Wanderer Fantasy

On this CD:

1. Fantasia for piano in C major ("Wanderer"), D. 760 (Op. 15)
Composed by Franz Schubert

2. Piano Sonata No. 21 in B flat major, D. 960
Composed by Franz Schubert

Tracks:

Applause
Abegg Variations, Op.1
1. Allegro [Piano Sonata in C, H.XVI No.50]
2. Adagio [Piano Sonata in C, H.XVI No.50]
3. Allegro molto [Piano Sonata in C, H.XVI No.50]
1. Allegro con fuoco ma non troppo [Fantasy in C Major "Wanderer"]
2. Adagio [Fantasy in C Major "Wanderer"]
3. Presto [Fantasy in C Major "Wanderer"]
4. Allegro [Fantasy in C Major "Wanderer"]
1. Missing Moon [Eight Memories In Watercolour, Op.1]
2. Beans [Eight Memories In Watercolour, Op.1]
03. Herdboy's Song [Eight Memories In Watercolour, Op.1]
4. Blue Nun [Eight Memories In Watercolour, Op.1]
7. Red Wilderness [Eight Memories In Watercolour, Op.1]
5. Ancient Burial [Eight Memories In Watercolour, Op.1]
6. Floating Clouds [Eight Memories In Watercolour, Op.1]
8. Sunrain [Eight Memories In Watercolour, Op.1]
Nocturne No.8 In D Flat Op.27 No.2
Reminiscences de Don Juan, S. 418 (after Mozart)
7. Tr=E4umerei [Kinderszenen, Op.15]
Horses (after pieces by Huang Hai Hwai, Chen Rao Xing and Shen Li Qun) - Arr. by Lang Lang and Lang Guo-ren
Liebestraum No.3 in A flat, S.541 No.3

Amazon.com

This is a dazzling recital, taped live at Carnegie Hall in November 2003--complete with applause. Lang Lang's virtuosity is almost frightening: the Liszt "Reminiscenses du Don Juan" is a showpiece when played "normally." Here, Lang plays it to its extremes, with soft passages amazingly soft and subtly delineated and the bigger moments heaven-thundering. And it is played so fast, and so accurately (a cascade of notes in mid-"La ci darem la mano" sounds like a waterfall), that it leaves the listener breathless--surely just what Liszt wanted. In a Haydn sonata, Lang's classical line is impeccable, but he's not afraid to shine through the music and embellish occasionally. The Schumann "Traumerei" is suitably dreamy and hushed; Schubert's "Wanderer" Fantasy, a real crowd-pleaser, is just that--beautifully played, familiar yet fresh sounding. And an encore, with Lang's father playing a two-string fiddle called the erhu, is a fascinating look into Eastern music. There's more (this is a 2-CD set), and it's stunning--and highly recommended for all admirers of great piano playing. --Robert Levine

Customer Reviews:

Worst Wanderer Fantasy EVER?.......2007-02-14

I can't believe the positive reviews this recording has gotten. Don't believe the hype folks; Lang Lang may have technique to burn, but most 1st-year conservatory students possess at least the same interpretive depth, if not more. When he isn't indulging himself in interpretive excess, then Lang Lang is playing as if he really doesn't care much at all.

His Schubert is garbage. Let him stick to playing Chinese compositions unknown to Western audiences, because virtually none of us will have any way of drawing comparisons between his interpretation and that of others. I can only assume that his interpretation of Dun Tan is the definitive version --- but I doubt it.

Pianistic Glory at its best!!!!.......2006-11-07

Wow!!
I have read several of the 'negative' reviews here and can only conclude (after viewing the DVD four times and counting) that what may be going on with these folks is something they themselves simply don't understand (about themselves!). They cannot or will not accept that here with Lang Lang, as with Evgeny Kissin (ever notice?) the world is being introduced to the next and even greater generation of pianistic virtuosos, young prodigies who can do everything that Horowitz and even Lizst ever did and more... I have no doubt those two would agree were they alive today. Karajan wept (for joy)when he heard the young Kissin perform Chopin's Fantasy in F# minor, Mehta was so taken with Kissin's performance under his baton that he could not refrain from hugging the young boy after a stellar performance... Andre Watts, not often praising his contemporaries, mused about finding the nearest bridge to jump off after hearing Kissin play realizing he was not in the same league and one other recent winner of an International Competition had to pull his car over to the side of the road, he was so taken with Kissin.... yes, I know it seems like I forgot we are talking about Lang Lang.... Lang Lang can do everything Kissin can and maybe more...Are we to believe that these aforementioned individuals are musical idiots prone to such actions?!!

Folks! accept it, embrace it and thank God for it!... just as he did when simultaneously brought Chopin and Liszt to our world in the early 1800's (they were the same age except for a year) He has now given us another Double Blast of Pianistic Glory in Kissin and Lang Lang! Pity those who can't get beyond their envy, jealously, general jadedness with life... or whatever ails them... they need help, lots of help!

As for me and many like me (BTW, it doesnt count for much but I am a pianist myself)... we are so grateful and blessed to have these 2 young men and the miracle of DVD technology to bring their concerts right into our living room!

An outstanding performance and story of a child prodigy.......2006-06-14

Lang Lang has the charm of an ebullient child as he plays the piano. I have never seen a pianists enjoy himself with such gay abandon, a delight that lured me into a space of complete attention. I sat with a smile on my face thoughout most of the performance. However, his wonderful performance air was only second to his pianism. You will gasp in awe during Reminiscenses de Don Juan. Lang Lang conveys powerful energy though the piano without losing the delicate touches and grace. The skill is a contradiction that few virtuosos have. Bravo!

Most Impressive!.......2006-05-18

When I first heard Lang Lang on the Internet, I thought he only played fast. When I heard him again (this time live), I thought, wow! He really is amazing! Lang Lang was born in 1982 in Shenyang, China. He started piano at the age of three, and played in his first public recital at age 5. He studied piano with many teachers. I love piano, too. Although I am not going to be like him, I must say that he is one of a kind. When he plays, he doesn't just play. He feels it, too, and uses his body to show his different emotions. And he's only 23!

Trust the peanut gallery? Or trust experts. Your choice ..........2006-01-05

o Lang Lang. German Echo Klassic 2004 Award Winner. Best Pianist.

http://de.wikipedia.org/wiki/Echo_Klassik

o About this Carnegie Hall recording? The one given some pretty bad reviews from the peanut gallery? Well, the recording won a 2005 Amadeus Austrian Music Award. And a DVD of this recital with documentary footage won the 2005 "Music DVD of the Year" Echo Klassik Award.

Music has always been interpretive and a vital mark of virtuosity is having your own voice - Lang has his own voice and he masterfully distinguishes himself with it. Lang is a refreshing draft of fresh air in a typically stagnant arena. Technically, the kid can flat out play. Period. Interpretively, he is bold, unafraid, and lets it all hang out.

Nuff said ...

Cheers!

Average customer rating:

inspired performance !!!

The Story of Schubert

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

Quartets | Chamber Music | Classical | Styles | Music

Quintets | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

4-for-3 Classical | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music
Similar Items:

Story Of Chopin In Words And Music
The Story of Beethoven
The Story of Mozart
The Story Of Brahms
The Story of Bach

ASIN: B000001KCT
Release Date: 1994-02-28

Tracks:

Rosamunde, D. 797: Overture
Mozart: String Quartet In B-Flat Major, K. 172
Marche Militaire, D. 733, No. 1
Hark, Hark, The Lark!, D. 889
Mass No. 5 In A-Flat Major, D. 678: Credo
Symphony No. 5 In B-Flat Major, D. 485: Allegro
Symphony No. 4 In C Minor, D. 417 'Tragic': Finale: Allegro
Moment Musicaux No. 3 In F Minor, D. 780
Piano Sonata In A Minor, D. 845: Moderato
The Erl King, D. 328
Symphony No. 2 In B-Flat Major, D. 125: Allegro
Symphony No. 6 In C Major, D. 589 'Little': Andante
Symphony No. 6 In C Major, D. 589 'Little': Scherzo
To Music, D. 547
The Trout, D. 550
Piano Quintet In A Major, D. 667 'Trout': Theme And Variations
Octet In F Major, D. 803: Finale
Impromptu In B-Flat Major, D. 935 No. 3
String Quintet In C Major, D. 956: Allegro ma non troppo
Wanderer Fantasy In C Major, D. 760
Symphony No. 8 In B Minor, D. 759 'Unfinished': Allegro moderato
Symphony No. 9 In C Major, D. 944 'Great': Andante-Allegro ma non troppo
Mass No. 6 IN E-Flat Major, D. 950: Gloria
String Quartet No. 14 In D Minor, D. 810 'Death And The Maiden': Andante con moto
Symphony No. 8 In B Minor, D. 759 'Unfinished': Andante
Ave Maria, D. 839
Symphony No. 5 In B-Flat Major, D. 485 (Complete): Allegro
Symphony No. 5 In B-Flat Major, D. 485 (Complete): Andante con moto
Symphony No. 5 In B-Flat Major, D. 485 (Complete): Menuetto: Allegro molto
Symphony No. 5 In B-Flat Major, D. 485 (Complete): Allegro vivace

Customer Reviews:

inspired performance !!!.......2001-09-02

this collection deserves more than 5 stars.peter maag and the philharmonica hungarica are in top form.this is the best ever of schubert's fifth and eigth i have ever listened to.it is not karl bohm or leonard bernstein or george szell or lorin maazel.
truly the hungarians inspired by maag easily beat all the other top orchestras.
the orchestral texture is transparent with a perfect balance among the string sections ,the woodwind and the brass sections.peter maag obviously loves this music and brings out the heavenly beauty ,the pathos and the monumental dramatic quality of these works.
just listen to schubert's fifth second movement which ends with a heart rending cello phrase.
it is a shame that the well established record companies have not thought it fit to record more of peter maag.in my opinion he is one of the greatest ever conductors.
i will not exchange these performances for any other!

Average customer rating:

Ethereal LIszt in Superb Sound
A great collection of Liszt treasures
An excellent collection of Liszt interpretations.
Liszt for the ages.

Liszt: Piano Works

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

Galops | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Ballads | Forms & Genres | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Box Sets | Stores | Music

The Decca Records Store | Specialty Stores | Music
Similar Items:

Chopin: The Piano Works
Brahms: Works for Solo Piano
Works for Solo Piano
Schubert: The Piano Sonatas
Rachmaninov: The Piano Concertos

ASIN: B00005ND3L
Release Date: 2001-10-09

Tracks:

Hungarian Rhapsody No. 12 In C-Sharp Minor
Liebestraum No.3
Mephisto Waltz No.1
Funerailles (No.7 Of Harmonies Poetiques Et Religieuses)
Rigoletto: Conc Paraphrase
La Campanella

Tracks:

Die Forelle
Der Muller Und Der Bach
Wohin?
Lebe Wohl!
Das Wandern
Der Lindenbaum
Horch, Horch, Die Lerch
Auf Dem Wasser Zu Singen
Die Post
Aufenthalt
Lob Der Tranen
Erlkonig
I. Allegro Con Fuoco
II. Adagio
III. Presto
IV. Allegro

Tracks:

Lento Assai - Allegro Energico -
Andante Sostenuto
Allegro Energico - Andante Sostenuto - Lento Assai
Valse Impromptu
I. 'Hohe Liebe' In A flat
II. 'Selinger Tod' In E Flat
III. 'O Lieb' In A Flat
Grand Galop Chromatique

Tracks:

I. Sposalizio
II Penseroso
III. Canzonetta Del Salvator Rosa
IV. Sonetto 47 Del Petrarca
V. Sonetto 104 Del Patrarca
VI. Sonetto 123: Del Petrarca
VII. Apres Une Lecture De Dance (Fant Quasi Son)

Tracks:

I. La Chapelle De Guillaume Tell
II. Au Lac De Wallenstadt
III. Pastorale
IV. Au Bord D'une Source
V. Orage
VI. Vallee D'Obermann
VII. Eglogue (Hirtengesang)
VIII. Le Mal Du Pays
IX. Les Cloches De Geneve

Tracks:

I Gondoliera
II. Canzone
III. Tarantella
Les Jeux D'eau A La Villa D'Este (No.4 Of Annees De Pelerinage, Troisieme Annee)
Benediction De Dieu Dans La Solitude: (No.3 Of Harmonies Poetiques Et Religieuses)
Ballade No.2 In B

Tracks:

I. Preludio: Presto
II. Molto Vivace
III. Paysage: Poco Adagio
IV. Mazeppa: Allegro
V. Feux Follets: Allegretto
VI. Vision: Lento
VII. Eroica: Allegro
VIII. Wilde Jagd: Presto Furioso
IX. Ricordanza: Andantino
X. Allegro Agitato Molto
XI. Harmonies Du Soir: Andantino
XII. Chasse-Neige: Andante Con Moto

Tracks:

Zwei Konzertetuden: I. Waldesrauschen
Zwei Konzertetuden: II. Gnomenreigen
I. Il Lamento
II. La Leggierezza
III. Un Sospiro
I. Andante Con Moto
II. Un Poco Piu Mosso
III. Lento Placido
IV. Quasi Adagio
V. Andantino
VI. Allegretto Sempre Cantabile
Reminiscences De Don Juan

Tracks:

Reminiscences De Norma
Totentanz (Danse Macabre)
Malediction
Fant On Hungarian Folk Themes

Customer Reviews:

Ethereal LIszt in Superb Sound.......2006-09-29

Piano playing of extraordinary romantic depth and breadth. Bolet is inside Liszt's mind, as Liszt's romantic self unfolds on the keyboard. It is as if Bolet is the master himself. Superlative recordings to boot!

A great collection of Liszt treasures.......2004-01-12

The booklet of this set has an interesting explanation of why Jorge Bolet stayed out of the spotlights for so long before taking up his -glorious- career. It was his devotion to Liszt. By then, in the 1950s, Liszt was still regarded as a B-composer (There are still people who tend to think so: I read someone who called Liszt `the father of all bar pianists'. Now, if you know a worse offence...). Only after Liszt's reputation had increased, Bolet could enter his `Indian summer', which lasted from about 1975 until his passing away in 1990. During this period, he was finally able to perform his favourite music as much as possible. This fine 9-disc set may indeed be Bolet's most important testament. Additionally, it's one of the most important Liszt collections on the market. But beware: there's much more than just Bolet, considering Liszt's piano works. I can't say this is the perfect set or near it. Still five stars, for some astonishing piano playing that we don't come across very often nowadays.

Bolet won a Gramophone Award for his 1st book of Années de Pelerinage, which is not strange when listening to the recordings. This is a portrait of a man who's entirely on his own, looking for his soul while wandering trough the beautiful Switzerland - I can't say it better than B. Johnson already did. It's Romantic nonsense, of course, but in Liszt's days it was a common idea, and it can still sweep me away. Bolet's superior tonal colouring - beautiful, but not too far-driven, for the risk it would almost be too intimidating - and his peaceful nature lift this music to the greatest heights. My only complaint would be the `Orage' piece: Bolet's technique can't quite handle it, and its aggressive nature is much less overwhelming as a result. Nevertheless, the rest of the pieces show him at his very best. So does the second year of the Années (that is oddly placed in the set before the first year by Decca). The Dante Sonata, one of Liszt's greatest pieces, fares very well under Bolet's hands.

Equally excellent were the Schubert Song Transcriptions. The transcriptions aren't very different from the original songs, but they are definitely interesting. Especially when someone like Bolet takes them under his hands! All songs are terrifically played, with real standouts like `Auf dem Wasser zu singen', `Der Mueller und der Bach' and `Erlkoenig'. Bolet's romantic touch (he may have been the last of his kind) lets the music unendingly flow. Brilliant!

These comments also apply to Liszt's Consolations, which are placed on another disc. Liszt shows here how much he's in debt to Schubert, and wrote music of a disarmingly lyrical nature. Bolet gives almost naively innocent readings of these pieces. Talking about singing music, why not include the Liebesträume, `Venezia e Napoli' and many, many other pieces as well. Although some people still regard Liszt as a bombastic composer, he was in fact much more active on the spiritual and lyrical area. It is largely this nature of Liszt that is put into the spotlights by Bolet. He is really terrific whenever music ought to sound peaceful and meditative.

But Liszt was also a stunning virtuoso. People may eschew him for that, but that's often without any good ground. The B minor Sonata and the Transcendental Etudes, to give some names, are not only pianistically but also musically amazing works. It takes to be both a good technician and a musician to play them well, and this is where Bolet occasionally fails. He was over 65 when he made these recordings, and I can't help but say that his technique was not anymore what it used to be. In many pieces you can hear him struggle.

In what may be the most difficult music Liszt wrote, the Transcendental Etudes, Bolet takes tempi that are almost too easy (e.g. no.10 should be `Allegro molto agitato' but Bolet plays it very moderately), perhaps because his technique was by then too limited to give the pieces a really impressive treatment. Even then, I do feel a ertain nobility in Bolet's slow approach that gives every study a dignified stature (and that's something you won't find with Kissin or Cziffra!). The sonata is similarly noble and yet tremendously powerful in its scope, even though Bolet may lack some technial control at isolated spots.

Anoter treacherous piece is the `Reminiscences de Don Juan', which is a transcription of no less an opera than -of course- Don Giovanni! Bolet plays this 20-minute piece with a lot of humour and swing: it's a great way to clean up your mind! Also recommendable are the Etudes de Concert (e.g. Waldesrauschen), whose light spirit is very well captured.

A treasure trove set overall, I can recommend it without any limitations. There's no other composer that suited Bolet as well as Liszt, and the vice versa may be true as well. But the pianist also has his weaker points, particularly regarding his technique, that wasn't what it used to be. Oh, and the piano sound is not always equally convincing: the instrument sounds a little shrill at times. But there's an amazing amount of colour in the instrument, and it allows Bolet to reachfor the deepest, darkest sonorities you've heard. This collection is therefore not just THE best Liszt: there are many more pianists who made supreme recordings of him (e.g. Arrau, Brendel, Richter) and I definitely recommend searching them out as well. After you've heard this!

An excellent collection of Liszt interpretations........2003-12-03

I was very impressed with Bolet's playing. His rendition of La Campanella is the best I've ever heard.

Liszt for the ages........2001-12-05

Both for those that would like to find out for the first time what Liszt is all about, and for those few that are very familiar with the Paganini of the 88: LOOK NO FURTHER!

It doesn't get any better than this.

After I heard throughout the seventies about this "unknown" great of the romantic repertoire, I was fortunate enough to see him for the first time about a month after he recorded the first issue of this now legendary Liszt series. While his technique may not have exactly been what it used to be before (e.g. Orage in Suisse of Les Annees), all the performances benefit from the wisdom of many, many years. While all the performances are of a uniform Olympic level, two issue stand out in my mind.

First, there is the cd of Schubert Liszt transcriptions. Bolet really sets the standards for "singing" on the piano. His version of "Der Muller und der Bach" has to be believed to be heard.

Most importantly though, there is "Suisse" the first year of Liszt's years of pilgrimage. I own this disc from the day it appeared on the shelves and still listen to it every month. Surely, there are more technically brilliant versions. For the true "Liszt Nuts", I would certainly advise Leslie Howard's version of "L'Album d'un voyageur", that contains the first version of many of the "Suisse" pieces, and some additional pieces that Frenz (for reasons that escape me completely) excluded from the later Suisse. Yet, nobody, not even Brendel or Berman, have come close to Bolet on delivering on the central theme of Suisse, man finding himself back in an exploration of nature.

While they stem from the earlier days of digital recording the recordings are still more than respectable and benefit greatly from Bolet's attention for color, aided by his favorite Bechstein.

Tracks:

Fantasie C-dur D 760, Op. 15: I. Allegro con fuoco ma non troppo
Fantasie C-dur D 760, Op. 15: II. Adagio
Fantasie C-dur D 760, Op. 15: III. Presto
Fantasie C-dur D 760, Op. 15: IV. Allegro
Fantasie C-Dur, Op. 17: I. Durchaus fantastisch and leidenschaftlich vorzutragen - Im Legenden-Ton - Tempo primo
Fantasie C-Dur, Op. 17: II. Massig. Durchaus energisch - Etwas langsamer - Viel bewegter
Fantasie C-Dur, Op. 17: III. Langsam getragen. Durchweg leise zu halten -Etwas bewegter

Customer Reviews:

Wonderful Wanderer , Spectacular Schumann.......2004-03-14

As one reviewer notes, the Schubert Wanderer Fantasie was originally issued on LP coupled with the Sonata in a minor D845. That LP was my first solo piano LP, and did it get me hooked! I had no idea solo piano could be so dynamic and powerful, but still engage the heart in soul-searching ways. Pollini combines deep and profoundness with momentum and drive. You never go to sleep on this music, but you also don't feel driven over-driven.
Nothing ever seems glossed over with Pollini, but, unlike many other pianists who explore the intrinsic qualities of romantic works like these Fantasies, he never lets his exploration drag to the point of monotony. The Schumann, while a lesser know work than the famous Schubert, is certainly an even more incredible performance.
I, though, like one other reviewer noted, find it shameful that Universal issued these Fantasies without their accompanying Sonatas. Even more shameful, in 2002 Universal issued those two sonatas in a single disk as part of this same remastering series ("The Originals") catalog #463676-2, but it is not available in North America. It is available from Amazon as an import, asin # B00006L76P. I wouldn't be without either disk.

Boring.......2004-02-27

I must admit that I'm being a little hard on Pollini by giving this recording such a low rating, but the Wanderer-Fantasie (which is the piece I'm really interested in), while technically flawless, has none of the élan of my favourite recording, that being Clifford Curzon's mono recording on Decca. This one seems dull, metronomic and, simply put, woefully inadequate next to Curzon's brilliant use of rubato, shifting tempi and rock-solid rhythms to convey the emotion of the piece.

Decent Schubert, but Great Schumann from Pollini.......2002-09-03

This is an odd coupling of Pollini's early recordings in the Deutsche Grammophon Originals series. Pollini's version of Schubert's "Wanderer-Fantasie" was marred by technical problems, which this digitally remastered version doesn't quite overcome. Unfortunately, his version isn't nearly as compelling as those I've heard from the likes of Kempff, yet Pollini's performance remains technically proficient. The real treasure has to be Pollini's exceptional performance of Schumann's Fantasia; his most recent recordings of Schumann's music for Deutsche Grammophon only enhanced his reputation. Pollini's playing of the Fantasia is replete with warmth as well as splendid technique.

Compilation from two classic records........2001-09-28

While it is good that DG reintroduces some of its most glorious recordings in excellent sound, it is too bad that original combinations get scrambled. This disc is such an example. The Wanderer Fantasie started out on an lp also containing an equally well performed Sonata in a (D845), the Schumann Fantasie was coupled to an earth shattering performance of Robert's first Sonata. Why not just reissue "The Originals".

But enough complaining already.

Both works on this disc are very well/over represented in the recorded catalogue. I am very fond of both of them and heard them numerous times both in concerts and on records. While there is an overabundance of alternatives, Pollini still sets the standards of pianism in romantic repertoire in both works.

Pollini appeared on the international scene at 16 and was done great injustice by getting silver in the Geneva music competition. When he entered the Chopin competition at 18, that batch of jurors paid better attention and awarded him first price. Not coming from a financially challenged background, Pollini was not lured in the common 100 concerts in 200 days routine, but instead studied an additional six years. Some of those with Michelangeli.

This disc contains recordings from "the beginning" of Pollini's recording carreer, that produced a constant number of additions to the imaginary list of "greatest recordings of all time". While some more recent recordings (Maurizio's Berg Sonata, Chopin Ballades) sound a little too much like cool perfection, this disc is anything but cool.

The great pianist Szebok once defined intelligence as that part of the brain that watches the rest of it at work. These recordings define intelligence in the romantic repertoire. While Pollini brings all the fire and eye for every possible detail, he never loses the big picture of these great compositions.

These recordings are good friends of mine, to paraphrase Bukowski. I have heard many alternatives since I first encountered them. There have been moments that I was tempted by alternatives. For a while I was very much into Kissin's Wanderer. His coloring in the scales after they adagio is really breath taking. Yet, after a while you start to miss Pollini's big picture.

While the recordings may not represent DG's very best (Pogorelich:Haydn; Ugorski:Messiaen) they are still very good.

Click and save yourself...

Best among the best!.......2001-04-12

This disc comes first in my discography of Schubert. But in its first release, the Wanderer-Fantasie was coupled with Sonata D 845. This owed us the best possible compilation of two incomparable interpretations for two great Schubert's works. On the other hand, Schumann's Fantasia was coupled with Sonata No. 1. As a result, we had two equally outstanding recordings.

In this new release, Pollini has no rival in "Wanderer-Fantasie" and even Perrahia might sound prosaic facing such implacable rigor and balance. As to Schumann's Fantasia, Richter and Perrahia are, in my view, the best alternative but Pollini knows how to combine poetic expression and scrupulous respect of structures so that the global architecture of the work never dilutes. In the third movement, this impression of dilution present in Perrahia's reading is patent in Richter's rendering because both artists gave primacy to the expression of the evanescent character of feelings. Pollini never looses sight of the lines while keeping the tension alive from beginning to end. In this perspective, his interpretation might be more satisfactory.

Tracks:

Impromptus Op. 90 (D. 899): No. 1 In C Minor (Allegro molto moderato) - Franz Schubert
Impromptus Op. 90 (D. 899): No. 2 In E Flat (Allegro) - Franz Schubert
Impromptus Op. 90 (D. 899): No. 3 In G-flat (Andante) - Franz Schubert
Impromptus Op. 90 (D. 899): No. 4 In A Flat (Allegretto) - Franz Schubert
Moments Musicaux, Op. 94 (D. 780): No.1 In C (Moderato) - Franz Schubert
Moments Musicaux, Op. 94 (D. 780): No. 2 In A Flat (Andantino) - Franz Schubert
Moments Musicaux, Op. 94 (D. 780): No. 3 In F Minor (Allegro moderato) - Franz Schubert
Moments Musicaux, Op. 94 (D. 780): No. 4 In C Sharp Minor (Moderato) - Franz Schubert
Moments Musicaux, Op. 94 (D. 780): No. 5 In F Minor (Allegro vivace) - Franz Schubert
Moments Musicaux, Op. 94 (D. 780): No. 6 In A Flat (Allegretto) - Franz Schubert
Three Pieces, Op. Posth. (D. 946): No. 1 In E Flat Minor - Franz Schubert
Three Pieces, Op. Posth. (D. 946): No. 2 In E Flat - Franz Schubert
Three Pieces, Op. Posth. (D. 946): No. 3 In C - Franz Schubert

Tracks:

Fantasia In F Minor For Piano 4-Hands, Op. 103 (D. 940): Fantasia In F Minor For Piano 4-Hands, Op.103 (D. 940) - Franz Schubert
Allegro In A Minor For Piano 4-Hands, Op. 144 (D. 947) 'Lebenssturme' - Franz Schubert
'Grand Duo' Sonata In C For Piano 4-Hands, Op. 140 (D. 812): I. Allegro moderato - Franz Schubert
'Grand Duo' Sonata In C For Piano 4-Hands, Op. 140 (D. 812): II. Andante - Franz Schubert
'Grand Duo' Sonata In C For Piano 4-Hands, Op. 140 (D. 812): III. Scherzo: Allegro vivace - Franz Schubert
'Grand Duo' Sonata In C For Piano 4-Hands, Op. 140 (D. 812): IV. Allegro vivace - Franz Schubert

Tracks:

Fantasy In C, Op. 15 (D. 760) 'Wanderer' - Alfred Brendel
Impromptus, Op. 142 (D. 935): No. 1 In F Minor (Allegro moderato) - Alfred Brendel
Impromptus, Op. 142 (D. 935): Impromptus No. 2 In A Flat (Allegretto) - Alfred Brendel
Impromptus, Op. 142 (D. 935): No. 3 In B Flat (Theme & Variations: Andante) - Alfred Brendel
Impromptus, Op. 142 (D. 935): No. 4 In F Minor (Allegro scherzando) - Alfred Brendel
Fantasy In C For Piano And Orchestra: I. Allegro - Alfred Brendel
Fantasy In C For Piano And Orchestra: II. Adagio - Alfred Brendel
Fantasy In C For Piano And Orchestra: III. Presto - Alfred Brendel
Fantasy In C For Piano And Orchestra: IV. Allegro - Alfred Brendel

Amazon.com

Alfred Brendel is not the most expressive Schubert player in the world on records,. But these early Vox recordings generally find him in good form, communicative enough to make an experience out of the Impromptus, for example. His duets with Evelyne Crochet are so gentle in their outlook that they sometimes almost fade from view, making it difficult to concentrate on the music (not Schubert's fault). I doubt that I'd recommend these performances if they weren't bargains. But the set is very inexpensive. So while other pianists give the ultimate Schubert performances, these discs are still worth their cost. --Leslie Gerber

Customer Reviews:

Interesting recordings but with less peaks than lows !.......2004-10-20

I must confess I am not a Brendel fan , but I must recognize the only composer he plays with interesting approach to my taste is Schubert and certain pieces .
His Wanderer Fantasie is the best of the set . And notice we are talking Brendel in his thirties ,
There are best Musical moments Paul Badura Skoda and Schnabel.
The Fantasie at four hands with Schiff is by far too much better . And the set of Impromptus has in Artur Schnabel, Edwin Fisher, Dinu Lipatti and Badura Skoda better performers.
Only recommendable for Brendel fans.

A great Fantasia, worth getting the set for........2003-04-10

I have to disagree with the amazon.com in-house reviewer on this one. She's critical of the performance of the duo works in this collection (with Evelyn Crochet) but I've always found the performance of the great F minor fantasia absolutely compelling, and, hearing it again in this re-release, some 30-odd years after hearing the performance in its original incarnation, I was still gripped, despite some less than ideal sound. I love the Gilels (father and daughter) and the Perahia/Lupu recordings but this is even more special. So, five stars to the Fantasia, - its the other performances I find a occassionally unyielding (partly because of the ageing sound quality) and perfunctory (Bendel's fault there, I'm afraid). Only a three to them, then, but the 5 stars for the Fantasia lifts the collection overall to a four.

Probably the best Schubert Piano collection.......2001-12-08

I can't be happier with this CD set. It combines what, in my view, are Schubert's best piano works. The impromptus, and the Fantasias for piano and 2 pianos incl. Die Wanderer. What's more Brendel is perhaps the quintessential interpreter of early Romantic music (Beethoven, Schubert). I searched all over for a collection like this, and this is the only CD set that offers it. If you like Schubert get it, you won't be disappointed.

Dvorak: Piano Concerto; Schubert: 'Wanderer' Fantasy / Richter, Kleiber

Average customer rating:

The wrong performers for this concerto
A great finding!
Surprisingly awful!
Lyrical Side to Richter in Dvorak and a fine Schubert too
Schubert 4, Dvorak 1

Dvorak: Piano Concerto; Schubert: 'Wanderer' Fantasy / Richter, Kleiber
Antonin Dvorak , Franz Schubert , Carlos [conductor] Kleiber , Sviatoslav Richter , and Bavarian Radio Orchestra
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

Fantasies | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

$8.99 and Under | Blowout Music | Stores | Music

Classical | Styles | Blowout Music | Stores | Music

All Blowout Music | Blowout Music | Stores | Music

$8.99 and Under | Prices | Blowout Music | Stores | Music
Similar Items:

Schubert: Symphonies 3 & 8 / Carlos Kleiber, Wiener Philharmoniker
Great Recordings Of The Century - Beethoven: Triple Concerto; Brahms: Double Concerto / Oistrakh, Rostropovich, Richter
Johannes Brahms: Symphony No. 4 in E minor, Op. 98 - Carlos Kleiber / Vienna Philharmonic Orchestra
Ravel/Rachmaninov: Piano Concertos
Grieg: Peer Gynt Op23; Symphonic Dances Op64

ASIN: B00000I7VW
Release Date: 1999-03-09

Tracks:

Piano Concerto In G Minor, Op. 33: 1. Allegro agitato
Piano Concerto In G Minor, Op. 33: 2. Andante sostenuto
Piano Concerto In G Minor, Op. 33: 3. Allegro con fuoco
Fantasy, D.760, Wanderer: Allegro con fuoco ma non troppo
Fantasy, D.760, Wanderer: Adagio
Fantasy, D.760, Wanderer: Presto
Fantasy, D.760, Wanderer: Allegro

Amazon.com

These recordings show diverse aspects of the great pianist's approach. In the concerto, frequently played for its virtuoso effects, Richter emphasizes the gentler, lyrical aspects of the music, although there is plenty of power when it's required. The unusually assertive orchestral support under Kleiber is a strong asset. Richter's Schubert was usually very gentle, but here he seizes on the outgoing aspects of the music and plays more aggressively than usual--although there is no lack of song when it's required. Neither performance is "definitive"; both leave plenty of room for other approaches. But both are so engrossing that, as they play, one can't imagine another interpretation. There was room for more music on this disc, but what's here is choice. --Leslie Gerber

Customer Reviews:

The wrong performers for this concerto.......2007-03-27

Dvorak's piano concerto has had a rough deal from the very beginning - it was immediately dubbed "unpianistic" (more specifically, it provided little opportunity for virtuosic display) and quickly revised by pianist Vilem Kurz. His version was the most performed of this little-played work until the authenticity movement saw renewed interest in the original score, which is played here.

The concerto has, like Dvorak himself, been largely misunderstood. It is usually described as inferior to his violin concerto, although it is melodically much stronger. It is also commonly assumed to be an inferior copy of the Brahms piano concertos, which is slightly odd, as it was written before Brahms's 2nd. Brahms's influence on Dvorak has been much overstated - of his symphonies, only the 7th bears direct comparison, though the 6th also has Brahmsian elements. The rest display his distinctive musical personality and abilities - the reasons, in fact, that Brahms patronised him and brought him to wider attention.

The chief resemblence of Dvorak's concerto to Brahms's 1st is in its scale, inspired by Brahms's revelation that a concerto could be a serious symphonic work of some length, rather than chiefly a display piece for a piano virtuoso. Other than this, one should look further into the past for influences, particularly to the concertos of Schumann and Mendelssohn, but also to Mozart's ground-breaking works in the form.

The error in attributing Dvorak's concerto to the influence of Brahms leads to the ignoring of the prime characteristics of Dvorak's music, which are colourful orchestration, endless melodic invention, and a lyrical sensibility. (The ideal Dvorak conductor is probably also a great Schubertian.) In contrast, Brahms's orchestration is more purposeful and less delightful, his melodies less abundant, and his expression more stoic. Obviously, a musician should bring qualities to Dvorak different to those brought to Brahms.

Here lies the problem with this recording. Both Richter and Kleiber are noted for their forceful interpretations, their directness of expression, and their avoidance of sentimentality. (Magisterial is a word often applied.) In Beethoven these qualities are a boon, but in Dvorak they are a disadvantage to the music. (Brahms probably falls somewhere in between.) Richter and Kleiber's performances are brilliant, but wrong.

Unfortunately, the ultimate result of this famous but misguided recording is a diminishment of Dvorak's reputation. Look elsewhere for a performance that does full justice to this beautiful, misunderstood concerto.

A great finding!.......2004-12-06

I had seen this CD over and over at different music stores, but I was always unsure about buying it. However, after reading some positive reviews about it I decided to give it a try! I've listened it four or five times already (in less than three days) and I must confess that I'm quite happy that I decided to buy it.

The Dvorak piano concerto is quite beautiful; actually more than what I expected it to be! It is filled with lovely melodies (just as a review that I read said!). The second movement in particular is quite enchanting! I'm really delighted!

Schubert's Wanderer Fantasy is fantastic! I bought this CD without knowing what a great work this is! Richter's playing is awesome, absolutely stunning!

This is yet another fabulous CD from the amazingly affordable "Great Recordings of the Century" series from EMI! A must for all Richter fans!!!

Surprisingly awful!.......2004-07-15

Considering the performers on this disc, one would expect musical genius. Well, one does find technical marvels, but in terms of music, this is an atrocious display. The Dvorak concerto, one of the finest written for the piano, is utterly lifeless. One would at least hope for the ultimately unsatisfying but sometimes fun intensity that Kleiber brings to absolutely every other recording he's made. But no, nothing. A far safer choice is Frantisek Maxian's reading with Vaclav Talich conducting the Czech Philharmonic.
As for the Wanderer-Fantasie, it is disgraceful. While Pollini seems to be all about his brain in his recording, Richter seems to be all about his muscles here. It is an awesome technical achievement, and it makes for pleasant listening like mechanical diagrams make for entertaining reading. In the third movement, one has to really think about when the climax is, because Richter's dynamics don't enlighten us in this regard at all. The dynamics are as though he were sight-reading. For this piece, I haven't heard many recordings, but the Curzon is highly recommended. Not as muscular, but infinitely more enjoyable.

Lyrical Side to Richter in Dvorak and a fine Schubert too.......2003-08-26

The legendary pianist Sviatoslav Richter offers one of the most compelling, lyrical performances of Dvorak's piano concerto in this excellent recording with Carlos Kleiber leading the Bavarian Radio Symphony Orchestra. This concerto is a precursor to the great "symphonic" concertos composed by Brahms for the piano. Both the orchestra and Richter give warm, vibrant performances of the score. But here Richter also emphasizes the lyrical qualities of Dvorak's music, playing with much passion and empathy. Richter's performance of Schubert's "Wanderer" fantasy may not please everyone, since this is among the most dramatic, indeed fiery, performances I've heard. But it is such a compelling performance, that it deserves to be heard by those interested in a more poetic interpretation. The sound quality for the Dvorak piano concerto is fine; but less so for the Schubert fantasy. Still this is a CD I strongly recommend to those interested in the careers of Richter and Kleiber.

Schubert 4, Dvorak 1.......2003-07-16

I would have preferred an all Schubert program, though I don't believe Schubert ever wrote a piano concerto. The Dvorak puts me to sleep, regardless of the excellent forces employed to play it. Currently, I'm looking for another "Wanderer Fantasy" performance...

Schubert: 'Wanderer' Fantasy; Schumann: Fantasy & Papillons

Average customer rating:

Two Fantasies and a Butterfly
Again

Schubert: 'Wanderer' Fantasy; Schumann: Fantasy & Papillons

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

Fantasies | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

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

Rubinstein Collection, Vol. 54
Schubert: Wanderer-Fantaisie; Impromptus
Prokofiev: Piano Concerto No. 5 / Sviatoslav Richter
Sviatoslav Richter Plays Schubert Piano Sonatas D958, D960
Mendelssohn: Sonata for Piano; Prelude & Fugue; Variations Sérieuses; Rondo Capriccioso

ASIN: B00076ONTQ
Release Date: 2005-01-25

Tracks:

I. Allegro Con Fuoco Ma Non Troppo -
II. Adagio -
III. Presto
IV. Allegro
I. Durchaus Fantastisch Und Leidenschaftlich Vorzutragen
II. Massig. Durchaus Energisch
III. Langsam Getragen. Durchweg Leise Zu Halten
Introduzione (Moderato) & No.1
No.2 (Prestissimo)
No.3
No.4 (Presto)
No.5
No.6
No.7 (Semplice)
No.8
No.9 (Prestissimo)
No.10 (Vivo - Piu Lento)
No.11
No.12 (Finale)

Customer Reviews:

Two Fantasies and a Butterfly.......2006-11-01

The Russian pianist Sviatoslav Richter (1915 -- 1997) was revered for his magnificent, highly personal playing of Schubert and Schumann. This CD, appropriately included in EMI's "Great Artists of the Century" series includes three masterpieces for piano solo which Richter made his own: Schubert's 'Wanderer Fantasy" and Schumann's Fantasy in C, opus 17 and Papillons opus 2. With Richter at the height of his powers on three treasured works, this CD is difficult to resist.

Schubert's "Wanderer" Fantasy is on my shortest list of music that I have known over the years that is dear to me. Richter's reading is a deserved classic. Schubert composed the work in 1822, just after laying aside what would become known as his "Unfinished" symphony. It is a grand, stunning composition written in a flamboyant, virtuosic style that Schubert otherwise used only rarely. It is a showpiece, full of bravura; and Schubert himself remarked of it "the devil take it, I can't play it." The work is composed in four movements around a theme that Schubert used in his song "The Wanderer". The second movement consists of a series of variations on the theme of the song. Listen to the final variation and Richter's playing of the long series of runs and filigree high in the register over a cello-like singing of the theme. The work is full of enormous crashing chords, sweeping arpeggios and long runs, together with Schubert's singing themes and a gamut of emotion ranging from the forceful and hopeful to the deeply sad, as in the second movement. Richter offers a reading that is both powerful and showy and also attuned to the many nuances and changes of moods in Schubert's score. The 'Wanderer' has been a source of inspiration to me and to many listeners and composers.

Robert Schumann's was a great admirer of Schubert's 'Wanderer". His own Fantasy opus 17 is also a virtuosic work, probably Schumann's greatest composition for solo piano, but of a different spirit than Schubert's. Schumann's three-movement Fantasy is a wayward, moody and highly passionate work. As was most of Schumann's early piano music, it was composed in the midst of and reflects his stormy courtship of Clara Wieck. It can be heard to capture the difficult passionate courtship in the opening movement, Schumann's determination to see the courtship through in the middle movement, and the consummate expression of love in the finale. The opening muovement alternates between the passionate, arresting opening theme and quieter more reflective material. The movement is difficult to hold together, but Richter does so here. Schumann himself said that the first movement was 'more impassioned than anything I have ever written." The second movement consists of a wayward march with a contrastingly quiet middle section. It closes with a devilishly difficult passage for the soloist with big chords and wide skips. The finale is slow,quiet and pensive, reflective of the feelings of a lover for the beloved. There are two large climaxes in the course of what is a lyrical conclusion to a passionately romantic work. The third movement of the Fantasy includes quotations from Beethoven's song cycle, "To the Distant Beloved" opus 98. Schumann adored this work which is one of Beethoven's most romantic compositions and written on a theme -- a difficult love -- close to Schumann's own.

Papillons, opus 2 is an early example of Schumann as a composer of piano minatures along the line of his more famous "Carnaval" and "Scenes from Childhood." Papillions consists of twelve short pieces, some of them highly virtuosic, which alternate between the dreamy and the lyrical and the passionate and forceful sides of Schumann's personality. There are songlike themes in this work, graceful light dances, syncopated rhythms, and large heavily chorded sections with long movements in octaves. This reading captures a live performance and Richter brings out the intense, yearning, and temperamental character of Schumann's erratic gifts.

Schubert's 'Wanderer' is almost an incomparable work for me. It is here together with two other great works of romantic piano music definitively played.

Robin Friedman

Again.......2006-02-14

Yet another re-packaging of Richter's 'Wanderer'; EMI must really believe in this recording. As well it should, since this is one of the better versions of the Fantasy in the catalog. Lots of folks still think this is the best-ever choice, and while I have some reservations, it is definitely exciting. I'm not at all sure that Schubert would have anticipated quite so much banging around the keyboard, but Richter is certainly no novice with this material. The other pieces are fine, though listeners might want to audition Kempff and Brendel recordings, too (if still available).

Average customer rating:

An Avant-Garde Must Get
Crumb in poetic and eerilie beautiful mood
Exceptional
Just Listen
What is the Opposite of Music? Listen to this and find out!

Crumb: Ancient Voices Of Children

Manufacturer: Nonesuch
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Avant Garde & Free Jazz | Jazz | Styles | Music

General | Opera & Vocal | Styles | Music
Similar Items:

Black Angels
George Crumb: Songs, Drones, and Refrains of Death
American String Quartets, 1950-1970
Complete Crumb Edition, Vol. 6 - Echoes of Time and the River, Gnomic Variations, Four Nocturnes, Lux Aeterna
The Ligeti Project IV: Hamburg Concerto (Horn Concerto) / Double Concerto / Ramifications / Requiem

ASIN: B000005IY6
Release Date: 1990-10-25

Tracks:

Ancient Voices Of Children: El Nino Busca Su Voz
Ancient Voices Of Children: Dances Of The Ancient Earth
Ancient Voices Of Children: Me He Perdido Muchas Veces Por El Mar
Ancient Voices Of Children: De Done Vienes, Amor, Mi Nino? (Dance Of The Sacred Life Cycle)
Ancient Voices Of Children: Ghost Dance
Ancient Voices Of Children: Se Ha Llenado De Luces Mi Corazon De Seda
Music For A Summer Evening: Nocturnal Sounds (The Awakening)
Music For A Summer Evening: Wanderer-Fantasy
Music For A Summer Evening: The Advent
Music For A Summer Evening: Myth
Music For A Summer Evening: Music Of The Starry Night

Amazon.com

One of the most important and magical song cycles in contemporary music, Ancient Voices of Children, is the setting of a series of haunting texts by the Spanish poet Federico García Lorca for mezzo-soprano, boy soprano, and chamber orchestra. The piece made a huge impression on audiences at its initial performances. Indeed, this recording became something of a cult phenomenon, much like the Górecki Third Symphony today; and if you weren't around for the initial discovery, now's your chance. Music for a Summer Evening uses essentially the same forces as Bartók's Sonata for Two Pianos and Percussion, and creates an evocative, glittering nightscape. Great stuff.--David Hurwitz

Customer Reviews:

An Avant-Garde Must Get.......2003-05-07

I remember a time when I was at a flea market and was looking through some vinyl records (possibly about the time before I got my first CD player). One particular record got my attention. The cover sort of resembles a newspaper article with a picture insert of a nebula. What got my attention were "Makrokosmos" and that it was a Nonesuch record. I've heard a few Nonesuch records and notice how different the music tends to be. So I thought I buy it for $1 (if I recall correctly). When I listened to it at home, I knew I made a good choice. It had the strange 20th century music - rather atonal. It's a good thing the vinyl record was in good shape, especially when it came to the very quiet parts. I have that record today, still in good shape.

About a few years after buying the vinyl record, I was looking through some CDs in a store (after I got my first CD player). I've found the Nonesuch CD that had "Ancient Voices of Children" AND "Music for a Summer Evening (Makrokosmos III)." I didn't buy it because I wanted to get it on sale. Well, time passed. One day, I saw one up for bid on eBay. I think I was the only bidder on it. The jewel case may have a few scratches (which I wouldn't worry about) but the CD itself was like new.

I'm glad that I got it on CD. I could listen to the music without any clicks or pops you would hear from a vinyl LP (especially since the music gets very quiet at times). Although you wouldn't get the "warm analog sound" you get from the vinyl. Nevertheless, it does sound very good considering that it's AAD. Whoever likes avant-garde music may want to get this.

One thing I want to let you know. Whoever did the tracking on the CD must've misjudged about the beginnings of "Myth" and "Music of the Starry Night." "Myth" begins at index 8:02 on track 9. Tracks 10 and 11 are the last movement, "Music of the Starry Night." Take note of that when listening to this CD.

Crumb in poetic and eerilie beautiful mood.......2002-06-17

Those who know US composer George Crumb mainly from the terrifying musings of 'Black Angels' (made semi-famous by the Kronos Quartet) will probably be surprised by the haunting beauty of 'Ancient Voices'. Based on texts from Lorca, the rich but sparing instrumentation is complemented by evocative, floating soprano - sometimes sung into the piano to create an eerie, mystical ambient. My first exposure was at London's Roundhouse in 1976, where even the background rumbling of trains couldn't sublimate the extraordinary lure of Crumb's sound world. Truly gorgeous and thoughtfully composed.

Exceptional.......2002-06-15

This disc is flawless. The caliber of music making is extremely high, and the pieces themselves are among Crumb's absolute finest.

Music for a Summer Evening is, perhaps, the lesser signifigant work of the two presented here. Even so, it is an astounding presentation of of Crumb's effective use of extended tequniques, and the ability of his atmospheric writing to stir up strong emotions. Here, Crumb has significantly built on the two pianos/percussion format that Bartok made famous in his Sonata.

Ancient Voices of Children is an important song cycle in the post-WWII repertoire. His extended singing tecniques are used to great effect, and the haunting, mystical effects that he cojours within the limited instrumentation are amazing.

Crumb is one a handfull of composers that can write atmospheric music so well, and pull off these avant-garde tecniques so usefully. If you do not know his music, start with this disc; it's breathtaking.

Just Listen.......2002-06-08

I just recently reaquainted myself with this work after about thirty years. Ancient voice of Children retains all of the mystery and magic that I heard when I first encountered the piece at the age of 11. The work resembles not so much a conventional piece of music as a mystic ceremony. Set to fragments from the poetry of Frederico Garcia Lorca, the music captures the magical nature of the poet's verse. The unusual instrumental effects are haunting. Amoung my favorite is the quotation from Bist Du Bei Mir played on a toy piano as a haunting elegy for a dead child. The work builds in it's last section to a shattering climax.

The perfomance is quintessential. Jan DeGaetani was marvelous in this style of music and is sorely missed as a performer. The ensemble is spirited and very precise. The only thing that you miss on this CD is the visual choreography of a live performance, which is hypnotizing.

Macrocosmos III was a new piece to me and is every bit as haunting as other Crumb music. The ending is luminous...en eternal spinning out of music in the Lydian scale.

Be aware, this is avant garde music, though I feel it is quite assessible to those who listen without preconceptions. It is certainly more assessible than Elliot Carter or Boulez. It is not Part or Gorecki...but then not everything has to be. For me, this is not about style but about substance. Crumb moves me every bit as much as more assessible composers. You just have to listen with different ears, that's all.

What is the Opposite of Music? Listen to this and find out!.......2001-11-02

Here I am, the skeleton at the feast of 5* reviews proving again the old adage that "One man's meat is another man's poison". I hardly believe that even a small percentage of people (let's leave aside Professors of Avant-Garde Music for the time being) would be able to listen to, let alone enjoy, more than a few minutes of this music (I use that term in it's very loosest definition). It is ridiculous, therefore, that this should have a preponderance of 5* reviews. Consequently I believe that I am doing a service by standing up and pointing out "bad" music just as I do in applauding "good" music.

I came at this CD - which I bought thanks to some of the aforementioned 5* which I was foolish enough to believe - with the expectation that it would be modern, avant-garde and probably rather ineffable initially. I am prepared for this, believing that often the best music is not instantly grasped and needs careful auditioning. When I listened to it, however, I found that my expectations were not nearly extreme enough. This is music trying so hard to establish its originality that it appears to have progressed well beyond my definition of what music actually is. It is music as art, as a statement and not music to listen to - think about this a little! Hence my opening line - this is the opposite of music.

Instead, this production seems to be comprised of irrelevant and inconsequential noises, none of them musical. To save you the money, and more importantly the time, I will precis this CD for you:

A womans shriek followed by about 20 seconds of silence.
A sound rather like a large rodent being let loose inside a piano.
Some blocks of wood being banged together.
More shrieking.
More silence.
A voice making a strange sound as if copying a phone ringing.
More silence.
More wood being banged together.
More silence

Etcetera, etcetera, ad nauseam

At some point in this avant-garde nonsense somebody is going to blow the whistle and irreverently point out that the "Emperors New Clothes" do not actually exist. In the service of music, as opposed to "art", I am prepared to do the pointing! This production is nothing more that a deeply unmusical joke against those pseudo-intellectuals who completely miss the concepts of humanity and accessibility in music. "Composers" who write this stuff do so as to hide their lack of musical creativity behind an intellectual argument. Don't believe the hype, leave this one on the shelf!

For those aesthetes and enthusiasts who are intent on heading down a progressive route of "classical" music which yet retains any humanity and sympathy, Part and Gorecki appear to have been able to create music of originality and humanity, proving that it can be done.

Tracks:

Fantasy In C Major 'Wanderer' D.760, Op.15
Impromptu No.1 In C Minor D.899
Impromptu No.2 In E Flat Major D.899
Impromptu No.3 In G Flat Major D.899
Impromptu No.4 In A Flat Major D.899
Impromptu No.1 In F Minor D.935
Impromptu No.2 In A Flat Major D.935
Impromptu No.3 In B Flat Major D.935
Impromptu No.4 In F Minor D.935

Album Details

Collection Du Millenaire.

Average customer rating:

Wonderful!
disappointed
Gorgeous versions of Schubert's masterpieces
Rubinstein Plays Schubert Better Than You-Know-Who

Rubinstein Collection, Vol. 54

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Fantasies | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

Rubinstein Collection, Vol. 51
Rubinstein Collection, Vol. 61
Rubinstein Collection, Vol. 46
Rubinstein Collection, Vol. 48
Rubinstein Collection, Vol. 42

ASIN: B000031WBY
Release Date: 2000-10-10

Tracks:

Piano Sonata, D.960 In B-Flat: Molto Moderato
Piano Sonata, D.960 In B-Flat: Andante Sostenuto
Piano Sonata, D.960 In B-Flat: Scherzo: Allegro Vivace Con Delicatezza
Piano Sonata, D. 960 In B-Flat: Allegro, Ma Non Troppo
Fantasie, Op. 15, D.760 ('Wanderer'): Allegro Con Fuoco, Ma Non Troppo
Fantasie, Op. 15, D.760 ('Wanderer'): Adagio
Fantasie, Op. 15, D.760 ('Wanderer'): Presto
Fantasie, Op. 15, D.760 ('Wanderer'): Allegro
Impromptu, Op. 90, No. 3
Impromptu, Op. 90, No. 4

Customer Reviews:

Wonderful!.......2006-03-05

This is one of my best-loved CDs. It's full of magic and charm. Although Rubinstein's style of playing is what one would call 'classical' (in this I can compare him only to Clara Haskil), his B-dur sonara is full of life, wit and 'style'. You should definitely buy it.
I re-listen this CD at least 2 or 3 times a week:)

disappointed.......2004-10-18

rubinstein has for some time been my favorite pianist. schubert's 960 has for some time been my favorite sonata, maybe even my favorite piano piece period. how could i go wrong? the problem, for me, is that rubinstein plays this sonata as if it were from the classical period. he plays it perfect, but it is too stiff and formal. too fast! i feel as if there is no emotion in this recording. of the impromptus, they are perfectly played, and sound as if they are effortless, as if rubinstein is floating over the keys. typical rubinstein. the problem is, that is not the rubinstein that played the sonata, and that's the only reason i bought the cd.

Gorgeous versions of Schubert's masterpieces.......2001-03-29

The Sonata in B flat is, in my opinion, one of the two or three finest works ever written for solo piano, but it is so complex and nuanced that recordings of it vary tremendously. Of all the versions I have heard, the best are Brendel (I must respectfully disagree with the other reviewer's criticisms) and this recording by the old magician Rubinstein, who approaches the work with the finesse, sense of beauty, and impeccable timing that characterize his unsurpassable Chopin recordings. From the mysterious bass trills that open the work, through the glorious theme and variations of the first movement, the hauntingly desolate second movement, the joyful dance of the third movement, and the ambivalent but ultimately positive finale, Rubinstein is very close to the heart of this music, and listening to it, one is transfixed and renewed. I would buy the Brendel too, particularly his earlier analogue recording that is out of print if you can find it (a CD I treasure) although his later digital recording is fine too, but don't miss this one. By the way the sound is vastly improved in the new remastering as well. Excellent versions of the Wanderer and the Impromptus too, although the heart and soul of this CD is the great Opus Posthumous sonata.

Rubinstein Plays Schubert Better Than You-Know-Who.......2000-11-01

The performances compiled on this CD were recorded from 1961-1965.

Rubinstein never played much Schubert in concert or on record. With the exception of one Sonata movement, this is Rubinstein's entire recorded Schubert repertoire. This is a pity, as these performances are more natural sounding and enjoyable than those by many Schubert "specialists."

The Impromptus were recorded in 1961. The G-flat Impromptu is played in Rubinstein's usual straightforward style, with the accompaniment exquisitely balanced against the melody. The A-flat Impromptu is a deceptively simple performance, the repeated note "falling" theme sounding as if it were being pulled earthward by gravity.

For the original LP release, Rubinstein coupled the Wanderer Fantasy with the Liszt Sonata as a demonstration of how Schubert anticipated Liszt's cyclical musical construction. As played by Rubinstein, the Fantasy emerges as more of an architectonic masterpiece than a virtuoso calling card. In some of the more bravura sections, he is clearly holding back a little, but the performance does not suffer from Rubinstein's refusal to show off. Incidentally, Rubinstein, who was never particularly concerned with performing a piece from an authoritative printed edition, does not play the left hand D-natural at the end of the second movement. In the nearly unplayable fugue, where many pianists cover up the difficulties in a haze of pedal, Rubinstein firmly sounds every note. A stunning performance.

Rubinstein had a difficult relationship with the B-flat Sonata, Schubert's final essay in the form. He attempted to record it four times: twice in 1963, again in 1965, and finally returning to the studio for a last attempt in 1969. Rubinstein approved the 1969 version, which was released to lukewarm critical reception. It was generally felt at the time that Rubinstein had allowed himself to "over-think" the piece and the performance was rather bogged down and joyless. The 1965 version, first released in 1987 and included on this CD, is far superior. Phrasing, tempi, and rubato are all unforced and sponteneous sounding. It is noteworthy to compare this performance with Alfred Brendel's various recordings. Though Rubinstein was 78 when this recording was made, the elder pianist sounds far more youthful than the chronologically younger Brendel. It goes without saying that Rubinstein's legendary tone is infinitely more beautiful than Brendel's annoyingly shallow sonority. Many pianists, mostly those of the German School, have tried to impose upon this work the notion of the Winter Wanderer Shadowed by Death. Rubinstein doesn't downplay Schubert's suffering, but his performance reminds us that Schubert was, after all, only 31 when he completed this masterpiece.

RCA has done their usual fine job remastering Max Wilcox's well recorded original tapes. Highest recommendation.

Music Review: