Scriabin: Symphony No. 2

On this CD:

1. Symphony No. 2 in C minor/major, Op. 29
Composed by Alexander Nikolayevich Skryabin
Performed by Sofia Philharmonic Orchestra
Conducted by Emil Tabakov

2. Rêverie, for orchestra in E major, Op. 24
Composed by Alexander Nikolayevich Skryabin
Performed by Sofia Philharmonic Orchestra
Conducted by Emil Tabakov

3. Concerto for 15 stringed instruments
Composed by Emil Tabakov
Performed by Sofia Philharmonic Orchestra with Sofia Soloists Chamber Ensemble
Conducted by Emil Tabakov

Tracks:

Granadas
Valse
Prelude
Time Remembered
Pavane
Elegia (Elegy)
My Bells
Blue Interlude

Amazon.com

Throughout his career, pianist-composer Bill Evans successfully melded Bud Powell's fiery bop-paced technique with the lyricism and harmonic language of the French impressionists Ravel and Debussy. So it was only natural that he would record a session that combines the jazz and classical traditions.

Released in 1965, this date features Evans's trio with drummer Larry Bunker, who, three decades later, guest-starred on Diana Krall's When I Look in Your Eyes, and the sensitive bassist Larry Bunker. They're augmented by the azure-tinged arrangements by the famed conductor Claus Ogerman, who worked his magic with artists from Antonio Carlos Jobim to Frank Sinatra. The result of this union is a swinging and seamless interplay in which improvisation becomes spontaneous composition, and vice versa. The linearity and logic of Evans's lines erase centuries of musical distance from the works of Bach, Chopin, Granados, Fauré, and Scriabin, with the trio's trademark telepathy expressed in 4/4 and 3/4 time signatures and light Latin tinges. Evans's haunting compositions, "My Bells" and "Time Remembered," imbued by Ogerman's ethereal strings, are the jewels of this delightful recording, whose brilliance has increased with time. --Eugene Holley Jr.

Customer Reviews:

Bill Goes 'Symphonic'.......2004-06-10

This is an unusual Bill Evans recording, as it combines his trio with a "symphony orchestra" playing arrangements by Claus Ogerman of several "classical" themes along with two of Evans's most haunting originals: "Time Remembered" and "My Bells". Not that there's much of a classical feel to the orchestrations: apart from the Vaughan Williams/Shostakovich overtones of Ogerman's "Elegy", the orchestral music is more reminiscent of a glossy 1960s/70s film score. There's some attractive woodwind and french horn, but on some of the tracks the large string section might be a bit too lush for some tastes. Fortunately, on most tracks the orchestra confines itself to stating the theme at the opening and in a few places playing a fairly discreet accompanying role, but generally keeping out of the way of Evans's improvisations. So the main "fusion" interest lies in what Evans does with the themes in his solos.

One of the minor oddnesses of the album is the way in which, on some tracks, the beginning of Evans's solo launches into a very different tempo and mood from the one just established in the orchestra's theme statement. Sometimes - as on Faure's Pavane - this creates a musically effective contrast; elsewhere - as on "Granados" - it leaves you feeling too sharply aware of the incongruity rather than empathy between the different musical worlds being brought together. Maybe that's partly why the most satisfying of the "classical" tracks are the Bach Sicilienne and "Blue Interlude" (on Chopin's C minor Prelude): each solo seems to grow organically out of its theme and both themes inspire Evans to some excellent improvisation. Listen, for example, to the way in which he exploits the "bluesy" aspect of the Chopin as his solo builds to its climax. Evans's own "My Bells" is another high spot of the album - an attractively nostalgic modal theme tastefully arranged for the orchestra, leading to a gently swinging solo and a rubato restatement of the theme by Evans before a wistful coda.

There's certainly a lot of absorbing, beautiful playing from the Evans trio here, including a high level of melodic invention and incomparable rhythmic subtlety from the pianist. But the appeal of the album will largely depend on what you think of the orchestra's part in the proceedings. It's probably one to try before you buy.

A Gem Among Bill's Recordings.......2002-06-25

This recording is a gem of Bill's playing. Simple, clean lines, and a beautiful background by Claus Ogerman. I listen to this recording over and over. I was a fan of Bill Evans and Claus Ogerman before I listened to this CD. But this exceeded my expectations of the two artists.

One for the Ages.......2001-08-09

"The Bill Evans Trio with Symphony Orchestra" was one of the first recordings I ever heard...EVER. My Mon used to play the LP while she was carrying me so I really do mean first. With that in mind it has never been far from my CD player for as long as I can remember. From all reports this was a troubled recording session with the arranger and conductor of record, Claus Ogerman having trouble controlling all the elements specifically the pick up orchestra and vocal soloist. Sometimes great things come out of great conflict to paraphrase an old saying. Because, despite all of this this is one of the most glorious recordings ever produced. The Ogerman arrangements are lush and beautiful to the point of distraction. Evans chose the perfect composers to compliment his style and that of his trio. Listen to his rendition of Faure's Pavane or Granados' Granadas. And Ogerman and Evans have also composed two of the tracks themselves. Gorgeous. Lie back on your sofa, turn the volume up, open a bottle of Pinot Noir and let this music take you away.

a stunning fusion of classical and jazz.......2001-05-03

There's nothing like having your expectations completely blown away - this recording is a revelation. I've set my cd player to repeat and listened to this cd for hours at a time. If you're looking for a fresh interpretation of jazz, look no further.

Thomas Zink.......2000-06-23

Easily one of the most daring ventures in crossover jazz, this recording was always one of Bill's favorites. Though not without is failings, it is nontheless a brilliant meeting of the minds between Claus Ogerman and Bill Evans, with Ogerman's orchestral arrangements alone being worth the price of the C.D. The trio is swinging and interacting well, although (probably due to the nature of recording with a whole orchestra in a large studio) not at the level of say "The Village Vangard" sessions. Actually one of the greatest drawbacks of the CD is the recorded sound of the trio - the piano in particular. This was probably due to the nature of recording a jazz trio live alongside an orchestra. Once past these minor distractions, however, the CD is a beautiful interweaving of the classical and Jazz traditions taking some of the best elements of each and creating a new blend. Of course to purists of either tradition such an attempt is almost bound to elicit disapointment, but to those with an open mind there is so much in the way of beautiful music that the CD is a constant joy. Although not extremely well know, Evan's knowlege of the classical tradition was deep and broad, as evidenced by his (and Ogerman's) choice of material. The selections range from Bach and Chopin to Faure and Scriabin with the addition of 3 original compositions - all of which are notable for their beautiful melodies and sensative arrangements. There is not a long list of succesful or well recieved attemps to modify the classics into contemporary arrangements, but this is not to say the idea is without legitimacy. Certainly Broadway show tunes (which are the consistent staple for jazz musicians) in their modified version as recorded by say Miles Davis or John Coltrane have about as much (or perhaps even less) similarity to the original version as do these arrangenments to the classics from which they were taken. In either case, the resulting music in the hands of the masters, be they Miles, Evans, or Orgeman is a pleasure to listen to.

Igor Stravinsky: The Rite of Spring / Alexander Scriabin: The Poem of Ecstasy - Valery Gergiev / Kirov Orchestra

Average customer rating:

A major boo boo in the Scriabin
The Pinnacle
A wild ride, and a sonic spectacular
Exiting, but flawed.
Hold me back!

Igor Stravinsky: The Rite of Spring / Alexander Scriabin: The Poem of Ecstasy - Valery Gergiev / Kirov Orchestra
Alexander Scriabin , Igor Stravinsky , Valery Gergiev , and Kirov Orchestra
Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

Modern & 20th Century | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
Similar Items:

Igor Stravinsky: The Firebird (Complete Ballet, 1910) / Alexander Scriabin: Prometheus - The Poem of Fire - Valery Gergiev / Kirov Orchestra, St. Petersburg / Alexander Toradze
Tchaikovsky: Symphonies 4,5 & 6
Mussorsky: Pictures at an Exhibition, Night on the Bare Mountain
Tchaikovsky: Symphonies Nos. 4, 5, 6 "Pathetique"
Shostakovich: Symphonies Nos. 5 & 9

ASIN: B00005NIF6
Release Date: 2001-10-09

Tracks:

The Rite Of Spring, Part I: The Adoration Of The Earth: Intro
The Rite Of Spring, Part I: The Adoration Of The Earth: Augurs Of Spring - Dances Of The Young...
The Rite Of Spring, Part I: The Adoration Of The Earth: Ritual Of Abduction
The Rite Of Spring, Part I: The Adoration Of The Earth: Spring Rounds
The Rite Of Spring, Part I: The Adoration Of The Earth: Ritual Of The Rival Tribes
The Rite Of Spring, Part I: The Adoration Of The Earth: Procession Of The Sage
The Rite Of Spring, Part I: The Adoration Of The Earth: The Sage
The Rite Of Spring, Part I: The Adoration Of The Earth: Dance Of The Earth
The Rite Of Spring, Part II: The Sacrifice: Intro
The Rite Of Spring, Part II: The Sacrifice: Mystic Circles Of The Young Girls
The Rite Of Spring, Part II: The Sacrifice: Glorification Of The Chosen One
The Rite Of Spring, Part II: The Sacrifice: Evocation Of The Ancestors
The Rite Of Spring, Part II: The Sacrifice: Ritual Action Of The Ancestors
The Rite Of Spring, Part II: The Sacrifice: Sacrificial Dance: The Chosen One
The Poem Of Ecstasy, Op.54

Amazon.com

Gergiev's is a Rite of Spring with a difference. He stresses the primitive barbarism of Stravinsky's groundbreaking score--the strange wheezings of the winds, the wild yawps of the tubas, and the deep rumblings of the bass drum. It's a Rite that stands out at a time when so many internationalized western orchestras give the piece an overlay of sophisticated polish that can rob it of the shock factor that drove the audience at the Paris premiere to riot. There are also numerous personal touches that can be controversial, such as the pause before the final chord, which may bother some but which work in the context of the interpretation. Gergiev's Rite faces strong competition from recorded versions by Markevitch, Dorati, Monteux, and Stravinsky himself, but it's definitely among the top choices. The Scriabin's less compelling, though still fascinating. Gergiev's approach tends to sound sectional, as the overall line is subordinated to momentary thrills. --Dan Davis

Customer Reviews:

A major boo boo in the Scriabin.......2007-01-30

I have been visiting the review page for this CD for some time waiting to see if someone noticed the same mistake I did. Gowdie's review has got it right. The error immediately ruined the experience of the entire Poem Of Ecstacy for me. The lilting strings (E to D#)which cry amongst the harp is to me one of those magic moments in all of classical music. What an awesome following to the build up and it also sets up the big finale.

Sorry, the Stavinsky may be great but, a mistake such as this warrants a three star deduction.

The Pinnacle .......2006-12-14

This is it -- if you are looking for a "perfect" 'The Rite of Spring', you owe it to yourself to buy this cd -- especially if you have a reference audio system. It will blow your socks off.

Deserves a "10" star rating.

A wild ride, and a sonic spectacular.......2006-09-21

Gergiev clearly aims to bring back the visceral impact of Le Sacre, and he is aided by extremely clear, detailed sonics that pull us directly into the texture of the orchestration. Sheerly in terms of the noises coming out of one's loudspeakers, this performance rivets the listener's attention. The impact of the bass drum, tam tam, and tuba, for example, is unprecedented. Gergiev has other cards up his sleeve. He re-invents Stravinsky's cross-rhtyhms, ever so slightly throwing off one's expectations. Sometimes this happens through minute pauses and underlinings, sometimes by raising and lowering the temperature unexpectedly. The softer passages sound nuanced and sophisticated, the barbaric ones deafeningly loud and assaultive.

The overall effect is intriguing, so I must agree with every reviewer who praises Gergiev for finding his own way. At the same time, however, there's an air of too much study, of mannered phrasing for its own sake. Every listener will have to decide for themselves, but personally, this sonic spectacular doesn't propel me forward the way Bernstein and Markevitch do in their classic recordings.

Exiting, but flawed........2006-07-19

Valery Gergiev is indeed one of the best conductors around now. He has a charisma that makes any orchestra soar. That being said, despite the power and exitment involved in this performance of "The Rite of Spring" I'm afraid there are major flaws that have to be mentioned.
In the "Dance of the Earth" section, the percussionist is lost as his entrances with the Tam-tam are out of place with the rest of the orchestra. This is no small mistake, since the Tam-tam is supposed to be unison with the rest of the orchestra. How this error was not discovered before release is something I wont fully understand. I don't fully agree with Gergiev's general concept of having the quieter parts louder than normal. It takes a lot away from the building of tension in a section. But overall, it's an exiting performance.
Alexander Scriabin's "The Poem of Ecstasy" fares well here. Passionate playing from the strings of the Kirov. But even here there's a major editing flaw. During the quiet last pages of the work, for some reason, a measure of the longing violins playing E into D# was accidentaly omited from this performance. This mistake is not too hard to make since it is a repitition of two other measures around it. I've made simular mistakes myself as a recording producer, but I've always corrected it by listening to the whole thing with a score prior to doing a final mix. It appears that this has not been done here.
Despite these major flaws that clearly get in the way (at least for me), this is a distinctive version of these two great works.
Valery Gergiev certanly makes his mark.

Hold me back!.......2006-05-08

Some [unintelligeble] years after my classical music lessons, and the vague promises to teachers and friends to keep literate thereafter, I find myself here writing a review for this mesmerizing Ossetian I've been chasing around on search engines since accidentally finding myself at a performance of his (a delightful experience, if ever there was one). What to say? First of all, I did grow up with the Dorati Rite (after all, I'm a Motown girl), which is much less jarring, but jarring appears to be the point, here. There's a good long range from ppp to fff and it sometimes come where you least expect it. Also, Valery Abisallivitch is no slave to time. Not only is the pause before the final slash during the "sacrifice" legendary, but there are several places during that last dance and in the Dance of Young Girls in the beginning when I could swear the beat comes just a hair close to syncopation. On the other hand, the opening movements of Gergiev's Rite appear so fresh, so clear, one can see and smell the trees, brooks, foliage....the live recording no doubt helps convey this.

As I, a layperson who does love classical music, try to understand what Gergiev does differently, I think it's this... he has an exuberant passion for the music, and especially for the Kirov, the family with whom he grew up, he is able to coax his musicians' passion for it in some kind of extraordinary way. Maybe especially with this Russian composer who has created something so close to the land they all call home.

Igor Stravinsky: The Firebird (Complete Ballet, 1910) / Alexander Scriabin: Prometheus - The Poem of Fire - Valery Gergiev / Kirov Orchestra, St. Petersburg / Alexander Toradze

Average customer rating:

Maybe a bit too fussily detailed
An excellent choice
Electrifying
Incandescent!
The only Firebird Ballet I would want...

Igor Stravinsky: The Firebird (Complete Ballet, 1910) / Alexander Scriabin: Prometheus - The Poem of Fire - Valery Gergiev / Kirov Orchestra, St. Petersburg / Alexander Toradze
Alexander Scriabin , Igor Stravinsky , Valery Gergiev , Kirov Orchestra - St.Petersburg , and Alexander Toradze
Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
Similar Items:

Ravel: Bolero; Debussy, Mussorgsky / Karajan, Berlin Philharmonic Orchestra
Panorama: George Gershwin
Children's Classics - Prokofiev: Peter & The Wolf/ Saint-Saens: Carnival of the Animals/ Britten: Young Person's Guide to the Orchestra
Igor Stravinsky: The Rite of Spring / Alexander Scriabin: The Poem of Ecstasy - Valery Gergiev / Kirov Orchestra
Classical Music 101: A Complete Guide to Learning and Loving Classical Music

ASIN: B00000DBUS
Release Date: 1998-10-20

Tracks:

L'oiseau de feu: Introduction
L'oiseau de feu: Kaschei's Enchanted Garden
L'oiseau de feu: Appearance Of The Firebird Pursued By Ivan Tsarevich
L'oiseau de feu: Dance Of The Firebird
L'oiseau de feu: Ivan Tsarevich Captures The Firebird
L'oiseau de feu: Supplications Of The Firebird
L'oiseau de feu: Game Of The Princesses With The Golden Apples
L'oiseau de feu: Sudden Appearance Of Ivan Tsarevich
L'oiseau de feu: Round Dance Of The princesses
L'oiseau de feu: Daybreak
L'oiseau de feu: Magic Carillon, Appearance Of Kastchei's Guardian Monsters And Capture Of Ivan Tsarevich
L'oiseau de feu: Dance Of Kashchei's Retinue Under The Spell Of The Firebird
L'oiseau de feu: Infernal Dance Of All Kashchei's Subjects
L'oiseau de feu: Lullaby Of The Firebird
L'oiseau de feu: Collapse Of Kashshei's Palace And Dissolution Of All Enchantments - Reanimation Of The Petrified Prisoners - General Rejoicing
Prometheus - The Poem Of Fire

Amazon.com essential recording

For raw, pagan splendor and over-the-top excitement, it's impossible to beat Gergiev's account of the complete 1910 Firebird. His Kirov charges attack the piece as if the notes were still fresh on the page, yet play it with smashing virtuosity-- clearly, the score's exorbitant demands pose absolutely no challenge to these musicians. This is not an unrefined reading of the piece, but it is not overly refined either. It is, in short, a Russian Firebird rather than a French one. The Philips recording, made in 1995 in the Great Hall of the St. Petersburg Philharmonic, is sumptuous and amazingly potent. The coupling with Scriabin's megalomaniacal tone poem is inspired, and makes this disc impossible to resist. --Ted Libbey

Amazon.com

One seldom hears Stravinsky's original, complete, 1910 score to Diaghilev's ballet, The Firebird. Here Valery Gergiev leads the Kirov Orchestra in a muscular, well-defined rendering of the work in full. His is a decidedly controlled interpretation. Stretched out in spots to bring out clarity and significance of line, it's pushed along in others to convey urgency and melodic direction. The microphones sound very close, which only heightens the vitality of the overall texture of this interpretation. Though the group is not always precisely together and a few spots are marred by faulty intonation, the spirit and strength of conviction behind this gripping performance more than carry it off. --Gwendolyn Freed

Customer Reviews:

Maybe a bit too fussily detailed.......2005-09-19

Hearing the whole Firebird without seeing any aciton on stage is a long haul--there are evocative stretches that contain little forward motion. Gergiev and the recording engineers sustain attention by illuminating every small orchestral detail, and that works--up to a point. I began to feel that I was immersed in shimmering sound at the expense of drama. Maybe something a bit more gutsy? Or maybe I will stick with the suite, which has no dead spots.

An excellent choice.......2002-07-18

No one needs debate the merits of Firebird; it is one of the great ballets of all time and a worthwhile addition to any collection. I don't like Prometheus as much, but this is a reflection on Scriabin's composing, not on Kirov's playing, Gergiev's conducting, or the engineering on this disc.

In fact, the engineering on this CD is excellent, and the complete Firebird ballet is played expertly throughout. The famous Danse Infernale is driving, and the Finale is soaring and triumphant.

However, this disc does not receive a full five stars because in my mind it lacks a certain "je ne sais quoi." I really enjoy it, but I sense Gergiev and Kirov hold back a little; I sense that they could have taken it to the next level of excitement but didn't. Don't get me wrong; this CD is great, but I just expected more. And one more thing; in the microsecond of silence just before the crescendo of the last note of Firebird, there is a small scratch on the recording. I can't determine if it came on the tape they used to record the performance or from a rustle of paper or a percussionist picking up something in the concert hall, but it just barely mars the most essential moment of the entire piece. I try to overlook it, but it's something small that stands out in a big way, sort of like a splinter or a tiny pebble stuck in your shoe.

Otherwise, this is a great disc which deserves nearly all of the kudos it receives, and I don't know of a better performance to recommend instead.

Electrifying.......2002-04-17

Both pieces on this recording show why Gergiev is one of the most acclaimed conductors in the world in this repertoire. The excitement of this recording was confirmed when I heard Gergiev and the Kirov live, performing the complete "Firebird" at Carnegie Hall. No question, there are many good versions of this extraordinary piece, but this one certainly ranks among the best.

In terms of sheer, visceral excitement, this is hard to beat, and it is coupled with an equally breathless performance of the Scriabin "Prometheus." The final few measures, and the final chord, make as thrilling an ending as I have heard in classical music.

Incandescent!.......2001-06-26

As we are treated to more of Valery Gergiev's interpretations in recordings his gifts as a conductor and energizer of orchestras become more and more obvious. This FIREBIRD soars like a mltiheaded hydra out of the always electrical fire Gerviev smolders in his baseplate of trembling sonics. This is a spectacular reading of an exciting score, played in the way only the Russians can play. The accompanying PROMETHEUS on the disc finally comes to life after many bombastic attempts under other conductor's hands. Toradze is well tempered and the cause for Scriabin interest in this century is well served by all. This recording is one of incandescent fire!

The only Firebird Ballet I would want..........2000-12-12

I wish I could write something here that would persuade people that this recording of Stravinksy's Firebird Ballet, well coupled with Scriabin's Prometheus is very much worth having, but frankly I don't think I know where to begin or how to go about it. Firebird, nevertheless, is not just Brass! Brass! Brass! as another reviewer may have been suggesting, however important that element may be, because all the elements that go into it matter, and they're all here in this recording, incredibly beautifully played. As far as I am concerned this is absolutely the only Firebird to have (I have more than this one, including Michael Tilson Thomas' Firebird Ballet and Bernstein's Firbird Suite). I'd give Gergiev's and the Kirov ten stars but I can't!

32 Short Films About Glenn Gould: Motion Picture Soundtrack (1993 Film)

Average customer rating:

Cult Devotion
One of My Favorite CDs
Brilliant performances from a musical genius
The Whole Range of Gould's Talent
If you aren't amazed by these recordings, check for a pulse.

32 Short Films About Glenn Gould: Motion Picture Soundtrack (1993 Film)

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Fugues | Forms & Genres | Classical | Styles | Music

Improvisation | Forms & Genres | Classical | Styles | Music

Inventions | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | 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

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | 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

Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

Glenn Gould Edition: Schumann & Brahms
Consort of Musicke by William Byrd & Orlando Gibbons; Sweelinck: Fantasia in D (The Glenn Gould Edition)
Glenn Gould - The Alchemist
Glenn Gould: The Ecstasy and Tragedy of Genius
Glenn Gould - On & Off the Record

ASIN: B0000027C4
Release Date: 1994-03-22

Tracks:

Goldgerg Variations BWV 988: Aria
Tristan Und Isolde: Prelude
Invention No. 13 in A minor, BWV 784
English suite No. 5 in E minor, BWV 810: Prelude
Sonata No 13. in E-flat Major Op. 27, No. 1: Allegro Molto
32 variations on an Original theme in C minor, WoO 80: Variations XXVI And XXVII
Sonata No 17 in D minor, Op 31, No. 2: Allegretto
The Well Tempered Clavier Book 1: Prelude No. 2 in C Minor
English suite No. 2 in A minor BWV 807: Gigue
Sonata in B Minor, Op. 5: Adagio
Sonatine for Piano in E Major, Op 67, No. 2: Andantino
English Suite No. 2 in A Major, BWV 807: Prelude
Goldberg Variations, BWV 988: Variation 19
Minor from The Well Tempered Clavier, Book I: Fugue No. 14 in F-sharp
Sonata No. 7 in B-flat Major, Op. 83: Precipitato
2 Pieces, Op. 57: Desir
Piano Sonata No. 3: Sehr Lebhaft
Suite for Piano, Op. 25: Gigue
Six Little Pieces for Piano, Op. 19: Leicht, Zart
French Suite No. 1 in D Minor, BWV 812: Sarabande
Nine Little Preludes: Prelude in D minor, BWV 926
The Well Tempered Clavier Book I: Prelude No. 1 in C Major
The Art of the Fugue, BWV: Contrapunctus 9 1080

Customer Reviews:

Cult Devotion.......2007-02-14

The movie for which these extractions provided the soundtrack was indeed quite interesting. Sadly, it's now unavailable. Gould has achieved a cult status unlike that of any classical musician since Caruso or Paganini. Unfortunately, he devoted his considerable talents to the performance of music for which he was particularly unsuited psychologically, on an instrument equally unsuited to the music.
Thomas Bernhard, an Austrian, has written an insightful novel, titled The Loser, which probes Gould's obsessive/depressive personality. I strongly recommend it to devotees of the Gould cult.

One of My Favorite CDs.......2002-11-24

Glenn Gould artistry inspires nothing but admiration. Each piece on this cd is so entertaining and delightful! For example, Bach's Prelude English Suite for keyboard No. 5 in E minor & the Prelude and Gigue from the English Suite for keyboard No. 2 in A minor. Bach's Little prelude in D Minor tramples its identity and morphs into adolescents. The Beethoven on this cd is also remarkable and the effects he creates for some of those pieces is undeniably unique and certainly sets an interpretive standard.

And lastly, to think Gould could no longer suprise me he introduces us to some great compositions and what would become my favorite tracks on the CD: Piano Sonata in B minor, Op. 5 Adagio cantabile composed by Richard Strauss and 11. Sonatina No. 2, for piano in E major, Op. 67/2 Andantino composed by Jean Sibelius. These two recordings belong to that set of moments whose ambiance of silence and withheld passion yearns the soul.

Incredible music making.

Brilliant performances from a musical genius.......2000-08-11

This is a brilliant album! It would be nice if everything were recorded in DDD. Other than this, I cannot recommend a change that would make this CD more enjoyable than it already is. Gould is a recognized master, but seldom is an album published that provides a listener the opportunity to see the range and power of such a performer in action. If you enjoyed the movie, this CD will be a welcome addition to your collection. And even if you haven't seen the movie, you'll enjoy this musical glimpse into Gould's life.

The Whole Range of Gould's Talent.......2000-05-09

This is an outstanding soundtrack to an outstanding movie. For the listener who is new to Gould, this CD presents Gould's talents as a Bach performer, as well as his less well-known, but equally impressive talents as a performer of late 19th and 20th century music, with some stringent, thrilling Beethoven to boot. For the experienced Gould listener,it provides a chance to compare and contrast Gould's approach to various forms of music. One of the most noteworthy pieces on this CD is the interpretation of the Adagio from Richard Strauss's youthful Piano Sonata in B minor. Recorded close to the time of his death, it reveals the rare pianist who can play Romantic music with incredible clarity and emotional depth. Gould's approach to this piece is tender and wistful, distant in a way that affords it a sense of isolation and profound sadness. The reprise of Bach's music at the end of the CD is chilling and bursting with Gould's uniquely emotional approach to this music. Listening to this CD is an experience in and of itself. Don't miss out on it.

If you aren't amazed by these recordings, check for a pulse........1998-11-25

If you have studied music all your life and grown weary of the state of the performing arts and are trying to remember why you fell in love with it initially (like me) OR if you have never appreciated classical pianio music and are wondering what all the fuss is about BUY THIS RECORDING AND LISTEN TO IT! As a pianist who gave up the trade in favor of my mental health this stuff made me break out in a cold sweat. It's the real thing.

Decca Recordings, 1965-1972 (Limited Edition)

Average customer rating:

Stokowski in Phase 4 land, Vol. 1
Stupendous Stokowski

Decca Recordings, 1965-1972 (Limited Edition)

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

Mazurkas | Ballets & Dances | Classical | Styles | Music

Pavanes | Ballets & Dances | Classical | Styles | Music

Fugues | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

Modern & 20th Century | Symphonies | Classical | Styles | Music

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

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

Original Masters: Leopold Stokowski: Decca Recordings 1964-1975 [BOX SET]
Pierre Monteux Decca & Philips Recordings, 1956-1964
Ernest Ansermet: Decca Recordings 1953-1967
CARL SCHURICHT Decca Recordings 1949-1956
Dvorak: Symphony No7;Symphony No8;Symphony No9

ASIN: B0000B0A0P
Release Date: 2003-11-25

Customer Reviews:

Stokowski in Phase 4 land, Vol. 1.......2006-09-22

Decca has pulled a lot of Stokowski's gaudy Phase 4 recordings off the market so that they can reappear in this box set, but the company had already licensed many out to another label, Cala, that specializes in all things Stokowski. So if you pick and choose, you can buy your favorites recordings individually with a little effort. Of the two volumes in the Original Masters series, this one is the more interesting musically.

For one thing, it features two of the conductor's great strengths: his incomparable Bach transcriptions (no one else performs them with the same total commitment) and his Debussy and Ravel. Admittedly, this La Mer and Daphnis and Chloes have been multi-miked within an inch of their lives, and neither represents Stokowski as wonderuflly as his EMI Debussy collection, but if you love the old magician, you'll love these readings.

Aslo very appealing are the Enigma Variations, which Stokowski recorded only once, and the Franck D minor Sym., though don't expect world-class execution in either case. Stokowski championed early Messiaen in l'Ascension, and here is his last version, along with a swooning and seductive Scriabin Poeme d'Extase.

You have to adore recorded excess to swallow this Symphonie fantastique and Firebird, both gorgeous in a kind of Las Vegas neon billboard sort of way. But for geneations of listeners, that's what Stokowski is all about. What he's not about, sadly, is the wretchedly eccentric and nearly unlistenable Tchaikovsky Fifth Sym., the only performance in this whole set that made me hold my nose.

In all, thee are enough goodie here to justify buying the whole box, unless you want to pick and choose, in which case turn to Cala's excellent reissues.

Stupendous Stokowski.......2004-03-30

This five disc box set featuring the Decca Recordings (1965-72) of conductor Leopold Stokowski is among the latest batch of releases in the limited edition "Original Masters" series. While parts of this particular collection have been available on CD in the past (in the old "Phase 4" and "Weekend Classics" series), some of this material is being made available for the first time internationally. Those performances include Franck's Symphony (Hilversium RPO, 1970), Elgar's Enigma Variations (Czech PO, 1972), Ravel's "Fanfare" (Hilversium, 1970) and Messiaen's "L'Ascension" (London SO, 1970). Other highlights include an entire disc (CD1) of Stokowski's Transcriptions, and a delightful reading of Berlioz's "Symphonie Fantastique" with the New Philharmonia Orchestra from 1968. In all, another great set in the "Original Masters" series.

Average customer rating:

Best of Horowitz
Truly Legendary...with icing on the cake...
Highs and Lows
Called "Legendary" for a reason
What More Can I Say That Hasn't Been Said?

Horowitz: Legendary RCA Recordings

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Mazurkas | Ballets & Dances | Classical | Styles | Music

Polonaises | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Toccatas | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Caprices | Vocal Non-Opera | Opera & Vocal | 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

Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

The Magic of Horowitz
Horowitz Live and Unedited [includes Bonus DVD]
Horowitz: The Last Recording
Horowitz Plays Rachmaninoff/Concerto for Piano in Dm; Sonata for Piano No2/Vladimir Horowitz, Pianist
Horowitz in Moscow

ASIN: B0000CE9YK
Release Date: 2003-11-04

Amazon.com

This seems to be RCA's attempt to create the perfect Horowitz sampler. It's a pretty good try. The Tchaikovsky First Concerto, considered definitive in its day, seems more of a technical than musical accomplishment today, but there's no denying the hyper-excitement generated by Horowitz and Toscanini. The Rachmaninov Third is one of Horowitz's great accomplishments, stunningly played and superbly accompanied by Reiner. The solo disc generally plays to Horowitz's strengths, with marvellous playing of such specialties as Schumann, Scriabin, Scarlatti, Rachmaninov, Prokofiev, and Clementi. (Horowitz was the only major pianist to appreciate Clementi, bless him.) The Chopin items include an unfortunately steely-sounding Polonaise-Fantaisie(along with a beautiful Mazurka), and the Liszt Mephisto Waltz gets pretty frantic at moments. Still, hearing this set will give you a well-rounded picture of Horowitz's art. RCA's producer-engineer Jon Samuels has gotten remarkably fine results with some of these antiquities. --Leslie Gerber

Customer Reviews:

Best of Horowitz.......2006-02-22

Those of us who were fortunate to SEE as well as hear pianist Vladimir Horowitz perform in concert will long remember the quiet, nervous, and rather timid man who slowly walked on the stage. When I saw him at the Paramount Theatre in Oakland in 1978, he hadn't played on the West Coast in many years. Actually, Horowitz was absent from concert halls for years, only making recordings, either for RCA Victor or Columbia.

His Oakland appearance was recorded by RCA and portions of the concert were included in the commercial releases; the engineers would take the best from various performances and cleverly edit them together to give a strong performance. Actually, Horowitz was absolutely dazzling once he sat down at the piano. Despite the initial tentative appearance, he really came to life when he began to play. He was a living legend by 1978 and he did not disappoint the audience. Fortunately, recordings such as those included in this two-CD set give excellent examples of his virtuoso playing.

The 1941 recording session of Tchaikovsky's first piano concerto was made in Carnegie Hall with the NBC Symphony Orchestra, conducted by Horowitz's father-in-law, Arturo Toscanini. Yes, Horowitz had married Wanda Toscanini. One wonders what Toscanini thought about having Horowitz in his family. It's clear, however, the Toscanini and Horowitz had great respect for each other and they worked well together. This is quite apparent in this celebrated, very popular recording, originally issued on 78-rpm discs.

By 1941 RCA Victor had reached a new standard in high fidelity, which was only limited by the surface noise of the shellac discs. This digital remastering has reduced the noise slightly while maintaining as much of the fidelity as possible. The performance is very exciting throughout. Given the difficulty of the solo passages, it is amazing how well Horowitz played this music. Toscanini, who only occasionally conducted the music of Tchaikovsky, saw to it that the NBC Symphony provided strong accompaniment throughout. The memorable orchestral interlude in the first movement is especially dramatic and powerful. An interesting comparison is Horowitz's live concert performance (also in Carnegie Hall) with Toscanini and the NBC Symphony from 1943, also released by RCA Victor; that performance is more "fluid" and there is one section in the second movement where Horowitz and the orchestra got a little "out of synch" for a few moments.

Just ten years later, Horowitz recorded Rachmaninoff's third piano concerto with a "pick-up" orchestra of New York musicians conducted by Fritz Reiner. This was recorded in Carnegie Hall on magnetic tape and the sound is much improved. The performance was the second of three recordings that Horowitz made of the concerto and it may be the best of them. Certainly Rachmaninoff himself had admired Horowitz's performances of his music and this clearly demonstrates why.

The other disc includes numerous shorter works, all briliantly played and all evidence of the wonderful playing of Horowitz. Some of them are taken from live performances and have the extra value of showing how well Horowitz played in concert. A special treat is Horowitz's popular arrangement of music from Georges Bizet's "Carmen," one of the most dazzling pieces the pianist ever played. I also enjoyed his fiery performance of Lizst's "Mephisto Waltz," clearly a devilish piece inspired by part of the Faust legend.

This is a wonderful compilation and a good introduction to the excellent playing of Vladimir Horowitz.

Truly Legendary...with icing on the cake..........2005-07-07

This cd is one of the best Horowitz compilations that exists. It is indeed Legendary. The recording of the Rach 3 here is the top, greatest reading of the piece, how Rachmaninoff himself would have approved. The Tchaikovsky with Toscanini is my favorite, even though Horowitz does not take many chances in tempo and whatnot because, afterall, he was playing with his great, fiery-tempered father-in-law. Now, on to the second disk. Despite what some people say about the Polonaise-Fantaisie, I believe it is a great reading, and Horowitz never drags the tempo like Ashkenazy often does. The Mazurka is beautiful indeed (the 1965 version is better) and the forever famous Nocturne can bother people who are used to Rubinstein's interpretation. The reading of the Nocturne is somewhat like Cortot's - different. The schumann Traumerei is beautifully done (it was toped, however, by the version in Horowitz in Moscow). The Scriabin preludes are full of color, but what really is fascinating is the Etude op.8 no.12 (not op. 18, as the cd cover says). This version is slower than Horowitz's usual tempo, and there are finger slips and mistakes. There are some "neurotic" sections, and all this is explained by the fact that Horowitz, at the time, was going through a period of uncertainty and failure, I guess you could say, because of all the medicine he was taking. It is, however, beautiful instead of powerful, and Horowitz is in control. The favorite encores Etincelles and Carmen variations are excellent, and the Rachmaninoff prelude is the most beautiful, deep, and searching reading I have ever heard. The Mephisto Waltz is a showpiece, and Horowitz plays it like it is intended to be, a little out of control in some places however.

Overall, this is an excellent 2-cd compilation. BUY IT!

Highs and Lows.......2005-07-04

Although the Tchaikovsky is "viscerally exciting" as one reviewer put it, it is unfortunately much too fast. While Horowitz certainly has the technical skills to pull this off, some of the grandeur of this concerto is lost along the way. It's too bad they couldn't instead have included Horowitz's incredible 1943 performance (also with Toscanini) of the concerto, which has all of the power and none of the rushing.

The second half of the first CD is an incredible performance of Rachmaninoff's 3rd concerto, somehow managing to contain both the power and grandeur of that work. The only flaw is a sound which (like in Cliburn's recording of the Rach 2 with Reiner) lacks a bit at times in terms of balance.

The second disk is a similar mixed bag, with both high points (the Rachmaninoff G-Major prelude is just gorgeous) and lows (I'm not a big fan of the Mephisto Waltz as recorded here). Nevertheless, there's certainly more than $17.98 worth of 5-star music on this set, so I conder it worth a 5-star rating.

Called "Legendary" for a reason.......2004-06-10

This set includes numerous staples of Horowitz's repertoire, most formidably the two concertos, complimented by the three Chopin pieces, Traumerei, Etincelles, and the Rachmaninoff prelude. It also includes three relatively unplayed composers whose music Horowitz championed: Clementi, Poulenc and Scarlatti. Other less publicly-performed pieces in Horowitz's repertoire are included on this disc, the Scriaban pieces, Horowitz's own arrangement of Bizet's Carmen, the Prokofiev Toccata and the Mephisto Waltz.

The two concerto recordings are quite possibly the best ones of the respective pieces, except for Cliburn's Tchaikovsky concerto performance in 1958. The piano sounds almost metallic in the Polonaise-Fantaisie, a fault of RCA's. Most everything else on the second disc is flawless, excluding the Mephisto Waltz. Horowitz is widely acclaimed to bring the most tones out of the piano, but, in the Mephisto Waltz, there are lots of places where the tone is simply . . . bad. It is labeled as "Horowitz's retouching of the Busoni transcription". I, first of all, do not even agree with most of the Busoni transcription, and, as a result, do not agree at all with Horowitz's interpretation. In my opinion, Cliburn's and Kapell's versions are far superior.

So, buy the disc for the well-known Tchaikovsky, Rachmaninoff, Chopin, and Prokofiev, and the lesser-known Poulenc, Clementi and Scarlatti. Do not listen to the Mephisto Waltz! In fact, the first time I heard it I screamed out, "What were you thinking!?".
But maybe I am a little uptight about these sorts of things.

What More Can I Say That Hasn't Been Said?.......2003-12-11

Drake, the reviewer above or below this review, made me purchase this CD ... I advice you to do the same.

The two major concertos on the first disc were for me the main attractions, and they do not disappoint. The Rach 3rd especially is a must in your collection. It's indeed the one with Reiner (the most praised of all the Horowitz readings).

Customer Reviews:

Fantastic Symphony No. 3.......2006-01-07

I have all Scriabin's symphonies, but his third is by far my favorite. It is a work of such grandeur and power. The brass section of the orchestra is truly put to the test and pushed to the limits in this work. The reoccuring theme that is heard at the very beginning of the work is heard all throughout the whole symphony and remains a very prominant force in the work.

I have to say that this symphony is one of my absolute favorities and one of the finest ever written. The final movement is especially amazing, with the final bars culminating in one of the most fantastic codas to anything I have ever experienced in symphonic music.

I highly recommend this recording. If you are unfamiliar to Scriabin, do yourself a favor and get acquainted. You'll find his music and this symphony some of the most moving music you'll ever have the pleasure of hearing.

PARTIAL REDEMPTION.......2005-12-05

If Scriabin is an acquired taste, it's a taste that I acquired very easily. Like certain composers (e.g. Schoenberg) and unlike certain others (e.g. Rachmaninov) whose careers cover the late 19th and early 20th centuries, his idiom changed fairly drastically in the process. In Scriabin's case this change did not amount to a complete abjuration of the late romantic idiom, but well before his untimely death he had ceased to ascribe 'keys' to his works and had also stopped dividing them into separate movements in the traditional way, something Schoenberg always clung to. He took himself quite unbelievably seriously, developing a mission to redeem mankind through art. That sort of thing, like the similar aspirations of Shelley and Coleridge, seems hokum to me, but hokum whose results I happen to enjoy. I also sympathise entirely with his yearning, expressed in connexion with the 3rd symphony, for '...the evolution of the human spirit...torn from an entire past of beliefs and mysteries which it surmounts and overcomes...' Progress in this respect still seems deplorably slow and prone to relapse, and I sense that creative artists have lowered their sights to some extent in terms of what they think they can achieve along these lines.

The title of this set 'Complete Symphonies' seems to me a good one. Of the five main works here the first three bear the name of 'symphony', and the Poeme de l'Extase was conceived under the same title and intended at first to be in four movements, but by now Scriabin's imagination was taking leave of terra firma. When the work appeared in 1907 it was heralded by a 'philosophical programme' in verse, and its title is of course 'Poem'. If it is a symphony in some sense, then so is the final Prometheus - the Poem of Fire. This not only abandons the standard symphonic division into movements but envisages a wordless chorus, an obbligato piano part and even some kind of magic lantern that he wanted to project specified colours into the audience. The first performance of the work, in Moscow in 1911, lacked this colourful feature, a lack rectified at a performance in New York in 1915, the year of Scriabin's death. As for the harmony, it is roughly as radical as that of Delius.

In addition to the symphonies this set provides two earlier works, the piano concerto and a short Reverie. These, and the first symphony, are very traditional in idiom, and none the worse for that I'd say. The second symphony is a little bolder, but the real adult Scriabin first appears in the third symphony which is on the third disc of the set. The recording dates from several years earlier than the other two discs, but it seems to me much more satisfactory. The earlier discs are not badly recorded to be sure, but the sound lacks presence and vividness. The volume level is on the low side, but while turning it up improves matters a little it doesn't solve the basic problem - after a point it is just too loud and the sound is still not what Scriabin quite needs. I compared my vinyl set of the two Poems from Ormandy, and the difference in sound-quality in the Poeme du Feu on disc 1 is startling. There is still a difference when it comes to the Poeme de l'Extase on disc 3, but it is not so great, and it is less attributable to the recording. It points up, I think, some characteristics of the conductor.

As well as the two Poems, my collection of Scriabin contains quite a fair selection of his solo piano works, played by Horowitz, Richter, Ogdon, Gould - and Ashkenazy. Of these performances I like Ashkenazy's the least by quite a long way, because I have always found too much of his playing to be just a bit ordinary. When it came to listening to him in his latter-day incarnation as a conductor, I admit I underwent the process with some suspicions. These were founded on my previous experience of him as an interpreter even in his prime, but also caused by some scepticism regarding retired soloists finding a new career as conductors. Beecham, Toscanini and Karajan had a mission from the outset to be conductors. They went into the business when young, and they knew not to underestimate what it required. Elderly gentlemen taking the baton up as a sunset career will be treated doubtless with the respect due to their erstwhile eminence, but I wouldn't expect great things from them, nor do I find great things here. The difference from Ormandy shows markedly even in the Poeme de l'Extase. There is simply far more refinement, subtlety and sheer quality in Ormandy's account, and the recording, from sometime in the 70's, is actually better too, even on vinyl. The gap is even greater in Prometheus, affecting in particular the piano part from Peter Jablonski, given a recorded sound that is too discreet by half or more than half. This young player gets a fairer opportunity in the concerto, an attractive early work which he performs with aplomb and distinction. The first two symphonies and the Reverie are attractive too, and having nothing to compare them with I was consequently less critical.

In fact you will get very fair performances of Scriabin in general here, just not 5-star ones. The production is admirable in many ways, with the pieces sequenced with some imagination rather than in strict order of composition. The liner-note takes them in that order, and sensibly so, and it is a very sound and helpful production from Andrew Huth. I have no regrets at all about purchasing this interesting set, and I have given honesty and balance my best shot in the foregoing opinions.

Great overall.......2005-08-29

The Sym #3 in this set is awesome. The sound quality is excellent and the performance brings out so many details in this huge over-the-top work.

The other syms are well done too, but #3 is Scriabin's masterpiece so what really matters, in my view...

Average customer rating:

An excellent sampler
Best piano concerto collection I have!
Best Version of Concerto 2 out there!

Addinsell; Rachmaninov; Shostakovich

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Soundtracks | Styles | Music

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

The Music Of Richard Addinsell
Warsaw Concerto
Favourite Piano Concertos, Vol.2
Liszt: 10 Hungarian Rhapsodies
Rachmaninov, Tchaikovsky: Piano Concertos / Richter

ASIN: B00004Z32I
Release Date: 2001-03-27

Tracks:

Warsaw Con
Pno Con No.2 in c, Op.18: Moderato
Pno Con No.2 in F, Op.102: 1. Allegro
Pno Con No.2 in F, Op.102: 2. Andante
Pno Con No.2 in F, Op.102: 3. Allegro
Rhap On A Theme By Paganini - Vladimir Ashkenazy
Pno Con: 3. Allegro Moderato - Vladimir Ashkenazy

Customer Reviews:

An excellent sampler.......2003-04-24

I purchased this CD as a sampler (which it is) of piano concertos. As such, I expected to listen to the various selections and then remand it to an unused CD rack. To my surprise, this CD has become one of my favorites. I confess that the Shostakovich concerto is not my cup o' tea, but the rest of the performances are really marvelous. The Warsaw is beautifully performed. The Rachmaninoff concerto (#2) is only the first movement, but is exquisite (get a full copy of this and other Rach concertos by Previn/Ashkenazy), as is the Paganini Rhapsody (also by Previn/Ashkenazy), which is presented in full. The CD concludes with an excellent performance of the final movement of Scriabin's concerto.

The sonics of these analog recordings are excellent. I noted an emphasis in bass on the Rhapsody that does not exist on other releases of this same performance (Polygram Records #460632 and #455234). This may be due to the AMSI encoding, although it does not appear to affect the other performances on this CD. Actually, the added bass may appeal to some, and is not a major distraction.

I am not an advocate for samplers, but this one is more cohesive than most. At this price, it is worth it just for the Warsaw Concerto and the Rhapsody. For the others (which may include the Rhapsody), you will want the full concertos after being teased by these well-performed pieces. Highly recommended.

Best piano concerto collection I have!.......2003-04-01

This has to be the best piano concerto CD I have in my collection. Addinsell's Warsaw Concerto rattles the room when I crank up the volume. I bought the CD just for that piece, but everything else grew on me. Rachmaninov's Piano Concerto #2 in C minor is downright awesome, and I love his Rhapsody on a Theme of Paganini. This is the first time I've seen the full 20-minute version. This was a great buy and I'd highly recommend it for any piano concerto fan.

Best Version of Concerto 2 out there!.......2001-04-07

I have heard many versions of Rachmaninoff's Concerto 2. Every single version has been a total disaster - But this one is PERFECT! The piano and the orchestra are totally in-sink with one another (the pianist's tempo isn't cocky and the dynamics are perfect). The concerto is on the romance side if thass yo thang - I'd say soft and heavenly with an ardent yet tender obsession. The Rhapsody isn't that bad either although it has a different style and mood. I totally recommend this CD to anyone wanting to score the best concerto by Rachmaninoff.

Average customer rating:

Scarlatti and CPE Bach really sparkle. GG at his best
Insight into the real Glenn Gould
Gould's 2nd Italian Concerto Recording
This CD opened Glenn Gould for me
the great glenn gould

The Glenn Gould Silver Jubilee Album
Johann Sebastian Bach , Domenico Scarlatti , Carl Philipp Emanuel Bach , Glenn Gould , Alexander Nikolayevich Scriabin , Ludwig van Beethoven , Vladimir Golschmann , Elisabeth Schwarzkopf , Juilliard Quartet , Elizabeth Benson-Guy , Charles Brezzler , Anita Darian , Margaret Pacsu , and Byron Rossiter
Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Partsongs | Vocal Non-Opera | Opera & Vocal | 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

Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

French Suites - 70th Anniversary Edition
Glenn Gould Plays Bach & Scarlatti
Gould Meets Menuhin
Live in Salzburg & Moscow
Glenn Gould Edition: Schumann & Brahms

ASIN: B00000C28N
Release Date: 1998-09-22

Tracks:

Italian Concerto In F Major, BWV 971
Italian Concerto In F Major, BWV 971: Andante
Italian Concerto In F Major, BWV 971: Presto
Sonata In D Major, K. 430 (L. 463): Non presto ma a tempo di ballo - D. Scarlatti
Sonata In D Minor, K. 9 (L. 413): Allegro - D. Scarlatti
Sonata In G Minor, K. 13 (L. 486): Presto - D. Scarlatti
Wurttermberg Sonata No. 1 In A Minor, Wq. 49 (H. 30): I. Moderato
Wurttemberg Sonata No. 1 In A Minor, Wq. 49 (H. 30): II. Andante
Wurttemberg Sonata No. 1 In A Minor, Wq. 49 (H. 30): III. Allegro assai
So You Want to Write a Fugue?
Deux morceaux, Op. 57: Desire
Deux morceaux, Op. 57: Danced Caress
Ophelia-Lieder, Op. 67: Nr. 1: Wie erkenn ich meni Treulieb?
Ophelia-Lieder, Op. 67: Nr. 2: Gutten Morge, 's ist Sankt Valentinstag
Ophelia-Lieder, Op. 67: Nr. 3: Sie trugen ihn auf der Bahre bloss
Symphony No. 6 In F Major, Op. 68, 'Pastorale': I. Allegro - Beethoven

Tracks:

A Glenn Gould Fantasy
Critics' Call-Out Corner

Amazon.com

Originally released in 1980, the Gould Silver Jubilee Album brought together unreleased odds and ends culled from Gould's recording sessions. They have since been spread across Sony's Glenn Gould Edition. A Glenn Gould Fantasy, a comic discussion involving Gould's character-voice alter egos bantering back and forth, appears on CD for the first time, along with Critics Call-Out Corner. The humor is stilted, contrived, and interesting only to true believers. Likewise, a previously unreleased 1981 Bach Italian Concerto seems static and self-conscious compared to the pianist's glorious 1959 recording. Still, Gould completists will certainly want to give this set a look-see. --Jed Distler

Customer Reviews:

Scarlatti and CPE Bach really sparkle. GG at his best.......2006-10-14

On the evidence of this disc it's a shame GG didn't record complete albums of Scarlatti and CPE Bach. This would have been a million times preferable to his horrid recordings of music he had not much sympathy for (eg.some of his Beethoven and Mozart):having sad that,the ist movement of the Pastoral Symphony is stunning.Much better infact than Gould's CBC broadcast version of te 1st movement which is too prosaic.

Insight into the real Glenn Gould.......2005-02-09

Glenn Gould was highly sensitive to criticism. Yet he often was the recipient of it, critiqued for playing Bach on the piano, for playing Mozart too fast, or too slow, or both. In "A Glenn Gould Fantasy," Mr. Gould creates for himself the opportunity to respond to his critics (most played by himself in amusing voices) - who have names like Karlheinz Kloppweiser (an eager German proponent of polyphony) and Theodore Slutz (a mellow New York beatnik). Mr. Gould was also famous for giving up concertizing, a result of his fear of leaving even the tiniest detail to chance. So the fantasy concludes with a mock performance by Gould on a sinking oil tanker in the arctic.

Glenn Gould is usually presented to us as an intensely serious Artist. This is a wonderful reminder of his humanity and silly sense of humor.

Listeners should be warned that the fantasy is chock full of inside jokes and musicological silliness that may be lost on them if they are not familiar with Gould's idiosyncracies, the criticisms of his style, or 20th century musical trends. (For example, if the idea of a "Kodaly Kindergarten" is funny to you, as it is to me, you'll like this. If not, save your money.) In keeping with his personality, Glenn Gould is not concerned here with whether anyone else gets the joke. But if you do get the joke, it's pretty funny. It's also a fascinating window into Mr. Gould as a man and an artist.

Gould's 2nd Italian Concerto Recording.......2004-10-27

As much as I have always found great pleasure in Glenn Gould's original record of the Bach Italian Concerto, I must admit that his second version was NOT a disappointment to me. Like his later interpretation of the Goldberg Variations, the newer Italian Concerto sounds less mechanical--less computer-like--and more human than the first record. That this 1981 recording seems less brilliant is due primarily, I think, to the very mellow tone of the piano used, rather than to big changes in the pianist's technique. Gould's first piano had a much brighter tone. However, in the higher notes of the piece, the new piano affords the performer a breath-taking legato that is very song-like and much more soulful, so to speak.

This CD opened Glenn Gould for me.......2002-08-05

I must admit I knew very little about Glenn Gould until I received this CD as a present. I put it into my car's CD player (not the best place to listen to classical music), and for several weeks I didn't change CDs - I just listened to this one! My absolute favourite is C.P.E. Bach's sonata.

the great glenn gould.......2001-02-23

The main attraction for me to this album was the Beethoven transcription and the assorted works by Strauss, Scriabin and others, and of course my intense love of the music of Glenn Gould. Gould seems to have fallen out of public favor now, but his music remains just as intense and insightful as ever. The performance of the first movement of Beethoven's sixth is amazing... it is a work that stands up well as a fully realized piece in its own right. Ophelialieder is a wonderful work of melancholy songs, and here the work really shines. This is a wonderful and eccentric work, which describes Gould perfectly.

Music Review:

Music Review

music review

Recommended Music:

Beautiful Life [Import]

David Oistrakh Collection, Volume 2

Colin Tilney Plays Mozart, Vol. 4

Music: K-Hole [CD-single]

Colours [Import]

Dinastia Rivera Con La Raza Campesina

Entre Amigos

Flip Squad Allstar DJs

Crossroads

French Chamber Music For Woodwinds, Volume Two

Giant Steps [Import]

Berimbau De Cipo Imbe [Import]

DS Foundation [Explicit Lyrics]

In the Quiet

Yemaya