Schumann: Kreisleriana

1. Kreisleriana, 8 fantasies for piano, Op. 16
Composed by Robert Schumann
with Anton Kuerti

2. Piano Sonata No. 3 in F minor ("Concerto Without Orchestra"), Op. 14
Composed by Robert Schumann
with Anton Kuerti

3. Toccata for piano in C major, Op. 7
Composed by Robert Schumann
with Anton Kuerti

Tracks:

Symphony No. 3 In E-flat Major, Op. 97: 'Rhenish' - Lebhaft
Andante And Variations In B-Flat Major
Symphonic Etudes, Op. 13
Toccata In C Major, Op. 7
Kreisleriana, Op. 16
Piano Concerto In A Minor, Op. 54: Allegro Vivace
Carnaval, Op. 9
'Dedication', Op. 25/1
Symphony No. 4 in D Minor, Op. 120: Introduction - Vivace
Papilons, Op. 2
Op. 25-3: 'The Nut Tree'
Symphony No. 3 In E-flat Major, Op. 97: 'Rhenish' - Lebhaft-Schneller
Piano Quintet In E-flat Major, Op. 44: Allegro ma non troppo
Piano Concerto In A Minor, Op. 54: Allegro affettuoso
Carnaval, Op. 9: Waltz
Album For The Young, Op. 68: The Merry Farmer
Scenes From Childhood, Op. 15: Dreams
Cello Concerto In A Minor, Op. 129: Nicht au schnell
Symphony No. 3 In E-flat Major, Op. 97: 'Rhenish' - Feierlich
Peer Gynt Suite No. 1, Op. 46, No 1
Lyric Suite, Op. 54-2: Norwegian Rustic Dance
Op. 12 No. 4: Elf Dance
Op. 35, No. 1: Norwegian Dances
Elegiac Melodies
Op. 64, No. 4: Symphonic Dances
Op. 35, No. 2: Norwegian Dances
Op. 5-3: 'I Love Thee'
Op. 43, No. 1: Butterfly
Op. 65, No. 6: Wedding Day At Troldhaugen
Peer Gynt Suite No. 1, Op. 46, No. 3: Anitra's Dance
Peer Gynt Suite No. 2, Op. 55, No. 4: Solveig's Song
Peer Gynt Suite No. 1, Op. 46, No. 4: In The Hall Of The Mountain King
Piano Concerto In A Minor, Op. 16: Allegro moderato; Allegro marcato
Holberg Suite, Op. 40: Prelude: Allegro vivace
Lyric Suite, Op. 54, No. 3: Dance Of The Dwarfs
Homage To Chopin
Sigurd Jorsalfar Suite, Op. 56, No. 3: Homage March
Peer Gynt Suite No. 1, Op. 46: Morning Mood
Peer Gynt Suite No. 1, Op. 46: The Death Of Aase
Peer Gynt Suite No. 1, Op. 46: Anitra's Dance
Peer Gynt Suite No. 1, Op. 46: In The Hall Of The Mountain King
Peer Gynt Suite No. 2, Op. 55: III The Return Of Peer Gynt
Peer Gynt Suite No. 2, Op. 55: IV Solveig's Song

Robert Schumann: Kinderszenen/Kreisleriana

Average customer rating:

I hate this CD!
One phenomenal artist!
Argerich According to Taste
One of the best Schumann performences

Robert Schumann: Kinderszenen/Kreisleriana

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Schumann: Kinderszenen Op15

ASIN: B000001G4S
Release Date: 1990-10-25

Tracks:

Kinderszenen Op.15: About Foreign Lands And Peoples
Kinderszenen Op.15: Curious Story
Kinderszenen Op.15: Catch Me If You Can
Kinderszenen Op.15: Pleading Child
Kinderszenen Op.15: Happiness
Kinderszenen Op.15: Important Event
Kinderszenen Op.15: Dreaming
Kinderszenen Op.15: At The Fireside
Kinderszenen Op.15: Knight Of The Hobby Horse
Kinderszenen Op.15: Almost Too Serious
Kinderszenen Op.15: Frightening
Kinderszenen Op.15: Child Falling Asleep
Kinderszenen Op.15: The Poet Speaks
Kreisleriana Op.16: Agitatissimo
Kreisleriana Op.16: Con Molta Espressione, Non Troppo Presto
Kreisleriana Op.16: Molto Agitato
Kreisleriana Op.16: Lento Assai
Kreisleriana Op.16: Vivace Assai
Kreisleriana Op.16: Lento Assai
Kreisleriana Op.16: Molto Presto
Kreisleriana Op.16: Vivace E Scherzando

Customer Reviews:

I hate this CD!.......2004-12-12

I hate this CD! I choose to listen to it primarily for the Kreisleriana, one of my favorite pieces of Schumann -- and then, to my chagrin, I get sidetracked by Kinderscenen, the first piece on this disc. Once I hear the lovely opening strains of "From foreign lands and peoples," I am "hooked" and must finish listening to this piece in its entirety before I get to hear the Kreisleriana. What a horrible predicament . . . to have two stunning performances of two entirely different works by the same composer and same artist on a single CD!! Seriously, though, while Martha Argerich needs no endorsement -- certainly not from a mere mortal like me -- the interpretations on this disc are nothing short of extraordinary. The alternately gentle ease, whimsical jerkiness, and general loveliness with which she plays the Kinderscenen truly presents this as a piece not for children, but for adults about children with all of their profound yet innocent thoughts and delights. One loses oneself in this musical panorama of childhood brought forth by Ms. Argerich. Regarding Kreisleriana, it is best that I say nothing and simply insist that everyone who loves music owes himself or herself the hearing of this romantic, mysterious, yet subtle masterpiece of Schumann brought forth through the mind and fingers of Ms. Argerich. (I truly feel indebted to her, knowing her aversion to solo playing, that she has graced us with these recordings, of which the purchase price is as nothing when compared with the inestimable value of the production.) This is a performance that is at once intensely passionate and caressingly beautiful. Thunderously powerful and quietly mysterious -- all as Schumann intended . . . but almost never realized in the concert hall, so difficult is the performance of this work both technically and interpretively. In closing, while I still adore the (justly) legendary Kreislerianas of Kempff and Horowitz, there's just something about Argerich here that makes the heart beat a bit faster.

One phenomenal artist!.......2004-09-26

For those fortunate enough to have heard Martha Argerich in concert are well aware of her innate musicality and brilliance of execution. Though she is usually associated with the "barn-burner" repertoire she has always been equally at home in the gentler tenderness of such works as in this recordings Kinderszenen by Robert Schumann (paired with an equally successful reading of the Kreisleriana). Yes, she does have her own ideas about tempi and dynamics, but this music is, after all, form the Romantic Era when just such personality traits were de rigueur with performers (and composers performing their own works!). Argerich never gets in the way of the composer's markings, she just leans into the inner voices and there finds interpretations that sing. Her nonchalant (read 'unfussy') opening of 'Von fremden Landern und Menschen' is childlike innocence itself, and when she approaches 'Ritter con Steckenpferd' we are on a wild ride of technical finesse. The balance of the recording (made in 1984) is up to the old standards set by DGG. This is an enormously satisfying CD of two wonderful cycles from Schumann's repertoire for the piano alone.

Argerich According to Taste.......2000-06-19

Last Summer I finally had the opportunity to hear Argerich live in concert (Prokoviev, not Schumann -- but it hardly mattered). I felt my musical appreciation life was complete. As recent New York Times articles have said, Argerich in concert inspires something very like the 'Lisztomania' phenomenon in the 19th century. Live, sitting at the piano, fingers often moving so fast they can't be followed with the eye, yet always poised like doing this were the most natural thing in the world, Argerich seems more an elemental force or goddess than a human pianist...at least to people who become involved in her music making. (At the concert I attended she received a 15-20 minute nonstop standing ovation -- no exaggeration -- so it seemed everyone was involved.)

This is all by way of saying that Argerich's recordings don't in my experience -- possibly can't -- live up to her live performances. And so what some people hear as 'virtuosity for its own sake' (quoted from above review), may be the most thrilling music ever heard by the people in the studio at the time she recorded it. Or maybe she needs a concert hall audience, and the studio technicians heard brilliant virtuosity.

As to this recording, I find it to be for the most part vintage Argerich. There are passages that are either too briskly stormed through or that didn't translate onto record and needed to be heard live (microphones are not ears and do change the sound -- that's why there's no perfect stereo system). But if you are able to get into Argerich's sound world -- one of profound emotional intelligence and dynamism -- then what could sound like caprice begins to thrill. The Gramophone reviewer noted Argerich's identification with the child's point of view in Kinderszenen, and I hear that as well. That performance is full of wonder and impulse and 'seeing what's on the other side of that door.' The Kriesleriana is a wild, passionate ride, but with great concentration and intensity in the slow movements. Her tempi, as always, are fast -- almost like the rest of the world is moving in slow motion to her. The sound on the LP was crystal clear, a little light in the bass, neither rich and warm nor cold nor brittle -- just raindrop clear: a typically good DG recording.

If you like Argerich, this is a marvellous disc. If you often have reservations about her playing, you will almost certainly have them again here; though I heartily recommend attending at least one of her concerts at the earliest opportunity.

One of the best Schumann performences.......2000-06-02

I loved Argerich's interpretation of those pieces. No Doubt that this is one of the best recordings of the 20th century! a must.

Complete Recordings on Deutsche Grammophon

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MUST HAVE THIS IN YOUR COLLECTION OF HOROWITZ
Horowitz: A Digital Legacy

Complete Recordings on Deutsche Grammophon

Manufacturer: Deutsche Grammophon
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Binding: Audio CD

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ASIN: B00008RWRI
Release Date: 2003-10-14

Customer Reviews:

MUST HAVE THIS IN YOUR COLLECTION OF HOROWITZ.......2007-07-13

If you have any Horowitz music in your collection. THEN YOU MUST GET THE COMPLETE RECORDINGS ON DEUTSCHE GRAMMOPHON. Quality of recording is superb.

Horowitz: A Digital Legacy.......2004-11-15

This set includes all of the recordings Vladimir Horowitz did for Deutsche Grammophon in the 1980s, including his historical concert in Moscow.

While the context of his return in Moscow is moving, the studio recordings are simply wonderful. The sound quality is impeccable. The Steinway piano sounds warm but yet crisp and sharp. Horowitz still has plenty of power, and if you don't have a good sound system, you will notice that your speakers will literally fail, due to the overwhelming wall of sound that Horowitz creates in the intense parts.

The tender moments are just as exciting, as they are enhanced by the very quiet and clear digital recording process. Liszt's Standchen and Mozart's Piano Concerto No 23 are only two of a myriad of highlights contained on this boxed set. Having these high quality digital recordings of this piano legend is a blessing that you can't afford to miss. And at this price, it's simply irresistible.

Tracks:

Toccata Op. 7
Scenes From Childhood, Op. 15: I. From Foreign Lands And Peoples
Scenes From Childhood, Op. 15: II. A Curious Story
Scenes From Childhood, Op. 15: III. Blind Man's Buff
Scenes From Childhood, Op. 15: IV. Pleading Child
Scenes From Childhood, Op. 15: V. Happiness
Scenes From Childhood, Op. 15: VI. An Important Event
Scenes From Childhood, Op. 15: VII. Dreaming
Scenes From Childhood, Op. 15: VIII. At The Fireside
Scenes From Childhood, Op. 15: IX. Knight Of The Hobbyhorse
Scenes From Childhood, Op. 15: X. Almost Too Serious
Scenes From Childhood, Op. 15: XI. Frightening
Scenes From Childhood, Op. 15: XII. Child Falling Asleep
Scenes From Childhood, Op. 15: XIII. The Poet Speaks
Kreisleriana, Op. 16: I. Ausserst bewegt
Kreisleriana, Op. 16: II. Sehr inning und nicht zu rasch
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
Arabesque, Op. 18
Blumenstuck, Op. 19

Customer Reviews:

The Definitive Kreislerianna.......2005-11-01

Everything on this disc is what you'd expect from one of the greatest pianists of all time: superb. But the treasure is the Kreislerianna, of which this is the definitive recording. I've searched in vain for a more recent, sonically better version. There is, for example, a decent recording of the piece by Perahia, a mediocre one by Brendel, and an awful one by Argerich (arghhh!), but nothing matches this. Radu Lupu's comes the closest, but it lacks the definition and vision of Horowitz's, especially in the opening section. People sometimes berate Horowitz as too much a technician, much as they did Gould. But how they can say that in the face of a deeply felt interpretation such as this is beyond me. I first heard this recording when I was about 16 (luckily, since this isn't your average bedtime classical sampler, and it needs the right interpreter) and have loved it ever since. The Kreislerianna, incidentally, is also among Schumann's most lovely works, melodic, and complex.

Horowitz was good...only........2004-11-26

Horowitz in my opinion epitomized the typical virtuoso pianist expected by the unknowledged majority. Horowitz was great with some of the most difficult pieces of music. His technique was grand, but his musicality lacked purity and warmth. A great man once said that it is ok to drop your voice at the end of a sentece, but too loose it completely was simply pushing the boundries. Horowitz is not my choice for playing the Kinderzenen, but the rest of the program was his to conquer.

perfection.......1999-08-08

an essential Schumann CD. Kreisleriana especially is mind-blowing

Average customer rating:

Wonderful music, great playing, even better price
This is well worth the price
Not Ashkenazy's forte (pun on forte intended)
beautifully played, wonderful and overlooked pieces

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

General | Classical | Styles | Music

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Liszt: Piano Works
Chopin: The Piano Works
Schubert: The Piano Sonatas
Haydn: The Complete Piano Sonatas

ASIN: B00006IU8T
Release Date: 2003-03-11

Tracks:

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

Amazon.com

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

Album Details

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

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

Average customer rating:

The tradition of the new!
Mature Horowitz And The Best Liszt Sonetto 104
Truly Magical
Stunning
The piano as an extension of consciousness

The Magic of Horowitz

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

Mazurkas | Ballets & Dances | Classical | Styles | Music

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Rondos | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

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Customer Reviews:

The tradition of the new!.......2006-05-08

Respect the egregious significance of Vladimir Horowitz for the great Western audiences, I really should notice that Europe had lived a Century and a half of reluctant Romanticism, while North America was in another historical process; the recent musical history began to write with two important composers: Edward Mac Dowell, a beloved and admired friend of Frau Carreno and Louis Moreau Gotschalk, who accustomed to make those Gargantuan recitals such as that famous Concert with more than one hundred pianists on stage. Indeed, this was an imported costume of those Ages, where the concept of listening music had lessened the value; the visible decay of the music in the second half of the XIX Century is more than obvious. The ominous presence of composers of the artistic height of Richard Wagner, Johannes Brahms, Gustav Mahler and Anton Bruckner were concentrated in Germany and Austria; Frank in Belgium and Max Reger in Swiss, but if you take a look around the musical triviality lived in the rest of Europe (with counted and isolated exceptions)where the fireworks of Liszt, Thalberg, and Alkan filled the Concert Halls in Paris, with the elusive music of Lalo or Jules Massenet and the arriving of the new Midas King of the great Halls, Strauss dynasty, included Waldteufel captivated the audiences.

The emotion for watching a piano virtuosi simply had not prize. You should remind the famous tour undertaken by Anton Rubinstein in the last years of the XIX Century. Horowitz contributed conscious or unconsciously to perpetuate the legend. Effectively, he marked a`personal style at the piano; if not let me refresh you these names: William Kapell, John Browning, Gary Graffman. Lori Hollander, Byron Janis, Van Cliburn and Leon Fleisher, were notably influenced with this style. And please tell me who in a sensate state of mind, would be able to send to Europe his promising son or daughter where the flaming wrecks of the WW1 were in the air and the expected fears of a next confrontation was still to come.

Schnabel was a particular exception, since he was hired as Docent in USA, but its influence was relatively small. We should wait to the early Fifties to appreciate other styles and approaches; Gilels, Richter from USRR, Badura Skoda, Demus and Gulda from Austria, but still remained confined for dilettantes the renowned figures such as Edwin Fisher, Michelangeli, Myra Hess and Wilhelm Kempff.

His playing caused true furor during almost four decades. Horowitz now belongs to the legend.

Mature Horowitz And The Best Liszt Sonetto 104.......2005-10-04

I have not much to add to the other reviews. Horowitz made some of his very best recordings when he was already more than 80 years old, and this 2CD (+DVD) set contains many of them, as well as the best recording of Liszt's Sonetto 104 that I know of, or am ever likely to hear.

Truly Magical.......2005-04-17

This album showcases the mighty Vladimir Horowitz in his last years. His life of music is definitive in these masterful interpretations. In these pieces, Mr. Horowitz displays many new ideas on some pieces that have been played, assumed successfully, continually in the same manner.

Two instances - Scriabin's Etude, Op. 8 No. 12 and Mozart's Rondo, K. 511. The maestro's entrance is softer and slower in the former, and in the latter, as stated in the studio chatter, he speeds up the tempo to make it less of a profound statement. It was Horowitz who chastised the new age of pianists on their attempts to play everything slow and prophetic. I believe it was Mr. Horowitz that told David Dubal "Only very few pieces are meant to be played slow" (after comparing performance times of major piano works from the early part of the 20th century to the later part, you will see the difference).

The DVD included in this package is wonderful, but for those who enjoy a more classic approach to the classical period - do not anticipate simple aural enjoyment. Do expect to see one of the greatest pianists ever work his magic at the piano. Do look forward to watching a master correct a mistake by another master. Do count on a memorable experience.

Stunning.......2004-08-01

Horowitz is simply stunning, and this compilation is an absolute jewel. The added bonus of the DVD performance of Mozart's 23rd is the icing on the cake.

The piano as an extension of consciousness.......2004-07-25

Mr. Drake has written the definitive review of this recording, but I want to add a few things.
In these recordings, the piano seems merely an extension of Horowitz's consciousness. The translation from his head and his heart to the piano is effortless, and filled with emotion. While listening to this CD, I understood that Horowitz's flawless technique stems not just from a complete knowledge of the pieces, but from his love of the music. He makes the music his own like no other.
This is inspirational music, played by the greatest master of his craft at the height of his powers.
An added bonus is the DVD which accompanies the 2 CD's, a video of the studio recording of Mozart's 23rd piano concerto. Horowitz, in his 80's, has the innocence of a child, playfully joking with the producer, the conductor, the page turner. When he plays, it is with a sense of joy that seems to accompany all of the recordings in this set.
The productions values here are excellent, typical Deutsche Grammophon.
I'd give this recording a 10 if I could.

Schumann: Fantasie; Kreisleriana; Arabeske

Average customer rating:

A Pianist of Deep Intelligence and Perception Who Conveys a Profound Connection between the Music of Mozart and of Schumann
Reality Check
Richter?!? Kempff?!? How about passing an exam with a decent grade!
One of the most promising talents of his generation

Schumann: Fantasie; Kreisleriana; Arabeske

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

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Release Date: 2007-02-06

Tracks:

I: Durchaus Phantastisch Un Leidenschaftlich Vorzutragen-Im Legendenton-Erstes Tempo
II: Massig. Durchaus Energische-Etwas Langsamer
III: Langsam Getragen. Durchweg Leise Zu Halten-Etwas Bewegter-Adagio
I: Ausserst Bewegt
II: Sehr Innig Und Nicht Zu Rasch-Intermezzo I: Sehr Lebhaft-Erstes Tempo-Intermezzo II: Etwas Bewegter-Langsamer (Erstes Tempo)
III: Sehr Aufgeregt-Etwas Langsamer-Erstes Tempo
IV: Sehr Langsam-Bewegter-Erstes Tempo
V: Sehr Lebhaft
VI: Sehr Langsam-Etwas Bewegter-Erstes Tempo
VII: Sehr Rasch-Noch Schneller-Etwas Langsamer
VIII: Schnell Und Spielend
Leicht Und Zart-Minore I: Etwas Langsamer-Tempo I-Menore II: Etwas Langsamer-Zum Schluss: Langsam

Amazon.com

This is a beautiful CD, filled with fine, unaffected playing that gets to the heart of the music. The Arabesque is an easy-going piece with a surprisingly deep and stunning finale. Biss's graceful reading flows naturally, even with occasionally almost-dangerously swift tempi. The Kreisleriana is more daring. Biss is not afraid to make a grand noise when called for. Schumann the young composer was at his most expressive and inspired here, and this performance is on a consistently intriguing level, whether at a whisper or a roar. The large-scaled Fantasia, an expression of Robert's love for Clara, is given a dreamy, romantic reading in the first movement, with ardor and power as the work continues; the March sounds grand and instrumental. Biss's technique is superb, but like the greatest pianists (or actors or singers), it isn't what you notice first. The stream of music he produces is always expressive and never showy for its own sake. Highly recommended. --Robert Levine

Customer Reviews:

A Pianist of Deep Intelligence and Perception Who Conveys a Profound Connection between the Music of Mozart and of Schumann.......2007-07-20

"A piano fan" from California reminds one of just how parasitic critics are, individuals who have neither the ability to perform (put their own interpretations on the line in recordings -- judging is a far easier task than performing) or to teach (any teacher who spoke to students the way "a piano fan" did would have cowering, intimidated pianists who cannot take simple joy in the music, but are only preoccupied with technical display). Technique must always be in the service of music. Their are great technical pianists who demonstrate no love or understanding of the music. As with Kempf and Richter, that is not the case with Jonathan Biss.

The liner notes are by the pianist, Jonathan Biss, and reveal more clearly than any other liner notes I have ever read a deep understanding of the music he performs -- more a sharing than a "Watch me!" For Biss, the music clearly comes first -- and Biss betrays, both in words and in performance, a deep love and understanding of the music of Robert Schumann -- the great and high genius of Schumann. Biss is the first person I have read who has understood the deep connection between the music of Wolfgang Mozart and Robert Schumann -- the very deep understanding of the full range of human emotions and intelligences of both composers, the ability of these two composers to capture the fleeting, changing inner life of real life humans in ways that no other composers seem so regularly to reflect. I would love to hear Biss's interpretations of Mozart concertoes. I would characterize the difference between Mozart's works and Schumann's piano works as the following: Mozart captures the seamless integralness of the human psyche, while Schuman captures the episodic quality of human experience. Biss's playing conveys the brilliance and intellectual unity of this episodic vision in a beautiful, lyrical way.

The second movement of the great Fantasie captures the triumphant joy of the return of Clara to Robert's life -- a palpable joy and triumph which Schumann captures better than any other composer -- and which Biss captures so wonderfully. The last movement of Beethoven's 9th Symphony, the "Ode to Joy," as beautiful, thrilling, and memorable as it is, conveys an abstract, superhuman, utopian joy, whereas Schumann's joy is palpably human and communicates an interpersonal bliss when Clara's presence returned to his life. This, for me, is a clear example where Mozart's and Schumann's approaches share communing spirits and where their approaches to music differ so profoundly from other composers, a difference that Biss captures both in his liner notes and in his incandescent playing. Moreover, Biss captures the inherent gentleness -- a gentleness full of life -- that is constantly surfacing in Schumann's music. Mozart and Schumann both shared deep interpersonal love -- and are two of the few composers who had happy marriages. Their music, for me, demonstrates this deep love of life and wife -- and Biss's playing captures this in spades!

Like Mozart -- perhaps even more than Mozart in his solo piano music -- Schumann's solo piano music is full of melodic inner voices carrying on conversations, just as our human pysche is full of differing inner voices, sometimes in conflict, sometimes in harmony. Biss captures, for me, just the right dynamic balance among these voices, conveying the profoundly intelligent, compassionate humanity that is at the heart of this glorious music.

With Schumann, the often extreme technical demands of the music are NEVER for pyrotechnic display, but are at the heart of the intense, intelligent, conflicted inner life that the composer's music conveys. Unlike "a piano fan," I did not find Biss's playing to reveal any problems or hesitations in the most demanding sections of the music. Rather, I found his playing to capture the very soul of what Schumann's music conveys to me. Mr. Biss's interpretations convey a greater sense of pervading, overall melancholy than I experience when I play Schumann's music. Yet, his playing is so convincing in conveying Schumann's art that I now experience this music in a far greater and richer way than I did before I heard his performances. Mr. Biss steps out of the way of this glorious music, which both his liner notes and his performance reveal he deeply loves and wishes to share that love with those of us who listen with open minds and hearts. His performances palpably convey his desire to share his experience of Schumann's genius with us, his listeners -- putting Schumann, not himself, at the forefront of our attention.

Jonathan Biss's is emotionally and intellectually mature music making, emotional and intellectual maturity that is required to convey the depths of Robert Schumann's genius. These are profound, deep performances that engage the human soul.

Thank you, Jonathan, for enriching my life!

Reality Check.......2007-05-17

To the Reviewers that tend to harshly rate with diminutive stars. Dear Sirs your reviews are very helpful to all of us. Your input does not appear without true studies. But the reality of judging any Interpreter or recording artist of this type of material anything less than 5 stars is frankly not realistic. If you are a Piano Competition judge then shurly you wouldn't give the Competition away to anyone playing Schubert or Mozart verses Chopin & Rachmaninov. Although they are equal in their versatility, Education and understanding of music. To the contrary the Piano Instrument was modernized for further Complicated and faster Interpretation thus allowing further complicated material.
And to the Musicians & recording artists whom are seriously recording this great material. Either of which are a handful on the face of the Earth at any given time, mind you. Please disregard the Harsh and unfair way of judging with this 5 star system. At this point there is no way to judge with any scale. Please disregard these self seeking attention and Low rating Critics that might be in the midst of their highly acclaimed and judgmental exhausting work or experience. Yet a listener does not even compare to any Interpreter of this minute great music. There is an old saying that goes with true experience : ( The bigger they are, The nicer they are). A sobering thought.

Richter?!? Kempff?!? How about passing an exam with a decent grade!.......2007-04-01

One wonders why the recording industry is in trouble. One of the answers might as well be: too many mediocre releases by piano students who are promoted as big artists. Namely, Mr Biss on this CD launches into "Kreisleriana" with indiscriminate pedaling and bypassing every bit of Schumann's indications: no staccatos, no accents, and no syncopations - childish mistakes. As Mr Jed Distler, The Critic (who hardly can play two notes without pedal himself) notices:..."full steam ahead" and indeed, there is little else but empty steam in Mr Biss' playing. When listened to closely, one hears only insensitivity to musical material, inadequate finger work and lots of slushy mush like in No. 7 where the left hand in the fugato is so uneven that conservatory students play better, and the pedal is so erratic, it serves the only purpose of covering up finger infidelities. The "well chosen tempos" (the indispensable? Jed Distler again) in slow fantasies are simply incoherently boring and do not sustain Schumann's thought. Mr Biss fails to fill them with real introspective substance. And the last fantasy No. 8 instead of "Schnell und spielend" (Fast and playful) sounds dull, labored and tired. As far as No. 3 is concerned, it is indeed the "very least notey" ('inimitable' Jed Distler, again) and it is precisely because Mr. Biss lacks the requisite finger dexterity to make it sound clear and with nervous excitement which is the definition of this music. This is too risky for most mediocre pianists. Speaking of risk: it is not Mr Biss' trademark altogether. Only probing artists take the musical risk as well as the risk of being scorned by critics (like Mr Distler) as independent thinkers. Mr Biss' performances of Schumann (as well as of Beethoven on earlier release) are mainstream and student-like boring. It would really be wise to avoid leaving such readings to posterity. After all, Mr. Biss is still young and may be, who knows, one day in 20 or so years his understanding of this music will improve somewhat...

And, as if all this is not enough, the recording itself sounds like a cheap boom-box with artificially bumped bass. This booming bass covers the whole recording with an ugly artificial low frequency reverb thus leveling Mr Biss' vain attempt to give the Schumann scores wings of introspection and poetry. This CD is a waste of your money and time as well as a wrong choice of AR of EMI. There should be a limit to how far even a relative of noted musicians can and should go! Parents, who are highly respected professional musicians, should know a little better!

To the previous reviewer "Santa Fe Listener". Please familiarize yourself with Schumann's music, particularly with "Kreisleriana" and artists like Richter and Kempff first before comparing apples and oranges. Thank you.

One of the most promising talents of his generation.......2007-02-07

Jonathan Biss, barely in his mid-twneties, grew up around great musicians, like Peter Serkin before him (Biss's mother is the violinist Miriam Fried). He seems to have absorbed a lot. This Schumann recital is fully mature and very musical. Biss's ability to phrase with freedom and nuance captures Schumann's spontaneous effusions without exaggeration. The great Fantasy in C comes off as one long lyrical inspiration, held together by Biss's unforced line. He doesn't overuse rubato, and he doesn't have to apply faked poeticism. Kreisleriana shows the same mastery, although I must admit that I am less familiar with the work. For the Fantasy I am confident recommending Biss's reading over many rivals. In fact, it's fair to speak of him in the same breath as great Schumann pianists like Richter and Kempff, which isn't to say that he is their equal just yet, as the young Peter Serkin wasn't his fahter's equal at this age. But Biss is well on his way.

Average customer rating:

The Very Best of Hélène Grimaud

Manufacturer: Denon Records
ProductGroup: Music
Binding: Audio CD

Fantasies | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
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Reflection
Hélène Grimaud plays Chopin & Rachmaninov
Credo
Hélène Grimaud ~ Chopin · Schumann · Liszt

ASIN: B0007M221G
Release Date: 2005-03-08

Tracks:

I. Allegro Agitato
II. Non Allegro
III. L'Istesso Tempo/Allegro Molto
I. Ausserst Bewegt
II. Sehr Inning Und Nicht Zu Rasch
III. Sehr Aufgeregt
IV. Sehr Langsam
V. Sehr Lebhaft
VIII. Schnell Und Spielend
I. Allegro Maestoso
II. Andante Espressivo
III. Scherzo: Allegro Energico
IV. Intermezzo: Andante Molto
V. Finale: Allegro Moderato Ma Rubato

Average customer rating:

Tune Your Brain for Stress Relief

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

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Tune Your Brain with Mozart: Relax
Tune Your Brain with Mozart
Tune your Brain with Bach: Heal
Tune Your Brain-Music to Manage Your Mind, Body and Mood
Tune Your Brain with Mozart: Energize

ASIN: B00005AWIF
Release Date: 2001-04-10

Tracks:

Nocturne No.12 in G, Op.37 No.2 - Tamas Vasary
Consolation No.3 - Daniel Barenboim
Son No.23 in f 'Appassionata': Andante Con Moto - Emil Gilels
Pno Con No.5 in f: Largo - Wilhelm Kempff
Waltz in E flat: Sostenuto - Lilya Zilberstein
3 Prlds: Andante Con Moto E Poco Rubato - Werner Haas
Fants, Op.16: Sehr Langsam - Wilhelm Kempff
Son No.14 in c# 'Moonlight': Adagio Sostenuto - Emil Gilels
Pno Son in C KV 545: Andante - Christoph Eschenbach
Intermezzo, Op.117 No.1 - Wilhelm Kempff
Pour Le Pno: Sarabande - Tamas Vasary
Prld No.13 in F#, Op.28 - Martha Argerich
Songs Without Words, Op.62 No.5: Venetian Gondola Song - Daniel Barenboim
Intermezzo in e/Fant, Op.116 No.4 - Wilhelm Kempff
Etude in E, Op.10 No.3 - Tamas Vasary
Son No.2 in E-flat: Sicilienne - Wilhelm Kempff
Scenes From Childhood: The Poet Speaks - Daniel Barenboim

Bach-Busoni: Chaconne; Beethoven: Rondos; Schumann: Kreisleriana

Average customer rating:

Kiss, Kiss, Kissin!
Coarse, external pianism--a sad disappointment
Very natural and glittering, but somewhat facile
addictive cd
Buy it for the Bach-Busoni!

Bach-Busoni: Chaconne; Beethoven: Rondos; Schumann: Kreisleriana

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Fantasies | Forms & Genres | Classical | Styles | Music

Rondos | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

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Evgeny Kissin: Beethoven, Franck, Brahms
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Beethoven Piano Concertos No.2 and No.5
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ASIN: B00000GV4A
Release Date: 1999-01-12

Tracks:

Chaconne in D Minor
Rondo, Op.51 No.2 In G Major
Rondo a capriccio, Op.129 ('Rage Over A Lost Penny')
Kreisleriana, Op.16: Ausserst bewegt
Kreisleriana, Op.16: Sehr innig und nicht zu rasch
Kreisleriana, Op.16: Intermezzo I
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Kreisleriana, Op.16: Sehr aufgeregt; Etwas langsamer
Kreisleriana, Op.16: Sehr langsam, Etwas bewegter
Kreisleriana, Op.16: Sehr lebhaft
Kreisleriana, Op.16: Sehr langsam, Etwas bewegter
Kreisleriana, Op.16: Sehr rasch; Noch schneller
Kreisleriana, Op.16: Schnell und spielend

Amazon.com essential recording

As a preteen, Kissin had a technique most pianists would envy. His solo recordings since have revealed a predilection for Schumann's music, each showing signs of greater interpretive maturity. Now, he uses a combination of great abandon and even greater control to produce a stunning performance of Kreisleriana. The piece is one of the last of Schumann's quixotically titled piano works consisting of generously scaled, poetic movements (eight, in this case) in which technical prowess is absolutely necessary in order to clarify the textures but hardly sufficient to deliver the full expressiveness of this lovely music. Busoni's virtuosic Bach transcription is played with great imagination, and Beethoven's delightful Op. 129 is as wittily performed as it is written. --Paul Turok

Customer Reviews:

Kiss, Kiss, Kissin!.......2007-04-10

Kissin is one of my favorite pianists and in my humble estimation one of the rightful heirs to the aristocracy established by the Horowitzes, Richters, Ashkenazis, etc. I have always found Schumann rather "enigmatic" and his writing for the keyboard peculiar. I never really cared for him until I heard Kissin and Yundi Li play him. They both bring such youthfulness and exuberance to a tired venue. I am sick of those dull recordings long thought as the "poetic" standards. B-o-r-i-n-g. Move over and let the new generation have a whack at things! I want to hear ferocity, unbridled virtuosity and intensity. These are too often lacking in classical music where artists tend to fall back on the elitist, reactionary quality of classical music. Classical music can be electric and too often this is not communicated by artists.

I am all for poetry, when it is required, but too often Schumann and Schubert come off as dull and lacklustre. If classical music is to survive we must explore ways to attract a new crowd for the 21st century. Because of generational shifts in society the old audiences are dwindling away, we must fill those halls with new blood. Artists like Kissin and Li can attract them. We must allow the Kissins and Lis to make this their time and hear what they have to say and stop whining about the likes of Horowitz and the old guard. Their time has ended. "Time moves forward, not backwards, nor tarries with yesterday..." Khalil Gibran. Allow the new generation of pianists to shine on their own merits. The Heavens glow in the evening with all manner of stars and constellations, different in intensity and character.

Coarse, external pianism--a sad disappointment.......2006-03-18

For the past decade the whisper among piano connoisseurs has been "What happened to Kissin?" He is still publicly adored, and no doubt he's become the richest virtuoso since Horowitz. On the evidence of this CD, however, something magical has been lost. What was once spontaneous, innately sensitive musicality has turned coarse and external. This is most shockingly evident in the Kreisleriana, because Schumann was one of the young Kissin's best composers.

Naturally, there is sitll a complete musician at work here. The Schumann contains many inspiring moments and a flood of dazzling technique. Nobody seriously believes that technqiue is enough in Schumann, though--where's the poetry, the inwardness? I'd say that the earlier pieces come off even worse. The Bach-Busoni is stiff and bombastic, a parody of Bach in the grand mananer, while the Beethoven Rondos sound perfunctory and clipped. I don't blame Kissin if he's bored with being a public idol--he's had to fill the part for most of his young life--but one longs for him to find his better self again.

Very natural and glittering, but somewhat facile.......2006-02-09

All three pieces are difficult in various ways. The Bach-Busoni has prismatic changes in theme transformations, odd hand positioning, and technical difficulties galore. Kissin handles all the above easily. This is Busoni at his most exciting. However, a certain depth is lacking. I guess I wanted to hear more of Bach in this piece.

This is the best Krieslieriana I have heard. It is played with a technical proficiency that only Kissin can muster. Again, it is extremely exciting and on the first few listenings, it captivates your attention well. However, after repeated listenings, I was wanting just a little more. I wanted more of the angst that Schumann wrote in his most soulful and yet schizoid work.

The Beethoven is again, technically glittering. No hesitations here. These are excellent interpretations of light showy pieces.

Overall, do buy this CD for Kissin's technique and naturalness.

addictive cd.......2004-07-09

First time I heard Kissin play on the stage, nearly seven years ago, I was captivated by his music--not just his technique. To this day, his playing is thrilling and exhilarating to me. And this CD is certainly on the top of all his recordings I own (now, if I were to compare his CDs with all the other CDs I have, ALL of his CDs would be on the top with some Beethoven playings by some well-known pianists on the bottom). His playing of Chaconne is addictive. I'm so glad we don't have to buy tapes these days, because a tape that is playing ten hours everyday would not survive long, and I would have to get another one and another one--
Also, with CD, you can just repeat track one over and over again. I'm not saying that I don't like his Beethoven or Schumann in the CD, but I just don't listen to them as much. I think that Kissin is the Horowitz of my day--boy, I would do anything to see Horowitz playing live, but well, that ain't gonna happen, so Kissin is good. His playing, at times, might not be the best, but is never disappointing.
So Mireille Wastwater, I certainly agree whole lot more with you and don't agree AT ALL with Kalle Kuusava (I'm not quite sure if we have the similar-functioning ears, and Alfred Brendel is one of those "golden age" pianists, well, I guess we don't). The only complaint about Kissin that I have is that he doesn't quite fully understand the different aspects of humanity (well, he grew up on the stage with a piano and applause), and hence, his playing, at times, sounds like that. For instance, I'm not sure if he would ever be able to understand Schumann at the time of his writing Kreislerina--Kissin is whom Schumann wanted to be, so bad enough to try something that would even permanently disable his fingers. Yet, I do hear that Kissin shares Schumann's feelings and other composers' feelings as well; some almost all, some just a little, and most anywhere in between. Kissin has the technique and the musicality, but no, he's not perfect.

Buy it for the Bach-Busoni!.......2004-01-01

Kissin's technique is undoubtfully phenomenal. The Bach-Busoni Chaconne on this CD is given an excellent, virtuosic, and passionate reading. The Beethoven Rondo op. 51 no. 2 is given a very sensitive and thoughtful performance. The Rondo a capriccio performance is very exciting and at times humorous. This CD is highly recommended for these works. I personally bought it for the Bach-Busoni. The Schumann is not really played as well as these other pieces. It is surely virtuosic. But I don't think in this recording he understands Schumann all to well yet. Horowitz is still KING in the Kreisleriana, his 1969 recording is unforgettable, surely a contender for one of the best recordings of all time. Kissin's performance just doesn't compare to the Horowitz. On the other hand, Kissin's newer recording of the Schumann Sonata op. 11 and Carnaval is superb and highly recommended.
I'd recommend this CD for the Bach-Busoni and Beethoven rondos, and they really are spectacular recordings, if you are looking for an excellent performance of the Kreisleriana, Horowitz is my top choice.

Track Listings:

Track Listings

track listings

Track Listings

Rockin' All Over the World [Import]

The Best Chinese Evergreens

Universal Masters Collection [Import]

Rossiter Road

Vehicle

Trouble With Being Myself [Import]

Turn On The Music

The Danish Radio Concert Orchestra: Symphonies, Vol. 2

Tim Rushlow

Sincero

Timesquare

Through the Years [Import]

Vengo a Cobrar [Clean] [Enhanced]

Windham Hill: The First Ten Years

A Winter's Solstice, Vol. 3