Berg: Chamber Concerto for piano & violin; Schoenberg: Chamber Symphony No1

On this CD:

1. Chamber Concerto, for piano, violin, and 13 wind instruments
Composed by Alban Berg
Performed by Chamber Orchestra Europe, Oleg Maisenberg, Thomas Zehetmair
Conducted by Heinz Holliger

2. Chamber Symphony No. 1 in E major, Op. 9
Composed by Arnold Schoenberg
Performed by Chamber Orchestra Europe
Conducted by Heinz Holliger

Tracks:

Chamber Concerto For Piano And Violin With 13 Wind Instruments: Motto
Chamber Concerto For Piano And Violin With 13 Wind Instruments: Thema scherzoso con variazoni
Chamber Concerto For Piano And Violin With 13 Wind Instruments: Variation I
Chamber Concerto For Piano And Violin With 13 Wind Instruments: Variation II - langsames Walzertempo
Chamber Concerto For Piano And Violin With 13 Wind Instruments: Variation III - krig bewegt
Chamber Concerto For Piano And Violin With 13 Wind Instruments: Variation IV - sehr rasch
Chamber Concerto For Piano And Violin With 13 Wind Instruments: Chamber Concerto: I. Variation V - tempo primo
Chamber Concerto For Piano And Violin With 13 Wind Instruments: II. Adagio
Chamber Concerto For Piano And Violin With 13 Wind Instruments: III. Rondo ritmico con introduzione: Introduzione
Chamber Concerto For Piano And Violin With 13 Wind Instruments: III. Rondo ritmico
Chamber Concerto For Piano And Violin With 13 Wind Instruments: III. Coda
Three Orchestral Pieces, Op. 6: I. Prdium. Langsam
Three Orchestral Pieces, Op. 6: II. Reigen. Anfangs etwas znd, leicht bewschwingt
Three Orchestral Pieces, Op. 6: III. Marsch. Mges Marschtempo
Concerto For Violin And Orchestra: I. Andante, Allegretto - London Symphony Orchestra
Concerto For Violin And Orchestra: II. Allegro, Adagio - London Symphony Orchestra

Amazon.com essential recording

No doctrinaire theorist, Berg composed communicative, emotional music without compromising his technical sophistication and atonal allegiances. The Chamber Concerto has its knotty moments, but also considerable charms. Barenboim's big-hearted, romantic pianism plays off Gawriloff's tart violin, the piquant winds, and Boulez's controlled leadership. The Three Pieces is as close as Berg ever came to writing a symphony; its mix of powerful orchestral outbursts and elegant section writing are reminiscent of Berg's beloved Mahler. The Violin Concerto's ardent warmth and tender lyricism, expressing Berg's meditations on death and redemption (including a direct quote from a Bach cantata) after the untimely passing of Manon Gropius, make it irresistible. The fine performance offers an alternative view to classic older recordings by Louis Krasner and Isaac Stern. Including most of his key instrumental works, this disc is an ideal introduction to Berg's genius. --Dan Davis

Customer Reviews:

rich, alluring works of early modernism.......2002-08-28

This is a stunning record in every respect -- the compositions, performances, conducting, and recording -- a jewel of Boulez' many recordings for Sony. The "Violin Concerto" is the only piece here that has become part of the standard repertory, and the performance is beautiful, if not as well known as Mutter's. The "Chamber Concerto" is rigorously structured, and sounds more like Webern than the other two pieces. My favorite, though, is "Three Pieces for Orchestra," the closest Berg came to writing a symphony. This dramatic music blends the influence of Mahler with that of Schoenberg, which seems to be Berg's forte.

20th century masterworks!

Exemplary Berg.......2000-04-30

It remains to be seen how kindly history will judge Pierre Boulez the composer. However, by virtue of this release alone, his credentials as a conductor are the stuff of which legends are made. Of the atonalists, Berg is in some ways the most "messy." He was not as orthodox as his classmate Webern when it came to applying twelve note techniques. His music is dense, and hopelessly complex to be sure, but under Boulez's deft touch it also seems to live and breathe. Perhaps Boulez the composer has contributed much to the triumph that is Boulez the conductor. He unpacks this music as only someone who can also construct it might. The Three Orchestral pieces, which I have heard multiple times to varying degrees of satisfaction, is given a very sensible but appealing reading here. The Chamber Concerto, featuring Daniel Barenboim in the first of several recordings he would make of this piece under Boulez's baton, is also outstanding. Pinchas Zukerman gives a very credible reading of the Violin Concerto. For individuals on the fence about Berg, this recording should be required material. For those who already admire Berg, this recording does not need to be required because it will sell itself after even after the most casual of listenings. This recording is a testatment to the brilliance of one of this century's least understood composers, and the artisty of one of this century's greatest conductors.

Glenn Gould Edition: Berg, Krenek, Webern, Debussy & Ravel

Average customer rating:

Endless revelation
SING ALONG WITH WEBERN
Who knew?
Don't Expect Bach

Glenn Gould Edition: Berg, Krenek, Webern, Debussy & Ravel

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Glenn Gould Edition: Chopin / Mendelssohn / Scriabin / Prokofiev

ASIN: B0000028O5
Release Date: 1995-06-27

Tracks:

Piano Sonata, Op. 1: MaBig bewegt
Piano Sonata No. 3, Op. 92 No. 4: Allegretto piacevole, animato e flessibile
Piano Sonata No. 3, Op. 92 No. 4: Theme, Canons And Variations. Andantino - Agitato - Allegretto
Piano Sonata No. 3, Op. 92 No. 4: Scherzo. Vivace ma non troppo
Piano Sonata No. 3, Op. 92 No. 4: Adagio
Variations For Piano, Op. 27: Sehr maBig
Variations For Piano, Op. 27: Sehr Schnell
Variations For Piano, Op. 27: Ruhig FlieBend
Concerto For Nine Instruments, Op. 24: Etwas lebhaft
Concerto For Nine Instruments, Op. 24: Sehr langsam
Concerto For Nine Instruments, Op. 24: Sehr rasch
Rhapsody No. 1
La Valse

Customer Reviews:

Endless revelation.......2007-03-14

As an artist who sometimes chooses music while in the studio working I can't find another CD which I enjoy so much. There is such artistry coming from Glenn Gould the music is like being on another plane. Most enjoyable to me are the silences he acheives while holding the entire work together as a totality. The pieces are not typical western music, even the Ravel and Debussy are played like you have never heard them before except small glimpses of melodic line. Great interpretation.Then there is YouTube where you can actually watch him play, what a hoot.

SING ALONG WITH WEBERN.......2004-08-22

The idea of Gould as a chamber-music performer had always seemed to me as unlikely as the idea of Michelangeli in that role, yet here he is in a Debussy rhapsody with clarinet and in the Webern concerto for 9 instruments. It is a serious mistake to type-cast Gould, I am finding increasingly. As a player of Debussy he won me over right from his first couple of bars, the style somewhat reminiscent of Gieseking, not at all like Michelangeli and far more sympathetic than Ashkenazy. In the Webern he is the absolute model of an ensemble-player too, perfectly in balance with his collaborators.

I hope that the names of the composers represented here do not frighten off too many nervous music-lovers. In fact the three biggest names of the second Viennese school, Schoenberg Berg and Webern, are three very distinct musical personalities. Webern is the biggest problem for me, and I believe for many. There are various ways one might approach him. Gould himself heard him as some kind of successor to Mahler, and I think I can just about follow that, at least in the variations. There is a pretty obvious jazz element too, heard here in the last movement of the concerto. This may indeed be cerebral music, more intended for reading than for hearing, as Gould also suggests. I suppose that particular concept makes at least a little more sense than painting intended to be listened to, but in fact Webern works best for me as background music, taken in impressionistically rather than in any kind of intellectual way. One saving grace is that he is at least brief - the variations take not quite 5 minutes and the concerto not quite 6. As a bonus we are given a certain amount of Gould's famous vocal obbligato in a context where a little extra melody does not come amiss. Berg's sonata is another matter entirely, the friendly face of atonalism like most of its composer's work. I had already owned Gould's performance via the Great Pianists of the 20th Century series, and by now it is something of an old friend, with a nostalgic end-of-era feel to it more than any sense of the vanguard of some revolution, and played with real affection and sensitivity. The third sonata by Krenek (1900-1991) is new to me. It does not put me off in the least despite a more vigorous and aggressive idiom than Berg's. It is not, to my ears at least, all that revolutionary or uncompromising, and ought to have something to say to anyone who can even cope with Stravinsky or Prokofiev, hardly avant-garde these days. The last movement in particular, an adagio, is played with real spirituality, the short scherzo is given with bracing clarity and bite, and it hardly needs saying that the entire work benefits from such superlative piano-playing.

I would like to have been told more, indeed told anything, about the other performers. The clarinettist is an accomplished virtuoso if somewhat unseductive tone-wise. There is no clue at all either as to who the other 8 performers were in this 1977 broadcast of the Webern concerto. In fact these are all broadcast performances except for the Berg and Krenek sonatas, both of which were studio-recorded in New York over the same two days in 1958. The last item on this disc is Gould's piano transcription of La Valse - it appears he was not too thrilled by Ravel's own attempt at that. This is simply celestial. For the one and only time in my life, I think, I would have mistaken the player for Michelangeli if this had been played to me without attribution. Superlatives fail me - the melody properly masked amid the swirling, whirling accompaniment, the combination of spontaneity with cunning in the rhythm, above all the sublime, sumptuous tone-quality, so rich that - incredibly - I did not miss Ravel's wonderful scoring.

The recorded quality is perfectly good without being exactly amazing. Look rather to the piano-playing for amazement here. The total playing-time of the disc is only just over an hour, but at least it includes the total oeuvre of Webern for the instrument.

Who knew?.......2003-07-08

Gould's distaste for what I loosely call "smooth" music is not apparent in his transcription of "La Valse." It is an astounding tour de force that after the Berg and Webern pieces, seems like a scoop of ice cream on a simmering day in August. Who knew that Gould could infuse this work with such passion? The Ravel alone is worth five stars. For those somewhat atypical listeners who actually like Berg and Webern, those poets of dissonance, this disc rivals his interpretations of Schoenberg, another discordant chap.

Don't Expect Bach.......2000-08-21

For those of you who know Glenn Gould's music by his Bach recordings, you are in for a shock on this CD. This music, by 20th Century composers, has more in common with avant-garde jazz pianists like Cecil Taylor and Marilyn Crispell than old J.S. The music is very complex, often discordant and abrasive, and even atonal. That is not to say it does not have its own moments of splendor. Passages, in the Krenek and Webern particularly, are beautiful, but beautiful in the way that a sunbeam breaks through storm clouds, not beautiful as in a field of daisies. However, all of the music here is not so harsh, and in fact the Debussy and Ravel are pretty straightforward. After the first three pieces, they may even sound as refreshing as Bach to some listeners. In all, a very good recording as long as you know what to expect.

Berg: Kammerkonzert; Stravinsky: Dumbarton Oaks / Boulez, Barenboim

Average customer rating:

Tastes may disagree over the music, but the performances lift one's spirits
Accompanying Notes Misleading
Very Weird---But Weird is GOOD!!!
CACOPHONY FOR THE MASSES
music!

Berg: Kammerkonzert; Stravinsky: Dumbarton Oaks / Boulez, Barenboim

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B000001GQ2
Release Date: 1996-01-23

Tracks:

Chamber Concerto For Piano And Violin With 13 Instruments: Thema scherzoso con variazioni
Chamber Concerto For Piano And Violin With 13 Instruments: Adagio
Chamber Concerto For Piano And Violin With 13 Instruments: Rondo ritmico con introduzione
Concerto In E Flat Major For Chamber Orchestra - 'Dumbarton Oaks': 1. Tempo giusto
Concerto In E Flat Major For Chamber Orchestra - 'Dumbarton Oaks': 2. Allegretto
Concerto In E Flat Major For Chamber Orchestra - 'Dumbarton Oaks': 3. Con motto
8 Instrumental Miniatures
Ebony Concerto: Allegro moderato - Andante - Moderato - Con motto - Moderato - Vivo

Customer Reviews:

Tastes may disagree over the music, but the performances lift one's spirits.......2007-02-24

Uplifitng Berg? Why not? Boulez brings just the opposite of what one expects from his ultra-French, ultra-aloof Ensemble Intercomptemporain. Instead of sounding abstract, offering mere exercises in musical mathematics, I felt warmly drawn to the two main works here, Berg's Chamber Concerto and Stravinsky's Dumbarton Oaks, a chamber conerto of another stripe (neo-classical and jittery as compared to 12-tone and complexly woven). The Stravinsky proceeds as delicately as a minuet at court, and the Berg shows off the composer's love of collage (marches, waltzes, and flok dances are thrown in slyly) and his romantic roots.

In other words, even though it will be to taste if you like the Second Viennese School, even at its least aggressive and scratchy, Boulez and company do their best not to make you run away.

Accompanying Notes Misleading.......2005-07-10

An impressive recording, but the notes accompanying the recording are not only misleading but downright erroneous. Stravinsky wrote Ebony Concerto for Woody Herman, not Benny Goodman. In fact, Woody Herman and the First Herd performed the world premier of Ebony Concerto at Carnegie Hall on March 25, 1946. A fragment of that first performance is avaiable on CD...

Very Weird---But Weird is GOOD!!!.......2004-01-23

I've never heard a "classical" composer sound like this. Some of the dissonances and just plain musical weirdness of Berg and Stravinsky make this CD impossible to resist. Stravinsky's "Ebony Concerto" is delightful. You can tell that he totally understands the musical concept of black jazz, but because he's Russian, gives us an entirely new slant on the music! I can't believe it's the same guy who wrote "The Rite of Spring" (another piece I love!). I'm not really an expert on classical music (I've only been listening for about a year, in fact), but I know good music when I hear it! And if you like to be adventurous once in a while and try something really bold, brave, and new, give this CD, and these great composers a shot! You won't be disappointed!

CACOPHONY FOR THE MASSES.......2003-08-24

When the Rite of Spring was premiered shortly before WW1 there was a bad-mannered riot in the theatre. 90 years later Stravinsky does not seem much more radical than Brahms, and I was surprised to see that all 3 of the Stravinsky items here are later in date than Berg's Chamber Concerto. Assuming then that Stravinsky is a fully accepted classic these days, maybe I can use his comparative popularity to do my little bit towards 'popularising' Berg, or at least reducing the level of antipathy and indifference to him. In the last resort if you still find you can't put up with him, you will always have a very good set of Stravinsky performances at a very reasonable price.

Persuading people to listen to Berg is not helped by supercilious remarks by Boulez that he is 'of course very romantic' or words to that effect. He is quite obviously not romantic in the way Strauss or Elgar are romantic, and I do not necessarily acquit Boulez of pseudism and affectation in talking like this. I guess that most people getting to know Berg start with the violin concerto which can, at a stretch, be called romantic in the familiar sense. For the chamber concerto this takes a bigger stretch, but I can still hear Brahms in it. What its idiom resembles is Schoenberg's two chamber symphonies, firmly across the 12-tone rubicon and full of the squawking effects that characterise the second Viennese school but not totally uncompromising like Schoenberg's concertos. In my diet I couldn't live indefinitely on 'nice' flavours, and in my musical diet, while I always tend to be a bit suspicious of fashionable cacophony, I couldn't take myself seriously as even an amateur musician if I were totally deaf to Berg and Schoenberg. If you like Stravinsky and buy this record you will not have wasted your money. If the Berg chamber concerto succeeds in interesting you in the second Viennese school, a good next step into that territory would be either his violin concerto (I recommend Perlman) or Schoenberg's chamber symphonies in the Holliger recording.

music!.......2003-04-24

I don't know why these composers are paired on cd's so much. Their compositions, the structures of their compositions, their compositional visions, are so different. But this is wonderful music. I am sure this is the best recording you can get for these pieces.

Average customer rating:

Fabulous bargain, but Berg needs texts!
Superb Berg performances ... good value!
Real Estate Saver
Best Set; Good Price...
Excellent collection

Alban Berg Collection / Various (Coll)

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000B09Z4
Release Date: 2004-03-09

Customer Reviews:

Fabulous bargain, but Berg needs texts!.......2006-02-05

This is a great set for anyone who wishes to be immersed in Alban Berg's lurid, hothouse, hallucinogenic world. Both performances and sound quality are mostly excellent: No record company has ever made as great a commitment to Berg as Deutsche Grammophon. Based on the performances alone, this deserves six stars.

But the budget price comes with a catch: No texts or librettos. (There are at least scene synopses for "Wozzeck" and "Lulu.") With some composers, this wouldn't be a serious problem, but Berg was one of the greatest control freaks in music history. Without knowing exactly where each word is placed, listeners who don't understand German will miss an important facet of this intricately multi-layered music.

Superb Berg performances ... good value!.......2006-01-05

This might be the best box set I own. First of all you get what is most likely the best available versions of the Violin Concerto,Wozzeck,Lulu (3 act ver.),Lulu suite,7 Early Songs with van Otter,Der Wein and much more. The only real sub-par performance on it is the Piano Sonata op1 with Barenboim which can be found in many other recordings for a decent price. So, if you are new to Berg and you buy this, you are getting really an outstanding set of recordings which are top of the heap with great conductors and orchestras.

Real Estate Saver.......2004-10-04

This little box is an elegant, SPACE-SAVING means of acquiring classic performances (all of them stellar) from the DG catalog of Berg's major works, including two by my adored Lasalle Quartet that I believe have recently gone OOP. The set contains eight CD's housed in somewhat hard-to-remove cardboard sleeves that clearly identify the contents therein, and includes a booklet which, despite not containing lyrics for any of the vocal works, is very informative. The lack of libretti is possibly less an issue in the case of Wozzeck; chances are that listeners already own at least one other recording and so can refer to its libretto. Lulu, however, is more problematic because more listeners probably opt to purchase this "complete/d" performance over all others and may even be purchasing this set on that basis.
Not being particularly fond of lieder in general, I feel less qualified to make an educated call as to who might own which recordings of the songs other than to remark that I already own this recording of Op. 2 (which, of course includes the lyrics). In fact, as is the case with a previous reviewer, I already own a number of recordings from this set (which I received as a gift). No matter, it's still worth owning, and I agree with yet another reviewer's suggestion to grab it while it's available. True, one might prefer different performances here or there but honestly, this affords the best way of acquiring everything in one fell swoop, and there's not a clinker in the whole set.
In that vein, I might suggest that fans of the VC seek out Szeryng's performance with Kubelik, now available remastered on DG Eloquence at budget price. It's much less emotional than Mutter's beautiful reading but I find this proves an enhancement rather than a detraction; I also feel that Kubelik, possibly due to his Austro-Hungarian upbringing, ultimately has a better grasp of this repertoire than Levine (although I love his OOP Lulu Suite/Wozzeck excerpts on Sony and Mahler 4 on RCA).

Best Set; Good Price..........2004-05-11

This is a really nice set at a good price. It features all DG's Berg recordings--which really are about the best around. This "Collectors' Edition" is certain to disappear soon and increase in value.

Excellent collection.......2004-04-06

This is a must have for any collectors, 20th Century Music admirers.

This is 8-CD set and includes the complete works of Berg on acclaimed performances.

Especially, the stars of this set (for me):
Wozzeck (Hildegard Behrens, Wiener Philharmoniker, Abbado)

Lulu, complete opera in 3 act (Teresa Stratas, Franz Mazura, Yvonne Minton, Jules Bastin, Robert Tear, Opera National de Paris, Pierre Boulez!!)

Lulu-Suite (London SO, Abbado)

Three Pieces for Orchestra (London SO, Abbado)

Piano Sonata (Daniel Barenboim)

Alban Berg's musical language is difficult to understand (at least in first listening), but when listening more times, we notice that, actually in his music, there is a very mystic or impressive and lyric atmosphere. So, I think that he is a "Romantic" modern. Just, he expressed these lyric atmospheres with realist and striking language. Still, he was used 12-tone system, but he was not forget tonality and used the both styles (even so he used jazz passages, especially in Lulu). In other words: Berg is one of the most famous and important composers and he impressed the composers came after him (ex. Shostakovich, Britten, Henze)

Tracks:

I: Praludium, Langsam - Bamberger Symphoniker
II: Reigen. Anfangs Etwas Zogernd-Leicht Beschwingt - Bamberger Symphoniker
III: Marsch. Massiges Marschtempo - Bamberger Symphoniker
I: Andante-Allegretto - Radio-Sinfonieorchester Stuttgart
II: Allegro-Adagio - Radio-Sinfonieorchester Stuttgart
I: Rondo: Andante Und Hymne - City Of Birmingham Symphony Orchestra
II: Ostinato: Allegro - City Of Birmingham Symphony Orchestra
III: Lied Der Lulu: Comodo - Arleen Auger
IV: Variationen: Moderato - City Of Birmingham Symphony Orchestra
V: Adagio - Arleen Auger

Tracks:

I: Nacht - Matthias Pintscher
II: Schilflied - Matthias Pintscher
III: Die Nachtigall - Matthias Pintscher
IV: Traumgekront - Matthias Pintscher
V: Im Zimmer - Matthias Pintscher
VI: Liebesode - Matthias Pintscher
VII: Sommertage - Matthias Pintscher
Piano Sonata Op.1 - Peter Donohoe
I: Massig - Sabine Meyer
II: Sehr Langsam - Sabine Meyer
III: Sehr Rasch - Sabine Meyer
IV: Langsam - Sabine Meyer
Interlude - Ingo Metzmacher
I: Allegretto Gioviale - Alban Berg Quartett
II: Andante Amoroso - Alban Berg Quartett
III: Allegro Misterioso - Alban Berg Quartett
IV: Adagio Appassionato - Alban Berg Quartett
V: Presto Delirando - Alban Berg Quartett
VI: Largo Desolato - Alban Berg Quartett

Album Description

Specially priced 2-CD set in space-saving brilliant box with accompanying three-language booklet. Digitally remastered to the highest standards at the world-famous Abbey Road Studios.

Steinway Legends: Grand Edition/Various (Box)

Average customer rating:

What results do you get when you mix Decca, Philips, Deutsche Grammophone, and Steinway????.....I'd call them GRAND!!
Steinway Ledgends

Steinway Legends: Grand Edition/Various (Box)

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Sonata for Piano no 17 in D minor, Op. 31 no 2 "Tempest" by Ludwig van Beethoven. Performer: Hélène Grimaud (Piano)
Andante spianato et Grand polonaise brillante in E flat major, Op. 22 by Frédéric Chopin. Performer: Yundi Li (Piano)
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Nun komm, der Heiden Heiland, BWV 659 by Johann Sebastian Bach. Performer: Vladimir Horowitz (Piano)
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Polonaise for Piano in A flat major, B 147/Op. 53 "Heroic" by Frédéric Chopin. Performer: Vladimir Horowitz (Piano)
Mazurkas (4) for Piano, B 77/Op. 17: no 4 in A minor by Frédéric Chopin. Performer: Vladimir Horowitz (Piano)
Scherzo for Piano no 1 in B minor, B 65/Op. 20 by Frédéric Chopin. Performer: Vladimir Horowitz (Piano)
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Etudes (12) for Piano, Op. 8: no 12 in D sharp minor by Alexander Scriabin. Performer: Vladimir Horowitz (Piano)
Preludes (13) for Piano, Op. 32: no 5 in G major, Moderato by Sergei Rachmaninov. Performer: Vladimir Horowitz (Piano)
Preludes (13) for Piano, Op. 32: no 12 in G sharp minor, Allegro by Sergei Rachmaninov. Performer: Vladimir Horowitz (Piano)
Lachtäubchen (Behr) "Polka de W.R." by Sergei Rachmaninov. Performer: Vladimir Horowitz (Piano)
Sonata for Harpsichord in E major, K 380/L 23 by Domenico Scarlatti. Performer: Vladimir Horowitz (Piano)
Sonata for Piano no 14 in C sharp minor, Op. 27 no 2 "Moonlight" by Ludwig van Beethoven. Performer: Claudio Arrau (Piano)
Rondo for Piano no 3 in A minor, K 511 by Wolfgang Amadeus Mozart. Performer: Claudio Arrau (Piano)
Allegretto for Piano in C minor, D 915 by Franz Schubert. Performer: Claudio Arrau (Piano)
Sonata for Piano in B minor, S 178 by Franz Liszt. Performer: Claudio Arrau (Piano)
Oriental Fantasy for Piano, Op. 18 "Islamey" by Mily Balakirev. Performer: Claudio Arrau (Piano)
Impromptu for Piano no 1 in A flat major, B 110/Op. 29 by Frédéric Chopin. Performer: Claudio Arrau (Piano)
Impromptu for Piano no 2 in F sharp major, B 129/Op. 36 by Frédéric Chopin. Performer: Claudio Arrau (Piano)
Impromptu for Piano no 3 in G flat major, b 149/Op. 51 by Frédéric Chopin. Performer: Claudio Arrau (Piano)
Impromptu for Piano no 4 in C sharp minor, B 87/Op. 66 "Fantaisie-Impromptu" by Frédéric Chopin. Performer: Claudio Arrau (Piano)
Faschingsschwank aus Wien, Op. 26 by Robert Schumann. Performer: Claudio Arrau (Piano)
Variations (15) and Fugue for Piano in E flat major, Op. 35 "Eroica" by Ludwig van Beethoven. Performer: Claudio Arrau (Piano)
Sonata for Piano no 21 in C major, Op. 53 "Waldstein" by Ludwig van
Symphonic Etudes for Piano, Op. 13 by Robert Schumann. Performer: Maurizio Pollini (Piano)
Pétrouchka: Three movements for Piano by Igor Stravinsky. Performer: Maurizio Pollini (Piano)
Variations for Piano, Op. 27 by Anton von Webern. Performer: Maurizio Pollini (Piano)
Arabeske for Piano in C major, Op. 18 by Robert Schumann. Performer: Maurizio Pollini (Piano)
Berceuse for Piano in D flat major, B 154/Op. 57 by Frédéric Chopin. Performer: Maurizio Pollini (Piano)
Etudes (12) for Piano, Op. 25: no 1 in A flat major by Frédéric Chopin. Performer: Maurizio Pollini (Piano)
Etudes (12) for Piano, Op. 25: no 7 in C sharp minor by Frédéric Chopin. Performer: Maurizio Pollini (Piano)
Etudes (12) for Piano, Op. 25: no 9 in G flat major by Frédéric Chopin. Performer: Maurizio Pollini (Piano)
Etudes (12) for Piano, Op. 25: no 10 in B minor by Frédéric Chopin. Performer: Maurizio Pollini (Piano)
Etudes (12) for Piano, Op. 25: no 11 in A minor by Frédéric Chopin. Performer: Maurizio Pollini (Piano)
Etudes (12) for Piano, Op. 25: no 12 in C minor by Frédéric Chopin. Performer: Maurizio Pollini (Piano)
Sonata for Piano in B minor, S 178 by Franz Liszt. Performer: Maurizio Pollini (Piano)
Etudes (12) for Piano, Book 2: no 9, Pour les notes répétées by Claude Debussy. Performer: Maurizio Pollini (Piano)
Etudes (12) for Piano, Book 2: no 10, Pour les sonorités opposées by Claude Debussy. Performer: Maurizio Pollini (Piano)
Etudes (12) for Piano, Book 2: no 11, Pour les arpèges composées by Claude Debussy. Performer: Maurizio Pollini (Piano)
Etudes (12) for Piano, Book 2: no 12, Pour les accords by Claude Debussy. Performer: Maurizio Pollini (Piano)
Sonata for 2 Pianos in D major, K 448 (375a) by Wolfgang Amadeus Mozart. Performer: Vladimir Ashkenazy (Piano)
Prelude for Piano in C sharp minor, B 141/Op. 45 by Frédéric Chopin. Performer: Vladimir Ashkenazy (Piano)
Scherzo for Piano no 4 in E major, B 148/Op. 54 by Frédéric Chopin. Performer: Vladimir Ashkenazy (Piano)
Mazurkas (3) for Piano, B 157/Op. 59: no 2 in A flat major by Frédéric Chopin. Performer: Vladimir Ashkenazy (Piano)
Dumka for Piano in C minor, Op. 59 "Russian rustic scene" by Peter Ilyich Tchaikovsky. Performer: Vladimir Ashkenazy (Piano)
Sonata for Piano no 5 in F sharp major, Op. 53 by Alexander Scriabin. Performer: Vladimir Ashkenazy (Piano)
Etudes-tableaux (9) for Piano, Op. 39: no 1 in C minor by Sergei Rachmaninov. Performer: Vladimir Ashkenazy (Piano)
Etudes-tableaux (9) for Piano, Op. 39: no 2 in A minor by Sergei Rachmaninov. Performer: Vladimir Ashkenazy (Piano)
Etudes-tableaux (9) for Piano, Op. 39: no 5 in E flat minor by Sergei Rachmaninov. Performer: Vladimir Ashkenazy (Piano)
Sonata for Piano no 30 in E major, Op. 109 by Ludwig van Beethoven. Performer: Vladimir Ashkenazy (Piano)
Sonata for Piano in D major, D 850/Op. 53 "Gasteiner" by Franz Schubert. Performer: Vladimir Ashkenazy (Piano)
Pieces (10) for Piano from "Romeo and Juliet", Op. 75: no 10, Romeo and
Pieces (10) for Piano from "Romeo and Juliet", Op. 75: no 5, Masks by Sergei Prokofiev. Performer: Vladimir Ashkenazy (Piano)
Prelude and Fugue in G sharp minor, Op. 29 by Sergei Taneyev. Performer: Vladimir Ashkenazy (Piano)
Rondo for Piano no 3 in A minor, K 511 by Wolfgang Amadeus Mozart. Performer: Mitsuko Uchida (Piano)
Fantasia for Piano in D minor, K 397 (385g) by Wolfgang Amadeus Mozart. Performer: Mitsuko Uchida (Piano)
Impromptus (4) for Piano, D 899/Op. 90: no 4 in A flat major by Franz Schubert. Performer: Mitsuko Uchida (Piano)
Variations (32) for Piano in C minor on an Original Theme, WoO 80 by Ludwig van Beethoven. Performer: Mitsuko Uchida (Piano)
Kreisleriana, Op. 16 by Robert Schumann. Performer: Mitsuko Uchida (Piano)
Etudes (12) for Piano, Book 2: no 11, Pour les arpèges composées by Claude Debussy. Performer: Mitsuko Uchida (Piano)
Etudes (12) for Piano, Book 2: no 10, Pour les sonorités opposées by Claude Debussy. Performer: Mitsuko Uchida (Piano)
Etudes (12) for Piano, Book 2: no 9, Pour les notes répétées by Claude Debussy. Performer: Mitsuko Uchida (Piano)
Etudes (12) for Piano, Book 2: no 8, Pour les agréments by Claude Debussy. Performer: Mitsuko Uchida (Piano)
Sonata for Piano, Op. 1 by Alban Berg. Performer: Mitsuko Uchida (Piano)
Sonata for Piano no 18 in D major, K 576 "Hunt" by Wolfgang Amadeus Mozart. Performer: Mitsuko Uchida (Piano)
Sonata for Piano in C major, D 840 "Reliquie" by Franz Schubert. Performer: Mitsuko Uchida (Piano)
Sonata for Harpsichord in C minor, K 11/L 352 by Domenico Scarlatti. Performer: Arturo Benedetti Michelangeli (Piano)
Sonata for Harpsichord in A major, K 322/L 483 by Domenico Scarlatti. Performer: Arturo Benedetti Michelangeli (Piano)
Sonata for Harpsichord in C major, K 159/L 104 by Domenico Scarlatti. Performer: Arturo Benedetti Michelangeli (Piano)
Sonata for Piano no 4 in E flat major, Op. 7 by Ludwig van Beethoven. Performer: Arturo Benedetti Michelangeli (Piano)
Ballades (4) for Piano, Op. 10: no 1 in D minor "Edward" by Johannes Brahms. Performer: Arturo Benedetti Michelangeli (Piano)
Images for Piano, Set 1: no 1, Reflets dans l'eau by Claude Debussy. Performer: Arturo Benedetti Michelangeli (Piano)
Images for Piano, Set 2: no 2, Et la lune descend sur le temple qui fût by Claude Debussy. Performer: Arturo Benedetti Michelangeli (Piano)
Images for Piano, Set 2: no 3, Poissons d'or by Claude Debussy. Performer: Arturo Benedetti Michelangeli (Piano)
Children's Corner by Claude Debussy. Performer: Arturo Benedetti Michelangeli (Piano)
Ballade for Piano no 1 in G minor, B 66/Op. 23 by Frédéric Chopin. Performer: Arturo Benedetti Michelangeli (Piano)
Scherzo for Piano no 2 in B flat minor/D flat major, B 111/Op. 31 by Frédéric Chopin. Performer: Arturo Benedetti Michelangeli (Piano)
Mazurkas (4) for Piano, B 115/Op. 33: no 4 in B minor by Frédéric Chopin. Performer: Arturo Benedetti Michelangeli (Piano)
Prelude for Piano in C sharp minor, B 141/Op. 45 by Frédéric Chopin. Performer: Arturo Benedetti Michelangeli (Piano)
Faschingsschwank aus Wien, Op. 26 by Robert Schumann. Performer: Arturo Benedetti Michelangeli (Piano)
Sonata for Piano in A minor, D 537/Op. 164 by Franz Schubert. Performer: Arturo Benedetti Michelangeli (Piano)
Herz und Mund und Tat und Leben, BWV 147: Jesu bleibet meine Freude "Jesu, joy of man's desiring" by Johann Sebastian Bach. Performer: Wilhelm Kempff (Piano)
Fantasy for Piano in C minor, K 475 by Wolfgang Amadeus Mozart. Performer: Wilhelm Kempff (Piano)
Sonata for Piano no 26 in E flat major, Op. 81a "Les Adieux" by Ludwig van Beethoven. Performer: Wilhelm Kempff (Piano)
Pieces (3) for Piano, D 946 by Franz Schubert. Performer: Wilhelm Kempff (Piano)
Nocturnes (3) for Piano, B 54/Op. 9: no 3 in B major by Frédéric Chopin. Performer: Wilhelm Kempff (Piano)
Impromptu for Piano no 3 in G flat major, b 149/Op. 51 by Frédéric Chopin. Performer: Wilhelm Kempff (Piano)
Kinderszenen, Op. 15 by Robert Schumann. Performer: Wilhelm Kempff (Piano)
Scherzo for Piano in E flat minor, Op. 4 by Johannes Brahms. Performer: Wilhelm Kempff (Piano)
Pieces (4) for Piano, Op. 119 by Johannes Brahms. Performer: Wilhelm Kempff (Piano)
Legends of St Francis (2), S 354 by Franz Liszt. Performer: Wilhelm Kempff (Piano)
Sonata for Piano no 8 in C minor, Op. 13 "Pathétique" by Ludwig van Beethoven. Performer: Wilhelm Kempff (Piano)
Wachet auf, ruft uns die Stimme, BWV 140: Wachet auf ruft uns die Stimme by Johann Sebastian Bach. Performer: Wilhelm Kempff (Piano)
Sonata for Piano no 18 in E flat major, Op. 31 no 3 by Ludwig van Beethoven. Performer: Emil Gilels (Piano)
Fantasy for Piano 4 hands in F minor, D 940/Op. 103 by Franz Schubert. Performer: Elena Gilels (Piano), Emil Gilels (Piano)
Sonata for Piano in G minor, Op. 22 by Nikolai Medtner. Performer: Emil Gilels (Piano)
Ballades (4) for Piano, Op. 10: no 1 in D minor "Edward" by Johannes Brahms. Performer: Emil Gilels (Piano)
Ballades (4) for Piano, Op. 10: no 2 in D major by Johannes Brahms. Performer: Emil Gilels (Piano)
Fantasia for Piano in D minor, K 397 (385g) by Wolfgang Amadeus Mozart. Performer: Emil Gilels (Piano)
Sonata for Piano no 3 in B minor, B 155/Op. 58 by Frédéric Chopin. Performer: Emil Gilels (Piano)
Lyric Pieces (8), Book 2, Op. 38: no 1, Berceuse by Edvard Grieg. Performer: Emil Gilels (Piano)
Lyric Pieces (6), Book 3, Op. 43: no 1, Butterfly by Edvard Grieg. Performer: Emil Gilels (Piano)
Lyric Pieces (7), Book 4, Op. 47: no 2, Albumblatt by Edvard Grieg. Performer: Emil Gilels (Piano)
Lyric Pieces (7), Book 4, Op. 47: no 4, Halling by Edvard Grieg. Performer: Emil Gilels (Piano)
Lyric Pieces (6), Book 5, Op. 54: no 4, Notturno by Edvard Grieg. Performer: Emil Gilels (Piano)
Lyric Pieces (6), Book 9, Op. 68: no 2, Grandmother's Minuet by Edvard Grieg. Performer: Emil Gilels (Piano)
Lyric Pieces (6), Book 9, Op. 68: no 3, At Your Feet by Edvard Grieg. Performer: Emil Gilels (Piano)
Lyric Pieces (7), Book 10, Op. 71: no 1, Once upon a Time by Edvard Grieg. Performer: Emil Gilels (Piano)
Lyric Pieces (7), Book 10, Op. 71: no 3, Puck by Edvard Grieg. Performer: Emil Gilels (Piano)
Sonata for Piano no 3 in B flat major, K 281 (189f) by Wolfgang Amadeus Mozart. Performer: Emil Gilels (Piano)
Toccata in C minor, BWV 911 by Johann Sebastian Bach. Performer: Martha Argerich (Piano)
Sonata for Piano no 2 in G minor, Op. 22 by Robert Schumann. Performer: Martha Argerich (Piano)
Rhapsodies (2) for Piano, Op. 79 by Johannes Brahms. Performer: Martha Argerich (Piano)
Hungarian Themes and Rhapsodies (21) for Piano, S 242: no 6 in G minor, Lento by Franz Liszt. Performer: Martha Argerich (Piano)
Sonata for Piano in B minor, S 178 by Franz Liszt. Performer: Martha Argerich (Piano)
Prelude for Piano in C sharp minor, B 141/Op. 45 by Frédéric Chopin. Performer: Martha Argerich (Piano)
Barcarolle for Piano in F sharp major, B 158/Op. 60 by Frédéric Chopin. Performer: Martha Argerich (Piano)
Scherzo for Piano no 3 in C sharp minor, B 125/Op. 39 by Frédéric Chopin. Performer: Martha Argerich (Piano)
Prelude for Piano in A flat major, B 86 by Frédéric Chopin. Performer: Martha Argerich (Piano)
Jeux d'eau by Maurice Ravel. Performer: Martha Argerich (Piano)
Gaspard de la nuit by Maurice Ravel. Performer: Martha Argerich (Piano)
Toccata for Piano in D minor, Op. 11 by Sergei Prokofiev. Performer: Martha Argerich (Piano)
Symphonic Dances, Op. 45: no 1, Non allegro by Sergei Rachmaninov. Performer: Martha Argerich (Piano)
Andante spianato et Grand polonaise brillante in E flat major, Op. 22 by Frédéric Chopin. Performer: Martha Argerich (Piano)
Chromatic Fantasia and Fugue in D minor, BWV 903 by Johann Sebastian Bach. Performer: Alfred Brendel (Piano)
Sonata for Keyboard no 60 in C major, H 16 no 50 by Franz Joseph Haydn. Performer: Alfred Brendel (Piano)
Fantasia for Piano in C minor, K 396 (385f) by Wolfgang Amadeus Mozart. Performer: Alfred Brendel (Piano)
Pieces (3) for Piano, D 946: no 2 in E flat major by Franz Schubert. Performer: Alfred Brendel (Piano)
Nuages gris for Piano, S 199 by Franz Liszt. Performer: Alfred Brendel (Piano)
Nocturne for Piano, S 207 "En rêve" by Franz Liszt. Performer: Alfred Brendel (Piano)
R. W. - Venezia, S 201 by Franz Liszt. Performer: Alfred Brendel (Piano)
Années de pèlerinage, deuxième année, S 161 "Italie": no 7, Après une lecture du Dante by Franz Liszt. Performer: Alfred Brendel (Piano)
Sonata for Piano no 23 in F minor, Op. 57 "Appassionata" by Ludwig van Beethoven. Performer: Alfred Brendel (Piano)
Bagatelle for Piano in A minor, WoO 59 "Für Elise" by Ludwig van Beethoven. Performer: Alfred Brendel (Piano)
Phantasiestücke (8) for Piano, Op. 12 by Robert Schumann. Performer: Alfred Brendel (Piano)
Sonata for Piano no 10 in C major, K 330 (300h) by Wolfgang Amadeus Mozart. Performer: Alfred Brendel (Piano)

Album Description

THE STEINWAY LEGENDS GRAND EDITION Steinway & Sons, for over 150 years the maker of the world's finest pianos and the symbol of quality and excellence to generations, joins forces with Universal Classics, home to history's greatest pianists on the Deutsche Grammophon, Decca and Philips labels, to present the Steinway Legends Grand Edition, an impressive box that holds all 10 Steinway Legends packages in the series in a unique "Steinway Series D" Piano Box. Boxed set includes the complete Steinway Legends series on 20 compact discs (that's 301 tracks!) plus a special bonus CD. Each title features "spot-on" repertoire choices of legendary pianists that have strong associations with Steinway & Sons, along with informative notes and unique packaging. Each album includes two long-playing CDs housed in high gloss black digipacks with Steinway & Sons logo & iconography embossed in gold brass on the cover--just like on the real Steinway piano! Bonus CD--Steinway Legends in the Making--features three great pianists from the current generation of Steinway artists--HÃ¨lÃ©ne Grimaud, Yundi Li and Lang Lang. Only available as part of the Grand Edition boxed set. Souvenir Photo Album--Boxed set includes a big (10˝ x 6˝), full color 40-page booklet that offers a rare glimpse into the world of Steinway & Sons - chock full of rare photos, unique memorabilia, autograph reproductions and testimonials all from the personal archive of Steinway & Sons and more! Packaging--CDs and booklet housed in a beautiful reproduction of a Steinway Series D Grand Piano--with incredible detail--including full keyboard, working piano lid and sweeping body that is the unmistakable look of a Steinway. Grand Edition includes these great titles: Steinway Legends Martha Argerich, Steinway Legends Claudio Arrau, Steinway Legends Vladimir Ashkenazy, Steinway Legends Alfred Brendel, Steinway Legends Emil Gilels, Steinway Legends Vladimir Horowitz, Steinway Legends Wilhelm Kempff, Steinway Legends Arturo Benedetti Michelangeli, Steinway Legends Maurizio Pollini, Steinway Legends Mitsuko Uchida, and Steinway Legends in the Making.

Customer Reviews:

What results do you get when you mix Decca, Philips, Deutsche Grammophone, and Steinway????.....I'd call them GRAND!!.......2007-04-16

Yes, GRAND, indeed is the word for this spectacular collection of solo piano recordings by the creme-de-la-creme of Decca's, Deutsche Grammophone's, and Philips' vaults.........AWESOME by ALL measure!

Two discs each, in individual deluxe folders, from the archives of Decca, DGG, and Philips........featuring Claudio Arrau, Mitsuko Uchida, Vladimir Horowitz, Maurizio Pollini, Vladimir Ashkenazy, Emil Gilels, Martha Argerich, Wilhelm Kempff, Arturo Benedetti Michelangeli, and Alfred Brendel........what a list, huh?

And, Wait!.....It gets Better!!! Included on each individual collection are rare, long out of print, recordings....the best of each artist's familiar recordings, and....unknown, never-released recordings.....could it get any better than this???

YES! A bonus disc of "Steinway Legends in the Making".......featuring the incredibly gifted artists Lang Lang, Helene Grimaud, and Yundi Li....how great it is to hear these young artists against their towering predecessors of keyboard artistry.

Also included is a forty page deluxe book with tons of photos and memorabilia from Steinway. Remember, all these pianists were solid, dedicated, Steinway artists, and would not play anything else.

While the presentation of these recordings simply could never match or meet the level of the performances themselves (lucky us that they were recorded and preserved so we may hear them again and again, just as fresh and wonderful as the first time), the package IS pretty darned AWESOME!!! The whole collection, book included, fits inside a perfectly proportioned Steinway Piano shaped box, complete with opening lid and support to hold it up, revealing the frame and strings below, which also lifts up to reveal the booklet and individual folders and discs beneath. The entire "piano" itself slips into an oversized slipcase.

What a unique and beautiful set this truly is. Sadly, it was released as a deluxe set in very few numbers. But, luckily, the individual two disc sets by each artist are available separately, so at least the recordings are available still to those who want them.***

Luckily, I knew about this collection many many months before it's limited release and had pre-ordered my set (very happy bear, indeed). It's a joy just to look at this set, and also to know that these "performances" are here in my home for me to enjoy over and over again and again.

To my knowledge, I am unaware of individual companies working together before (Decca, DGG, Philips, and Steinway in this case) to present this type of collection as a "unified" set, and we truly are very lucky beneficiaries of this wonderful partnership of these companies.

My only "complaint"......the outer slipcase that the "piano box" slides into is made of a very inferior weight of paperboard to support such a heavy presentation as this, and is so flimsy that it will not stand up to much use before it simply disintigrates. Sort of too bad, as the rest of the set/presentation is so first rate...shame on you folks...I can't think of anybody who would not have paid a few dollars more for a suitable slipcase for this beautiful set. ~operabruin

***June 22, 2007...I just found out that this set is now, once again, available! Do yourself a favor, and get a copy NOW, before it is gone again! I just found it on another site [classical only online seller], and when I came back here to amazon to make this notation, I also see that they have it in stock again!!! What a stroke of luck for those of you who want this set. Trust me, it is just beautiful, and one of the most unique items you have ever seen! ~operabruin

Steinway Ledgends.......2007-03-09

The quality of the pianos and recording is breath taking says my friend, a professional tuner and former buyer of American & European pianos . And I was just stunned by the playing of these masters...the Liszt pieces of Kempff were were a revelation as was Gilels, and the supreme Horowitz..What is astounding to me is the presence of the piano ( played with a moderately good system only); it is as if they were there in the room.

Average customer rating:

This is a great deal for chamber music lovers~

Mozart: Chamber Music
Composer: Wolfgang Amadeus Mozart , Performer: Alfred Brendel , and Performer: Alban Berg Quartet
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

Quintets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
Similar Items:

Beethoven - The Complete String Quartets / Alban Berg Quartet
Mozart: 51 Symphonies
Mozart:The Complete Piano Sonatas and Variations
Sibelius: The Complete Symphonies & Tone Poems
Mahler - The Complete Symphonies / LPO, Tennstedt

ASIN: B0000BWTKL
Release Date: 2003-11-04

Tracks:

I: Allegro Vivace Assai
II: Menuetto & Trio: Allegro
III: Andante Cantabile
IV: Molto Allegro
I: Allegro Moderato
II: Andante
III: Menuetto & Trio: Allegretto
IV: Allegro Ma Non Troppo

Tracks:

I: Allegro Vivace Assai
II: Menuetto & Trio: Moderato
III: Adagio
IV: Allegro Assai
I: Allegro Ma Non Troppo
II: Andante Con Moto
III: Menuetto & Trio: Allegretto
IV: Allegro Vivace

Tracks:

I: Allegro
II: Menuetto & Trio
III: Andante
IV: Allegro
I: Adagio - Allegro
II: Andante Cantabile
III: Menuetto & Trio: Allegro
IV: Allegro

Tracks:

I: Allegretto
II: Menuetto & Trio: Allegretto
III: Adagio
IV: Molto Allegro
I: Allegretto
II: Andante
III: Menuetto & Trio: Allegretto
IV: Allegretto

Tracks:

I: Allegro
II: Larghetto
III: Menuetto & Trio: Moderato
IV: Allegro Assai
I: Allegro Moderato
II: Andante
III: Menuetto & Trio: Allegretto
IV: Allegro

Tracks:

I: Allegro
II: Andante
III: Menuetto & Trio: Allegretto
IV: Allegro
I: Allegro
II: Menuetto & Trio: Allegretto
III: Adagio Ma Non Troppo
IV: Adagio - Allegro

Tracks:

I: Allegro - Alfred Brendel
II: Andante - Alfred Brendel
III: Allegretto - Alfred Brendel
I: Allegro - Alfred Brendel
II: Larghetto - Alfred Brendel
III: Allegretto - Alfred Brendel

Customer Reviews:

This is a great deal for chamber music lovers~.......2004-02-20

What a bargain! And such excellent performances! EMI has re-issued all the digital recordings of Mozart chamber music that ABQ has done under this label in this low-priced boxed set. This set includes the famous "Haydn" quartets, the "Hoffmeister" quartet, and the String Quintets K515 and K516, all of which are some of the best chamber music written by the composer. Also included are two live performances of the somewhat less well-know Piano Quintet version of Piano Concerto no.12 that Mozart himself arranged, and Piano Quartet K493. The pianist in these recordings is Alfred Brendel who is known for his interpretation of Mozart. Simply put, lovers of chamber music should rush out and get these recordings without hesitation. This is indeed a great deal!

Berg, Stravinsky: Violin Concertos / Perlman, Ozawa

Average customer rating:

Bland & Un-Committed Performances
This a Masterpiece of Alban Berg
For the Stravinsky
Why all the fuss? This is mediocre.
Beautiful music

Berg, Stravinsky: Violin Concertos / Perlman, Ozawa

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
Similar Items:

Bartók: Violin Concerto No. 2; Rhapsodies Nos. 1 & 2
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Schumann: Piano Concerto Op. 54; Grieg: Piano Concerto Op. 16
Berg: Violin Concerto; Schoenberg: Piano Concerto; Violin Concerto
Alban Berg: Violin Concerto "To the Memory of an Angel" (1935) / Wolfgang Rihm: "Time Chant" Music for Violin & Orchestra (1991-92) - Anne-Sophie Mutter

ASIN: B000001GQX
Release Date: 1996-08-13

Tracks:

Violin Concerto - To The Memory Of An Angel: Andante - Allegro
Violin Concerto - To The Memory Of An Angel: Allegro - Adagio - (Coda)
Violin Concerto In D: Toccata
Violin Concerto In D: Aria 1
Violin Concerto In D: Aria 2
Violin Concerto In D: Capriccio
Rapsodie de concert pour violon et orchestre: Tzigane

Amazon.com essential recording

Berg's Violin Concerto is atonal--yes, it's the "A" word, but you shouldn't let that keep you from getting to know this modern masterpiece; it's actually very listener-friendly. The music tells a story. The first movement is a character sketch of the young, flirtatious Manon Gropius, daughter of Alma Mahler and architect Walter Gropius. She died tragically of meningitis, and the second movement depicts the horrifying onset of her illness, her death, and her transfiguring apotheosis. Dedicated "to the memory of an angel," it's one of the most heartfelt and moving tributes imaginable. Stravinsky's much more abstract Violin Concerto is about being a violin concerto. Both works, modern classics, are exceptionally well played and recorded by Itzhak Perlman and Seiji Ozawa. Regarding Berg, this was a landmark recording of Perlman's both in his career as a performer and in the history of the work itself. For Perlman, generally perceived as a heart-on-sleeve traditionalist of the "old school," this venture into musical modernism confounded his detractors while at the same time introducing many new listeners to a work that, though difficult, has since come to be regarded as one of the touchstones of the Romantic concerto repertoire. Stravinsky's concerto is less controversial though no less well-played. In sum, these performances are landmarks in the Perlman discography. --David Hurwitz

Customer Reviews:

Bland & Un-Committed Performances.......2004-05-30

These are two of my favorite pieces, but the performances here are utterly bland and un-committed. Perlman merely saws through both with a mechanical, un-inflected proficiency - he often sounds like he's more in a hurry to get home. Ozawa is worse: he virtually sleepwalks his way through both scores, offering very little in the way of true collaboration. The orchestral commentary in both works just sort of wanders by, with little accentuation or inflection. In Perlman's equally bland account of the Stravinsky with Barenboim, the latter at least provided a more detailed and better executed framework than this catatonic effort by Ozawa.

To my ears, no modern version of either work has matched the stunning achievement of Arthur Grumiaux, who recorded both concertos in excellent 1967 stereo sound for Philips (they were coupled on the same LP). In the Berg, Grumiaux was ably accompanied by Igor Markevitch, whereas the Stravinsky was led by Ernest Bour, a champion of modern music who was trained by Scherchen and who succeeded Hans Rosbaud at the SW German Radio. The orchestra in both cases was the Amsterdam Concertgebouw.

Grumiaux was one of the last century's greatest violinists, and his combination of rhythmic zest and soaring lyricism in both works was extraordinary: he was simply a finer musician than the likes of Perlman, Stern, or Zukerman. The Grumiaux Stravinsky Concerto is available in a fine Stravinsky collection on a Philips "two-fer." Unfortunately, the Berg remains in limbo - it is urgently in need of a CD transfer.

There are two old 1930's recordings that remain my interpretive benchmarks in each concerto: Louis Krasner with Anton Webern in the Berg, and Samuel Dushkin with the composer conducting in the Stravinsky. I feel that people who love these pieces should make an effort to find them and hear for themselves what is possible in this music.

Despite crackly, deficient mono sonics, the Berg Concerto from May 1, 1936 on Testament Continuum SBT 1004 is an absolute marvel. Krasner premiered the work a year before in Barcelona with Scherchen conducting. Berg's friend and compatriot Anton Webern was supposed to conduct, but he got cold feet at the last moment about performing his late comrade's final testament. Just listen to the performance on this Testament CD - which Webern DID conduct, with the BBC Symphony - and you will hear what is missing with Perlman and Ozawa. It is deeply inflected and romantically impassioned: the phrasing is simply gorgeous.

The 1935 Paris recording with Dushkin in the Stravinsky can now be heard in a splendid transfer on an Andante CD set. Stravinsky was closer to his roots than would later be the case: he and Dushkin fashion an earthy performance that hails back to ancient Russia itself. Dushkin is an obedient fiddler - he plays his part EXACTLY the way Stravinsky wanted it to be heard. His playing may take some getting used to: the composer insisted on an abandoned, rhapsodic, somewhat swoopy style that makes most contemporary accounts sound bland by comparison. A Columbia Records executive once told me that Stravinsky was so incensed at Isaac Stern being chosen for the stereo re-make that he threatened to break his recording contract. But he later relented, and the result was dreary in comparison with the earlier version.

To conclude: try to hear Grumiaux for the best modern accounts of these magnetic scores. The earlier historic versions are wonderful reminders of truly "living" music: they are a sharp contrast to the sterile, dry-as-toast renderings we usually get these days.

This a Masterpiece of Alban Berg.......2002-06-04

Although atonal music is rather mechanic, Alban Berg's violin concerto is very sorrowful and romantic. Of course Perlman's performance is obviously magnificent. This is a "Must" recording for every deep classical music lovers.Highly recomended.

For the Stravinsky.......2002-02-07

I listened to the vinyl version of this recording as a kid, and along with Schoenberg's string trio, it was basically my introduction to 20th century music. I have to say I usually do not have the stomach for the sustained tension in serial composers longer orchestral works. I respect them as composers and greatly enjoy a disc of Berg/Schoenberg/Webern piano music I have, but really have a difficult time with works such as this Berg and Schoenberg's piano concerto. (Although the Schoenberg string trio is an all-time favorite and I enjoy practically any other kind of 20th century music.) It is difficult to discern any kind of shape in the Berg concerto. That Bach chorale is nice, but everything surrounding it is quite unintelligible to me.

To get to the point, I think the average listener would find the Stravinsky far more accessible and enjoyable. It is basically an all-around well crafted piece and each movement is very exciting.

Why all the fuss? This is mediocre........2001-02-24

I'm normally a big fan of the DG Originals series, but this is one they could have left in the vaults. The performance of the Berg is adequate. But I don't get the fuss when this has now become a competitive field. (It was not when this recording was originally released in 1980.) Throughout the work Perlman is distant and uninvolved, with a thin wirey tone that borders on ugly at times (and yes, I know this is a "dissonant" and tragic work, but the tone is simply colorless, which is different) and Ozawa conducts like he's not really listening to his fiddle player, not really relating some intricate accompaniments to what Perlman's violin line is. Time and again he skates over climaxes, holds back, fails to get all the depth from his accompanist role. The sound is not that great for a DG Originals reissue--it's rather dry. The Stravinsky fares better (though the soundstage is close-up and bizarre), but it is hardly reason to recommend the recording itself. Zukerman/Boulez, Szigeti/Mitropoulos, Krasner/Webern (the very first recording and only the second performance of the work), and above all Mutter/Levine easily beat this recording. The Mutter in particular is a hair-raising account where every shading of the score is examined and given breath and color, where the work's "Modern" and "Romantic" worlds are for once melded appropriately. (The Krasner is another example of that, largely thanks to Webern's insightful accompaniment, but with that 1936 performance there's the issue of extremely limited sound.) In short, Stravinsky, four stars...Berg one.

Beautiful music.......2000-11-26

It is amazing how different these two pieces are. The Berg is cold, almost steely, where as the Stravinsky has a much mnore organic feel to it, I love this recording. In the Berg you can feel the sorrow of the composer, but some sort of comfort is reached in the Bach organ chorale at the end. A msterpiece of composition. Yet if you don't like 12 tone contempoary music, then the its not for you. The Stravinsky is much warmer, with easier to follow themes, good yes, in fact it is very good, but the Berg is great. Despite its warmness of feel that the Stravinsky is less emmotive than the Berg. the playing by both soloist and orchestra is wonderful. They do both composers credit.

Average customer rating:

Mostly Magnificent Menuhin, with a Few Reservations

The Violinist
Yehudi Menuhin , Johann Sebastian Bach , Bela Bartok , Ludwig van Beethoven , Alban Berg , Johannes Brahms , Max Bruch , Arcangelo Corelli , Edward Elgar , Franz Joseph Haydn , Edouard Lalo , Felix Mendelssohn , Wolfgang Amadeus Mozart , Carl Nielsen , Niccolo Paganini , Camille Saint-Saens , Jean Sibelius , Pyotr Il'yich Tchaikovsky , Michael Tippett , Henri Vieuxtemps , Antonio Vivaldi , William Walton , Alberto Lysy , Anatole Fistoulari , Antal Dorati , Anthony Bernard , Gaston Poulet , John Pitchard , Mogens Woldike , Pierre Boulez , and Rafael Frühbeck de Burgos
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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III. Allegro Molto
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Customer Reviews:

Mostly Magnificent Menuhin, with a Few Reservations.......2004-01-06

The recent trend toward classical box sets focusing on the performer instead of the composer (see my reviews of the various DG/Decca "Original Masters" sets) continues with EMI's new "Yehudi Menuhin - The Violinist." Sure EMI's past sets have showcased individual performances by Samson Francois, Eugen Jochum and Rudolf Kempe to name a few, but it was always under the heading of a given composer's works, and in the cases mentioned above, to Chopin's piano pieces, Bruckner's Symphonies and Strauss' Orchestral Works respectively. Therefore, this Menuhin collection is the first of EMI's "Budget Box Sets" to showcase a performer playing the works of a variety of composers.

As Menuhin was an EMI recording artist for an incredible 68 years (1931-99), his performances for the label number in the hundreds. With so much music from which to choose, this 10-disc set aims "to highlight some of those alternative versions, including recordings that have not been easily available since the days of LP and others that have never previously appeared on CD." Therefore, the obvious mainstream, easily attainable recordings are omitted here -- for example, the Beethoven/Mendelssohn VCs with Furtwangler, the Elgar VC with the composer conducting, and the Bruch/Mendelssohn VCs with Susskind and Kurtz.

However, a lot of this material has been on disc before on titles which the serious collector most likely already owns. Most of the Bach is currently available as part of the Bach "Budget Box Series" title. The Bruch, Mendelssohn, Brahms and Vivaldi VCs were all available in the now out-of-print 2CD EMI Seraphim series. The Elgar and the Walton are still available in the "British Composers" series. And perhaps most annoyingly, the previously unpublished Beethoven VC and Tchaikovsky "Serenade melancolique" (available as a single disc), and the Beethoven Romance No. 2 (available on an EMI Encore title) were both reissued just a few months back.

But let's focus on the positive, which are the other rare performances, the most significant being the never before reissued 1954 performance of Mozart's Violin Concerto No. 4 with John Pritchard and the Philharmonia. Other elusive recordings include Viuextemps and Paganini VCs with Fistoulari, Lalo and Saint-Saens works with Goossens, and excellent Berg and Bartok accounts with Boulez. Though I'm delighted at their inclusion, of lesser importance is a 1965 Bartok VC No. 2 with Dorati -- his mono EMI with Furtwangler and an earlier account with Dorati on Mercury Living Presence are far superior. Also, neither the Sibelius (Boult, 1955) nor Nielsen (Woldike, 1952) Concertos are truly Menuhin's cups of tea.

My last complaint has to do with the packaging. I know I'm being rather trite but it seems that EMI has taken the "slim" out of slim, paper-sleeved box sets with their latest batch of releases. Both this title and the new box of Liszt Orchestral Works by Masur are noticeably thicker than previous EMI sets featuring a similar number of discs. A minor point, but us serious classical collectors need every centimeter of space on our increasingly crowded CD shelves, not to mention the amount of wasted packaging.

Overall though, despite the fact that "Yehudi Menuhin - The Violinist" is not as essential a reissue as its counterparts in the "Original Masters" series, it is a delightful set that most collectors will thoroughly enjoy.

Average customer rating:

excellent overview of contemporaneous classic music
For the price you can't lose

Discover Music of the 20th Century

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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Customer Reviews:

excellent overview of contemporaneous classic music.......2007-03-22

excellent overview of contemporaneous classic music.

Should be continued, plenty more 20th-century composers to be discovered.

For the price you can't lose.......2007-02-21

This 2 cd set consists of, as the title indicates, various 20c pieces or movements from the Naxos catalog. Sound quality is uniformly high, although for some such as Stockhausen's it's not clear if that's good or bad. What is excellent is the variety of the collection--some familiar (Debussy), others not, some pretty, others intentionally weird. Few will find every piece to his or her taste, but many listeners who do not spend much time on 20c music will find something to like. Overall, a great introduction to a period of much off-putting, yes, but also much compelling music.

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