Chopin Collection Vol.1

On this CD:

1. Polonaise for piano in A major, Op. 40/1, CT 152
Composed by Fryderyk Chopin
Performed by Nelly Kokinos

2. Polonaise for piano in A flat major, Op. 53, CT 155
Composed by Fryderyk Chopin
Performed by Nelly Kokinos

3. Prelude for piano No. 20 in C minor, Op. 28/20, CT 185
Composed by Fryderyk Chopin
Performed by Nelly Kokinos

4. Prelude for piano No. 15 in D flat major, Op. 28/15, CT 180
Composed by Fryderyk Chopin
Performed by Nelly Kokinos

5. Prelude for piano No. 23 in F major, Op. 28/23, CT 188
Composed by Fryderyk Chopin
Performed by Nelly Kokinos

6. Prelude for piano No. 24 in D minor, Op. 28/24, CT 189
Composed by Fryderyk Chopin
Performed by Nelly Kokinos

7. Fantasy for piano in F minor/A flat major, Op. 49, CT 42
Composed by Fryderyk Chopin
Performed by Nelly Kokinos

8. Scherzo for piano No. 2 in B flat minor, Op. 31, CT 198
Composed by Fryderyk Chopin
Performed by Nelly Kokinos

9. Waltz for piano in A flat major, Op. 42, CT 211
Composed by Fryderyk Chopin
Performed by Nelly Kokinos

10. Waltz for piano in D flat major ("Minute"), Op. 64/1, CT 212
Composed by Fryderyk Chopin
Performed by Nelly Kokinos

11. Polonaise-fantasy for piano in A flat major, Op. 61, CT 156
Composed by Fryderyk Chopin
Performed by Nelly Kokinos

Tracks:

Waltz in E flat, Op.18: Grande Valse Brillante
Waltz in A flat, Op.34 No.I: Valse Brillante
Waltz in a, Op.34 No.2: Valse Brillante
Waltz in F, Op.34 No.3: Valse Brillante
Waltz in A flat, Op.34 No.3: Valse Brillante
Waltz in D flat, Op.64 No.I: Minute
Waltz in c#, Op.64 No.2
Waltz in A flat, Op.64 No.3
Waltz in A flat, Op.69 No.I: L'Adieu
Waltz in b, Op.69 No.I
Waltz in G flat, Op.70 No.I
Waltz in f, Op.70 No.2
Waltz in D flat, Op.70 No.3
Waltz in e, Op.posth.
Impromptu No.I in A flat, Op.29
Impromptu No.2 in F#, Op.36
Impromptu No.3 in G flat
Fant-Impromptu in c#, Op.66
Bolero in A, Op.19

Customer Reviews:

The engaging poetry!.......2006-12-19

One of the maxim exponents of Chopin in the first decades of the Century was undeniably Arthur Rubinstein. He knew to create - if I may - the perfect link between image and the Polish sentiment ; although the pioneer in this sense was Ignaz Jan Paderewski. Lodz was his birthplace and if Chopin was a self exiled in his historical moment., Rubinstein must have taken into account in September 1 1939.

He nourished the last traces of a dying romanticism - as well as Rachmaninov did it - after his forced exile from URSS. His golden sound was far from the tragic approach given by of Alfred Cortot, for instance. He played the piano according the canons of the artist of the Century XIX, expression and sentimentality, hovered by an ardent nationalism that still inflamed the poetic imagination in some corners of the world, specially in the enormous immigrant wave who chose different places in America in order to search a promised land.

His direct phrasing without intellectual or philosophical approaches deserved to him a special name in the Western hemisphere.

He is now part of the keyboard's legend as well as one of the Chopin`s champions.

Still beautiful to me.......2005-11-04

As a piano student during the 1950s and early 1960s, I remember that there were "knock down drag out" arguments between the "pro-Rubinstein" factions and the "anti-Rubinstein" factions of the classical piano performing world. I was made keenly aware of the aforesaid because my piano instructor was a "dye-hard" member of the "anti-Rubinstein" faction. Rebelliously, I purchased all of the Rubinstein recordings that I could get my little untalented hands on including this recording of Chopin's Waltzes. I remember loving them at the time as I still do now that I've restored this recording on CD to my collection.
Rubinstein's performance in this recording really touches my very soul. Upon hearing this recording again, I'm reminded of how much I loved them almost 50 years ago. Whatever one may call his playing (eccentric, sentimental, syrupy, etc.) it certainly has retained its appeal to me--as a young person or now as an older person. (Note: Rubinstein particularly plays the "sad little" waltzes in minor keys exquisitely!)
If you want to hear a master (at least to me) of Chopin playing some wonderful works, buy this disc.

barcode piano for barcode lovers everywhere!.......2005-04-23

i must repeat myself over and over again.STAY AWAY FROM RUBINSTEIN.his playing is just too eccentric its as if he was abducted by aliens and had chopins works downloaded into his brain.what you get is a sort of robotic chemistry with a dire attempt to sound artistic.
these high reviews do baffle me to oblivion.

Artur Rubinstein great recording of Chopinýs Bolero, Waltzes.......2004-01-05

Artur Rubinstein great recording of Chopin's Bolero and 14 Waltzes
By Peter Dietrich, president, Chopin Society of New England

Artur Rubinstein's performance of the fourteen waltzes seems to be among the definitive versions. This stereo recording from a one day session in June of 1963, issued on BMG in the Rubinstein collection volume 47, and the earlier version first issued on LP RCA Victor LM-1892 recorded in December, 1953 and issued on BMG Rubinstein collection volume 29, equals in sound and profound understanding the two great versions by Alexander Brailowsky (1896-1976) recorded in the early fifties on LP for RCA Victor LM-1082 as well as the stereo recording from the early sixties issued on Sony Music SBK 46346 in 1990.

The four recordings are milestones of the classical waltzes. Their interpretations have achieved expert fluidity with grace and elegance of nobility. As Robert Schumann remarked "should be danced at least by countesses." To the above recordings I will add Dinu Lipatti's recording issued by EMI in the Great Recordings of the Century series. My opinion is based on hearing a great number of outstanding as well as good performances through more than fifty years. I will just list several additional names from my collection who have recorded fourteen waltzes: 1) Robert Lortat (1930), 2) Alfred Cortot (1934 and 1943), 3) Edward Kilenyi (1952), 4) Moura Lympany (1959), 5) Witold Malcuzynski (1959), 6) Regina Smendzianka (1959 and 1961), 7) Samson Francois (1964), 8) Stefan Askenase (1964), 9) Adam Harasiewicz (1965), 10) Tamas Vassary (1966); pianists who have recorded nineteen waltzes: 1) Augustin Anievas (1970), 2) Geoges Cziffra (1979), 3) Claudio Arrau (1980 - several of the waltzes are played too slow), 4) Vladimir Ashkenazy (1984), 5) Lidia Grychtolowna (1989), 6) Istvan Szekely (1992), 7) Garrick Ohlsson (1996 - 20 waltzes in this recording) 8) Jerzy Sterczynski (1996 - 23 waltzes, which will be discussed in the future).

The famous Polish poet Kazimierz Wierzynski author of the "Life and Death of Chopin" (1949) makes the following observation. "Chopin's Waltzes have little or nothing in common with the atmosphere of the ballroom. Niecks calls them Tanzdichtungen (dance poems). How does Rubinstein play the Chopin Waltzes? Surely, their worldliness and elegance are particularly suited to this worldly and elegant pianist whose incomparable virtuosity goes hand in hand with his unique feeling for Chopin. Without in the least sentimentalizing Chopin, Rubinstein fully renders his warmth: he is the ideal interpreter of the waltzes in which tenderness is so subtly blended with sparkle, playfulness and deep emotion."

Other Chopin works included in this compilation are the four impromptus recorded in 1964 and the Bolero recorded in 1962. Harvey Sachs, author of Rubinstein's biography published by Grove Press, New York, 1995, wrote the following notes for this compilation: "The 1964 version of the Impromptus, heard here is typical of the beautifully poised, yet deeply poetic Chopin recordings that Rubinstein made in his seventies as a sort of summa of his interpretations of the music of his great compatriot." However, the glory of this compilation is the Bolero in A Major, Op. 19. Until the Rubinstein recording in 1962 when he was almost 75 years old, this work was "obscure" Chopin, almost completely forgotten and recorded very seldom as well as terribly underrated. Despite the obscurity of the work for such a long time, there are several recordings of it in existence. I will list the notable recordings from my collection according to their release:
1) Adam Harasiewicz, Philips (1972); 2) Arnaldo Cohen, Dischi Ricordi, LP (1978); 3) Nikita Magaloff, Philips (1979); 4) Vladimir Ashkenazy, London/Decca (1987); 5) Georges Cziffra, EMI (1987); 6) Nelly Ben-Or, Meridian Records (1989); 7) Idil Biret, Naxos (1993); 8) Garrick Ohlsson, Arabesque, vol. 8 (1997); 9) Emil von Saur (recorded 1940) Arbiter (1998); 10) Anatol Ugorski, Chopin Complete Edition DG, vol. 7 (1999).

All the above recordings, although inspired performances and technically excellent, do not reveal the hidden beauty of the dance, as does Artur Rubinstein in his performance. Mr. Rubinstein unhurried tempos and magical play with the pedal plus his affinity for Spanish music brings this work to interpretative splendid heights unknown until his recording and since. These five star performances are highly recommended for every music lover.

The Great Chopin Master.......2003-07-26

This CD is superb. It shows the best of Rubinstein's Chopin.He did this CD with so much clearness and feeling. Rubinstein ends the CD with the little known Bolero. I reccomend it a lot.

Average customer rating:

What can you expect.
nevermind the flying dutchman reviewer...
A testament to Rubinstein's greatness, and Chopin's
Definitive Chopin? I think not
10 stars !

Rubinstein Collection, Vol. 45

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Ballads | Forms & Genres | Classical | Styles | Music

Scherzo | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Box Sets | Stores | 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
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Arthur Rubinstein - Chopin 19 Nocturnes (Vol. 49)
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The Rubinstein Collection Vol 47 - Chopin: Waltzes, Impromptus, Bolero
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ASIN: B00004ZD5B
Release Date: 2001-03-06

Tracks:

Ballade No.1 in g, Op.23
Ballade No.2 in F, Op.38
Ballade No.3 in A flat, Op.47
Ballade No.4 in f, Op.52
Scherzo No.1 in b, Op.20
Scherzo No.2 in b flat, Op.31
Scherzo No.3 in c#, Op.39
Scherzo No.4 in E, Op.54
Tarentelle in A flat, Op.43

Amazon.com

Rubinstein's is not the only way to play Chopin. Ignaz Friedman, Cortot, Horowitz, Wild, Cherkassky, and others have given us Chopin performances of incredible artistry and individuality, but Rubinstein's more objective interpretive stance set the model for succeeding generations of Chopin players. This welcome reissue from RCA's monster set of the pianist's complete recordings helps explain why his Chopin is still revered. The 1959 version of the Ballades is memorable thanks to his big, bronze tone, subtle rubato, and ability to make the keyboard sing like a great operatic diva. The great G minor Ballade illustrates Rubinstein's way with the music--the pregnant pauses in the introduction never overdone, the tenuous theme sung with quiet exactitude, the bold passages played with waves of sound that are never harsh or disproportionate, the whole coming off like a story told by a master narrator. The directness of Rubinstein's playing also suits the Scherzos, bravura pieces that the pianist recorded three times in his career. This 1959 stereo recording may miss some of the impetuosity of the earlier versions, but its stronger structural sense and subtlety make it compelling. Sonics are much improved over previous releases. --Dan Davis

Customer Reviews:

What can you expect........2007-07-05

I bought this CD with the full knowledge of Rubinstein's ability to mesmerize worlds of people with his Chopin. His Ballades and Scherzi are no exception. Some pieces are not to my exact tastes but are very mature interpretations which one should expect from such a maestro of the piano. Great composer, great performer, great music.

nevermind the flying dutchman reviewer..........2006-05-06

...in his words:"This is by far the most transcendental recording of the chopin ballades ever created. Don't pay attention to karan jamal, he's obviously just an ignorant anti-semitic, arrogant idiot. Anyone who would give this recording 1 star knows nothing about music, which is apparent from the way the lone 1 star review was written.">>>>Now thats comedy.That made me laugh my a$$ off...........the only thing transcendental is the cheap air this recording gives off,not to mention the dutchman's transcendental stupidity.I've played classical music all my life from cello&violin to piano.If i know nothing about music it should be strange that within a month of learning piano i started work on liszt's transcendental etudes and am now up to the 5th etude after a year of hard work;and i stand by my 1 star review of this incorrigible recording.And my consolences to the poor chap who believes these are fine recordings;some of us after all are cursed with bad genes.

A testament to Rubinstein's greatness, and Chopin's.......2006-01-24

If someone wished to make a case for Rubinstein's genius not only as a Chopin interpreter, but as a pianist of the first rank, they'd need do little more than offer this one recording as evidence. The control of melodic line, lift, chordal technique, brilliance in ornamentation and fioriture - all of them are at the service of Chopin's conception, but come together with a sound that can only have been made by Rubinstein. Perhaps most moving is the first ballade; the grandeur of the main E major theme has never been brought out so compellingly, and the closing Gm section is nothing short of demonic. I've listened to this recording well over a thousand times, and have explored every other commercially-available recording of the ballades. Nothing quite compares. If I had only one piano record, perhaps even only one record of any kind, to choose for the proverbial desert island, this one would be it.

Definitive Chopin? I think not.......2006-01-03

Initially, I was suckered into buying this CD from a classical music guide that touted this CD as one of Rubinstein's greatest. Fortunately, His Ballade in G minor lives up to the hype. I love how Rubinstein is able to perfectly and naturally balance his phrasings and rubatos without resorting to cheap sentimentality. Unfortunately, its the scherzi that Rubinstein goes downhill. To me, this rendition sounds much too bland and labored. In addition, the third and fourth scherzo has lost much of the impetuosity from his earlier recordings. I know for certain that he was holding back, considering his 1964 chopin recital was much more volatile and exciting than this lethargic recording. If you really want definitive scherzi's, try Richters or Yundi Li's recordings. For the Ballades, try Moravec's or Zimerman's. And by the way, RCA's sonics don't sound that great compared to the Digital CD's of today. Get the improved (and cheaper) SACD version.

10 stars !.......2005-12-25

Chopin's Ballades, Scherzoes and 19 Nocturnes are the pinnacle of classical piano. Rubinstein Collection Vol. 45 and 49 are the reference recordings for these pieces. His interpretation of Ballades is muscular. In contrast, he is as soft as feather in the dreamy Nocturnes.

Average customer rating:

piano for the suburbanite
This would be the greatest exce[pt....
Who Better than to Record the Mazurkas?
Arthur Rubinstein: Chopin's 51 Mazurkas
The unsurpassable Rubinstein

Rubinstein Collection, Vol. 50

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Mazurkas | Ballets & Dances | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | 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
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Rubinstein Collection, Vol. 48
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Rubinstein Collection, Vol. 46
Rubinstein Collection, Vol. 45
The Rubinstein Collection Vol 47 - Chopin: Waltzes, Impromptus, Bolero

ASIN: B00004ZD5E
Release Date: 2001-03-06

Tracks:

Mazurka No.1 in f#, Op.6
Mazurka No.2 in c#, Op.6
Mazurka No.3 in E, Op.6
Mazurka No.4 in e flat, Op.6
Mazurka No.1 in B flat, Op.7
Mazurka No.2 in a, Op.7
Mazurka No.3 in f, Op.7
Mazurka No.4 in A flat, Op.7
Mazurka No.5 in C, Op.7
Mazurka No.1 in B flat, Op.17
Mazurka No.2 in e, Op.17
Mazurka No.3 in A flat, Op.17
Mazurka No.4 in a, Op.17
Mazurka No.1 in g, Op.24
Mazurka No.2 in C, Op.24
Mazurka No.3 in A flat, Op.24
Mazurka No.4 in b flat, Op.24
Mazurka No.1 in c, Op.30
Mazurka No.2 in b, Op.30
Mazurka No.3 in D flat, Op.30
Mazurka No.4 in C#, Op.30
Mazurka No.1 in G#, Op.33
Mazurka No.2 in D, Op.33
Mazurka No.3 in C, Op.33
Mazurka No.4 in b, Op.33

Tracks:

Mazurka No.1 in c#, Op.41
Mazurka No.2 in e, Op.41
Mazurka No.3 in B, Op.41
Mazurka No.4 in A flat, Op.41
Mazurka No.1 in G, Op.50
Mazurka No.2 in A flat, Op.50
Mazurka No.3 in C#, Op.50
Mazurka No.1 in B, Op.56
Mazurka No.2 in C, Op.56
Mazurka No.3 in c, Op.56
Mazurka No.1 in a, Op.59
Mazurka No.2 in A flat, Op.59
Mazurka No.3 in f#, Op.59
Mazurka No.1 in B, Op.63
Mazurka No.2 in f, Op.63
Mazurka No.3 in C#, Op.63
Mazurka No.1 in G, Op.67
Mazurka No.2 in g, Op.67
Mazurka No.3 in C, Op.67
Mazurka No.4 in a, Op.67
Mazurka No.1 in C, Op.68
Mazurka No.2 in a, Op.68
Mazurka No.3 in F, Op.68
Mazurka No.4 in f, Op.68
Mazurka 'A'Emile Gaillard' in a
Mazurka 'Notre Temps' in a

Amazon.com

Chopin wrote mazurkas throughout his all-too-brief life, using this Polish dance as the basis for short pieces that encompass a world of harmonic explorations and varied emotions, from the subtly comic to the intensely sad. Rubinstein plays the 51 in the standard canon, skipping the unpublished youthful ones. Of his three recordings of the set, connoisseurs tend to prefer his first, from 1938-1939 (available on RCA, EMI, and Naxos) for their spontaneity. But these 1965-1966 stereo recordings in refreshingly alive transfers can't fail to please most listeners. They're a bit weightier than the early ones, but the added depth and Rubinstein's characterization of each piece yield big dividends. In the great C sharp minor Mazurka, Op. 50, No. 3, for example, he plays the beautiful opening theme with disarming simplicity that invests it with mournful regret, manages the transitions to bolder statements flawlessly, and turns a charming dance into a dramatic tone poem that says in five minutes what some composers need a full symphony to say. That miracle is repeated often in this set, as Rubinstein appears at first to be underplaying a piece until you realize the sophistication of his carefully modulated dynamics, gentle rubato, and varied tone. His was an outward simplicity that hid complex art. Throughout, he plays with a wonderful, singing tone, rhythmic life, and an aristocratic authority few have matched. --Dan Davis

Customer Reviews:

piano for the suburbanite.......2005-04-23

nothing artistic here.
plays like a student.
pass it up...

This would be the greatest exce[pt...........2002-01-08

This would be the greatest of all Rubinstein Chopin recordings except...there are the Polonaises (Volumte 28!), and the Nocturnes (Volume 46!). Count this one tied for 3rd, with the Ballades, the Waltzes, the.... Hey, wait -- you might as well get them all.

My only problem with this recording is that the repeat button on my CD player isn't working. I listen to one and say, "That's gotta be the best Rubinstein/Chopin Mazurka there could possibly be," but no sooner than I think that, that another one comes on, EVEN BETTER.

Okay, I have my fav. The great B Minor Opus 33 Number 4. This is mid-period Chopin at his finest, and Rubinstein at his finest, and we are privileged to be alive so that we can rehear it.

Who Better than to Record the Mazurkas?.......2001-12-01

Chopin. Rubinstein. Mazurkas. Perfection. The impeccable Rubinstein rubato shines most when he plays the works which invite overindulgence, like the dance forms, or the easily sentimentalized nocturnes. Especially in these mazurkas where his rhythmic restraint is admirable. These recordings are quirky yet authoritative enough to make me wonder whether only a fellow Pole can play Chopin with such multifariousness (16 letters!) of movement within the staff. I've heard other recordings of the mazurkas, mainly Ashkenazy (boring... where's the life?) and individual performance pieces in compiliations, but none sparkle like the way Rubinstein makes them sparkle. Sublime.

Arthur Rubinstein: Chopin's 51 Mazurkas.......2001-04-07

Fabulous! Polish music at its best!

The unsurpassable Rubinstein.......2001-03-29

While his recordings of other composers is somewhat uneven, Rubinstein is the absolute master of Chopin. Noone else captures the beauty, nuance, depth, poetry, and feel of his music in quite the same way, and the Mazurkas (which by the way sound wonderful in their new remastering) are no exception. Even the very familiar ones sound fresh in Rubinstein's hands, and whether you listen to these a few at a time (as I usually do) or straight through, I highly recommend this recording as well as the other reissues in this series.

Average customer rating:

Chopin's mature Polonaises by Artur Rubinstein
Aristocratic Polonaises from Rubinstein

Rubinstein Collection, Vol. 48

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Polonaises | Ballets & Dances | 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
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ASIN: B00004ZD5D
Release Date: 2001-05-15

Tracks:

Polonaises No.1 in c#, Op.26 No.1
Polonaises No.2 in e flat, Op.26 No.2
Polonaises No.3 in A, Op.40 No.1 'Military'
Polonaises No.4 in c, Op.40 No.2
Polonaises No.5 in f#, Op.44
Polonaises No.66 in A flat, Op.53 'Heroic'
Polonaises Fants in A flat, Op.61
Andante Spianato in E flat, Op.22
Grande Polonaise in E flat, Op.22

Customer Reviews:

Chopin's mature Polonaises by Artur Rubinstein.......2004-05-20

Chopin's mature Polonaises by Artur Rubinstein
By Peter Dietrich, President of the Chopin Society of New England, Inc.

Three great and famous recordings of Chopin's mature Polonaises by Artur Rubinstein. It all started in June 1952. I was walking on Washington Street in Boston, Massachusetts and while looking at a display window of a music store I noticed an LP record, LM 1205 (which I still have in my library) of Chopin Polonaises, vol. 1. I entered the store and purchased that record for the price of $5.95 not realizing at all that I was holding in my hands not only one of the best and most convincing recordings that Rubinstein had ever made together with vol. 2 LMI 52 Polonaises, but unquestionably the greatest recording of the Chopin Polonaises by any other pianist of the 20th century.
This recording of the polonaises from the 1950-1951 season was the second set recorded by Artur Rubinstein when he was in his absolute prime (aged 63-64) capable of the most convincing interpretations of these heroic works. His unhurried tempos, his magical use of the pedal has achieved musical clarity undreamed of by any other pianist before and since. He was very fortunate to get an excellent sound from RCA engineers despite being recorded in mono only and the two records despite their fifty-two years in use still sound beautiful.
The present reissue I am reviewing of all three different recordings is from the complete Rubinstein 94 disc set edition which I purchased in 1999 and the digitally remastered edition of vol. 28 sounds even better than the LP edition of 1952.
The earlier set of the 8 polonaises recorded in December of 1934 and January-February of 1935(first issued on 78-RPM records) is in the present edition reissued in vol. 4. These are already mature performances, particularly Polonaises 5 and 6, which are intense and beautiful and have many qualities of the later recordings. We have to remember that the 78-RPM era was very challenging to every artist because of the rather primitive recording equipment of the time and a limited time for each side of a record. Despite all of the difficulties the achievement is outstanding and it is a joy to listen to Rubinstein's earlier recordings and compare them with the later and perhaps more mature performances and be able to notice the changes in growth of Rubinstein's artistry.
The 3rd and final set, vol. 48 of the 8 mature polonaises was recorded in Carnegie Hall, New York City, in March of 1964 in stereophonic sound, when Rubinstein was 77 years old. These are also great performances, more mellow and a shade less robust and dramatic than his 1950-51 renditions. They also lack the tremendous intensity and urgency when compared with his 1951 crowning achievement. Almost all the repeats are omitted in the A Major Polonaise, Op. 40, No. 1 while in the C-minor Polonaise, Op. 40, No. 2 all repeats are restored. Personally, I like when all the repeats are included because it makes the work more complete, particularly in the polonaises, because it makes them sound more intense and monumental. All of Chopin's markings are very clear and they should be respected.
The only regret one may have is why Rubinstein, who was so great and successful in performing Chopin's music, never recorded the earlier Polonaises and the rest of Chopin's known works? Some Chopin scholars have made various statements that outside of the etudes; Chopin's other less known works were not worthy of performing. Completely false! All of Chopin's music is worthy of performance, which has been proven by the younger generation of pianists who have recorded his complete works.
Rubinstein performed in Boston, Massachusetts at least sixteen times between the mid fifties until his retirement in 1976, not counting his performances with the Boston Symphony Orchestra. I was fortunate and privileged to have attended almost every performance and relished the opportunity of having spoken to the artist on several occasions. In 1965, after his last recording of the polonaises, I asked him if he had recorded all of the polonaises? His answer was "yes." I replied "all?" To this he responded: "From my early years, I loved to play the piano but I hated the practicing. If I had been more willing to work hard, I could have played 100 more pieces of music." Then I asked him about the etudes? "Oh, no! I am not ready, yet. I am still working on polishing them. Probably, I will die sooner than record them," was his reply. Unfortunately, he never recorded them. It is a pity because several of the etudes he programmed in his recitals in Boston, playing them every time very beautifully. He was a great pianist, a master musician and demanded the impossible from himself.
Summarizing the monumental achievement by one of the greatest artists of the 20th century it makes one feel as if the world is a better place, where all problems disappear and only love an beauty reign. Are there any further recommendations necessary?

Aristocratic Polonaises from Rubinstein.......2001-05-17

Volume 48 of RCA's Complete Arthur Rubinstein collection features the pianist in his final authorized recordings of works he was born to play. Chopin's Polonaises were based upon the aristocratic dance of his beloved Poland--although these works are not, in the strictest sense, meant to be danced to.

Rubinstein made three complete sets of Polonaises. The first version, recorded on 78RPM discs in the 1930s, is indescribable in its elan and brio, but occasionally veers out of control. The second set--in my opinion the best of the three--was recorded in the 1950s and demonstrated Rubinstein to be in far better control, both musically and technically, with most of the vigor of the earlier version. This third version, recorded in Carnegie Hall in 1964, is more autumnal and aristocratic in approach. Rubinstein can certainly turn up the heat when he so desires, but on the whole these performances are far more mellow than in the earlier recordings. In concert, he would become fired-up by the audience's presence, and his playing live more closely resembled the earlier recordings. To hear what Rubinstein was like during "battle-conditions," check out Rubinstein in Moscow (Volume 62) which includes two of Chopin's Polonaises.

Tracks:

Toccata, BWV 911, In C Minor: Toccata
Toccata, BWV 911, In C Minor: Fugue
Sonata, Op.33 No. 1, In A-Major
Sonata, Op.36, No.1, In A: Presto
Sonata, Op.24, No.2-Op.47, No.2, In B-Flat: I. Allegro con brio
Sonata, Op.34, No.1, In C: II. Un poco andante, quasi allegretto
Lieder ohne Worte-Songs Without Words, Op. 67:: No.3 In B-Flat
Fantaisie, Op.49, In F Minor
Polonaise, Op.26, No.1 In C-Sharp Minor
Mazurka, Op.30, No.2, In B Minor
Consolation No. 4 In D-Flat
Consolation No. 5 In E
Etude-tableau, Op. 39, No.7, In C Minor

Customer Reviews:

A Bach rarity........2001-10-01

Being a great Horowitz fan, I just had to find out how the master would fare in a non-transcribed Bach work.

Just like Michelangeli, Horowitz was of the opinion that a pianist should study the whole reperoire, but be selective in the works to be played in front of an audience.

While his Bach-Busonis do not represent the heights of his discography -just compare with Lipatti-, I do consider Horowitz' Scarlatti as one of the milestones in the history of recorded sound.

So how is the Bach? Very interesting!

We are currently in the (post-)authentic era. After the romantics like Horowitz and Fischer, the objectivists like Walcha and Karl Richter, the authenticists like Leonhardt and Harnoncourt, we are currently in a post-paradigmatic stage. It took them a while, but even the Gilberts, Koopmans, van Asperens, Tans, etc. etc. have finally figured out that their "authentic" approach was often more romanticized, than the one they despised in their predecessors. For those in doubt just listen to this performance.

Comparing Horowitz' Toccata to versions by Gould and Argerich highlights what a skilled and original artist he was. This Toccata represents an early work of the greatest master and often substitutes theatrical drama for more mature contrapunctual skill. This is ofcourse right down Horowit' alley. He plays the piece highly imaginative, dramatic, and with great clarity. A true blockbuster.

This recording highlights how modern Horowitz was. He is often portrayed as the last romantic, but just compare this Bach to Rachmaninov's Sarabande of Bach's fourth Partita in the complete Rach. recordings.

All the other works are available in technically better versions that I strongly prefer based on the dismal sonics of this disc.

Buy this disc. The Bach by itself warrants the price of admission.

Stunning Live Performances from Horowitz.......2001-05-15

Starting in 1945, Vladimir Horowitz engaged the Carnegie Hall Recording Company to record all of his solo recitals in that venue. He paid for the recordings himself, and discontinued them after 1950, when RCA began recording his concerts there. Horowitz would listen to the 78RPM and long-playing discs from time to time, usually at the request of one of his students. He seems to have lost interest in them in the 1960s, and they were stored away in the top floor of his New York townhouse. In 1986, while he was getting his affairs in order, he came upon the discs and donated them to Yale, alma mater of his friend and record producer Tom Frost. After Horowitz died in 1989, Frost listened to all thirteen recitals, and realized that the performances merited public release. In the end, it was decided to release only compositions which were not otherwise in Horowitz' discography, two CDs worth of material.

This performance of the Toccata, BWV 911, is the only available recording of Horowitz playing "untouched" Bach. He brings an almost Gouldian clarity to the proceedings, with a uniquely Horowitzian angst.

The Clementi pieces are played with a larger dynamic range than is customary with music of this period. The Sonata in A, Op. 36, No. 1 features a gentle Allegro and a rollicking Presto. These performances, from 1949-50 disprove the legend that Horowitz "discovered" Clementi while recovering from his 1953 nervous breakdown.

Horowitz rarely Played Chopin's Fantasie, Op. 49 in public, and this recording demonstrates why. The pianist is at his worst here, torturing rhythm, phrasing, and structure. Nor is he as on top of the piece technically as one would expect. If it weren't for the surface noise of this 1948 recording, one would easily guess this was the "mad-scientist" Horowitz of the late 1970s. The other Chopin works fare much better, and sound like Horowitz' typical Chopin playing of the time: bold, large-scaled, technically immaculate performances.

The Liszt and Mendelssohn pieces are played with simplicity and grace, with some miraculous chord-voicing in the Liszt Consolations.

The Rachmaninoff Etude-tableau, which concludes the CD, is played in a declamatory, riveting fashion, with a central section which comes dangerously close to veering out of control.

Tracks:

Meditation (Ave Maria)
Larghetto
Gavotte
Melodie
Lied Ohne Worte Op. 109
Prelude
Ave Maria
Traumerei
Wiegenlied
Nana
Apres Un Reve
Elegie
Le Cygne
Habanera
Anon
Nocturne
Vocalise
Liebesleid

Amazon.com

Russian-born Israeli cellist Mischa Maisky is not the superstar type. He rarely makes recordings and rarely performs outside Europe. But his playing, which he does brilliantly and beautifully on this recording, places him among the finest cellists of our time. This program of famous classical melodies, arranged for cello and piano, is one of the finest cello recordings ever made. --David Vernier

Album Details

Though his Recordings Are Relatively Few (Especially for a Major Label Artist), Mischa Maisky is Recognized as One of the Most Distinguished and Celebrated Cellists of Our Time. This Recital of Arrangements of Familiar as Well as Undeservedly Unfamiliar Classical Tunes Amply Demonstrates Why. His Tone is Impeccable, Technique Flawless, and Most Important He Leaves the Listener Feeling as If They're Hearing the Piece in a Wholly Fresh New Way. Joined by his Long Time Accompanist Pavel Gililov, this is a Recording all Cello Enthusiasts Are Sure to Enjoy.

Customer Reviews:

Beautiful rendition of outstanding classic cello pieces.......1998-12-11

This CD has rapidly become my favorite of my entire collection. I can listen to this for hours. Mr. Maisky plays beautifully, with passion, elegance and sensitivity. Although many of these pieces are familiar, Mr. Maisky is capable of nuances that make one feel that one has never before heard them performed so perfectly. As an amateur cellist myself, I have an intense desire to run to my cello and play these pieces whenever I listen to this CD. Unfortunately my enthusiasm far exceeds my talent so I am forever returning to Mr. Maisky's playing. Everyone for whom I have played this immediately wants to know where he or she can purchase it. I might just send off a few of these to some friends so they too can experience the beautiful sound of the cello played by this master.

Average customer rating:

The idiosyncratic gaze!
Fascinating Chopin
The One and Only One Chopinist?
Excellent, Eccentric Chopin

Chopin: Piano Works, Vol. 3

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

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

Classical | Box Sets | Stores | Music

All Blowout Music | Blowout Music | Stores | Music
Similar Items:

Debussy & Ravel: Piano Works - Samson Francois (6 CD's)
Symphonies 1-3 / Piano Concerto 1-4 / Isle of Dead
Liszt: Works for Piano and Orchestra
Sibelius: The Complete Symphonies & Tone Poems
Bach: Orchestral Suites & Concertos

ASIN: B00005MIZR
Release Date: 2001-11-06

Tracks:

Pno Conc No.1 in e, Op.11. I: Allegro Maestoso - Monte Carlo National Opera Orch/Luis Fremaux
Pno Conc No.1 in e, Op.11: II. Romanze: Larghetto - Monte Carlo National Opera Orch/Luis Fremaux
Pno Conc No.1 in e, Op.11: III. Rondo: Vivace - Monte Carlo National Opera Orch/Luis Fremaux
Pno Conc No.2 in f, Op.21: I. Maestoso - Monte Carlo National Opera Orch/Luis Fremaux
Pno Conc No.2 in f, Op.21: II. Larghetto - Monte Carlo National Opera Orch/Luis Fremaux
Pno Conc No.2 in f, Op.21: III. Allegro Vivace - Monte Carlo National Opera Orch/Luis Fremaux

Tracks:

Polonaise No.1 in c#, Op.26 No.1 - Pierre Barbizet
Polonaise No.2 in e flat, Op.26 No.2 - Pierre Barbizet
Polonaise No.3 in A 'Militaire', Op.40 No.1 - Pierre Barbizet
Polonaise No.4 in c, Op.40 No.1 - Pierre Barbizet
Polonaise No.5 in f#, Op.44 - Pierre Barbizet
Polonaise No.6 in A flat 'Heroique', Op.53 - Pierre Barbizet
Polonaise No.7 in A flat 'Polonaise Brillante', Op.61 - Pierre Barbizet
Andante Spianato Et Grande Polonaise in E flat, Op.22 - Pierre Barbizet

Tracks:

Polonaises Posthumes in d, Op.71 No.1 - Pierre Barbizet
Polonaises Posthumes in B flat, Op.71 No.2 - Pierre Barbizet
Polonaises Posthumes in f, Op.71 No.3 - Pierre Barbizet
Fant in f, Op.49 - Pierre Barbizet
Tarentelle in a flat, Op.43 - Pierre Barbizet
Barcarolle in F#, Op.60 - Pierre Barbizet
Rondo in C, Op.73 - Pierre Barbizet

Tracks:

Ballade No.1 in g, Op.23
Ballade No.2 in F, Op.38
Ballade No.3 in A flat, Op.47
Ballade No.4 in f, Op.52
Scherzo No.1 in b, Op.20
Scherzo No.2 in b flat, Op.31
Scherzo No.3 in c#, Op.39
Scherzo No.4 in E, Op.54

Tracks:

Valse No.1 in E flat 'Grande Valse Brillante', Op.18
Valse No.2 in A flat 'Valse Brillante', Op.34 No.1
Valse No.3 in a, Op.34 No.2
Valse No.4 in F 'Valse Brillante', Op.34 No.3
Grande Valse No.5 in A flat, Op.42
Valse No.6 in D flat, Op.64 No.1
Valse No.7 in c#, Op.64 No.2
Valse No.8 in A flat, Op.64 No.3
Valse No.9 in A flat, Op.69 No.1
Valse No.10 in b, Op.69 No.2
Valse No.11 in G flat, Op.70 No.1
Valse No.12 in f, Op.70 No.2
Valse No.13 in D flat, Op.70 No.3
Valse No.14 in e, Op. posth
Impromptu No.1 in A flat, Op.29
Impromptu No.2 in F#, Op.36
Impromptu No.3 in G flat, Op.51
Impromptu No.4 in c# 'Fant-Impromptu', Op.66

Tracks:

Son No.2 in b flat, Op.35: I. Grave - Doppio Movt
Son No.2 in b flat, Op.35: II. Scherzo: Presto, Ma Non Troppo - Piu Lento - Tempo I
Son No.2 in b flat, Op.35: III. Marche Funebre: Lento
Son No.2 in b flat, Op.35: IV. Finale: Presto
Son No.3 in b, Op.58: I. Allegretto Maestoso
Son No.3 in b, Op.58: II. Scherzo: Molto Vivace
Son No.3 in b, Op.58: III. Largo
Son No.3 in b, Op.58: IV. Finale: Presto, Ma Non Tanto
Mazurka No.1 in f#, Op.6 No.1
Mazurka No.2 in c#, Op.6 No.2
Mazurka No.3 in E, Op.6 No.3
Mazurka No.4 in e flat, Op.6 No.4
Mazurka No.5 in B flat, Op.7 No.1
Mazurka No.6 in a, Op.7 No.2
Mazurka No.7 in f, Op.7 No.3
Mazurka No.8 in A flat, Op.7 No.4
Mazurka No.9 in C, Op.7 No.5
Mazurka No.10 in B flat, Op.17 No.1
Mazurka No.11 in e, Op.17 No.2
Mazurka No.12 in A flat, Op.17 No.3
Mazurka No.13 in a, Op.17 No.4
Mazurka No.14 in g, Op.24 No.1
Mazurka No.15 in C, Op.24 No.2
Mazurka No.16 in A flat, Op.24 No.3
Mazurka No.17 in b flat, Op.24 No.4

Tracks:

Mazurka No.18 in c, Op.30 No.1
Mazurka No.19 in b, Op.30 No.2
Mazurka No.20 in D flat, Op.30 No.3
Mazurka No.21 in c#, Op.30 No.4
Mazurka No.22 in g#, Op.33 No.1
Mazurka No.23 in D, Op.33 No.2
Mazurka No.24 in C, Op.33 No.3
Mazurka No.25 in B, Op.33 No.4
Mazurka No.26 in c#, Op.41 No.1
Mazurka No.27 in e, Op.41 No.2
Mazurka No.28 in B, Op.41 No.3
Mazurka No.29 in A flat, Op.41 No.4
Mazurka No.30 in G, Op.50 No.1
Mazurka No.31 in A flat, Op.50 No.2
Mazurka No.32 in c#, Op.50 No.2
Mazurka No.33 in B, Op.56 No.1
Mazurka No.34 in C, Op.56 No.2
Mazurka No.35 in c, Op.56 No.3
Mazurka No.36 in a, Op.59 No.1
Mazurka No.37 in A flat, Op.59 No.2
Mazurka No.38 in f#, Op.59 No.3
Mazurka No.39 in B, Op.63 No.1
Mazurka No.40 in f, Op.63 No.2
Mazurka No.41 in c#, Op.63 No.3
Mazurka No.42 in G, Op.67 No.1
Mazurka No.43 in g, Op.67 No.2
Mazurka No.44 in C, Op.67 No.3
Mazurka No.45 in a, Op.67 No.4
Mazurka No.46 in C, Op.68 No.1
Mazurka No.47 in a, Op.68 No.2
Mazurka No.48 in F, Op.68 No.3
Mazurka No.49 in f, Op.68 No.4
Mazurka No.50 in a
Mazurka No.51 in a

Tracks:

Etudes, Op.10: No.1 in C
Etudes, Op.10: No.2 in a
Etudes, Op.10: No.3 in E
Etudes, Op.10: No.4 in c#
Etudes, Op.10: No.5 in G flat
Etudes, Op.10: No.6 in e flat
Etudes, Op.10: No.7 in C
Etudes, Op.10: No.8 in F
Etudes, Op.10: No.9 in f
Etudes, Op.10: No.10 in A flat
Etudes, Op.10: No.11 in E flat
Etudes, Op.10: No.12 in c
Etudes, Op.25: No.1 in A flat
Etudes, Op.25: No.2 in f
Etudes, Op.25: No.3 in F
Etudes, Op.25: No.4 in a
Etudes, Op.25: No.5 in e
Etudes, Op.25: No.6 in g#
Etudes, Op.25: No.7 in c#
Etudes, Op.25: No.8 in D flat
Etudes, Op.25: No.9 in G flat
Etudes, Op.25: No.10 in b
Etudes, Op.25: No.11 in a
Etudes, Op.25: No.12 in c
Nouvelles Etudes, Op.Posth: No.1 in f
Nouvelles Etudes, Op.Posth: No.2 in D flat
Nouvelles Etudes, Op.Posth: No.3 in A flat

Tracks:

Nocturne No.1 in b flat, Op.9 No.1
Nocturne No.2 in E flat, Op.9 No.2
Nocturne No.3 in B, Op.9 No.3
Nocturne No.4 in F, Op.15 No.1
Nocturne No.5 in F#, Op.15 No.2
Nocturne No.6 in g, Op.15 No.3
Nocturne No.7 in c#, Op.27 No.1
Nocturne No.8 in D flat, Op.27 No.2
Nocturne No.9 in B, Op.32 No.1
Nocturne No.10 in A flat, Op.32 No.2
Nocturne No.11 in g, Op.37 No.1
Nocturne No.12 in g, Op.37 No.2
Nocturne No.13 in c, Op.48 No.1

Tracks:

Nocturne No.14 in f#, Op.48 No.2
Nocturne No.15 in f, Op.55 No.1
Nocturne No.16 in E flat, Op.55 No.2
Nocturne No.17 in B, Op.62 No.1
Nocturne No.18 in E, Op.62 No.2
Nocturne No.19 in e, Op.72 No.1
Prlds, Op.28 No.1 in C
Prlds, Op.28 No.2 in a
Prlds, Op.28 No.3 in G
Prlds, Op.28 No.4 in e
Prlds, Op.28 No.5 in D
Prlds, Op.28 No.6 in b
Prlds, Op.28 No.7 in A
Prlds, Op.28 No.8 in f#
Prlds, Op.28 No.9 in E
Prlds, Op.28 No.10 in c#
Prlds, Op.28 No.11 in B
Prlds, Op.28 No.12 in g#
Prlds, Op.28 No.13 in F#
Prlds, Op.28 No.14 in e flat
Prlds, Op.28 No.15 in D flat
Prlds, Op.28 No.16 in b flat
Prlds, Op.28 No.17 in A flat
Prlds, Op.28 No.18 in f
Prlds, Op.28 No.19 in E flat
Prlds, Op.28 No.20 in c
Prlds, Op.28 No.21 in B flat
Prlds, Op.28 No.22 in g
Prlds, Op.28 No.23 in F
Prlds, Op.28 No.24 in d

Customer Reviews:

The idiosyncratic gaze! .......2006-08-17

Samson Francois' Chopin has overtly overtopped and even redefined the whole concept around Chopin's universe.

As a matter of fact, Alfred Cortot, Dinu Lipatti, Arturo Benedetti Michelangeli brought not only a refreshing vision but still better, new perspectives of interpretation, leaving behind the romanticism and approaching him under the idiosyncratic emblem of a bygone era. That's what the previous reviewers have denominated eccentric rather than interpretative renovation, where the dimension of every piece is considered in its own individuality and specific weight, where the concept of miniaturist composer has been substituted by the thinker poet, earning an organic quality and major dramatic scope.

I cannot think about another pianist who may phrase Chopin as Francois did it. So, please do me a favor and firmly decide to acquire it. You will surprise yourself!

Fascinating Chopin.......2006-02-17

I understand Francois was somewhat of an eccentric, and in a way his playing of these familiar great works are sometimes eccentric, for instance in the tempos of the first movement of the First Concerto and the first movement of the B-flat minor sonata. He is a great magician and poet, however, and these well-recorded readings have given me immense pleasure. Great for a more non-traditional look at Chopin, a composer that allows the performer a lot of leeway to engage in fluctuations of line and tempo without diminishing the works. The Noctures, Ballades, Concerti, Sonatas, Preludes, Polonaises and Etudes are wonderful. The Mazurkas seem pretty cold-hearted and are the low point of the set. However, the highs far outweigh the lows, and I highly recommend this modestly priced set as a very interesting alternative to more traditional approaches. A unique artist.

The One and Only One Chopinist?.......2005-01-25

Samson Francois is more well-known in Europe (or even in Asia) than in US.

Philips, advised by Alfred Brendel among others, presented Samson Francois as one of the greatest pianists of the century. In Philips' list, we do have some extraordinary Chopinists. Fridedman's Mazurkas are said to be unsurpassble, so are Cortot's Preludes & Etudes (or all his Chopin), or Lipatti's Waltzes. Or else, Hofmann's or Rachmaninov's Chopin are just marvelous. But those are historic recordings. While some prefer Moravec or even Arrau's Nocturnes, Rubinstein's Nocturnes, and particularly his Polonaises, like Agerich's Preludes are a sensation. Cziffra's Chopin is superb, so is Freire in general. But we can't leave out Samson as a leading Chopin interpreter.

Samson was perhaps the greatest of Cortot's pupils. From his Chopin Ballades, there are all-embracing colours (by the subtlety of using the pedal among other things) creating rainbow after rainbow. The harmonic suspensions as the nub of the Ballades adds so much to the potency of music. His Nocturnes, darkening the colours in the background creating the right atmostphere together with the poignancy of his narrative power, compare favourably with Arrau's. His Preludes may not be a fiery as Agerich's, but they are more bitter, so bitter that he is a type of his own...

The Nocturnes are recorded in '66. And in any event the earliest recording in the boxset was made in '54 and the re-mastering is so good that unless you make an effort, you won't be able to tell them from modern recordings and yet they are sold at bargain price. Grap it while it is still available.

Excellent, Eccentric Chopin.......2004-01-18

The Chopin "Piano Works" featured in this 10 CD set from EMI's "Budget Box Series" are excellent, yet eccentric. Those used to the romance and poetry of Rubinstein, the deliberateness and precision of Horowitz, or the power and grace of Pollini may well be in for a shock when it comes to Samson Francois' Chopin. The Piano Concertos, performed with Louis Fremaux conducting the Monte Carlo National Opera Orchestra from 1965 (and available as a single disc in EMI's "Great Recordings of the Century" series) are strikingly different from accounts I am more familiar with by Argerich, Bachauer and Gilels. To say their defining characteristic is that they are more French sounding is an understatement. The highlight of this set, which by the way is not a "complete" volume of all of Chopin's piano music, has to be the Ballades (though, like much of the material in this set they are in mono) and the Nocturnes (in stereo from 1966). In turn, the low point is most certainly the Mazurkas -- Artur, where are you when we need you? In all, this is certainly an amazing musical document, and at this budget price, a nice alternative to more accepted readings. But my five-star rating comes with the caveat that this Box Set is not for those looking for there one and only Chopin collection.

Average customer rating:

Sviatislav Richter in the 1950s, Vol. 1

Manufacturer: Parnassus
ProductGroup: Music
Binding: Audio CD

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

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Sviatislav Richter in the 1950s, Vol. 2
Sviatoslav Richter in the 1950s, Vol. 3
Sviatoslav Richter in the 1950s, Volume 4
Sviatoslav Richter in the 1950's, Vol. 5

ASIN: B000001Z4Y
Release Date: 1997-01-21

Tracks:

5 Pno Transcriptions From 'Cinderella': Quarrel, Op.102, No.3
5 Pno Transcriptions From 'Cinderella': Gavotte, Op.95, No.2
5 Pno Transcriptions From 'Cinderella': Autumn Fairy, Op.97, No.3
5 Pno Transcriptions From 'Cinderella': Orientelia, Op.97, No.6
5 Pno Transcriptions From 'Cinderella': Waltz, Cinderella And The Prince, Op.102, No.1
10 Visions Fugitives, Op.22, No.3-6, 8-9, 11, 14-15, 18
Pno Son No.7 in B flat, Op.83: Allegro Inquieto
Pno Son No.7 in B flat, Op.83: Andante Caloroso
Pno Son No.7 in B flat, Op.83: Precipitato
Toccata in C, Op.7
Images, Book 2: No.1 Cloches A Travers Les Feuilles
Etude in E, Op.10, No.3
Etude in C, Op.10, No.1
Prld in g, Op.23, No.5
Prld in g#, Op.32, No.12

Tracks:

Grand Son in G, Op.37: Moderato E Risoluto
Grand Son in G, Op.37: Andante Non Troppo Quasi Moderato
Grand Son in G, Op.37: Scherzo, Allegro Giocoso
Grand Son in G, Op.37: Finale, Allegro Vivace
Prld in f#, Op.23, No.1
Prld in A, Op.32, No.9
Prld in b, Op.32, No.12
Prld in g#, Op.32, No.12
Prld in A flat, Op.23, No.8
Prld in f, Op.32, No.7
Prld in C, Op.32, No.1
Prld in b flat, Op.32, No.2
Prld in B flat, Op.23, No.2
Prld in D, Op.23, No.4
Prld in c, Op.23, No.7
Images, Book 2: No.1 Cloches A Travers Les Feuilles
Valse Oubliee No.1
Etude in E, Op.10, No.3

Alfred Cortot: The Late Recordings, Vol. 1

Average customer rating:

Alfred Cortot: The Late Recordings, Vol. 1

Manufacturer: Apr UK
ProductGroup: Music
Binding: Audio CD

Polonaises | Ballets & Dances | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
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The Late Recordings, Vol. 2
Alfred Cortot: The Master Classes

ASIN: B000065AI6
Release Date: 2002-07-30

Average customer rating:

As good as light music gets
Peace, Peace, Peace....
Best in this series!!!!

Classics Up To Date, Vol. 4

Manufacturer: Polygram France
ProductGroup: Music
Binding: Audio CD

Pavanes | Ballets & Dances | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

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

General | Opera & Vocal | Styles | Music

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General | Easy Listening | Pop | Styles | Music

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Best of Classics Up to Date
Classics
Gentleman of Music With His Orchestra & Choir
Best of Great Instrumentals
Very Best of James Last

ASIN: B00000E5I9
Release Date: 1997-05-09

Customer Reviews:

As good as light music gets.......2004-11-09

Among the several 'classics up to dates' by James Last I listend to, this is undoutably the best.

Peace, Peace, Peace...........1999-04-21

I have many CDs of the series and this is one of my favorite. I think this is very next to the volume 5 in its beauty and depth. Just beautiful and peaceful. I was mesmerised by the Spring Song(Mendelssohn), which was uniquely arranged by Last's own way. He is genious!! I highly recommend to start collecting this series with this album or volume 5.

Best in this series!!!!.......1999-01-27

In this album, the listener is in for a special treat, 11 of the best classical interpretations done by James Last. This 1977 release contains two tracks from the opera "Madame Butterfly", which are simply the finest versions of these familiar pieces I have ever heard. The Chopin piece is wonderful. There are a wide variety of different tempos evidenced in this recording. In this recording, the casual James Last fan may find himself/herself forever "hooked on" the beauty of his music. Hansi's trademark strings never sounded better!

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