The Maiden's Wish

On this CD:

1. Consolations (6), for piano, S. 172 (LW A111a/2) No 1
Composed by Franz Liszt
Performed by Inna Heifetz

2. Consolations (6), for piano, S. 172 (LW A111a/2) No 2
Composed by Franz Liszt
Performed by Inna Heifetz

3. Consolations (6), for piano, S. 172 (LW A111a/2) No 3
Composed by Franz Liszt
Performed by Inna Heifetz

4. Consolations (6), for piano, S. 172 (LW A111a/2) No 4
Composed by Franz Liszt
Performed by Inna Heifetz

5. Consolations (6), for piano, S. 172 (LW A111a/2) No 5
Composed by Franz Liszt
Performed by Inna Heifetz

6. Work(s) At Church
Composed by Pyotr Il'yich Tchaikovsky
Performed by Inna Heifetz

7. Morceaux (6) for piano, Op.19 No.4
Composed by Pyotr Il'yich Tchaikovsky
Performed by Inna Heifetz

8. Etude for piano in B flat minor, Op. 8/11
Composed by Alexander Nikolayevich Skryabin
Performed by Inna Heifetz

9. Moments Musicaux (6), for piano, Op. 16 No.1
Composed by Sergey Rachmaninov
Performed by Inna Heifetz

10. Moments Musicaux (6), for piano, Op. 16 No.5
Composed by Sergey Rachmaninov
Performed by Inna Heifetz

11. Music for Children, 12 easy pieces for piano, Op. 65 Regrets
Composed by Sergey Prokofiev
Performed by Inna Heifetz

12. Music for Children, 12 easy pieces for piano, Op. 65
Composed by Sergey Prokofiev
Performed by Inna Heifetz

Tracks:

Liebestraum (Dream Of Love)
Waldesrauschen (Forest Murmurs)
Un sospiro (A Sigh)
Liebesbotschaft (Message of Love)
Widmung (Dedication)
The Maiden's Wish
My Darling
Die Loreley
Au Bord D'Une Source
Harmonies Du Soir
Les Jeux D'Eaux A La Villa D'Este
Sonata In B Minor - Andante Sostenuto
Isolde's Liebestodt

Customer Reviews:

Beautiful Music for a Romantic Evening.......2005-12-15

The CD insert design of the Set Your Life to Music series might suggest that this is a collection "Classical Lite." However, while this compilation provides some Liszt's most well-known music, these beautiful and deep pieces should not be mistaken for "easy listening." These are wonderful compositions by a great composer, performed by musicians of the highest caliber (especially Claudio Arrau). This is music to close your eyes to while listening to and enjoying every note and every nuance of the performances.

Most of the selections are performed by Claudio Arrau, one of the greatest pianists of the twentieth century, an acknowledged master of the Liszt repertoire and, furthermore, a pupil of one of Liszt's pupils. Arrau plays these selections with power, passion, sensitivity, and highly nuanced delicacy, depending on what a given passage calls for, as he takes the listener through the rising and falling tides of passion in Liszt's music.

The "non-Arrau" selections recorded by Misha Dichter, Wibi Soerjadi, and Zoltan Kocsis are also excellent. All the recorded selections, whether digital or analog, have very clear sound quality. Highly recommended, whether as an introduction to Lizst or to add to several other CDs of music by this great Romantic composer.

perfect dramatic piano.......2004-05-28

Both Liszt and Arrau are at their apogee in this CD. This is one the few piano cd's I've heard where Liszt's passionate genius is both appropriately frighteningly strong and beautifully tender (as many of his contemporaries noted 150 years ago). Arrau, always thoughtful, and with his emphasis on touch and color, and delicacy, penetrates to the heart of these sometimes breathtakingly orchestral piano sounds. This is lush arch-romantic piano with a huge nuanced sound, and a constant emotional ebb and flow (and sound volume) as powerful than any other composer of that tempestuous era I have heard. The cd is very clearly recorded with excellent dynamics. Every selection is strong and well chosen and the cd sets a very consistent brooding romantic mood. The best introduction to (and still my favorite) Liszt.

Arguably, one of the best classical pianists ever........2001-08-12

As soon as I heard the piano solo, Liebestraume, I immediately purchased this cd particularly because it contains some of the greatest piano pieces ever composed. During Liszt's lifetime, audiences were very appreciative of his talent and ability to express his emotions through the use of his piano. Influenced by Chopin, Franz Liszt ultimately achieved high status as a composer with the ability to play spectacular classical music. Some of the songs included possess titles about nature, and in one of the songs, the piano is played so brilliantly that it feels as if you're actually listening to fountains. Lovers of classical music should purchase this remarkable disc. And best of all, at a low price, this is a great bargain.

Average customer rating:

Wonderful!!!
A Window in Time ~Johann Sebastian Bach
Dull and lifeless
Not to be missed!
mechanical echoes

A Window in Time

Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

Scherzo | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Barcarolles | Vocal Non-Opera | Opera & Vocal | Styles | Music
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A Window in Time: Rachmaninoff Performs His Solo Piano Works
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Rachmaninoff Plays Rachmaninoff

ASIN: B00000IJVD
Release Date: 1999-03-23

Tracks:

Were I A Bird, Op. 2, No. 6
Barcarolle No. 5, Op. 93, No. 7
Melodie
Troika
Spinning Song, Op. 67, No. 34
Waltz In E-Flat Major, Op. 18 ('Grande Valse Brilliante')
Waltz, Op. 40, No. 8
The Maiden's Wish
Waltz, Op. 34, No. 3 ('Valse Brilliante')
Das Wandern
Sarabande
Nocturne, Op. 15, No. 1
Minuet, Op. 14, No. 1
Turkish March
Impromptu, Op. 90, No. 4
Scherzo In B-Flat Minor, Op. 31

Customer Reviews:

Wonderful!!!.......2006-07-27

No, I'm not a kid. But I am quite the Rachmaninoff enthusiast;I own all his recordings, both acoustic/electric and piano roll. Before buying these discs (i.e. the two volumes of A Window In Time), I read the reviews here, and was a bit reluctant in purchasing them after having read the negative ones. They claim that "there is no music" in these cds, that the "performances" are uncharacteristic of Mr. Rachmaninoff. But after comparing these performances with those recorded years ago, they do indeed seem to be accurate. Though they were digitally transferred, the authenticity is still there. I actually wonder if the naysayers only bash this collection because of the fact that these rolls were converted in such a way, and because of this formed a harsh bias. The alternative to these recordings on Decca are nice sounding though the tempi are a bit off, as proven by the recordings of the master himself playing. This is especially evident in the G minor Prelude; the Decca version is simply too slow and simply unlike Rachmaninoff. The version here, however, sounds very much like his playing. Despite my praises, there are two flaws I find in AWIT.The first is the use of a Boesendorfer that at times sounds awkward,like in the ending of Elegy; personally I would have loved for these to have been somehow transferred onto a Steinway, and Rachmaninoff would agree with me, as he performed exclusively on Steinways. The second flaw is that, yes, that little bit of sponteneity found in the acoustic/electric recordings is missing, but of course neither anyone nor anything can reproduce Rachmaninoff's pianism flawlessly but Rachmaninoff himself. I strongly reccommend both volumes of "A Window in Time". Try not to let the negative reviewers sway you, decide for yourself.

A Window in Time ~Johann Sebastian Bach.......2005-10-04

This is a wonderful CD. The sound is as if Rachmaninoff had recorded it yesterday. The marvelous technology allows us to reach into the past and recover glories that we had thought forever lost.

Dull and lifeless.......2004-11-24

I was very disappointed to hear this recording, after hearing Rachmaninov live on the two Naxos recordings and also hearing the recordings of the Ampico rolls on Decca.

Something seems to have happened during all of the manipulation; the playing seems to have been homogenized. The rythm and tempo are no longer dynamic, and the highs and lows have been smoothed off. This is not the case with the recordings of the Ampico rolls, played back on an Ampico-equipped machine, on the Decca CD which are very dynamic and lively.

The sound on this CD is beautiful, but I'm afraid I'll only use it as background noise.

Not to be missed!.......2003-11-14

Despite what the naysayers have been nay-saying about this disc, I think it would be very hard to be disappointed by them, from any standpoint. If they are somehow the contrived product of some deranged producer's imagination, then I could only hope that other pianists would begin to "contrive" their own playing to match what I've heard on these discs. If the piano sounds flat, un-natural and limited in dynamic range, then I hope manufacturers of pianos begin to aim for these qualities in their instruments.

Ok, maybe that's a little blunt - and I do have to admit that I enjoyed these discs more when I had a nicer sound system. Since I've stepped down to something much smaller and cheaper, these discs have lost some of their sparkle - more than some of the other discs in my collection. Even now, though, I love them and listen to them frequently. For me, every note is filled with the awesome sensitivity and mind-blowing technic of a great pianist. The tempos are steady, clear and straightforward - and I think this is not evidence of a contrived medium, but of Rachmaninoff's no-nonsense playing style. As an amateur pianist, teacher and long-time lover of piano music, I think there is a great deal to admire in this approach.

If you're suspicious about these recordings, then listen before you buy, but don't pass on the opportunity to discover the great playing of Rachmaninoff, without the crack and pop of a 78-rpm recording.

mechanical echoes.......2003-04-17

As a classical music buff and an amateur pianist, I eagerly purchased both volumes of "A Window in Time". Unfortunately, I found both albums disappointing. There is little range in touch and dynamics; for example, the virtual performer seems incapable of legato. The technical problem lies in the recording of the piano rolls. Although the rolls are "digital" in nature, they do not have the capability to capture nuances. What is left is some sense of Rachmaninoff's timing, but even that is suspect - in the liner notes, Stahnke mentions the problems he experienced with determining what speed at which to play the rolls. That "impressive speed" you hear may be artificially sped up.

Average customer rating:

Stephen Hough is a genius
Just Some Info About This Recording
light little pieces, fun but not too serious

My Favorite Things: Encores

Manufacturer: Music Masters Jazz
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Jazz | Styles | Music

General | Opera & Vocal | Styles | Music

Caprices | Vocal Non-Opera | Opera & Vocal | Styles | Music

Tracks:

Hexentanz
Maiden's Wish, Op. 74, No. 1
Now Sleeps the Crimson Petal
Fuchsia Tree, Op. 25, No. 2
Capriccio in F Minor
Minuet in G
Nocturne
Etude in a Flat Major
Melodie in E
Caprice-Burlesque
My Favorite Things
Kahmiri Song
Musical Box
Swan
Papillons
Gardens of Buitenzorg
Waltz
En Route, Op.9
Siciliano
Caprice Espagnol

Customer Reviews:

Stephen Hough is a genius.......2003-09-01

Spectacular pianist. Stephen Hough takes technique to a new level. Crisp, clear notation with beautiful phrasing and unbelievable dexterity. At times, it seems as though these pieces were composed for four-hand piano. This the album which first captivated my ear for Hough.

Just Some Info About This Recording.......1999-05-11

I think the reason this recording is out of stock is that the content is duplicated by the Stephen Hough's CD entitled "The Piano Album". Perhaps it was simply reissued under a different name.

light little pieces, fun but not too serious.......1998-10-17

Hough is definitely good to listen to, and this album is a collection of light little pieces that he can have some fun with. There are quite a few short pieces that are hard to find in other "all time favorite" collections.

Van Eyck: Der Fluyten Lust-Hof (Selections)

Average customer rating:

Van Eyck: Der Fluyten Lust-Hof (Selections)

Manufacturer: Harmonia Mundi Fr.
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical | Imports | Stores | Music
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ASIN: B0000AQVLS
Release Date: 2003-11-11

Average customer rating:

Family Carols

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Lullabies & Berceuse | Vocal Non-Opera | Opera & Vocal | Styles | Music

Noels | Vocal Non-Opera | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

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ASIN: B0000VM3X6
Release Date: 2004-10-05

Average customer rating:

Which Hofmann?
Not to be missed
Good for collectors, but not for samplers
Dynamo of the Piano
An interesting listening study

Josef Hofmann

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

Polonaises | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Nonets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Rondos | Forms & Genres | Classical | Styles | Music

Scherzo | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

Lullabies & Berceuse | Vocal Non-Opera | Opera & Vocal | Styles | Music

Caprices | Vocal Non-Opera | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

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

German | Languages | Opera & Vocal | Styles | Music
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Samson François
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ASIN: B00001X5AD
Release Date: 1999-10-26

Tracks:

D. 733: Marche militaire No. 1 In D
Erlkong
Lieder ohne Worte, Op. 19: 'Hunting Song'
Lieder ohne Worte, Op. 62: 'Spring Song'
Polonaise in A, Op. 40 No. 1 'Military'
Valse - Caprice In E flat
Fantasiestucke, Op. 12 No. 3: Warum?
Liebestraum No. 3 In A flat
Etude No. 3 In C Minor, Op. 120
The Sanctuary
Lyric Pieces, Op. 43: Butterfly
Lieder ohne Worte, Op. 67: The Bee's Wedding
Capriccio espagnole, Op. 37 (Abridged)
Minuet celebre In G, Op. 14 No. 1
'Annees de pelerinage': Tarantella
Waltz In E Minor, Op. Posth.
Waltz In A Flat, Op. 34 No. 1 'Valse brillante'
Rondo Capriccioso, Op. 14 (Abridged)
La jongleuse, Op. 52 No. 4

Tracks:

Fantasie - Impromptu In C Sharp Minor, Op. 66
6 Chants polonais de F. Chopin: The Maiden's Wish
Berceuse In D Flat, Op. 57
Valse gracile
Birds At Dawn, Op. 20 No. 2
Hungarian Rhapsody No. 2 In C Sharp Minor
Etude de concert No. 1 : Waldesrauschen
Paride ed Elena: Gavotte In A
Polonaise No. 3 In A Op. 40 No. 1 'Military'
Pastorale e capriccio
Mignonettes: Nocturne
Waltz In C Sharp Minor, Op. 64 No. 2
Nocturne In F Sharp, Op. 15 No. 2
Prelude In C Sharp Minor, Op. 3 No. 2
Prelude In G Minor, Op. 23 No. 5
Melody In F, Op. 3 No. 1
Scherzo In B Minor, Op. 20 (Abridged)
Die Walkure: Magic Fire Music
6 Chants polonais de F. Chopin: My Darling
'Die Ruinen von Athen': Turkish March

Amazon.com

Before he became the brilliant and charismatic virtuoso to whom Rachmaninov dedicated his Third Piano Concerto, Joseph Hofmann was a child prodigy. He was also the first pianist ever to make a record: in 1888, at age 12, he sat on Thomas Edison's lap and played into a prototype of the cylinder machine. That was a year after his New York debut at the old Metropolitan Opera house had caused general amazement among the public and the critics, but had also brought the wrath of the Society for the Prevention of Cruelty to Children upon the heads of his promoters. A wealthy New Yorker put up $50,000 (the equivalent of at least half a million today) to see that young Hofmann was educated rather than exploited; he was sent off to study with Anton Rubinstein in Dresden, and made his adult debut in the U.S. at the acceptable age of 22. By then, he was a finished pianist, capable of producing cascades of notes with his small hands (Steinway built a grand with slightly narrower keys just for him) as well as extraordinary effects of color and delicacy. His virtuosity was all the more hair-raising for its elegance and seeming effortlessness.

One gets a good idea of all that from this sampler of Romantic miniatures and encore pieces recorded between 1903 and 1923 (mainly 1916-23), in rather primitive but nonetheless revealing sound. Hofmann's unerring sense of line and pace are much in evidence, but so are his pronounced rubato and, in certain selections (like Rubinstein's Valse-caprice in E flat), more than a few slips and wrong notes--the price one paid for being engaged with the music and taking chances. --Ted Libbey

Customer Reviews:

Which Hofmann?.......2004-09-06

Hofmann - particularly late Hofmann - may be an acquired taste.
Despite having been the protégé of Anton Rubinstein, "the wonderful boy" was recognized from quite an early age as the exemplar of a modern style of playing - textually faithful, eschewing swooning or bombast. (See, for example, the references to Hofmann in Henry Lahee's wonderful survey from 1900, Famous Pianists of Today and Yesterday.)
Still, a number of younger colleagues expressed ambivalence. Horowitz was floored by Hofmann's keyboard command - everyone was - but he, Artur Rubinstein and Arrau, to name just three - seem not to have been terribly moved by Hofmann's musicianship.
But which Hofmann are we considering? His playing for the gramophone - as early as 1903 and as late as 1935 - was as disciplined as it was imaginative and dazzling. The late Harold Schonberg called it "perfection plus."
However, as Gregor Benko makes clear in his essays for the Marston reissues, Hofmann switched on what the pianist called a "spectacular" style for many public performances. This may sound cynical. Often it sounds terribly cynical. Hofmann was not speaking merely of the need to project in a large concert hall. In public performance - at least those performances we have from the late `30s and early `40s - the aristocrat often becomes a mountebank, lurching from the softest pianissimos to explosive fortissimos, rattling off passages or entire pieces even faster than Simon Barere boasted he could do.
Schonberg - and Hofmann's friend and admirer Rachmaninoff - reminded us that during this period Hofmann had many personal troubles, including a severe drinking problem. We must believe that at his greatest Hofmann played as scrupulously and with as much refined feeling in public as he did on many of his studio recordings, though his manner may have differed somewhat. And there are some marvelous live performances. The Rubinstein 4th from his Golden Jubilee concert beggars description.
So where does that leave us? As an introduction to Hofmann, I would recommend the early Columbia recordings, those he made somewhat later for Brunswick, and the American and British test pressings from 1935 - perhaps his greatest recorded playing. These are Volumes 3, 4 and 5 of the complete Hofmann series.
This Philips compilation draws from the earlier commercial recordings. It's a fine, economical introduction, but I would go for the Marstons. They are complete, the transfers are better, the notes superb, and the company is well worth supporting. Serious listeners will also want the ups and downs of the Golden Jubilee (Volume 2). The Chopin concertos in Volume 1 have some splendid moments, but the superlative (not spectacular; superlative) performance there is a fragment of the first movement of the E minor concerto performed in London -- far more poised and committed than its counterpart from New York. (I wonder if Hofmann played differently in America than he did in Europe? Some musicians - for instance, Mahler, Toscanini, Bernstein - for varying reasons apparently did.)
Having said all this, the entire Hofmann series is priceless. Heartfelt thanks to Gregor Benko and Ward Marston for making it available.

Not to be missed.......2003-11-03

You'll never hear playing so clean, polished, and technically perfect...modern pianists seem almost clumsy by comparison. Especially his Liszt is to die for; as a matter of fact his Tarantella is possibly my all-time favorite recording of anything. The Maiden's Wish and La Jongleuse are splendid too. In fact, although these are some of my favorite recordings ever, it's hard to know what to say about them because they are simply so perfect in both technic and understanding that they leave you breathless.

As for the bad sound...folks get over it...as for me, I know I'm silly but I kind of like it...it gives me a thrill as I remember just how many years this recording is taking me back over.

Good for collectors, but not for samplers.......2002-09-23

For an introduction to Hofamann, this volume is not the best. They contain mostly his earliest recordings (1910 to 1920) and they make for difficult listening. VAI and Marston Records' volumes of remasterings of Hofmann's later playing has better audio and better linear notes.

Dynamo of the Piano.......2001-12-25

First of all, I would part company with those who comment on the "recording quality" of a particular record. Naturally the sound technology was not advanced in those days, so the artist had to make do. Any listener who knows something about the piano should be able to get beyond this.

This CD should be bought by any listener interested in the golden age of piano giants. Rachmaninoff, whose name should be familiar as both composer and pianist to any piano afficoniado, actually preferred Hofmann's playing, especially in passages requiring clear fingerwork, to his own. Indeed, the clarity and lightness of Hofmann's fingerwork is astounding. Of particular note on this album is Chopin's Berceuse, arguably the greatest recording ever made of this particular piece. I will limit myself to describing his performance of this piece, since I think this is most indicative of the beauty of Hofmann's piano sound. The thirds are lighter and better articulated than Friedman's or Cortot's performances of the same piece. His tempos in general are held, with the addition of cleverly placed rubato. Hofmann's style for passagework can be called the "jeu perle" style, representing a touch in between legato and staccato which gives the passage a certain precise, smooth sound. His pedalling also is immaculate. Actually, he does not use very much pedal at all. He only uses it at junctures when it is absolutely needed, not to cover up poor technique and creating a sloppy "wet" sound which seems to be the dilemma of many modern pianists. In his several different recordings of the piece, the only place I consistently hear him using pedal is in the grace note/rolled chord variation of the theme, where the right hand's sound and harmony dictate it.

In short, buy this CD to get a glimmer of old school piano playing at its finest.

An interesting listening study.......2000-11-06

I would actually give this CD a 3.5, but you can't give out halfs. While his playing and his songs are phenomenal, the quality of the CDs is terrible. One would think that Sony would have taken the time to clean these CDs. While I admit it would be difficult since the songs were recorded between 1903-33, they could have cleaned it up. Hofmann's playing is absolutely amazing. Speaking from a pianist's p.o.v, how can he move his fingers that quickly? This is a CD for the music lover and classical collector....

Average customer rating:

Magic of Christmas

Manufacturer: Cbc
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | New Age | Styles | Music

General | Opera & Vocal | Styles | Music

Magnificats | Vocal Non-Opera | Opera & Vocal | Styles | Music

Motets | Vocal Non-Opera | Opera & Vocal | Styles | Music

Noels | Vocal Non-Opera | Opera & Vocal | Styles | Music

Marches | Miscellaneous | Styles | Music

General Christmas | Holiday | Miscellaneous | Styles | Music

Opera & Vocal | Holiday | Miscellaneous | Styles | Music

Classic Big Band | Swing Jazz | Jazz | Styles | Music

General Christmas | Holiday Music | Special Features | Music

Opera & Vocal | Holiday Music | Special Features | Music
ASIN: B00000DCR2
Release Date: 2001-07-01

Tracks:

O Come, All Ye Faithful
Adam Lay Ybounden
Es Ist Ein 'Ros' Entspurngen
Tomorrow Shall Be My Dancing Day
Gabriel's Message
Magnificat
I Sing Of A Maiden
Still, Still, Still
I Saw A Maiden
Silent Night
Huron Carol
What Is This Lovely Fragrance
Rise Up, Sheperd, And Follow
In The Bleak Mid-Winter
The Three Kings
Carol Of The Children
What Sweeter Music
Hodie Christus Natus Est
The Twelve Days Of Christmas
Personent Hodie
God Is With Us
In Dulci Jubilo
A New Year Carol
We Wish You A Merry Christmas

Average customer rating:

THE BIG LEAGUE

Chopin: uvres pour piano

Manufacturer: EMI Classics Imports
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Polonaises | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Ballads | Forms & Genres | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Barcarolles | Vocal Non-Opera | Opera & Vocal | Styles | Music
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Liszt: Works For Piano
Les introuvables de Cziffra
Rendez-vous de Senlis

ASIN: B00008LLIS
Release Date: 2004-02-10

Tracks:

19 Valses
Polonaise Op. 53 - Heroique
Polonaise Op. 40 No.1 - Militaire
Polonaise Op. 40 No.2
Polonaise Op. 44
Polonaise-Fantasy Op. 76
Bolero Op. 19
Tarentelle Op. 43
Barcarolle Op. 60
Impromptu No. 1 Op. 29
Impromptu No. 2 Op. 36
Impromptu No. 3 Op. 51
Fantasie-Impromtu Op. 66
Ballade No. 4
Sonata No. 2 Op. 35
Sonata No. 3 Op. 58
12 Etudes Op. 10
12 Etudes Op. 25
Concerto Pour Piano No. 1 Op. 11
Krakowiak Op. 14
2 Chants Polonais (Trans. Liszt)
Fantasie Op. 49

Customer Reviews:

THE BIG LEAGUE.......2004-11-19

Cziffra, unlike Horowitz, took days off from being a showman. His Grieg concerto is not at all showy nor, I believe, is his Tchaikovsky, and nothing on these two discs of Chopin has anything like the flamboyance of his set of the studies. He is probably the most likeable super-virtuoso of them all, and there is a certain innocence about him (Horowitz is much 'badder'). His lyric manner has an unaffected naturalness that propels some of his interpretations to the top of my preferences, there is a sense of sky and air about much of his playing that has the rest sounding laboured or contrived, and occasionally he is oddly low-key -- the military polonaise ends in a slightly apologetic 'er, that's it' way, and the two pieces in F# (the second impromptu and the Barcarolle) are definitely too restrained in my opinion. The F# impromptu is an odd and very original piece, and I liked Cziffra's imaginative pedalling in the two little fanfare passages, but in the middle section the voltage is far too low. I'll stick with Rubinstein for this and also with Rubinstein and Horowitz for the celestial Barcarolle, my own outright favourite of all Chopin's works. Rubinstein's urbane manner suits it very well, but he is not afraid to let himself go when the big tune surges out in all its magnificence. Cziffra, even more than Lipatti, seems overly concerned not to be virtuosic, and he even plays the entire opening phrase quietly, where my edition and every other performance I know has it starting loudly followed by a diminuendo. Horowitz has no such inhibitions of course, and his is my favourite version of all with his superlative double-trills, the thrilling way be blazes out into forte in the second section and the touch of suffused sparkle in the quiet right-hand runs just before the end. Much of Chopin's work has a feel of etude about it, not just the 27 pieces that he gave that name to, and the Barcarolle seems to me to be in part a study in pedalling and trills. Cziffra was a master among masters of pedalling, but if I have one criticism of his almighty technique it is that his trilling is often casual-sounding, here and elsewhere. His pedalling is another matter altogether, a miracle of alertness, sensitivity and imagination.

Of the other smaller pieces, I would say that this version of the A flat polonaise is not as good as the one on his record of the studies, nor as the one on the Senlis disc. Here Cziffra doesn't use that ultimate technical command, that Rubinstein hasn't quite got, to give the middle section the treatment it deserves -- slip the gears the way Horowitz and Ashkenazy do. His Polonaise-fantasy is good but not as searching as Rubinstein's still less Richter's, nor as defiant as Horowitz's if that is the way you prefer it. There is little to choose between him and Rubinstein in the other 3 polonaises, but I prefer his touch in the central mazurka in the F# minor and in the Fantasy-impromptu. In the Bolero he has the edge on Rubinstein for easy-going virtuosity, and in the Tarantella he easily outshines him without even bothering with virtuosity. In the first and third impromptus there is little between them, both taking a fairly relaxed speed as opposed to the old-fashioned high-velocity treatment of the first impromptu by Moiseivitsch or the not-very-convincing in-between approach adopted by Horowitz.

In both the sonatas he is my new top choice. In the B flat minor he mercifully spares us the repeats -- the work's intense 'dwarf-star' quality comes over better without them -- his funeral march is the best I ever heard, and he has a very original way, bleak indeed, with the finale, even if he doesn't dislodge Michelangeli from first place in that. In the B minor he makes more sense, to my ears, of the first movement development than Rubinstein or Lipatti -- it all coheres as one consistent process for once. His simple lyric style keeps the Largo from sounding too long, the trio of the scherzo comes over as music not as an exercise, and the piece as a whole is less intellectually-driven than by Lipatti and has, for me anyway, just an indefinable edge in freshness over Rubinstein.

For completeness, there are 2 of Chopin's Polish songs messed about with by Cziffra's beloved Liszt but played as superbly as you would expect.

Sergei Rachmaninoff: The Complete Recordings

Average customer rating:

Save some $ money! Get the newer January 2006 reissue set instead.
6, or Even 7 Stars!
A must have for Piano and classical music lovers
Ah, Rachmaninoff, brilliant star of music, how we adore you
Review from a spoiled modern listener

Sergei Rachmaninoff: The Complete Recordings

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Mazurkas | Ballets & Dances | Classical | Styles | Music

Polkas | Ballets & Dances | Classical | Styles | Music

Polonaises | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Ballads | Forms & Genres | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

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Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

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General | Chamber Music | Classical | Styles | Music

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Caprices | Vocal Non-Opera | Opera & Vocal | Styles | Music

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Similar Items:

Beethoven: 29 Piano Sonatas / Gilels
Rachmaninov Plays Rachmaninov--Ampico Recordings (1919-29)
Liszt: Piano Works
Rachmaninoff Plays Rachmaninoff
Shostakovich: The String Quartets

ASIN: B000003FB7
Release Date: 1992-09-15

Tracks:

Concerto No. 2, Op. 18 In C Minor: Moderato; Allegro
Concerto No. 2, Op. 18 In C Minor: Adagio sostenuto
Concerto No. 2, Op. 18 In C Minor: Allegro scherzando
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

Tracks:

Concerto No. 1, Op, 1 In F Sharp Minor: Vivace
Concerto No. 1, Op, 1 In F Sharp Minor: Andante
Concerto No. 1, Op, 1 In F Sharp Minor: Allegro vivace
Concerto No. 4, Op. 40 In G Minor: Allegro vivace
Concerto No. 4, Op. 40 In G Minor: Largo
Concerto No. 4, Op. 40 In G Minor: Allegro vivace
Rhapsody On A Theme Of Paganini, Op. 43: Introduction: Allegro vivace
Rhapsody On A Theme Of Paganini, Op. 43: Variation I: (Precedente)
Rhapsody On A Theme Of Paganini, Op. 43: Tema: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Variation II: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Variation III: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Variation IV: Piu vivo
Rhapsody On A Theme Of Paganini, Op. 43: Variation V: Tempo precedente
Rhapsody On A Theme Of Paganini, Op. 43: Variation VI: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Variation VII: Meno mosso, a tempo moderato
Rhapsody On A Theme Of Paganini, Op. 43: Variation VIII: Tempo I
Rhapsody On A Theme Of Paganini, Op. 43: Variation IX: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Variation X: Poco marcato
Rhapsody On A Theme Of Paganini, Op. 43: Variation XI: Moderato
Rhapsody On A Theme Of Paganini, Op. 43: Variation XII: Tempo di minuetto
Rhapsody On A Theme Of Paganini, Op. 43: Variation XIII: Allegro
Rhapsody On A Theme Of Paganini, Op. 43: Variation XIV: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Variation XV: Piu vivo scherzando
Rhapsody On A Theme Of Paganini, Op. 43: Variation XVI: Allegretto
Rhapsody On A Theme Of Paganini, Op. 43: Variation XVII: (Allegretto)
Rhapsody On A Theme Of Paganini, Op. 43: Variation XVIII: Andante cantabile
Rhapsody On A Theme Of Paganini, Op. 43: Variation XIX: A tempo vivace
Rhapsody On A Theme Of Paganini, Op. 43: Variation XX: Un poco piu vivo
Rhapsody On A Theme Of Paganini, Op. 43: Variation XXI: Un poco piu vivo
Rhapsody On A Theme Of Paganini, Op. 43: Variation XXII: Un poco piu vivo (Alla breve)
Rhapsody On A Theme Of Paganini, Op. 43: Variation XXIII: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Variation XXIV: A tempo un poco meno mosso

Tracks:

Isle Of The Dead, Op. 29
Vocalise, Op. 34, No. 14
Symphony No.3, Op. 44 In A Minor: Lento; Allegro moderato
Symphony No.3, Op. 44 In A Minor: Adagio ma non troppo
Symphony No.3, Op. 44 In A Minor: Allegro

Tracks:

Sonata, Op. 30, No. 3 In G: Allegro assai
Sonata, Op. 30, No. 3 In G: Tempo di minuetto, ma molto moderato e grazioso
Sonata, Op. 30, No. 3 In G: Allegro vivace
Sonata D. 574 In A: Allegro moderato
Sonata D. 574 In A: Scherzo: Presto; Trio
Sonata D. 574 In A: Andantino
Sonata D. 574 In A: Allegro vivace
Sonata, Op. 45 In C Minor: Allegro molto ed appassionato
Sonata, Op. 45 In C Minor: Allegretto espressivo alla Romanza
Sonata, Op. 45 In C Minor: Allegro animato

Tracks:

Partita No. 4, BWV 828: Sarabande
Harpsichord Suite No. 5: Air And Variations - 'Harmonious Blacksmith'
Sonata, K. 331: III: Turkish March
32 Variations, WoO 80 In C Minor: Thema: Allegretto
32 Variations, WoO 80 In C Minor: Variation I
32 Variations, WoO 80 In C Minor: Variation II
32 Variations, WoO 80 In C Minor: Variation III
32 Variations, WoO 80 In C Minor: Variation IV
32 Variations, WoO 80 In C Minor: Variation V
32 Variations, WoO 80 In C Minor: Variation VI
32 Variations, WoO 80 In C Minor: Variation VII
32 Variations, WoO 80 In C Minor: Variation VIII
32 Variations, WoO 80 In C Minor: Variation IX
32 Variations, WoO 80 In C Minor: Variation X
32 Variations, WoO 80 In C Minor: Variation XI
32 Variations, WoO 80 In C Minor: Variation XII
32 Variations, WoO 80 In C Minor: Variation XIII
32 Variations, WoO 80 In C Minor: Variation XIV
32 Variations, WoO 80 In C Minor: Variation XIX
32 Variations, WoO 80 In C Minor: Variation XXII
32 Variations, WoO 80 In C Minor: Variation XXIII
32 Variations, WoO 80 In C Minor: Variation XXIV
32 Variations, WoO 80 In C Minor: Variation XXV
32 Variations, WoO 80 In C Minor: Variation XXVI
32 Variations, WoO 80 In C Minor: Variation XXVII
32 Variations, WoO 80 In C Minor: Variation XXVIII
32 Variations, WoO 80 In C Minor: Variation XXXI
32 Variations, WoO 80 In C Minor: Variation XXXII
Return Home
Polish Songs: The Maiden's Wish
Die schone Mullerin: Das Wandern
Schwanengesang: Serenade
Polonaise No. 2 In E
Songs Without Words, Op. 67: Spinning Song
Impromptu, Op. 90, No. 4 In A Flat
Concert Etude No. 2: Gnomenreigen
Orfeo ed Euridice: Melodie
Etude, Op. 104b, No. 2 In F
Etude, Op. 104b, No. 3 In A Minor
Spanisches Liederspeil: The Smuggler
Minuet, Op. 14, No. 1 In G
Liebesfreud

Tracks:

Sonata No. 2, Op. 35 'Funeral March': Grave; Doppio movimento
Sonata No. 2, Op. 35 'Funeral March': Scherzo
Sonata No. 2, Op. 35 'Funeral March': Marche funebre
Sonata No. 2, Op. 35 'Funeral March': Presto
Carnaval, Op. 9: Preambule
Carnaval, Op. 9: Pierrot
Carnaval, Op. 9: Arlequin
Carnaval, Op. 9: Valse noble
Carnaval, Op. 9: Eusebius
Carnaval, Op. 9: Florestan
Carnaval, Op. 9: Coquette
Carnaval, Op. 9: Replique
Carnaval, Op. 9: Sphinxes
Carnaval, Op. 9: Papillons
Carnaval, Op. 9: A. S. C. H. - S. C. H. A. (Letteres dansantes)
Carnaval, Op. 9: Chiarina
Carnaval, Op. 9: Chopin
Carnaval, Op. 9: Estrella
Carnaval, Op. 9: Reconnaissance
Carnaval, Op. 9: Pantalon et Colombine
Carnaval, Op. 9: Valse allemande
Carnaval, Op. 9: Pganini (Intermezzo)
Carnaval, Op. 9: Aveu
Carnaval, Op. 9: Promenade
Carnaval, Op. 9: Pause
Carnaval, Op. 9: Marche des 'Davidsbundler' contre les Philistins
Nocturne, Op. 9, No. 2 In E Flat
Waltz, Op. 64, No. 2 In C Sharp
Waltz, Op. 64, No. 3
Ballade No. 3, Op. 47 In A Flat
Mazurka, Op. 68, No. 2
Waltz, Op. Posth. In E Minor

Tracks:

Partita No. 3, BWV 1006: Preludio
Partita No. 3, BWV 1006: Gavotte
Partita No. 3, BWV 1006: Gigue
A Midsummer Night's Dream: Scherzo
Liebersfreud
Die schone Mullerin: The Brooklet
Polka de V.R.
Etude-tableau, Op. 39, No. 6 In A Minor
Prelude, Op. 3, No. 2 In C Sharp Minor
Sorochintsy Fair: Hopac
Lullaby, Op. 16, No.1
Tsar Saltan: Flight of the Bumblebee
The Ruins Of Athens: Turkish March
Scherzo In A Flat
The Seasons: November: Troika
Prelude No. 8, Op. 11, No. 8 In F Sharp
One Lives But Once
Powder and Paint
Polka italienne (Piano 4 Hands)

Tracks:

Concerto No. 2, Op. 18 In C Minor: Maderato; Allegro
Concerto No. 2, Op. 18 In C Minor: Adagio sostenuto
Concerto No. 2, Op. 18 In C Minor: Allegro scherzando
Prelude, Op. 23, No. 10 In G Flat
Prelude, Op. 32, No. 3 In E Major
Prelude, Op. 32, No. 7 In F Major
Prelude, Op. 32, No. 6 In F Minor
Etude-tableau, Op. 33, No. 2 in C Major
Etude-tableau, Op. 33, No. 7 In E Flat
Daisies, Op. 38, No. 3
Oriental Sketch
Melodie, Op. 3, No. 3 in E
Serenade, Op. 3, No. 5 In B Flat
Humoresque, Op. 10, No. 5 In G
Lilacs, Op. 21, No. 5
Moment Musical, Op. 16, No. 2 In E Flat

Tracks:

Mazurka, Op. 63, No. 3 In C Sharp Minor
Nocturne, Op. 15, No. 2 In F Sharp
Waltz, Op. 18 'Grande valse brilliante' In E Flat
Waltz, Op. 34, No. 3 'Valse brilliante' In F
Waltz, Op. 64, No. 1 'Minute'
Waltz, Op. 69, No. 2 In B Minor
Waltz, Op. 70, No. 1 In G Flat
Scherzo No. 3, Op. 39 In C Sharp Minor
Waltz, Op. 64, No. 1 'Minute' In D Flat
Le coucou
L'Arlesienne Suite No. 1: Minuet
Carnival Of The Animals: The Swan
Songs Without Words, Op. 67: Spinning Song
Waltz
Lyric Pieces, Op. 12: Elfin Dance
Etude, Op. 28, No. 6 In F Minor
If I Were a Bird
La jongleuse
Dr. Gradus ad Parnassum
Children's Corner: Golliwogg's Cakewalk
The Seasons: November: Troika
Humoresque, Op. 10, No. 2 In G
Waltz, Op. 40, No. 8 In A Flat

Tracks:

Prelude, Op. 23, No. 5 In G Minor
Prelude, Op. 32, No. 12 In G Sharp Minor
Prelude, Op. 3, No. 2 In C Sharp Minor
Prelude, Op. 32, No. 5 In G
Serenade, Op. 3, No. 5 In B Flat
Lilacs, Op. 21, No. 5
Polichinelle, Op. 3, No. 4 In F Sharp Minor
Polka de V.R.
Liebesleid
Hungarian Rhapsody No. 2
Pastorale In E Minor
Theme and Variations
Waltz, Op. 42 'Two - Four' In A Flat
Waltz, Op. 64, No. 3 In A Flat
Polka de V.R.
Bacarolle, Op. 10, No. 3 In G Minor
Prelude, Op. 3, No. 2 In C Sharp Minor

Amazon.com

We remember Rachmaninov today mostly for the music he wrote. But as this set quickly reveals, he was one of the greatest pianists of the 20th century, able to play his own music and a great variety of others with tremendous personality and a technique that is still astonishing. There's no point picking highlights from this set, since they are everywhere. But if you've never heard Rachmaninov play Schumann's Carnaval, try starting there for one of the most imaginative recreations of a piece of music ever recorded. The set also includes Rachmaninov's only recordings as a conductor in two of his own major works. --Leslie Gerber

Customer Reviews:

Save some $ money! Get the newer January 2006 reissue set instead........2006-05-17

At the time of this review, whenever you search for a phrase such as "Rachmaninoff Complete", amazon's search engine always lands on this out-of-print recording (ASIN: B000003FB7) . It's also no fun to see that it costs more than a hundred bucks! But if you type "B000A2AD2S" in the search box, you'll see the new reissued set for half the price. It's the exact same 10 CDs. Just the cover art is different.

Unfortunately, this situation is a common pattern with amazon's listing of classical music: when you use your intuition and type in common-sense search phrases for Bach, Mozart, etc, you often get the ultra-expensive out-of-print ships-in-4-weeks items as the default item. It takes a lot of detective work to find the newer reissue recordings. For example, to find the new reissue without knowing the ASIN, I had to enter just "Rachmaninoff" in the search text (deliberately left the word "Complete" out of the search) so it would no longer lock me into this item page that you're looking at and give me a full listing instead. I then sorted the listing by "Original Release Date" and found it on the 2nd page. There's no picture on the new item which doesn't give you any confidence that you found the right one. Don't worry, B000A2AD2S is what you want.

For product research, it's good to have both ASIN product listings because the older out-of-print B000003FB7 has the sound samples (and also all the helpful customer reviews) while the new B000A2AD2S has the better price and availability.

To make things even more confusing, the amazon staff sometimes copies entire customer reviews to the new item which would then make THIS review seem strangely out of place. If that happens and I notice it, I will delete this review for B000003FB7.

(In another strange twist, amazon searches in rock/pop usually points you to the newer cheaper remastered/repackaged/reissued/whatever of a particular recording. I don't know why it works the opposite way in classical music?!?!)

6, or Even 7 Stars!.......2005-06-04

Hofmann hit the nail on the head when he said Rachmaninov had "arms of steel and heart of gold". From this album, we can have a clear picture of Rachmaninov's vison of music, of his musical mind and thoughts and moreover his own playing.

While Kempff's playing would often remind of the protestant church music, Rachmaninov bring to our mind the chanting of the Orthodox church, which is much thicker and darker. On top of that, his playing is orchestral which is so powerful and full colours. Yet, it is nothing like Richter, where often the whole piece is just one phrase.

Here each piece has it's own life and identity each with a focal point. It is water tight compact and yet very much natural and alive, never as hair-raising as Horowitz. But, it is not natural in Arrau's way. It is somewhere in between, closer to Argerich but with more consistency and depth. And like Casals' playing, it keeps our attention from the first note up to its focal point until its very end. But unlike Casals, he touches our hearts. It is very emotional but never to the point of being sentimental-- the performance of his own concertos, for example, can tell you that.

Sure, he did have fingers of steel that helped him to bring out whatever colour or atmostphere as appropriate. And despite that fact that there are some minor alterations on the scores like his Chopin, he is one of the few pianists who could really show you every note on the score counts and, above all, how it counts...

His Chopin may not be as neurotic as Cortot. Nonetheless, he sheds light on the dark and nervous side of Chopin so well: a very throbbing interpretation that is so unique. We also have him accompanying Kreisler on some violin sonatas, something that one could turn to time and again, year after year. What a great chamber musician and accompanist he was...!

The recorded sound of the CDs do vary, and some are more acceptable than the others. But for genuine music lovers, they should be able to get over this very soon: how else would they benefit from one of the greatest legacies of a genuinely great musician!

A must have for Piano and classical music lovers.......2005-04-04

To respond to a review about the sound quality-for those people who have no experience with historical performances i.e cortot-hofmann-etc these discs are for the most part much better recorded. There are the inevitable pops and hisses but if these things disturb you, or you cant get past them, then you shouldnt be listening to this kind of thing anyway. the importance here is in the playing, and the playing is extra ordinary. I you want to buy a disc for the reperatoire then i can think of hundreds of performances that will satisfy, but only people with a true interest to hear and study these pieces will be beyond satisfied. I know that may not sound like a lot of fun, but these discs are fun, great, and for me, almost too good to be true. Again, if sound disturbs you, then you may be listening to the music for the wrong reasons. Take from it the playing, the revelations that Rach provides to his pieces, and how fortunate we are that it sounds as good as it does.

Ah, Rachmaninoff, brilliant star of music, how we adore you.......2003-09-14

The music of Rachmaninoff is beyond words, furthermore, beyond imagination. He was a genius, no doubt, and nobody will ever understand how incredibly lucky we are to be blessed with his compositions. Furthermore, it is truly astonishing to hear Rachmaninoff play his own work. There is nothing so beautiful on this earth and there never will be.

Review from a spoiled modern listener.......2003-07-13

I'll admit that I'm a spoiled modern listener, accustomed to having the bang and hiss edited out of a recording, and it took me a while to warm to these. Rachmaninoff's performances are splendid, but if you can hardly hear them over the cacophony of background noise, what's the use? His performance of his own, often overlooked Concerto No. 4 finally made me sit up and listen, even though I've owned two versions of this piece for a number of years (Ashkenazy & Wild).