orchestra - you can hardly hear the piano at some of the most difficult sections. Still, the orchestra sounds beautiful and so does the piano when you can hear it.

Since listening to this disc Ashkenazy has quickly become one of my favorite pianists - as has Levine as a conductor. I would heartily recommend this CD for anyone, but especially for anyone who ever aspires to play any of these pieces - all four of the are beautiful and these performances are well thought-out and powerful.

Very good.......2005-03-18

These performances are wonderful, and to those who think otherwise, I do not really know another complete set that has performances as good as this. Ashkenazy is, as usual, amazing, and this particular set of the many Ashkenazy/Previn Rachmaninov Concertos sets is often called definitive. The sound quality is pretty good. Highly recommended.
By the way, Vladimir Ashkenazy holds the position of President of the Rachmaninov Society, which makes this set a no brainer.

Average customer rating:

What Hath God Wrought?
World class music
I Wish Dennis Brain Had Been Born So That His Performing Powers Peaked in 1995
A Master Performs a Master
Mozart: Horn Concert

Mozart: Horn Concertos Nos. 1-4

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Horn Concertos
Brain
Mozart: Violin Concertos
Mozart - Clarinet Concerto & Oboe Concerto / Pay, Piguet, AAM, Hogwood
Great Recordings Of The Century - Brahms: Violin Sonatas nos 1 - 3 / Perlman, Ashkenazy

ASIN: B00000GCAD
Release Date: 1999-01-12

Tracks:

Horn Concerto No.1 In D, K.412: Allegro
Horn Concerto No.1 In D, K.412: Rondo (Allegro)
Horn Concerto No.2 In E Flat, K.417: Allegro maestoso
Horn Concerto No.2 In E Flat, K.417: Andante
Horn Concerto No.2 In E Flat, K.417: Rondo
Horn Concerto No.3 In E Flat, K.447: Allegro
Horn Concerto No.3 In E Flat, K.447: Romance (Larghetto)
Horn Concerto No.3 In E Flat, K.447: Allegro
Horn Concerto No.4 In E Flat, K.495: Allegro moderato
Horn Concerto No.4 In E Flat, K.495: Romance (Andante)
Horn Concerto No.4 In E Flat, K.495: Rondo (Allegro vivace)
Quintet In E Flat For Piano And Wind K.452: Largo-Allegro moderato
Quintet In E Flat For Piano And Wind K.452: Larghetto
Quintet In E Flat For Piano And Wind K.452: Rondo (Allegro)

Customer Reviews:

What Hath God Wrought?.......2007-04-02

Well ...

If you're reading this, it's likely that you have already have already heard about Dennis Brain and in particular the famous passages where his rapid playing left a generation of listeners shaking their heads in astonishment.

This is how everyone first hears of him: a sort of circus act with lots of notes but without the great tone that distinguishes really good horn playing. This first impression is strengthened by stories about the strange, narrow-bore horn he played and by the sound of occasionally clipped staccato notes and a tight low range. As someone once said, "My faults, according to this calculation, are heavy indeed!"

But in Brain's case as well as in Fitzwilliam Darcy's, closer acquaintance reverses the impression altogether.

At odds with the idea of frenetic speed, Brain produces some of the most sensitive phrase shaping you'll find in any musical recordings. His effortless mastery gives many passages a relaxed feeling that suggests he is playing them a third lower than written. His recordings of hornists' two signature pieces -- Strauss's first horn concerto and Mozart's third -- are both gentler than any other recording in the catalogue. He plays the Mozart third at a surprisingly slow tempo and turns the first page of the Strauss, which most players muscle up on, into a lullaby.

In the middle and upper ranges, Brain's tone, while unobtrusive, is so full and pure that many people say they have a tendency to block out everything else and just listen to that sound. That may not seem an asset for ensemble playing, but his accompaniment playing was wonderful and his reliability a huge asset for his colleagues. The expectation of perfection became so other-worldly that, on the inevitable day when Brain finally flubbed a passage in rehearsal, the always mischievous Sir Thomas Beecham stopped the orchestra, put his baton down, and just said, "Thank God."

Brain's trills, lip trills in particular, are uniquely clear, and at the end of the day, yes, there is that fabulously rapid articulation that leaves listeners wondering whether they were dreaming what they just heard.

This playing all emanated from a personality that was apparently of the utmost simplicity and modesty. Alan Civil had the last word on this forty years ago in his remembrance of Brain on the jacket of "The Art of Dennis Brain" album (Seraphim 60040, if you can find it). Brain's early, accidental death strikes one the same way as Beethoven's deafness does: a hint that higher forces are at play.

No, this is not a review of Brain's Mozart. It is an invitation to begin an acquaintance. Dig in!

World class music.......2007-01-10

By far the best rendition of the Mozart Horn Concertos ever produced. David Brain must be the "El Supremo" of horn playing. An added bonus on this CD is the Quintet in E flat for piano and wind and with Colin Horsley as the pianist is an added treat for New Zealanders. A "MUST HAVE" for all lovers of Mozart.

I Wish Dennis Brain Had Been Born So That His Performing Powers Peaked in 1995.......2006-05-17

I purchased The LP in 1953 and proceeded to 'wear it out.' No, I have not yet thrown it out.

However, I have had the good fortune to find myself a resident of the San Francisco Peninsula since 1970 and, in time, have had the privilege to make the acquaintance of the Philharmonia Baroque Orchestra, who perform one of each of their annual subscription concert series locally here in Palo Alto.

In 1992 they recorded the Horn Concertos with Lowell Greer performing them on the natural (valveless) horn, the instrument which was in use at the time Mozart composed them. Given the temperamental nature of the the instrument, the recording is doubtless a composite of many 'takes.' It is also a breathtaking performance and is now my 'standard.' See:

[...]

Take a moment to listen to some of the available tracks.

Form your own opinion.

A Master Performs a Master.......2005-08-20

I'm not much of a classical music reviewer. I've been exposed to a lot of music, but I tend to stick to favorite performances, so I don't have the depth needed to really be authoritative. Except perhaps for oboe, and that's because I grew up listening to John De Lancie and Marcel Tabuteau - and once you hear really good, you know what's what. This album is a similar case. Dennis Brain wasn't a 'good' French horn player, he was probably the best that there ever was or will be.

I've heard a lot of performance horn players. All you have to do to see what I mean is to wander through this website and pick off performances of the first movement of Horn Concerto No. 2 in E flat and you will discover that Brain never blurbles a note, and every attack in the Allegro Maestoso is pinpoint. He is technically and tonally perfect and couples that with a superb musical sensibility. It was one of the great musical tragedies that he died at the age of 36.

Something to keep in mind is that when Mozart wrote these works for his good friend (and cheesemonger) Joseph Leutgeb, the French horn was a very limited instrument. Many of the notes were reached by stopping the bell to some degree, which affected volume and intonation. Mozart wrote to take advantage of Leutgeb's expertise at this, and Dennis Brain chooses to maintain this effect rather than just play his modern instrument with no thought to the past.

These compositions cover a fair range of time. Number 2(K.417) is really the earliest (1783). And the incomplete No. 1 (K.412) is really the last (1791). The best though, in both my mind and Mozart's is the Quintet in E flat for piano & wind. Mozart was a master in using instrument groupings in novel and powerful fashion and this is no exception.

EMI has remastered this CD over their previous release, which enhances clarity, and makes it easier to hear Dennis Brain's considerable finesse. I own their first release and the difference in clarity makes it worth finding this edition. But even the duller production of the 1997 is enjoyable. It you want a good selection of Dennis Brain's work on one CD this is an excellent buy.

Mozart: Horn Concert.......2005-08-14

Great recordings of the century, and that is what it is.
Herbart von Karajan conducting, and Dennis Brain on horn tells it all; a wonderful rich music experience are waiting for you.
In my ears its probably one of the best recordings ever made of the horn concert. And even though its from the mid 50`s it comes in a wonderful remastered CD.
The CD comes with a very good booklet in English; telling the story behind the record.
I highly recommend this album

Rachmaninoff: Piano Concertos Nos. 2 & 3

Average customer rating:

The definitive recording
my ears don't lie do they?
Classic!
A very special gifted pianist!
Beautiful recording

Rachmaninoff: Piano Concertos Nos. 2 & 3

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

Preludes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

Liszt: The Two Piano Concertos; The Piano Sonata
Rachmaninoff: Concerto No. 3 in D minor, Op. 30 / Tchaikovsky: Piano Concerto No. 1 in B flat minor, Op. 23
Tchaikovsky: 1812 Overture/Capriccio Italien/Beethoven: Wellington's Victory
Brahms: Concertos for Piano No. 1 & 2, Fantasia Op. 116
Horowitz Plays Rachmaninoff/Concerto for Piano in Dm; Sonata for Piano No2/Vladimir Horowitz, Pianist

ASIN: B0000057LA
Release Date: 1991-11-08

Tracks:

Piano Concerto No. 3 In D Minor, Op. 30: Allegro ma non troppo
Piano Concerto No. 3 In D Minor, Op. 30: Intermezzo: Adagio
Piano Concerto No. 3 In D Minor, Op. 30: Finale: Alla breve
Piano Concerto No. 2 In C Minor, Op. 18: Moderato
Piano Concerto No. 2 In C Minor, Op. 18: Adagio sostenuto
Piano Concerto No. 2 In C Minor, Op. 18: Allegro scherzando
Prelude In E-Flat Major, Op.23, No.6
Prelude In C-Sharp Minor, Op.3, No.2

Amazon.com essential recording

Byron Janis' celebrated recordings of these two concertos have never sounded better than in this new remastering by Mercury's Wilma Cozart Fine. Talk about recordings usually focuses on the artists and composers, and rightly so, but there are some people in the industry whose names you should know, producers and engineers whose work is as artistically excellent as the performers they record. During the late 50s and early 60s the Fines, husband and wife, created a catalog of recordings, which, when all is said and done, is probably title for title the finest in existence. There isn't a single one that isn't worth hearing, and some, like this one, belong in every collection. --David Hurwitz

Customer Reviews:

The definitive recording.......2007-07-17

Although this album features two orchestras (LSO and then the Minneapolis Symphony Orchestra) the early 1960s Janis-Dorati partnership produced what is arguably the best single piano & orchestra disk in the catalog and a definitive rendition of these two popular concerti.

While the pace is sometimes stately for the big rolling Rachmaninov themes, the passage work is spritely and the overall effect is one of great energy.

The particular benefit of these early 1960s recording is Wilma Cozart's Mercury Living Presence technique which used a single placement of just three microphones (unlike the modern tendency to "mike" every instrument in the orchestra and then adjust balance concerns in re-mixing). This gives the thrill of being at an actual performance (the "living presence" of the orchestra) but without the coughs and other limitations of a concert recording. Indeed, although the CD is reconstructed from original analog tapes, it's hard to imagine that any recording with the best artist in the world could improve on the sound.

In short, if my house was burning down, I'd run back in for this CD.

my ears don't lie do they?.......2006-05-29

I have no reference to compare this recording with, I only have Rachmaninov's 2nd piano concerto played by Richter which I like very much, but I cannot describe what's so good about it.
I don't have enough interest for piano solo or recitals to be able to tell what exactly makes a good pianist (in general and for me personal)
I'm not even sure what I like or not.

Well maybe I like uncomplicated, straightforward piano playing, with a somewhat light, clear touche the best, I'm not that fond of heavy pedal use.
(I like Kempff's Beethoven Concertos with Ferdinand Leitner very much)

But my taste and understanding for piano solo (violin solo as well) has to be developed yet.
For now I'm choosing "uncomplicated playing" as my personal preference...but with not much confidence about it.

These performances by Janis and Dorati are pretty straightforward and I'm pleased that I made a good choice out of many recordings.

Dorati's orchestral accompaniment is forceful, sometimes pretty manic, he constantly breaths in Janis' neck, which is breathtaking.
The sound of the orchestra/recording is close and direct with lots of presence what helpes to get even more involved in the performance.
The performances I heard never gave that sense of commitment in the music Dorati and Janis give.
True, the recording helps a lot and obviously the "old sonics" too...I mean the sound is absolutely fabulous, but you're aware it is an old recording and it does add that bit of authenticity to it.

In Rachmaninov's 2nd concerto I like Richter/Wislocki better, but probably only because of the 1st movement, which is slower - slower than everyone else, for me Richter/Wislocki's tempo feels more natural than Rachmaninov's own and everyone else's faster readings.
Janis/Dorati's Minneapolis Symphony Orchestra however is better than Wislocki's Warsaw Orchestra.

As you noticed I haven't mentioned Byron Janis' playing at all...that's because I simply cannot say anything relevant about it, I have to learn a lot and listen to many pianists to make a valid comment.

The performance itself, as a whole, by Janis and Dorati is excellent, no doubt about it, there must be something seriously wrong with my ears if I am wrong about this.

Classic!.......2006-02-19

Definitely a "must-have" performance in piano concerto category. One of a great recordings sonically. Mostly clean throughout the disc, I heard just a few cracking noises during high energy sections.

A very special gifted pianist!.......2005-07-06

Byron Janis was one of the most prominent American pianists of his generation, headed by William Kapell, Rosalyn Tureck, Leon Fleisher, John Browning and Lorin Hollander.He possessed tune, technique and temperament, the famous three T required to shine in this difficult activity.
Maybe the favorite repertoire did not fill the future expectations of new audiences after the sixties. The new tendencies of the Sixties shaped new searches: the Russian repertoire had been reassigned to three magnificent pianists from the USSR: Emil Gilels, Sviatoslav Richter and Vladimir Ashkenazy. The impressive number of Piano Festivals all around the world turned out the attention of new audiences, avid to meet the new talents: precisely The Busoni competition allowed to young promises as Marta Argerich to get a place, but also worked out positively for many European artists as Alfred Brendel, Walter Klien, John Lill, John Ogdon, who triumphed in Tchaikovsky Competition.
The special interest for the Russian music, decayed in that decade. Mahler, Shostakovich, Nielsen, ascended in the musical taste and the piano music of Mozart, Beethoven, Brahms and Schubert remained for small audiences in Europe, but not in USA . There was a huge interest for the new compositions, so Bartok, Schoenberg, Messiaen, Copland and even Brahms held the attention, but the orchestral sound prevailed over the Hall Concerts. The European invasion and the new names from the other side of the Atlantic Ocean, shadowed many emerging figures.
That's why the new generation of pianists (with the exception of two true icons in the American pianism as Rosalyn Tureck and Earl Wild) as David Dubal, Gerard Robbins, Paul Jacobs, Raymond Lewenthal, Jerome Rose, Adrian Ruiz and Ursula Oppenheimer decided to play Reinecke, Copland, Busoni, Alkan and Liszt.
In other words the lack of perception of the new musical tendencies, plus the sudden decay of new directors established the difference and the artistic surviving for many gifted pianists, far beyond the personal disgrace of Fleisher.
However this recording will become a true historical reference for the future generations.

Beautiful recording.......2005-04-19

What can I say about this CD that's not already said? I totally agree with all the comments expressed here by all the reviewers.

In all my 50 years, I never knew piano music could be so rich, evocative and inspiring. This is one discovery that came so late but nevertheless so wonderfully fulfilling and satisfying in my enjoyment of music over a lifetime. I can truly say that this music has enriched my life and came at a time when life seems to be coming to a close, at least as I perceived it for myself. Imagine, such music created nearly fifty years ago still sound so fresh and beautiful that it can touch, move and inspire us even now, after all the years! I encourage music lovers everywhere, especially of classical music, to get hold of this CD and listen to it at least once in their lifetime. You may experience the same sense of joy and wonder as I have. Also, as far as possible, try to listen to it on a high-end high-fidelity audio system. This will definitely give a clearer and more detailed insight, `revelation' into the music, making it that so much more enjoyable.

If Byron Janis was a student of Vladmir Horowitz, then I must say that in this instance, the disciple has truly excelled above and beyond that of the master (as chinese sayings go). In comparison to the Horowitz/Reiner/RCA/1951 recording which some described as the definitive and ultimate interpretation of the Rachmaninoff Third, I find that the latter much less emotionally involving and satisfying. In my opinion, many things in the latter - the seemingly `missing' orchestration (overwhelmed by the forceful pianist maybe), the `plonky' and `banging' piano tone in many instances, the relatively `cold' technical rendition, poor mono recording with thin and reedy sounds overall etc - make it inferior by far. The only other worthy contender, which even comes close to this by Byron Janis, is the Martha Argerich/ Kondrasin/Bavarian RSO/Philips/1980 recording.

So don't hesitate, go get the SACD version of this CD now and enjoy....

Average customer rating:

Best recording of the concertos out there!
A tender and delicate Chopin
Very good but certainly not Chopin
Brilliant. Marvellous. Astonishing.
A profound, masterful interpretation

Chopin: Piano Concertos Nos. 1 & 2

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Rachmaninov: Piano Concertos Nos. 1 & 2

ASIN: B00002DE0S
Release Date: 1999-11-02

Tracks:

Concerto For Piano And Orchestra No. 1 In E minor, Op.11: Allegro maestoso
Concerto For Piano And Orchestra No. 1 In E minor, Op.11: Romance - Larghetto
Concerto For Piano And Orchestra No. 1 In E minor, Op.11: Rondo - Vivace

Tracks:

Concerto For Piano and Orchestra No. 2 In F minor, Op.21: Maestoso
Concerto For Piano and Orchestra No. 2 In F minor, Op.21: Larghetto
Concerto For Piano and Orchestra No. 2 In F minor, Op.21: Allegro vivace

Amazon.com

Chopin's two piano concertos have long been admired more as pianistic vehicles than as integrated works for piano and orchestra. But in his revelatory new recording, Krystian Zimerman suggests otherwise: The opening orchestral tuttis have so much more light, shade, orchestral color, and detail, you wonder if they've been rewritten. Every gesture, every instrumental solo is so specifically characterized that by the time the piano makes a dramatic entrance, the pieces have become operas without words. One may wonder if Chopin intended that. In fact, he knew bel canto opera in his native Poland, but the more positive proof is that the music has so much more to say when treated this way. Some will find the performances disturbing: The interpretations are so much more about content than form, and there's so much tempo and rhythmic flexibility, that the music sometimes seems unmoored and adrift. But upon repeated listening, the sense of fantasy is so beguiling that you wonder if you could ever go back to more conventional performances. --David Patrick Stearns

Customer Reviews:

Best recording of the concertos out there! .......2007-05-01

I searched the web and stores in general for many years trying to find something better... better does not exist in this case.

A tender and delicate Chopin.......2007-04-08

Mr. Zimerman and his Polish Festival Orchestra have produced a very fine recording of the Chopin Piano Concertos No. 1 and 2. Mr. Zimerman has hand picked young Polish musicians to form this orchestra. While it is quite possible for the musicians who are not Polish to completely succeed in interpreting Chopin, I think that it does help if one absorbs Chopin with the mother's milk, so to speak. Mr. Zimerman plays piano and also conducts. He lets the orchestra flourish. They produce a big wave of intricate music. One can hear that the musicians in the orchestra are pouring their hearts and creativity out. One can feel the freedom of the orchestral expression. The orchestra follows the gentleness and the lyricism of Mr. Zimerman's interpretation.

Mr. Zimerman will immediately touch your heart. He is a great master of Chopin.

Mr. Zimerman plays beautifully, with delicate soft dynamics. He achieves the full emotional effect without any over-expressions. He goes softer and more delicate in many places in which others may add more sound and strength. His effect wins.

My favorites are the Rondo from the Concerto No.1, in which Mr. Zimerman plays energetically and with determination, but without any harshness of tone, and the Maestoso from the Concerto No. 2. In the latter the orchestra initially goes for less sound, rather than for the bigger sound often heard in other orchestras. There is a vein of Chopin's sadness that would be lost if the orchestra were too bright. The piano enters dramatically, but then becomes whimsical, and later quite sad. More moods follow. This is the most beautiful movement. After the great introduction and the middle part the momentum is lost. It is regained towards the end of the movement, but one could feel the recovery. I guess there is a trade-off when one uses the tempo changes as a way to express subtle points in music. The loss of the musical momentum could be possibly looked at positively, as a stopping point for the reflection, but I did not like it. Here is where the stick of an external conductor would be welcome.

All in all, this is a great recording, characterized by finesse, tenderness, lyricism, and gentleness, and a nice capture of the dramatic moments. It is Chopin at its best.

Very good but certainly not Chopin.......2006-06-05

This is a very very good Piano Concerto interpretation and execution. However Krystian Zimerman, despite being as polish as Chopin, does not rise to the ocassion at all times during the Chopin Piano Concertos, and I have to say, the playing is excellent, the interpretation is supreme, but this is not Chopin by a long shot.

Take the first movements of both concertos, staring with #1. An Allegro Maestoso is supposed to be played like an Allegro Maestoso not like a scherzo or a molto maestoso. He does this flip from a blue feeling to a rhapsody playing (and viceversa) that sounds more like Listz or Brahms than a 19 year old passionate prodigious. The second concerto's frist movement again is filled with waves that sometimes make you feel you're listening to a Largetto and again a rhapsody, which this is not. Just listen to Ashkenazy play Chopin solo works and you will likely understand the man himself. Magaloff is also a reference for Chopin's playing.

A better version ? Although I'm not fond of Arrau playing Chopin, I own and prefer his version of both concertos, mostly because of the solist. If you haven't listened to them, I recommend you to do so, as his playing comes in more fluid, natural and consistant with the sheet -and with Chopin's personality-. The orchestation of Zimerman is excellent, and have to admit superior than Arrau's + London which feels somewhat missplaced at times, but as I said the piano execution is not Chopin.

All in all a very good piano concerto for someone who hasn't listened to other interpretations, so don't be surprised if you find superior versions.

Brilliant. Marvellous. Astonishing........2006-02-08

These are undoubtedly the best Chopin's concerti ever recorded. Even if I knew no other performance, after hearing this recording I'd know it's perfect. Until I first heard it, I hadn't ever thought a Polish orchestra could be so excellent. One of the reviewers, Ms Zbikowska (przy okazji, pozdrawiam) wrote she bought these CDs because of patriotic duty :) I'm also Polish, but since I consider most of music pieces to be rather beyond nationality, our Ferdek Ch. will never be my favourite composer because of his nationality :)

Instead, I bought this CD because of Zimerman, who in my opinion is the best today's pianist. I am not disappointed, moreover, I have been rewarded more than I counted for. It's difficult to describe (how can we describe music not to lose something from its beauty and depth)...

Just listen to the slow theme in the 1st movement of the E minor concerto, no matter performed by the orchestra alone or Zimerman with the orchestra. God, when I heard it, this was the first time I ever thought of Chopin's concertos: 'This isn't a sweet, candy-style music, this is real, pure beauty!' Zimerman really feels this music, understands it, thus knows how to play it. And these young talented people from the orchestra... I want them to become our National Philharmonic players! I know Zimerman "trained" them long, but the effect is absolutely unimaginable! In the samples you can hear, how they start each of the concertos. (To be honest, my favourite parts of Chopin's concerti have always been the orchestral exposition of the 1st movements with the first few minutes with the piano) Listen to it. E.g. the unusual beginning of the F minor: quiet, passionate... Then a mighty 'tutti' moment, and then it's moving, accelerating... THIS is the way it should be played! Other example: listen to the very 11-12th second of the beginning of the E minor. This might seem to be a detail at first, not worth mentioning... but how dead and boring seem immediately all other recordings! Here is the passion...

Someone contemporary to Chopin said he was more Polish than any of Frenchmen was French or any of Germans - German... I don't know whether the opinion that the music of a composer is played best by his compatriots is true in all cases, but IMO it is in the case of Chopin - and these recordings confirm it.

Don't care about people who complain about the lack of "spontaineity". There is no room for spontaineity where everything is perfect as is Chopin's head!

Buy these recordings. You cannot be disappointed.

Thanks and sorry for my, perhaps wrong, English spelling or other errors :)

P.S. Deutsche Grammo should pay me for advertisement. :)

A profound, masterful interpretation.......2005-12-06

These concertos were written by a young man in love. In 1830, at the age of 19, Chopin was smitten with the young Polish soprano Konstancja Gladkowska, and he credits her as the inspiration for his two Concertos for Piano and Orchestra, composed during that year. He wrote to a friend: "This is a young, pretty person, who plays, because, perhaps unfortunately, I have my ideal that I have been faithfully serving for six months already without speaking to her, of whom I dream, in honor of whom is the adagio to my concerto..." The youthful, melancholic passion of his first, yet unrequited love is certainly reflected in the concertos, especially in the slow movements, which Chopin described in the following words: "It is rather romantic, peaceful, melancholic. It should give the impression of a loving glance at a place which brings a thousand dear memories to mind. It is a kind of reverie on a beautiful vernal night, by moonlight."

One of the most remarkable things about Chopin is that as a composer he grew to his full potential very early in life. By the time he composed these concertos at the age of just 19, he had already developed his own completely unique pianistic idiom, quite unlike any composer before or since: like Athena springing forth fully formed from the head of Zeus. The mazurka in the finale of the Second Concerto; the romantic nocturne-like slow movements; the graceful, delicate, aristocratic embellishments: it's all pure, unadulterated Chopin. He never composed a single piece of music that did not feature the piano, and he was the author of only a small handful of works for piano and orchestra. Preferring to work in the smaller forms, Chopin is not so much remembered today for his orchestrations, which are sometimes even re-composed by those who find fault with them. But one must remember that the piano concertos were written as a labor of love, and that even if the orchestrations are not perfect, they should be treated delicately and with the same love that Chopin himself put into them.

This is the sensitive new approach that Krystian Zimerman and the Polish Festival Orchestra adopt in their landmark interpretation of the Chopin Piano Concertos. Zimerman hand-picked each and every member of his orchestra from among the finest young musicians in Poland, with the specific purpose of holding a world tour of the concertos on the 150th anniversary of Chopin's death. This recording is the result of that tour, and is nothing short of a visionary musical masterpiece. As both conductor and soloist, Zimerman blends the orchestral sound perfectly with his own performance, capturing every nuance with adroit delicacy, perfectly dovetailing every phrase. I never doubted Zimerman's virtuosity before, but this recording fixes him firmly in my mind as one of the greatest pianists of our time. His attitude towards the music is truly one of love and humility before the composer, rather than "How fast can I play this?" or "How can I use this piece to show off?" His attention to detail is amazing: listening to his performance one gets the sense that he has come to a complete understanding of Chopin's music, capturing the idiom of the composer perfectly, and leaving the listener feeling a profound sense of "rightness." The music on these discs leaves a very lasting impression, and I encourage anyone interested to listen to these recordings and experience the definitive interpretation of Chopin's Piano Concertos.

Average customer rating:

A Must!
great music
The one you need

Best of the Canadian Brass

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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The Essential Canadian Brass
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Basin Street

ASIN: B0000026Z3
Release Date: 1989-11-20

Tracks:

Vespers Of The Blessed Virgin: Deus in adjutorium - Monteverdi
Canzon V - Canadian Brass
Canon In D - Pachelbel
Le Nozze Di Figaro, K. 492: Overture - Mozart
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Die Zauberflote: Der Holle Rache - Mozart
Exultate Jubilate: Alleluia - Mozart
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The Four Seasons: II - Largo (Winter) - Canadian Brass
The Four Seasons: III - Presto (Summer) - Canadian Brass
The Four Seasons: IV - Allegro (Autumn) - Canadian Brass
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Contrapunctus XIII (Rectus, Allegro Spiritoso) - Bach
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Chinatown, My Chinatown - Canadian Brass
Just A Closer Walk With Thee - Traditional
The Saints' Halleluja - Canadian Brass

Customer Reviews:

A Must!.......2004-12-28

This is a must have for any fan of brass instrumentals. (Especially if you are a fan of the Canadian Brass.)

great music.......2000-12-18

I just bought this cd yesterday and i love it already. as a trumpeter, i can really enjoy and appreciate the music they perform. i was quite intrigued hearing canon in D (currently playing right now on my stereo), et al.

The one you need.......2000-06-26

If you are to buy only 1 CD for Brass Enemble, Get this! It captured the BEST of the Candian Brass (one of the top brass enemble in the world). It has all the nice tunes, e.g. Four Seasons, Cannon in D, etc. Strongly recommended.

Shostakovich: Piano Concertos Nos. 1 & 2; Sonata No. 2

Average customer rating:

Music to make the heart race and the soul sing
Good for the price maybe
what a deal!
WHAT A PERFORMANCE!!!!!!
Leonskaja is Very Impressive Here; So is the St. Paul CO

Shostakovich: Piano Concertos Nos. 1 & 2; Sonata No. 2

Manufacturer: Teldec
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005MOA1
Release Date: 2002-02-19

Tracks:

Piano Concerto No.1 In C Minor, Op.35: Allegretto
Piano Concerto No.1 In C Minor, Op.35: Lento
Piano Concerto No.1 In C Minor, Op.35: Moderato
Piano Concerto No.1 In C Minor, Op.35: Allegro Con Brio
Piano Concerto No.2 In B Minor, Op.61: Allegro
Piano Concerto No.2 In B Minor, Op.61: Andante
Piano Concerto No.2 In B Minor, Op.61: Allegro
Piano Sonata No.2 In B Minor, Op.61: Allegretto
Piano Sonata No.2 In B Minor, Op.61: Largo
Piano Sonata No.2 In B Minor, Op.61: Moderato

Customer Reviews:

Music to make the heart race and the soul sing.......2007-05-06

I've owned this recording for some time, but I'd forgotten about it until I heard the second piano concerto used as background music on a documentary the other night. The melody from the second movement kept running through my head until I found it on my iPod and sat down to listen to it. I don't know why I ever let it fall out of regular rotation. It's lovely, and this performance is very good. For the price it's outstanding.

The first and second concertos are seperated by over 20 years, Stalin's purges, and WWII. They feel very different. There's an irreverant smartness and swagger to the first concerto that's missing in the second, which is tighter and sharper, though still full of Shostakovich's great sense of humor. It's the second concerto that I like better, though. It's filled with exercises for a piano student (and in fact is technically relatively easy for the pianist), but those exercises are elevated by brilliant polishing and fantastic panache into something more. The second concerto may be a relatively minor piano concerto, but it has some of the most exquisitely lovely music out there, and it's thoughtfully performed on this disk.

I don't consider this desk an essential part of my music collection, but music on it moves me. I could listen to it over and over again (and I have, four or five times in the last two days). Both concertos contain a spirit and a humanity that transcend the time and place of their composition, but they're also wonderful musical artifacts of the USSR, part of a musical tradition that couldn't have come from any other place or time. Listen to both concertos and you can get some feeling for what it meant to survive Stalin's reign. The SPCO under Hugh Wolff is right for this music, and Leonskaja is the right soloist. Definitely worth the money.

Good for the price maybe.......2006-08-11

I'm really surprised this recording is garnering such wholeheartedly positive reviews. I find some interesting moments but, as a whole, think both concertos have been done much better elsewhere.

I'd like to say I could recommend this disk based on the price as a starter at least, but I feel too strongly that Ms. Leonskaja's performance is out of character with the music in many places, and, even worse, she often doesn't display passion or understanding for it.

One instance of this, by way of contrast to her playing, would be how, in his performance of the cadenza of the first movement of the second concerto, Shostakovich's grandson uses textural contrast in playing, rabato, and accelrando to build to the climax of the coda when the orchestra reenters. She, by comparison, plays rather droningly until, suddenly, the orchestra is finishing the movement. Not that she doesn't use or surely know accelrando etc., but she just uses her piano technique haphazardly without larger purpose.

This kind of playing seems to me also evident in the first concerto. She rambles without giving momentum to the music. Her technique is fine, but she doesn't have a large scale perspective down.

I'd have to agree with a previous reviewer that a bright spot is the second movement of the second concerto. This movement is usually played almost apologetically as a quiet interlude. The performance on this disk may be only slightly more dynamic, but gives it romantic depth. It is with NO apologies that this music should be offered. It is simply beautiful, and the conducting is fully in synch with the subtleties of the music. Ms. Leonskaja shines here too. This seems best in synch with her playing .

2 of 2 instant positve reviews? i don't f88cking think so. even my best friends aren't that highly disposed

what a deal!.......2005-10-19

I'll add my 5 stars to those of the other reviewers. For a budget disc the production standards are very high. The orchestral strings are beautifully recorded and the solo work (piano but also trumpet in concerto no.1) is excellent. This CD is generously packed as well. A great deal.

WHAT A PERFORMANCE!!!!!!.......2004-08-23

Brilliance, clarity and beauty beyond measure,
is what we find in this renditions of the
Piano Concertos by Shostakovich(One of my favourite composers).
Leonskaja is ready and well prepeared
for the task. Equally brilliant are Hugh Wolff and the
St. Paul Chamber...The price is great too and the sound
is superb...

Leonskaja is Very Impressive Here; So is the St. Paul CO.......2004-06-18

I had recently reviewed the newish release of the two Shostakovich Piano Concertos played by Marc-André Hamelin. Raved about them, in fact. They were coupled with the all-but-unknown Second Piano Concerto by Rodion Shchedrin, which I'd never heard before but fell in love with. I honestly didn't think I'd hear better performances of the Shostakovich pieces anywhere - and that's saying a lot, considering that virtuosi like Bronfman and Dimitry Alexeyev have recorded them in the last few years. Elisabeth Leonskaja is a pianist I'd only vaguely known of before a friend introduced me to her recording of the Brahms First Concerto; I was stunned at the beauty and brains of her playing. It wouldn't be the usual Brahms player who could make the switch to Shostakovich easily. Brahms is weighty and in these two concertos Shostakovich is, for the most part, the class clown. I'm happy to report that Leonskaja makes the transition beautifully. These performances are light-hearted and deeply felt at the same time. If anything, the second movement of the Second Concerto is better than Hamelin's or anyone else's that I've ever heard. When I first heard it I had to play it three times in a row because I was reluctant to leave it, it's THAT gorgeous. In the concerto she is helped immensely by the fine playing of the St. Paul Chamber Orchestra under Hugh Wolff. In that slow movement the muted strings are simply ravishing. Each time I hear the attacca beginning of the last movement, with its silly, gimpy headlong 7/16 insistence, I laugh out loud. The trumpet soloist in the First Concerto is Gary Bordner. His playing is stunning.

Shostakovich's Second Sonata is definitely NOT of a piece with the two concerti. It is a big, introspective, mostly spare essay in Shostakovich's polyphonic style. If you know his Préludes and Fugues, you'll have some idea of the style. Leonskaja plays magisterially here, never afraid to let Shostakovich's spareness tempt her to rush the second and third movements. Very nice, indeed.

Scott Morrison

Serge Rachmaninoff: Piano Concertos Nos. 1-4/Rhapsody On A Theme By Paganini
Average customer rating:

Rachmaninoff, Piano Concertos Nos. 1-4/Rhapsody On A Theme By Paganini

4 out of 5 or 3 our ot of 4

low-hanging fruit

Fantastic

A decent set

Serge Rachmaninoff: Piano Concertos Nos. 1-4/Rhapsody On A Theme By Paganini

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

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ASIN: B000004167
Release Date: 1993-10-12

Tracks:

Piano Concerto No. 2 In C Minor, Op. 18: 1. Moderato
Piano Concerto No. 2 In C Minor, Op. 18: 2. Adagio sostenuto
Piano Concerto No. 2 In C Minor, Op. 18: 3. Allegro scherzando
Piano Concerto No. 3 In D Minor, Op. 30: 1. Allegro ma non tanto
Piano Concerto No. 3 In D Minor, Op. 30: 2. Intermezzo (Adagio)
Piano Concerto No. 3 In D Minor, Op. 30: 3. Finale (Alla breve)

Tracks:

Piano Concerto No. 1 In F Sharp Minor, Op. 1: 1. Vivace
Piano Concerto No. 1 In F Sharp Minor, Op. 1: 2. Andante
Piano Concerto No. 1 In F Sharp Minor, Op. 1: 3. Allegro vivace
Piano Concerto No. 4 In G Minor, Op. 40: 1. Allegro vivace. (Alla breve)
Piano Concerto No. 4 In G Minor, Op. 40: 2. Largo
Piano Concerto No. 4 In G Minor, Op. 40: 3. Allegro vivace
Rhapsodie On A Theme By Paganini, Op. 43: Rhapsody On A Theme By Paganini, Op. 43

Customer Reviews:

Rachmaninoff, Piano Concertos Nos. 1-4/Rhapsody On A Theme By Paganini.......2007-03-09

I am truly enjoying them. I play them almost daily.

4 out of 5 or 3 our ot of 4.......2007-02-21

I didn't care for the interpretation of the Third piano concerto, It was a bit rough around the edges and lacked lyricism. I bought the set because I heard the 4th on NPR and loved it.

low-hanging fruit.......2007-02-15

Sergei Rachmaninoff's music for piano and orchestra is easy to love. Its lyrical romanticism and connections with successors that lead even to jazz piano tend to be accessible to contemporary listeners. It is some of the most stirring music ever written, though it does not earn the respect of work written by canonical masters of the genre like Mozart and Beethoven.

When you pair this music with Edo de Waart's baton (now in Hong Kong), Rafael Orozco's keyboard, and the always dependable Royal Philharmonic Orchestra, you've got a situation where artistic ripe fruit is hanging low for the picking.

After you've loved this double CD recording to death, make it a project to introduce someone who needs orchestral music in her life but doesn't see it yet. Rachmaninoff might just be the doorway.

Lovely, lovely music, perhaps even for hearts worn flat by pop culture's single track.

Fantastic.......2006-11-29

As a reviewer said below (I 100% agree), technically, the pianist's technique is virtually godlike (Czifra-like technique). Maybe musically he provides a unique interperetation... but in a positive way! After listeting to about 10 versions of Rachman.concertos, I found the Orozco interpretation and understanding of the concertos to be far the superior!! Originally I had no idea about this recording and wanted to go with Kissin or Kondrashin etc. Also because the quality of this recording is not the top one (but it is not that bad - I just call it "philips sound"). To conclude, to me this is finally the kind of interpretation which makes me stand up from the chair and which makes me chill. Like Heifetz on violin. The performance has unbelievable emotional drive - Orozco is unbelievable. Kissin pales beside him, really.

A decent set.......2006-09-07

Perhaps the greatest virtue of this recording set is that it very nicely comes with the complete set of Rachmaninoff works for Piano and orchestra, but other than that, unfortunately, it counts for little else.

Technically, the playing is solid. However, the interpretation has less soul to it than I would really like in such deep music as this. Many beautiful sections of music are glossed over, such as the opening of the Fourth Concerto, the opening of the Rhapsody, and other parts.

As a complete set, this recording is at best a bargain set with bargain priced playing and sound... However, if you are looking for interpretations of the individual pieces included, each one has at least several more satisfying recordings available. Looking for a complete set is now much easier--check out Nikolai Lugansky's complete set for only about $2 more, last I checked.

Average customer rating:

Early Beethoven Concertos Beautifully Played

Beethoven: Piano Concertos Nos. 1 & 2

Manufacturer: Arte Nova Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
Similar Items:

Beethoven: Piano Concerto No 5
Beethoven: Piano Concertos 3 & 4
Beethoven: Triple Concerto; Septet
Beethoven: Violin Concerto; Violin Romances
Beethoven: Missa Solemnis

ASIN: B000N60H9K
Release Date: 2007-03-13

Tracks:

I. Allegro Con Brio
II. Largo
III. Rondo: Allegro Scherzando
I. Allegro Con Brio
II. Adagio
III. Rondo: Molto Allegro

Album Description

"I don't think I've ever heard Bronfman play better." - Gramophone

Born in Tashkent, Uzbekistan in 1958, Yefim Bronfman immigrated to Israel at the age of thirteen and later to the US, where he pursued his training at the Juilliard School and the Marlboro and Curtis Institutes under Rudolf Serkin, Rudolf Firkusny, and Leon Fleisher. Bronfman celebrated his international debut in 1975, accompanied by the Montreal Symphony Orchestra under Zubin Mehta. He soon acquired an excellent reputation as a pianist on the stages of the world's major concert halls. Highlights of recent years include concerts with the Berlin Philharmonic, the Chicago Symphony, and the Cleveland Orchestra, the Staatskapelle Dresden, the Gewandhaus Orchestra Leipzig, the Concertgebouw Orchestra Amsterdam, and the Vienna Philharmonic. Yefim Bronfman also gives regular piano recitals in the leading concert halls of the US, Europe, and Asia. As a chamber musician, he has collaborated with the Emerson, Cleveland, Guarneri, and Juilliard Quartets. Other long-term musical partners include Emanuel Ax, Yo-Yo Ma, Joshua Bell, Lynn Harrell, Shlomo Mintz, and Pinchas Zukerman. Bronfman became an American citizen in 1989. Born in 1936, American conductor David Zinman has risen to the pinnacle of his career in the last decade. His discography of over one hundred recordings has won five Grammys and two Grands Prix du Disque. Founded in 1868, the Zurich Tonhalle Orchestra is Switzerland's oldest symphony orchestra.

Customer Reviews:

Early Beethoven Concertos Beautifully Played.......2007-07-03

David Zinman conducting the Tonhalle Orchestra Zurich and pianist Yefim Bronfman have recently collaborated on a recording of Beethoven's five piano concertos and the triple concerto on the budget-priced Arte Nova label. In this recording of the first and second concertos, Zinman, his orchestra, and Bronfman are an ideal match. Zinman has become known for his period performances of Beethoven using modern instruments. His set of Beethoven symphonies has been highly acclaimed. His recording of Beethoven's Missa Solemnis has received mixed reviews, but I enjoyed it greatly. The performance of these concertos is crisp, articulate, boisterous, and ambitious. It brings out the drive, humor,originality and roughness-around-the-edges of early Beethoven. Yefim Bronfman is a powerhouse pianist. But he plays these early concertos idiomatically, lightly, smoothly, and with great flair.

Of Beethoven's five concertos, the fourth and the fifth are mature middle-period works. The third concerto, in C minor, is something of a hybrid between Beethoven's early and middle styles while concertos 1 and 2 are works of the young Beethoven. Beethoven did not compose a late-period concerto, but these five works offer an excellent way of tracking Beethoven's development from his early years in Vienna to his period of maturity. More importantly, they contain unforgettable music.

Beethoven composed the first two concertos for his own performance as a rising young composer in Vienna in his early to mid 20's. The earliest of his concertos is concerto no. 2 in B-flat major, opus 19. This work probably was written in some form before Beethoven moved to Vienna from Bonn at the age of 22. He revised and reworked it many times for his own use before publishing it at last in 1801. Beethoven described the work to his publisher as "A concerto for pianoforte, which, it is true, I do not make out to be one of my best. At the same time it would not disgrace you to engrave this concerto." The second remains the least-familiar of Beethoven's concertos.

Particularly in its opening movement, the work has a bumptious, patchwork quality, probably due to Beethoven's many revisions of the score as well as to his youth. But the work has lovely movements, particularly in its lyrical second theme and in the delicate runs and movement of the piano part. The highlight of the work is the Adagio, a flowing and serious slow movement which builds dramatic tension in long solo passages for the piano towards the end. The finale of the second concerto is a boisterous rondo with a short, catchy and humorously syncopated theme. If Beethoven was correct in regarding the concerto as "not one of my best" he was also right that the work did not put him or his publisher to shame. The work, which owes a great deal to Mozart and Haydn, well rewards hearing.

The piano concerto no. 1 in C major, opus 15 was composed in 1795 also primarily as a performance vehicle for Beethoven. This work is much more cohesive than the B-flat major concerto and was also published in 1801, several months after its companion. The opus 15 is a festive, high-spirited work, replete with tympani and trumpet as befitting an orchestral piece in C major. The opening movement features a range of themes, but it focuses on a march-like military phrase introduced at the outset by the orchestra and on a solo martial theme given to the piano. The piano part is full of filigree, long runs, trills and singing themes. Beethoven wrote a famously difficult cadenza for this early work. The largo, opens with a lyrical, reflective theme in the piano which is clung to and developed over the course of an extended movement, culminating in another floridly elaborate piano solo towards the end. The final rondo, which Beethoven is said to have composed in two days, is lively and rhythmical with some strongly accentuated dance themes as it proceeds. In this concerto, Beethoven comes into his own voice as a young composer while still building of the work of his great predecessors.

Zinman and Bronfman offer a thoroughly enjoyable and idiomatic performance of early Beethoven. This is a lovely disc and at its low price offers an excellent way to get to know and love this music.

Robin Friedman

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Track Listings

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