Plays 20th Century Music

Amazon.com
Who knows what makes a good musician like Roberto Aussel play such bad music as "At the Dawn of the Last Day" by one Francis Kleynjans, a French guitarist and prolific composer of guitar music? Fortunately, this ridiculously overwrought piece, describing in music the last thoughts of a man about to be executed, is placed first on the disc, enabling you to skip it and get right to the good stuff: mostly well-known pieces by Ponce, Tansman, Rodrigo, and Ginastera. Aussel's Rodrigo playing lacks flair, but he does well with all the other music, resulting in a recital of highly uneven value. -- Leslie Gerber

Tracks:

Sweet And Lowdown
Novelette In Fourths
That Certain Feeling
So Am I
Rhapsody In Blue
Swanee
When You Want 'Em, You Can't Get 'Em...
Kickin' The Clouds Away
Idol Dreams
On My Mind The Whole Night Long
Scandal Walk
An American In Paris

Customer Reviews:

Wonderfully American.......2007-05-14

I've had a copy of this CD for years and love it. The power and optimism of the music is really quite remarkable... regardless of who or what is actually playing here. The arrangement of Swanee is light but rich with major chord trains like you just want to go marching around the room. And American In Paris leads you on a swaying, dischordy journey the deeper you go, as the narrative begins to trade delicacy for passion. (and I love renditions where you can hear the MUSIC and the instruments don't get in the way, like four-voice midi versions of Bach which reveal the eloquence).

When I listen to this CD now, and which is most surpring to me, I hear a profound pride in America - back "before." I play it when I have people over and we put burgers on the grill. This CD is the song of sitting in my back yard with the clouds blowing by and for the moment things feel OK.

"Before" - OK, there is no old perfect Amercia; but I'm thinking of the time before we learned to distill petroleum into toxic pollution, before pride meant vanity and thuggery, before hate-filled invective became public amusement, and before presidents went to war because it was good for business.

A Gersh-winner.......2007-01-07

George Gershwin had a long association with the mechanical device known as the player piano. At the age of ten, Gershwin used a neighbor's pianola to teach himself how to play, by very slowly pumping the foot pedal that advanced the hole-punched rolls, and placing his fingers on the depressed keys. His parents were so impressed by his abilities they enrolled the boy in formal piano studies when he turned 13. Thus, an American genius was born.

The existing films of Gershwin (who died of a brain tumor at age 38 in 1937) show him to be a virtuoso at his instrument. His 1924 acoustic recording of Rhapsody In Blue (with the Paul Whiteman orchestra) is further evidence of this. But no film or recording has what is contained within the album GERSHWIN PLAYS GERSHWIN: THE PIANO ROLLS, and that is-- full fidelity range.

The CD comes in a standard jewel case packaged in a heavy paper slipcover. Biographical liner notes are included along with details on the rolls. The earliest performance in this set is from 1916, made when Gershwin was an 18-year-old song plugger. My favorites here are "Swanee," from 1920, and "An American In Paris," from 1933, which is undoubtedly one of the last significant piano rolls ever made.

Gershwin's dynamic performances are not in the least obscured by the few extra notes added to the piano rolls (such practice was standard in those days). Listening to these recordings is like sitting next to this brilliant man, observing his fingers fly over the keys as he plays some of his best work.

TOTAL RUNNING TIME -- 60:36

Interesting... but I think I'd prefer a good Gershwin interpreter.......2006-05-14

Composers are not necessarily the best performers of their own work. A songwriter's songwriter like Jules Shear or Jimmy Webb comes to mind -- surely the best representations of their songs are on other artist's albums.

This album is charming in its own way -- a taste of the music and performance style of a bygone era. Someone complained that these rolls were edited. So what? I'm going to review the final product, now how it was made. Do you eat sausage? Ask not what's in it!

I like to listen to this CD in short bits -- a few songs at a time. For some reason I find it to be fatiguing if I listen for more than 20 minutes or so. I'm not absolutely sure why this is so. Possibly the meter is just a little too metronomic on many of the songs. This lends a "mechanical" quality to the performances.

Additionally, I felt that the dynamic range was restricted. The music does get louder and softer, because of the piano rolls themselves and because of the computer programming used to read the piano rolls -- the dynamics were deliberately adjusted by the record producers in some spots, if I read the liner notes correctly. And yet. And yet. Still these songs do not dynamically "breathe" fully in and out the way they ought to. I find this disappointing, but I think it has something to do with inherent limitations in piano roll recording technique. I'm guessing.

Taken for what it is, it is an interesting concept, and the sound quality is very pleasant. The performances are very good for piano rolls, but fall short of what a good interpreter could do. Take, for example, the Rhapsody in Blue from Woody Allen's Manhattan soundtrack. Listen specifically to the piano part -- the dynamics and variations in rhythm. This is not by any means the best performance of Rhapsody, but it is better than the Gershwin rolls.

Gershwin's playing overated.......2006-04-09

After I heard this cd I bought Gershwin plays Gershwin on the naxos label which arn't piano rolls. Any pianist can tell that many of these rolls are heavily edited and can't be played by a pianists with two hands. On the naxos album that has some of these same songs Gershwin's actual playing doesn't sound very good. Many of Gershwins contempories such as James P. Johnson, Eubie Blake, Luckey Roberts and even Zez Confrey were much better pianists than he was, however they didn't have his melodic gifts as a composer. I would recommend Artis Whodhouse's
transcriptions of Jelly Roll Morton's piano rolls (on the same label) instead because most of those are exactly how he played them and in my opinion Morton was a better musician in every way than Gershwin.

The jazzy Gershwin. What a CD!!!!!!!.......2006-02-23

I got this CD as a gift. I am all for the austrogerman post- romantic music and as imagined Gershwin is not my favourite composer. I know him from his best known works such as the 'Rhapsody", the 'American' and his great songs. This CD is a treasure as mentioned from other reviewers of this site. Gershwin full of passion, his music being jazzy to the very end and that great feeling you get after a great live performance is present all over the length of this 'treasure'. No question about the presence of the music. Not to be missed

Gabriela Montero plays Chopin, Falla, Ginestera, etc. [Includes Bonus CD]

Average customer rating:

Gabriela Montero CDs
Non-professional Review
Absolutely Magnificent!
Improvisations Unbelievable!
A beautiful breath of fresh air!

Gabriela Montero plays Chopin, Falla, Ginestera, etc. [Includes Bonus CD]

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Bach & Beyond - Gabriela Montero
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Bach & Beyond [United Kingdom]
The Carnegie Hall Concert
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ASIN: B0009VK0LO
Release Date: 2005-09-13

Tracks:

Moment Musical In E Mino Op. 12 No. 4
Prelude In G Op.32 No.5
Etude-Tableau In D Op.39 No.9
Prelude in D Flat Op.17 No.3
Prelude In E Flat Minor Op.16 No.4
Prelude In G Op.13 No.3
Etude in C Sharp Minor Op.42 No.5
La Vida Breve: First Spanish Dance - Manuel De Falla
Goyescas: Quejas O La Maya Y El Ruisenor
Danza Del Viejo Boyero
Danza De La Moza Donosa
Danza Del Gaucho Matrero
Nocturne In D Flat Op.27 No.2
Fantaisie-Impromptu In C Sharp Minor Op.66
Mephisto Waltz No.1

Tracks:

On Rachmaniov: Vocalise
On The Theme From Bach 'Goldberg Variations'
On Chopin: Nocturne In D Flat
On Rachmaninov: Piano Concerto No.2
Inspired By Scriabin
On Duermete Mi Nino
In The Style Of Tango
On Granados: 'Quejas O La Maya El Ruisenor'
In The Style Of Bach
On Chopin: Prelude In A
'Improvisation in Blue (Gabriela Montero)'
'Song for Natalia and Isabella (Gabriela Montero)'

Customer Reviews:

Gabriela Montero CDs.......2007-06-12

Excellent service -- speedy, just as described, well-packaged. I'd definitely buy from this seller again.

Non-professional Review.......2007-03-27

Okay, I listen almost exclusively to classical music, but I do so simply for the pleasure and nothing more. I cannot tell you about Gabriela Montero's technique, and, when she improvises, I have no ability to judge the music's intrinsic value, authenticity, or whatever. I can only tell you this: while I own many dozens of albums, running the full spectrum of the classical genre, I value none of them above Montero's Bach and Beyond and her Piano Recital. Pure listening joy!

Absolutely Magnificent!.......2007-03-09

I first saw Gabriela Montero on 60 Minutes a few months ago and was taken by her playing ability as well as her ability to improvise on the classics. Ms. Montero's fingers fly over the keyboard, playing Rachmaninoff more dramatically and key-perfect than I've heard in a long time. I decided to purchase this CD and have not been disappointed.

Improvisations Unbelievable!.......2007-01-26

Gabriela Montero is a tremendous talent, both in standard classical repertoire, and improvisation. I have know her since she was a young girl, and she was by far the best pianist around, even then. She is an undersung pianist of our age, and should rise to the top very soon!

A beautiful breath of fresh air!.......2007-01-20

What a sheer delight hearing her play. I've never heard anyone quite like her. A phenomenally gifted player, and it's a rare treat to hear someone who defies pigeonholing. I had heard her on the radio, and knew I was onto something when her improvisation on a very simple theme gave me the chills. I love both CD's in this collection.

It's interesting hearing the negative response coming from some classical musicians and fans. At times it can seem to roughly follow the stages of grief as proposed by Kubler-Ross. I'm a professional guitarist, and it's funny because it's almost identical to how guitarists react to hearing another guitarist, but with an big class-conscious overlay (all very civilized, of course). Think of the "guitarist screwing in a lightbulb" joke. To paraphrase and extrapolate on what someone might say upon hearing her improvisation:

1. Shock: Wow, he's good. Oh, and it's a woman!? And you say it's improvisation??

2. Denial: That can't possibly be improvisation. Classical musicians don't engage in that untidy process. What she's playing must be written out, and I can tell! Don't ask, I just know it.

3. Anger: This stuff is no good. Only permanent music is of value through the ages, and that's why classical music (and only the European kind) is better than any other music. Besides, I can't improvise, so I reject it - and only THOSE people engage in improvisation.

4. Depression: She can play all the classical music, and seemingly can improvise, or at least pass her stuff off as such. Not only that, she's getting attention and money, and we're not. Why is the world unfair?

5. Acceptance: (sort of) Well, I guess she's selling CD's, and is becoming successful. She is, I hate to admit it, a great player. Even if she is a faker. Of course, they're begging my Muffy to become artist-in-residence in Spoleto....

The other reviewer has a point when he says that she may be viewed as a curiosity. Because she's crossing genres, people may not know what to make of it, and this often causes reflexive hostility. As an improvisor, I would agree that it's hard to say that something is 100% improvised - players tend to have pet phrases and favorite general ideas they return to. But to me, Gabriela's playing is at the highest level of skill, beauty, and feeling, whether improvising or playing written pieces.

Horowitz Plays Rachmaninoff/Concerto for Piano in Dm; Sonata for Piano No2/Vladimir Horowitz, Pianist

Average customer rating:

Buy it ! (for the concerto)
The majesty of Horowitz
Exultant pianism; Faustian inspiration!
It's Horowitz. It's the best.
Absolutely sick!

Horowitz Plays Rachmaninoff/Concerto for Piano in Dm; Sonata for Piano No2/Vladimir Horowitz, Pianist

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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Rachmaninoff: Concerto No. 3 in D minor, Op. 30 / Tchaikovsky: Piano Concerto No. 1 in B flat minor, Op. 23
Horowitz: The Last Recording
Horowitz Plays Scriabin

ASIN: B000003ER1
Release Date: 1989-08-10

Tracks:

Sonata No. 2, Op. 36 In B Flat Minor: Allegro agitato
Sonata No. 2, Op. 36 In B Flat Minor: Non allegro; lento
Sonata No. 2, Op. 36 In B Flat Minor: L'istesso tempo; Allegro molto
Moment musicale, Op. 16, No. 2 In E Flat Minor
Prelude, Op. 32, No. 5 In G
Polka V.R.
Concerto No. 3, Op.30 In D Minor: Allegro ma non tanto
Concerto No. 3, Op.30 In D Minor: Intermezzo: Adagio
Concerto No. 3, Op.30 In D Minor: Finale: Alla breve

Amazon.com

Yes, Virginia, Rach 3 existed before David Helfgott and Shine. Vladimir Horowitz made a recording in 1951 that continues to be the delight and despair of every pianist, notwithstanding standard cuts and minor, nerve-induced inaccuracies. The 1980 Second Sonata is looser but no less intense than Horowitz's storied 1968 CBS version, while the short pieces ooze with sex: even the Polka! --Jed Distler

Customer Reviews:

Buy it ! (for the concerto).......2006-02-01

The performance that Horowitz gives us in this '50s recording of the Rach 3 is a testament to outstanding human artistic endeavor. As Rachmaninoff said, "...he (Horowitz) swallowed it whole." Along with his pianistic pyrotechnics, Horowitz demonstrates wonderful architectural overview, inevitability, and stylistic authenticity. Truly, a recording of this concerto sui generis that should be in the libraries of all who love the piano!
The other pieces on this CD, recorded for RCA ca. the late '70s,
have an unpleasant piano sound. Franz Mohr, piano tuner for
Horowitz/Steinway during this period, discusses this issue in his
book, "My Life with the Great Pianists." Superb recordings of
these pieces are available: Piano Sonata No. 2, recording
Horowitz made for Columbia Records in the late '60s; Prelude in
G, Op. 32, Horowitz in Moscow, 1986; and Moment Musical in E flat
minor and Polka de V. R., Sergei Rachmaninoff, Great Pianists of
the 20th Century, Philips/Polygram (compiled in 1998).

The majesty of Horowitz.......2006-01-15

Musicians are reluctant to give rankings. We want to separate the classical music world from the hyped world of MTV top tens and USnews school rankings. Since this is the case why are so many pianists assert and reiterate the glory of Horowitz among 20th century pianists. After all if we are going to deviate from our tendency not to rank we should at least substantiate why Horowitz is so special.
If one dwells on it for a second the physical act of playing the piano boils down to brain finger coordination. The brain sends a message to the finger what to do next - where to move, how soft to touch the key, etc. It is extremely hard to reach a very high level of coordination. For example, if someone had 100 percent brain hand coordination in basketball they would never miss a shot.
Horowitz brain-finger coordination is just phenomenal (there are many examples of this and a classic one in my opinion is his playing of Etincelles). Imagine telling a pianist to play a 20 minute piece ONLY in pianissimo but still continaing crescendos and decrescendos within the pianissimo. For 99.9 percent of pianists, and even the great ones, this would be impossible. At some stage during this hypothetical piece they will accidentally stray into mezzo forte (or some other level). TO BE ABLE to play with such softness for a prolonged period of time is unbelievably hard because you need complete control of the fingerwork.

Critics often miss the mark when talking about Horowitz. They look at isolated concerts or recordings during his very long career that are flawed ( and admittedly Horowitz did have ups and downs). The crux of the pianist's talent lies in what he could do at the piano when he reaches the summit of his ability. If one looks at Horowitz' output within a larger context things look different.

Let me conclude with comments of the famous pianist, William Kappell:
"I'm so weak from tears and shouting, that I can hardly write.... I just heard Horowitz here in Pasadena, playing the 3rd Concerto of Rachmaninoff. The man is such a genius of the piano that it seems inhuman to play like that.... He is not a pianist, he is a magician."
Eloquent and Succinct.

Exultant pianism; Faustian inspiration!.......2005-10-22

The monumental Sonata No. 2 is possibly the most complete work of this genre emerged from Russia until this date. It possesses that effluvium and nostalgic gaze,contemplative lyricism and arresting expression that invades the listener from the first bars. Involved in the classical Romantic heritage, with a strong Lisztian influence and the majestic and elusive introspection so typical of Robert Schumann.

The celebrated Non allegro: Lento expresses this sad melodic flight where the meditation and farewell sense seems to shake hands. What it seduces me from this version is its maidenly approach; Horowitz understands the core of the work as anyone else, given this similar condition of exiled Soviet citizen and explores with acuteness and refined eloquence the inner folds, those enigmatic pianissimos and sudden outbursts of fevered poetry make of this performance the most genuine and best achieved versions that I have ever listened never before.

The Third Piano Concerto despite the fact is not my first choice is incandescent and superbly phrased. In addition we have Reiner making a sharp collaboration and showing the Russian mood underlined beneath the score. Horowitz unexplainable does not play the Diabolic Cadenza and that 's probably one the disillusioned aspects that I dislike; this Cadenza is a true firewall that stigmatizes and accents still more the febrile passion and enraptured flame of this monumental score.

In this sense no other pianist in the history has been able to reach the level of the unsurpassed, resplendent and delirious performance that William Kapell did it in 1952 in a live Concert pitifully non available in CD, due it was a live register, that I could get it thanks to a friend of mine who got a copy in Washington of a hard fan of William in 1988. Since I listened this version, became automatically in the parameter per excellence at the moment to compare some other recording.

It's Horowitz. It's the best........2005-08-25

The CD starts with the Sonata Number 2, which Rachmaninoff composed, then shortened in his later years. Horowitz came to Rachmaninoff saying that he had cut too much. Rachmaninoff agreed and had Horowitz himself add back in what he thought was appropriate. Rachmaninoff approved the changes and that became the official version. Horowitz apparently made a few more changes since the composer's death which he feels Rachmaninoff would have approved. This is the final version that appears in this recording.

There are then a few smaller but still delightful pieces. One of the Musical Moments that Rachmaninoff was apparently particularly proud of. It is done in the Horowitz style, but the piece is dissonant and swirling, even for Rachmaninoff, creating a nice contrast. It's delightful to hear Horowitz's interpretation with his melodic and bell-like tone.

The prelude is peaceful and more complementary (rather than contrasting) to Horowitz's style. Melodic, relaxed, and dreamy.

The Polka is actually based on something Rachmaninoff's father used to play. A folk melody arranged in the virtuoso Rachmaninoff style. Fascinating.

Finally we come to the Third Rachmaninoff Piano Concerto. The Rach 3 as it is known. Respected and feared by pianists the world over. It won Olga Kern the International Cliburn Competition. There are apparently a few mistakes in the piece due to nerves, but I can only hear two spots where they MIGHT be. Horowitz's interpretation emphasizes speed and lightness rather than size and weight (which Ashkenazy tends to emphasize). Horowitz plays the "light and quicksilver" cadenza rather than the heavier chordal one which is more "typical" of Rachmaninoff. I would like to hear Horowitz play the other cadenza, as well. Sometimes when Ashkenazy or other pianists play this piece, you can hear when they are no longer considering interpretation or artistry. They are merely trying to survive the piece intact. Horowitz never struggles with the piece, even though it is the hardest in the repertoire, he is always thinking, feeling, and interpreting the piece. I'm often gasping for breath, but Horowitz is always effortlessly skimming along. A marvelous playing of my favorite Rachmaninoff and my favorite piece. This is marvelous, but it is fascinating to hear other interpretations of this piece. For a more purposeful (but equally speedy) interpretation, I recommend Byron Janis. For a more ponderous weighty interpretation, I recommend Ashkenazy. Olga Kern also does well playing this piece in the Cliburn DVD. It's amazing to see it played.

Absolutely sick!.......2005-08-24

The single greatest recording by the greatest classical pianist of the modern era.

Average customer rating:

R plays R
Ill informed much?
Great playing - poor quality
Ripples of Greatness
Bad recording, but still a good buy

Rachmaninoff Plays Rachmaninoff

Manufacturer: Delta
ProductGroup: Music
Binding: Audio CD

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The Best Of Rachmaninoff

ASIN: B000001VHX
Release Date: 1993-11-30

Tracks:

Prelude In C Sharp Minor , Op.3, No.2
Melodie, Op.3, No.3
Polichinelle In F Sharp Minor, Op.3, No.4
Polka De V.R.
Barcarolle In G Minor, Op.10, No.3
Prelude In G Minor, Op.23, No.5
Non Allegro
Andante Con Moto (Tempo Di Valse)
Lento Assai (Allegro Vivace)

Customer Reviews:

R plays R.......2006-02-25

ok for the money but didn't have his good stuff on it.

Ill informed much?.......2005-10-12

I wouldn't usually submit a review with the express purpose of criticising someone else's view, because quite frankly, we all are allowed to form our own views and opinions..

But I feel the need to defend this recording from the very merciless and insulting review submitted earlier regarding the 'amateur pianist' on this cd having just learnt the correct notes to press but unfortunately not in the correct time..

Anyone who knows anything about Rachmaninoff should already know this..Rachmaninoff was VERY well known for having a flaire for improvising in his own pieces, and being that he is the very own composer of these pieces he is very well justified in doing so.

Case in point..Melodie in E. Sure..the triplet rhythm seems to have been completely destroyed, by the standards set by the score anyway. But sit back and listen closely and you'll notice that while Rachmaninoff has transcended the score and is turning the piece into what it should be, a fantasie, a piece of impromptu nature that should be allowed to fly with one's fancy and one's imaginations. The Barcarolle and the Prelude? Same thing. This is no "amateur pianist" pounding away without rhythm. Or if indeed this is an amateur pianist than nobody on the face of earth with the exception of Liszt himself should be allowed to qualify themselves as a pianist.

If one would care, one can examine the Memorex recordings made by Rachmaninoff issued by Decca, where the sound quality is lovingly brought back to life. But one observes, that he plays the Fantasie pieces in the very same manner, in a totally care-free and improvisational nature.

Obviously these pieces meant a lot to Rachmaninoff himself as he took the effort to record them on memorex. And obviously this manner of interpreting them is something that flows within his very nature for him to have done this MORE than ONCE.

Do not buy this record if you're looking for a stoic reading of Rachmaninoff. IN fact, do not buy ANY record of rachmaninoff playing ANYTHING if you want a stoic reading of them. Buy this record for the very sole purpose that justifies such a purchase. Buy this to listen to Rachmaninoff, the master himself.

And I highly recommend the memorex record by Decca too, if these pieces (the fantasies) have grabbed your attention. They contain the same interpretation, but with the quality and dynamics lifted to, while not what rachmaninoff would have expected or wanted, certainly surpasses any insight we have to his playing.

Great playing - poor quality.......2003-10-14

When one becomes used to crystal clear recordings in which one can detect individual notes, this recording is something of a disappointment. True, it is (allegedly) the great one himself but the outside noises are a real distraction.

I would have loved to have heard the Rock in person (as my father did) and this is supposed to be the next best thing. The bravura, the awesome technique, the lush romanticism are all present or hinted at but sound transferrance techniques can go only so far.

Ripples of Greatness.......2001-09-25

Wouldn't you love to hear Bach play his Toccatta and Fugue in Dm? Well, we can't. But we can hear the late, great Sergey Rachmaninov struttin' his stuff, playing his famous Prelude in C#m, Op. 3 No. 2. Yeah, it's taken from an old tape, but it's clear enough to be amazing. I, for one, was a little suprised to hear dynamics in his interpretation that one doesn't often hear in the performance of that piece. An historic recording certainly worth having in your audio library.

Bad recording, but still a good buy.......2000-11-23

Some of us don't have money enough for the complete works of Rachmaninoff... Granted, if you've heard the other recordings of these songs, you'll be rather confused. But Rachmaninoff is Rachmaninoff. If you're a casual listener, buy this cd. If you've never heard Rachmaninoff before, buy this cd. It's hard to go wrong for 4 dollars. If you're broke, and need a Rach fix, this is the cd for you.

Average customer rating:

what a recording!
From Byronic to Orgiastic
Horowitz - the best or real close to it
One original approach
No other pianist quite does Scriabin justice

Horowitz Plays Scriabin

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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The Complete Preludes and Etudes for Pianoforte Solo
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ASIN: B000003EOZ
Release Date: 1989-08-10

Tracks:

Sonata No. 5, Op. 53
Preludes: Op. 11, No. 1 In C- C-dur, ut majeur, do maggiore
Preludes: Op. 11 No. 10 in C-Sharp, cis-moll, do diese mineur, do diesis minore
Preludes: Op. 11, No. 9 In E, E-dur, mi majeur, mi maggiore
Preludes: Op. 11, No. 3 In G, G-dur, sol majeur, sol maggiore
Preludes: Op. 11, No. 16 In B-Flat Minor, b-moll, si bemol majeur, si bemolle minore
Preludes: Op. 11, No. 13 In G-Flat, ges-moll, sol bemol majeur, sol bemolle maggiore
Preludes: Op. 11, No. 14 In E-Flat Minor, es-moll, mi bemol mineur, mi bemolle minore
Preludes: Op. 15, No. 2 In F-Sharp Minor, fis-moll, fa diese mineur, fa diesis minore
Preludes: Op. 16, No. 1 In B, H-dur, si majeur, si maggiore
Preludes: Op. 13, No. 6 In B Minor, h-moll, si mineur, si minore
Preludes: Op. 16, No. 4 In E-Flat Minor, es-moll, mi bemol mineur, mi bemolle minore
Preludes: Op. 27, No. 1 In G Minor, g-moll, sol minore
Preludes: Op. 51, No. 2 In A Minor, a-moll, la mineur, la minore
Preludes: Op. 48, No. 3 In D-Flat, Des-dur, re bemol majeur, re bemolle maggiore
Preludes: Op. 67, No. 1
Preludes: Op. 59, No. 2
Sonata No. 3, Op. 23.: Dramatico
Sonata No. 3, Op. 23.: Allegretto
Sonata No. 3, Op. 23.: Andante
Sonata No. 3, Op. 23.: Presto con fuoco; Meno mosso
Etudes: Op. 8, No. 7 In B-Flat Minor, b-moll, si bemol mineur, si bemolle minore
Etudes: Op. 42, No. 5 In C-Sharp Minor, cis-moll, do diese mineur, do diesis minore
Etudes: Op. 8, No.12 In D-Sharp Minor, dis moll, re diese mineur, re diesis minore

Customer Reviews:

what a recording!.......2007-03-04

It's impossible not to love this recording! I have for years, and it stands the test of time. I met Scriabin's music through this classic recording, played many of these pieces across the years, and return to it again and again as to a fountainhead. Say what you will about the art of Horowitz over the years, his handling of these Preludes and Etudes is inerrant. I've not heard another pianist play Scriabin with such intimacy and understanding, Richter included. The alchemy that was Horowitz's alone is in unpartitioned play from beginning to end. His inscrutable ear lets him choose one miniature masterpiece after another, each one vital to his master plan, in the end not only revealing Scriabin's mastery of musical thought, but giving us an indelible guide to Horowitz's own genius. If you want to understand the contribution of Horowitz, walk past his others straight to THIS Scriabin disc, AND the Horowitz Plays Scarlatti disc. For me, these two recordings provide unique evidence of this pianist's most revealing gifts. The B-major Prelude is beautiful enough to melt stone. This recording reminds me of Gould's recording of Byrd and Gibbons - unexpected and perfect, and impossible to live without. In a world on overload, the music made here is witness of a great art. Don't delay the indisputable experience.

From Byronic to Orgiastic.......2005-11-06

Vladimir Horowitz was a champion of Scriabin's music long before it became fashionable, or even semi-fashionable. Scriabin's music appeared on Horowitz's programs as early as the 1920s.

Horowitz's first issued Scriabin recordings were made at his 25th Anniversary Concert in 1953 (also his last public recital until his famous comeback in 1965). The B-flat minor, and C-sharp minor Etudes are given more turbulent performances than usual. There is a great deal brewing beneath the surface. At times, it seems like Horowitz is trying to burst past his own flesh. The desperate passion of his performance lends credence to the notion that he was approaching a nervous breakdown.

The sixteen Preludes were recorded in 1956. (Actually, eighteen Preludes were recorded at these sessions, but two were placed on another album.) Horowitz chose to program the Preludes in a canny sequence of contrasts and surprises building to a climax, rather than sequentially. The Preludes start in the Chopinesque mode, becoming Wagnerian and epic, before dissolving into atonality - - revealing the scope of Scriabin's development.

The Sonata No. 3, also from 1956, is given a broadly phrased, brooding, Byronic performance. The relaxed pacing of the first movement allows Horowitz to move through the various "soul states" without splintering the structure. Contrast the way Horowitz plays the second movement, using the pedal to skillfully blend harmonies, to the way Askhenazy unimaginatively plunks the piece out. (In this movement, Horowitz makes a small cut in the score which actually improves structural clarity.) The transition between the third movement (truly an example of a musical "calm before the storm") is handled with exceptional skill, and Horowitz makes the last movement exciting without over stressing compositional points. Througout the Preludes and Sonata, the balance and poise of the playing speak volumes about Horowitz's post-1953 recovery.

Horowitz played Scriabin's Fifth Sonata during the 1975-1976 season. In his 70s, the pianist sacrifices nothing to age in the most orgiastic performance of this sensual piece ever committed to disc. Scriabin was synesthetic (meaning that he could hear colors) and the musical colors in this piece border on the lurid. This is easily one of the finest recordings from the pianist's late period.

The popular Etude in D-sharp minor, Op. 8, No. 12, played as an encore at Horowitz's 1982 London concert, is given a performance which seduces before building to an explosive climax.

The sound varies, from a bit confined in the 1956 recordings (made in Horowitz's living room) to spacious in the stereo items.

Horowitz - the best or real close to it.......2005-10-05

Listening to this cd put me on a higher plane regarding beauty.
There is no doubt that I will purchase more of "Horowitz plays...". And these preformances are relatively inexpensive. And for such quality, that is a rarity.

One original approach.......2004-05-23

Vladimir Horowitz is not in my ten top keyboard giants from the past. But, in this case it's fair to make a sincere rendition to this album.
Horowitz was a cosmpolitan citizen. That's is an very important detail and I 'll tell you why.
The Scriabin's school pianists Sofronitzky, Nehaus among others saw in him a russian Chopin. And I disagree with that opinion.
Scriabin was a sensitive artist , but also a major colorist than Chopin was and ever a convinced man opened to experience new sounds.
The musical influences received by Scriabin were in multiple directins. Wagner , Mahler, Bruckner opened new musical spaces in the new composers.
Besides Scriabin and its sense he links with Rachmaninov; he didn't get so far from the romantic tradition; and he dindn't join to the avant garde composers as Stravinsky, for instance.
He liked to experience but without his roots.
So that view in the school russian pianistic permeated this conception in pupils as Richter.
It's fair to establish a hidden neuroses in Scriabin's music and that's not a critical judgement.
The point to remark is that Horowitz, never considered this opinion, precisely to his countless exchange ideas with the world outside the provincial Russia.
And that's why his Scriabin sounds less ecletic and more multidimensional than the re3st of his coleagues, including Richter and Gilels; his Scriabin is in many ways out of control and less influenced of the chopinian view. It sounds you less romantic and more universal.
Only Richter in the seventies could escape from that view and pianist as MichAel Ponti , Mijail Rudy or Ivo Porgorelch have understood so.
Listen to Lazar Berman and you'll feel the Nehaus approach.
This is the great virtue of this recording.
But a warning; be carefully with a performance given for Horowitz in Carnegie Hall May 9 1965; because in many ways he seems to return to the chopinisque atmosphere when he played Scriabin in that recital.
A must in your collection. Don't miss it.

No other pianist quite does Scriabin justice.......2004-04-19

The recording of piano has that slightly annoying echoing sound, the pianist makes quite a few slips, but oh, if you want to hear how Scriabin should sound, this is probably the only pianist to listen to on CD's. Horowitz had the right sensibility to fully bring out the meditative, Chopin-like quality of this Russian composer and he plays the music like no other. If you want to hear Scriabin, this is a must-CD.

Louis Lortie Plays Ravel's Complete Works for Solo Piano

Average customer rating:

An overlooked set

Louis Lortie Plays Ravel's Complete Works for Solo Piano

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

Minuets | Ballets & Dances | Classical | Styles | Music

Pavanes | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

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

Ravel: Music for Four Hands

ASIN: B0000VM3Y0
Release Date: 2004-01-20

Tracks:

Pavane Pour Une Infante Defunte
I Prelude
II Fugue
III Forlane
IV Rigaudon
V Menuet
VI Toccata
Serenade Grotesque
Jeux D'eau
I Adelaide. Modere - Tres Franc
II Assez Lent - Avec Une Expression Intense
III Modere
IV Assez Anime
V Presque Lent - Dans Un Sentiment Intime
VI Vif
VII Moins Vif
VIII Epilogue. Lent
La Valse

Tracks:

I Ondine. Lent
II Le Gibet. Tres Lent
III Scarbo. Modere
Majestueusement
Mouvement De Menuet
Allegro Giusto
Paraphrase Sur Un Air De Gounod - Allegretto
Assez Lent Et Tres Expressif
I Noctuelles. Tres Leger
II Oiseaux Tristes. Tres Lent
III Une Barque Sur L'ocean. D'un Rythme Souple
IV Alborada Del Gracioso. Assez Vif
V La Vallee Des Cloches. Tres Lent
I Modere
II Mouvement De Menuet
III Anime

Customer Reviews:

An overlooked set.......2006-05-04

Lortie's technique is assured and (I say this as a compliment) his approach seems to take Ravel's advice to heart: it suffices to perform the music rather than [over]interpret it. Ranks up there with Simon, Thibaudet, and Casadesus among other sets. Very good recorded sound.

Average customer rating:

"Pops" Puccini
WONDERFUL CD.......
WONDERFUL MUSIC......
WONDERFUL MUSIC......
Lyrical Clarity... Beauty... and Gracefulness...

Pops Plays Puccini

Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

Italian | Languages | Opera & Vocal | Styles | Music
Similar Items:

Verdi without Words: Grand Opera for Orchestra
Puccini Without Words
Opera Without Words
Opera without Words
Puccini Without Words

ASIN: B000003CX9
Release Date: 1991-03-14

Tracks:

O Mio Babbino Caro
Recondita Armonia
Perche Chiuso?-Qual Occhio-Mia Gelosa!
Largo Religioso Sostenuto Molto : Finale
Vissi D'arte, Vissi D'Amore
E Lucevan Le Stelle
Nessun Dorma!
Ancora Un Passo Or Via
Vogliatemi Bene
Un Bel Di
Humming Chorus Finale
Orchestral Prelude
In Quelle Trine Morbide
Che Gelida Manina
Mi Chiamano Mimi
O Soave Fanciulla
Quando Me'n Vo'
Speravo Di Trovarvi Qui
Sono Andati?

Customer Reviews:

"Pops" Puccini.......2005-10-04

Erich Kunzel and the Cincinnati Pops Orchestra has done a marvelous job of playing operatic orchestral music. Other titles in the series include Verdi Without Words, Puccini Without Words, Carmen Withour Words and Wagner Without Words. Puccini's music alone is entirely lyrical, and in several instances slide into dramatic and powerful moments of climax. Kunzel and his Pops Orchestra lavish the scores with finesse, beauty and power. On this album: music from Tosca - the Love Duet between Tosca and Mario beginning with "Mario! Mario! Mario! Son Qui..." in Act 1. It is followed by the music for Act 1's finale, the Te Deum, in which the evil Baron Scarpia blasphemously declares that Tosca makes him forget God, the music concludes with Scarpia's celebrated motif. This bombastic, brash music is oddly at variance with the more spiritual, slower-paced "Vissi D'arte" music that accompanies Tosca's prayer aria. The music slowly builds to a crescendo and then subsides. The passionate music from Tosca is followed by the equally passionate music to Madama Butterfly. On here is the music for Butterfly's Entrance when she first meets B.F. Pinkerton, the exotic melancholy that is Butterfly's aria "Un Bel Di" and the Japanese-influenced Humming Chorus. The CD concludes with the beautiful, lilting and sad music from La Boheme. For fans of opera and orchestral music, this is a must have. It is a fine way to get into opera by listening to the score first as well.

WONDERFUL CD..............2002-05-26

I REALLY LIKE THIS CD. I ENJOY OPERA WITHOUT WORDS AND THIS IS
A WONDERFUL RECORDING TO HAVE IF YOU LIKE OPERA. QUALITY IS GREAT AND THE PERFORMANCE IS SPLENDID......

WONDERFUL MUSIC.............2002-05-26

I REALLY LIKE THIS CD. I PLAY IT OFTEN ALONG WITH THE OTHER
"OPERA WITHOUT WORDS" CDS I HAVE. I HIGHLY RECOMMEND THIS CD.

WONDERFUL MUSIC.............2002-05-26

I REALLY LIKE THIS CD. I PLAY IT OFTEN ALONG WITH THE OTHER
"OPERA WITHOUT WORDS" CDS I HAVE. I HIGHLY RECOMMEND THIS CD.

Lyrical Clarity... Beauty... and Gracefulness..........2001-08-29

This album of Puccini pieces contains orchestral playing which sounds top-rank and effortless...though that is the true sign of excellent lyrical discipline and ensemble sensitivity by Erich Kunzel and the Cincinnati Pops Orchestra. The aspect which is so stunning in these pieces is the ensemble string playing...in a piece such as "Recondita Armonia" from *Tosca,* you almost believe that you have never really heard the lyrical beauty of this piece before...the strings are sumptuous, yet clear... The only piece which sounds "ponderous," because of the orchestration's bringing out the menace as well as the fatefulness is the "Te Deum" from *Tosca*... the organ is there...the brass is there...but it simply does not seem to be in synch with the lyrical beauty and grace of the other pieces...though it is, in itself, melodic, chordlike, but too heavy... There is quite a dramatic contrast which occurs on the CD as you go from the loud climax of the "Te Deum" and then are introduced to the quiet lyrical beauty of the "Vissi d'arte"...though it, too, builds in intensity to a climax... which subsides into quiet beauty once again... Much of the reason for the beauty and the grace of the sounds on this album must go to the adaptation and orchestrations of the pieces...these have been done by Crafton Beck, Steven Bernstein, and Erich Kunzel... ...the "E lucevan le stelle" is exquisite...quiet...but melancholy...lyrically longing...never strained...simply ravishing in its haunting beauty and sentiment...with a crescendo climax that also quietly fades away... ...I personally do not care much for the use of the horn at the beginning of the "Nessun Dorma"...but then the string playing becomes incredibly stately and harmonic... and when the horn returns the second time, it seems quite appropriate at that spot... ...if there are two pieces which sum up the beauty and lyricism of this album, they are the "Ancora un passo or via" from Act I of *Madama Butterfly* and the "Vogliatemi bene" from Act I of *Madama Butterfly*...the string playing is passionate, tender, and compelling (especially on the "Vogliatemi bene")...and the clarinet playing in the early part of the "Vogliatemi" is as harmonically apt as is the use of the same instrument in the "I pini del Gianicolo" in Respighi's "Pines of Rome"... ...lyrical clarity...beauty...and gracefulness...

Average customer rating:

Masterful interpretation of Bartok's piano works

Zoltán Kocsis plays Bartók

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Improvisation | Forms & Genres | Classical | Styles | Music

Rondos | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Noels | Vocal Non-Opera | Opera & Vocal | Styles | Music
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Debussy: Solo Piano Music; Fantaisie; Ravel: Piano Concertos
Works for Solo Piano
Liszt: Works for Piano and Orchestra
Historic Russian Archives Emil Gilels Edition [Box Set]
Plays Schubert

ASIN: B0009A41VA
Release Date: 2005-10-11

Customer Reviews:

Masterful interpretation of Bartok's piano works.......2005-10-21

Without a doubt Bartok is one of the most influential composers of the 20th century. Combining a deep understanding of the possibilities of eastern European folk music - particularly Hungarian and Romanian - with an extremely advanced harmonic and rhythmic vocabulary, Bartok composed some of the greatest works of the last century.

Although Bartok wrote some sublime orchestral music (The Music for strings, percussion and celeste comes instantly to mind), it is in the realms of string quartet and solo piano music that Bartok reigns supreme among 20th century composers in the humble opinion of this reviewer.

So. Here is an 8 CD set of all of Bartok's solo piano music by (argueably) the pre-eminent interpreter of his piano music. These are insightful, passionate performances beautifully recorded.

I for one am thrilled to have this set - particularly since many of these CDs were unavailable up till now. The box is also very reasonably priced compared to the separate CDs.

Highly recommended - modern music begins here.

Ensemble Modern Plays Frank Zappa: Greggery Peccary & Other Persuasions

Average customer rating:

Neither a Letdown, Nor a Knockout
Close...
Just as good, if not better than Yellow Shark
Underwhelming
A great homage

Ensemble Modern Plays Frank Zappa: Greggery Peccary & Other Persuasions

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Avant Garde & Free Jazz | Jazz | Styles | Music

Experimental Music | Miscellaneous | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
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Ensemble Ambrosius: The Zappa Album
Oh No! Just Another Frank Zappa Memorial Barbecue!
Take Your Clothes off When You Dance
Trance-Fusion
Imaginary Diseases

ASIN: B0001FFIXS
Release Date: 2004-03-23

Tracks:

Moggio
What Will Rumi Do?
Night School
Revised Music For Low Budget Orchestra
The Beltway Bandits
A Pig With Wings
Put A Motor In Yourself
Peaches En Regalia
Naval Aviation In Art?
The Adventures Of Greggery Peccary

Customer Reviews:

Neither a Letdown, Nor a Knockout.......2006-07-20

The musicianship is outstanding, plain to hear on every track. The recording is also top-notch, clear, distinct, with great separation, superb mixing.

But overall, this one just doesn't warm me up. I don't come home at the end of the day and want to slide this into the player, just to run through it a few times. And why is this? After much thinking, it's down to two things.

First, most of the arrangements are just too true to the original, too close to Frank's recordings. Yeah, the arrangements are actually different (but honestly, not by that much), and we've got all instruments as opposed to synclavier, etc. But just sitting and listening, to my long-FZ-acquainted ears it's too much like listening to the originals. This comes across as arranger homage to Frank (and you've gotta respect that), but at the same time I'd think that a group as boss and proficient as the EM would be able to branch out and stretch those musical wings a bit. I mean, if Frank Zappa's music doesn't lend itself well to alternative interpretations (just listen to the new Ed Palermo Big Band FZ music release and that wacky salsa "Take Your Clothes Off When You Dance"), then what does?

Second, the vocals on "Greggary Peccary" just drive me nuts. It's like listening to a reading of some kind of darkly twisted children's book, with the narrator employing all kinds of silly, stupid, and eventually just plain annoying vocal ploys to keep me interested. Given my comments above about the sound being too close to the original, this criticism may come across here as flip-flopping, but this rendition of Greggary, despite its highly original and enjoyable add-on way there at the end, just grates on me.

If you're new to Zappa, save this purchase until you're far more schooled in the entire FZ catalog, until you can look at the songs listed on the label and hear them in your head. Wait until you've got all of the major FZ releases before you get this one.

If you're a dedicated Zappa lunatic, then you'll buy this, just as I did. And you won't regret it; I certainly don't. I guess I was just hoping for more, the kind of "more" that the Colin Towns "Frank Zappa`s Hot Licks & Funny Smells: Live at Moers Festival 2004" release gave in magnificent profusion. Now this is a recording I look forward to listening to, often. In fact, I'll put in on in the car for the ride home tonight.

Close..........2005-05-03

As much as I love "The Yellow Shark," so had I anticipated more of FZ's music from the Ensemble Modern. "Everything Is Healing Nicely" is excellent, but only whetted my appetite more. When I was informed of this offering, I leaped at the chance to gain possession. Sadly, I am not quite leaping for joy afer hearing it.

As always, the musicianship is superb. I believe the Ensemble Modern to be among the finest groups of musicians on the planet today. I also believe there is something missing on this particular release. I thought perhaps it was merely a difference between conductors, Jonathan Stockhammer on the current recording and Peter Rundel on "The Yellow Shark," but it's more than that. Perhaps it is because "Shark" is a live recording, I thought, but comparing "Healing Nicely" with this release puts that theory to bed. Then, after several intent listenings, I realized what was missing was the "eyebrows."

Perhaps only Frank himself is qualified to address that most essential aspect of Zappa's music. Perhaps we are fated to eyebrowless renditions of FZ's music for eternity. Perhaps I am wrong. I am sure that after the death of many great composers nit-pickers like myself ranted about how it will never be the same, the right attitude is missing, blah, blah, blah.

I am suddenly reminded of one of the first lessons about art I learned: Never listen to what as***les like me have to say about it. Buy it, listen to it, make up your own mind.

Just as good, if not better than Yellow Shark.......2004-06-19

Thank Jebus for the Ensemble Modern. What an incredible group of musicians. I could not agree more with Gail Zappa when she exclaims in the liner notes, "The precision with which this is played is shocking and delicious." I am so grateful to this ensemble for realizing the music of one of my favorite composers so capably and lovingly. This recording took skill, determination, and dedication.

I, personally, think the arrangements are fantastic. It was a painstaking process to find as much of the original material as possible and then to transcribe the rest. The production is lush, balanced and precise. And, once again, the performances are inspired.

My one complaint is that "Peaches" feels a little rushed. Everything else is perfect. "Moggio," "A Pig with Wings," "Naval Aviation In Art?" and "The Adventures of Gregary Preccary" stand out as perhaps a litle more perfect than the rest.

I cannot recommend this disc highly enough to any fan of Zappa's music.

Underwhelming.......2004-05-09

Excellent musicians, but quite bland arrangements (particularly in "Put a Motor in Yourself", pretty climax-less "Low Budget Orchestera..." and clumsy "Peaches..."). And I find the treatment of Greggary Peccary, FZ's magnum opus, to be particularly unsuccessful: narration sounds more like aping with a lot of silly mannerisms, making the whole story (which is a nice one, btw) sound very artificial. FZ was telling a story -David Moss and Omar Ebrahim are just reciting a text. I wonder if some more imaginative approach would have helped - like having narration parts played by some instruments (trumpets? clarinets?). Greggary Peccary sounds like quite an unlikable character in Omar Ebrahim's performance (and he was pretty charmins, IMO, in FZ's version). Orchestratin is again somehow lacking the edge of the original.

More successful tracks are excellent dynamic "Moggio" and interestng version of "Naval Aviation...".

A great homage.......2004-04-01

I have grown to love "The Yellow Shark" and "Civilization Phaze III" more and more by and by, as the discs have spin in my player. I keenly awaited the release of this disc with high expectations, and realized--the first time I gave this disc a listen--that I could have had set the bar even higher! The sound engineering (purity there of, and stereophony) is very satisfying. To hear these songs, which I have liked and loved for a long time, performed by an ensemble this powerful and professional (and furthermore - big) is very pleasing.
Ali N. Askin (composer, EM's arranger, and FZ's assistant for the "Yellow Shark" project) has transcribed the original mid-70's recording of "Greggery Peckery", and orchestrated it for EM. It is quite mind-blowing how accurate this performance is to the original, and the added spices are very tasty - this goes for every single performance on the disc, btw. I can see how the hectic narration on "Greggery" could bother those who have grown accustomed to the original recording, but it doesn't much bother me, the professionalism of the musicians saves a lot. Three pieces from "Civilization Phaze III" are performed - this time around with only "real" instruments, of course, and they are all granted to warm the hearts of "C.P.III" lovers. Two nostalgic classics --"Peaches En Regalia" and "Revised Music for Low Budget Orchestra"-- are granted to give listeners satisfaction, especially to those who might think that Zappa's hey day was during the "Hot Rats" period. The performances of these tunes are rich, and give the compositions a certain royalty. An insane fact about this album, is that it is recorded in EIGHT DAYS, proving that this is a VERY talented and EXTREMELY professional ensemble, meaning also that it is worth listening to just for the quality of performance, even if you don't generally enjoy FZ's music.
...Oh, and there's an eleventh track on the disc - it's "hidden", but I'm not going to give anything away; find out what it is for yourselves by buying this album, thus supporting a group of GREAT musicians.

Average customer rating:

A classic recording
Wonderful
You can't go wrong!
Sublime Ravel
Wonderful Ravel!!

Vlado Perlemuter Plays Ravel

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

Minuets | Ballets & Dances | Classical | Styles | Music

Pavanes | Ballets & Dances | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music
Similar Items:

Ravel According to Ravel
The Art of Ivry Gitlis
Ravel: Piano Works
The Art of Ruggiero Ricci
Beethoven: Piano Sonatas [Germany]

ASIN: B000001KC3
Release Date: 1992-11-04

Tracks:

Gaspard de la nuit: Ondine
Gaspard de la nuit: Le Gibet
Gaspard de la nuit: Scarbo
Jeux d'eau
Menuet sur le nom de Haydn
Miroirs: Noctuelles
Miroirs: Oiseaux Tristes
Miroirs: Une Barque sur l'Ocean
Miroirs: Alborada del Gracioso
Miroirs: La Valldes cloches
Menuet Antique
Piano Concerto For The Left Hand

Tracks:

Piano Concerto In G: Allegramente
Piano Concerto In G: Adagio assai
Piano Concerto In G: Presto
Le tombeau de Couperin: Prde
Le tombeau de Couperin: Fugue
Le tombeau de Couperin: Forlane
Le tombeau de Couperin: Rigaudon
Le tombeau de Couperin: Menuet
Le tombeau de Couperin: Toccata
Pavane pour une Infante dnte
Sonatine: Mod
Sonatine: Menuet
Sonatine: Anim
Prde
Valses nobles et sentimentales

Customer Reviews:

A classic recording.......2007-07-13

I first bought this collection on vinyl in a Vox Box and listened to it constantly. I was so touched and impressed by Perlemuter's playing that I hoped to study with him while I was a student in Paris. However, as luck would have it, he was away that year, so I never had that privilege.

When I saw that this had been re-issued on CD, I was delighted. I own nine versions of the complete Ravel piano works, the best of which are by Simon, Tharaud, Hewitt, Bavouzet on a lovely 1901 Steinway, and Roger Muraro (it was his recording that Joyce Hatto took credit for!). And yes, Francois' concertos and Gaspard are classics, too. All of these performers seem to understand the particular qualities of Ravel's style, and their performances contain many fine moments.

This, however, is the version I keep coming back to. Of course, it's the first one I knew, and it's certainly imprinted on me. But it's more than that. Perlemuter's interpretation is straightforward and unfussy, and it succeeds in presenting this music with a clarity and focus that reveal each piece's individual personality. I believe there's also a humility in Perlemuter's attitude towards music that allows him to stand back and reveal the music on its own terms. Such an attitude is arguably the goal of all interpretation, but it's certainly the ideal way to perform the subtle, Apollonian style of Ravel.

Very highly recommended, and the price is a bargain.

Wonderful.......2007-04-01

These most beautiful recordings manage to be lyrical without sentimentality--the way I think Ravel would have liked them recorded. I even prefer them to those of Casadesus. In fact, these are my favorite recordings of 19th century French piano music. Perlemuter has two recordings of Faure's piano music that are equally impressive--try first the version on Erato (or at least not the Nimbus recording--which is also quite good).

I found his Schumann recordings to be less impressive--his style didn't quite fit. However these recordings of Ravel are unmatched.

You can't go wrong!.......2006-11-22

This is a steal! It is one of the finest performances of all of the works! I may like Samson François concertos and Gaspard de la nuit, but this set is still stunning! Great touch and control, amazing tone and a great sound recording (1955). The Miroirs and Le Tombeau de Couperin are artfully read and interpreted. If you like these pieces... This will make you love them. If you love these pieces... This will be a real treat. And for the price, you almost feel like you are dong something wrong when you buy it. A great investment for the serious listener.

Sublime Ravel.......2001-04-13

It is easy to put off buying this set when looking at the recording date (1955) and the fact the sound was originally monaural. Don't make that mistake. These are Ravel performances of the very highest order. For me Perlemuter is to Ravel's piano music what Gieseking is to Debussy's. Even in the 2 concertos Perlemuter and Jascha Horenstein (was he inspired by Perlemuter?}reach new heights. The sound is good enough to bring out every nuance. every subtlety. 155 minutes of suberb music at the price of one medium priced CD is quite a bargain.

Wonderful Ravel!!.......2001-03-16

I can only echo the other reviewers' sentiments.

I thought I only sort of liked Ravel's piano concerti until I listened to this set. (I also have de La Roccha (sp) w/ St. Louis--not more than competent all around, and another Vox recording that was miserably recorded). Wow. The beauty of the piano playing, the admirable conducting, the orchestral contributions...all make for a wonderful Ravel experience.

Ditto the performance of the piano pieces (well, I guess we'll have to omit the orchestra and conductor from the bravos here!).

A WONDERFUL set.

These are mono, but who cares. You shouldn't!!!

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