Keyboard Fantasies

Track Listings

1. Contrapuntal Fantasy on John Newton's Amazing Grace

2. Ostinato: Fantasia on All Creatures of Our God and King

3. Fantasy: Choruses on This Little Light of Mine - Charles Abramovic

4. Di Cibo Celeste (Ciaconna-Fantasia on Themes from Mozart's Don Giovanni

5. Visione Della Crociate (Vision of the Crusades)

Tracks:

Reverie (Villa D'Este)
Waltz # 1 (Nunley's Carousel)
Aria (Grand Canal)
Invention In C Minor
Soliloquy (On A Separation)
Innamorato
Suite For Piano (Star-Crossed)
Sorbetto
Delusion
Waltz # 2 (Steinway Hall)
Waltz # 3 (For Lola)
Fantasy (Film Noir)
Air (Dublinesque)

Amazon.com

For nearly a decade now, Billy Joel has devoted himself to writing instrumental classical music. The results heard on Fantasies & Delusions show the "Piano Man" firmly rooted in Romanticism and short, expressive works that cover a range of moods. There are hints of Schumann and Chopin throughout the 10 solo piano compositions; Joel may wear his influences on his sleeve, but at least he has great influences. Some critics may scoff, but this is a solid debut--not a "classical crossover" attempt filled with infectious pop melodies, but an impressive recording of new piano works played solidly by Richard Joo. As with his pop creations, Joel doesn't strive for the cutting-edge and he certainly doesn't traverse the depths of human emotions (though the 11-minute "Soliloquy, Op.1" sounds a little overwrought). This is still a pleasant classical album that's infinitely listenable (and head and shoulders above recent "classical" works penned by Paul McCartney and other pop stars). --Jason Verlinde

Customer Reviews:

great CD.......2007-05-09

Amazing. It is very light, not serious. A very enjoyable CD

At best, a sincere attempt by a layperson.......2007-03-01

I understand that Joel has a limited classical background. It shows in all of the pieces. They are, however, a sincere attempt at classical composition. He tries different approaches, like drama, wistfulness, and even a motoric element. But it's obvious that he needs to listen to more classical discs and brush up on his knowledge of classical repertoire.

Nice try though.

Lovely piece of wrting played very well.......2006-12-31

For all that say this is a hollow initation of past composers should remember that there has been little groundbreaking compsition for the last 50 years (maybe 100) and what is groundbreaking I can barely stand listening to. It is not Chopin .... it not supposed to be.

Listen for what it is and you will find it lovely piece of wrting played very well.

Unbelievable... unforgettable!.......2006-12-01

Wow! This is a great classical album. It's perfection. A hundred years from now, if only one recording of Billy Joel survives, I hope it's this one.

Richard Joo is the pianist in the world - I heard him live!!!.......2006-03-07

I have to say that the performance on the CD by Richard Joo is impeccable! However, I have had the fortune to hear him perform live and I must say that he is absolutely the BEST pianist that I have ever heard!!!! I have been in the classical music business for years and have heard countless pianists, but RICHARD JOO is in a league of his own. Especially when he performs "serious" classical pieces. So, if you ever get a chance to hear him live, DON'T MISS IT!!!! I have definately become his fan.

Average customer rating:

Stories Of Schumann And Grieg

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

Dances | Ballets & Dances | Classical | Styles | Music

Quintets | Chamber Music | Classical | Styles | Music

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Etudes | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Toccatas | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

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Story Of Chopin In Words And Music
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ASIN: B000001KCV
Release Date: 1995-04-16

Tracks:

Symphony No. 3 In E-flat Major, Op. 97: 'Rhenish' - Lebhaft
Andante And Variations In B-Flat Major
Symphonic Etudes, Op. 13
Toccata In C Major, Op. 7
Kreisleriana, Op. 16
Piano Concerto In A Minor, Op. 54: Allegro Vivace
Carnaval, Op. 9
'Dedication', Op. 25/1
Symphony No. 4 in D Minor, Op. 120: Introduction - Vivace
Papilons, Op. 2
Op. 25-3: 'The Nut Tree'
Symphony No. 3 In E-flat Major, Op. 97: 'Rhenish' - Lebhaft-Schneller
Piano Quintet In E-flat Major, Op. 44: Allegro ma non troppo
Piano Concerto In A Minor, Op. 54: Allegro affettuoso
Carnaval, Op. 9: Waltz
Album For The Young, Op. 68: The Merry Farmer
Scenes From Childhood, Op. 15: Dreams
Cello Concerto In A Minor, Op. 129: Nicht au schnell
Symphony No. 3 In E-flat Major, Op. 97: 'Rhenish' - Feierlich
Peer Gynt Suite No. 1, Op. 46, No 1
Lyric Suite, Op. 54-2: Norwegian Rustic Dance
Op. 12 No. 4: Elf Dance
Op. 35, No. 1: Norwegian Dances
Elegiac Melodies
Op. 64, No. 4: Symphonic Dances
Op. 35, No. 2: Norwegian Dances
Op. 5-3: 'I Love Thee'
Op. 43, No. 1: Butterfly
Op. 65, No. 6: Wedding Day At Troldhaugen
Peer Gynt Suite No. 1, Op. 46, No. 3: Anitra's Dance
Peer Gynt Suite No. 2, Op. 55, No. 4: Solveig's Song
Peer Gynt Suite No. 1, Op. 46, No. 4: In The Hall Of The Mountain King
Piano Concerto In A Minor, Op. 16: Allegro moderato; Allegro marcato
Holberg Suite, Op. 40: Prelude: Allegro vivace
Lyric Suite, Op. 54, No. 3: Dance Of The Dwarfs
Homage To Chopin
Sigurd Jorsalfar Suite, Op. 56, No. 3: Homage March
Peer Gynt Suite No. 1, Op. 46: Morning Mood
Peer Gynt Suite No. 1, Op. 46: The Death Of Aase
Peer Gynt Suite No. 1, Op. 46: Anitra's Dance
Peer Gynt Suite No. 1, Op. 46: In The Hall Of The Mountain King
Peer Gynt Suite No. 2, Op. 55: III The Return Of Peer Gynt
Peer Gynt Suite No. 2, Op. 55: IV Solveig's Song

Complete Recordings on Deutsche Grammophon

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Horowitz: A Digital Legacy

Complete Recordings on Deutsche Grammophon

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

Mazurkas | Ballets & Dances | Classical | Styles | Music

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Preludes | Forms & Genres | Classical | Styles | Music

Rondos | Forms & Genres | Classical | Styles | Music

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ASIN: B00008RWRI
Release Date: 2003-10-14

Customer Reviews:

Horowitz: A Digital Legacy.......2004-11-15

This set includes all of the recordings Vladimir Horowitz did for Deutsche Grammophon in the 1980s, including his historical concert in Moscow.

While the context of his return in Moscow is moving, the studio recordings are simply wonderful. The sound quality is impeccable. The Steinway piano sounds warm but yet crisp and sharp. Horowitz still has plenty of power, and if you don't have a good sound system, you will notice that your speakers will literally fail, due to the overwhelming wall of sound that Horowitz creates in the intense parts.

The tender moments are just as exciting, as they are enhanced by the very quiet and clear digital recording process. Liszt's Standchen and Mozart's Piano Concerto No 23 are only two of a myriad of highlights contained on this boxed set. Having these high quality digital recordings of this piano legend is a blessing that you can't afford to miss. And at this price, it's simply irresistible.

Tracks:

Kinderszenen Op.15: About Foreign Lands And Peoples
Kinderszenen Op.15: Curious Story
Kinderszenen Op.15: Catch Me If You Can
Kinderszenen Op.15: Pleading Child
Kinderszenen Op.15: Happiness
Kinderszenen Op.15: Important Event
Kinderszenen Op.15: Dreaming
Kinderszenen Op.15: At The Fireside
Kinderszenen Op.15: Knight Of The Hobby Horse
Kinderszenen Op.15: Almost Too Serious
Kinderszenen Op.15: Frightening
Kinderszenen Op.15: Child Falling Asleep
Kinderszenen Op.15: The Poet Speaks
Kreisleriana Op.16: Agitatissimo
Kreisleriana Op.16: Con Molta Espressione, Non Troppo Presto
Kreisleriana Op.16: Molto Agitato
Kreisleriana Op.16: Lento Assai
Kreisleriana Op.16: Vivace Assai
Kreisleriana Op.16: Lento Assai
Kreisleriana Op.16: Molto Presto
Kreisleriana Op.16: Vivace E Scherzando

Customer Reviews:

I hate this CD!.......2004-12-12

I hate this CD! I choose to listen to it primarily for the Kreisleriana, one of my favorite pieces of Schumann -- and then, to my chagrin, I get sidetracked by Kinderscenen, the first piece on this disc. Once I hear the lovely opening strains of "From foreign lands and peoples," I am "hooked" and must finish listening to this piece in its entirety before I get to hear the Kreisleriana. What a horrible predicament . . . to have two stunning performances of two entirely different works by the same composer and same artist on a single CD!! Seriously, though, while Martha Argerich needs no endorsement -- certainly not from a mere mortal like me -- the interpretations on this disc are nothing short of extraordinary. The alternately gentle ease, whimsical jerkiness, and general loveliness with which she plays the Kinderscenen truly presents this as a piece not for children, but for adults about children with all of their profound yet innocent thoughts and delights. One loses oneself in this musical panorama of childhood brought forth by Ms. Argerich. Regarding Kreisleriana, it is best that I say nothing and simply insist that everyone who loves music owes himself or herself the hearing of this romantic, mysterious, yet subtle masterpiece of Schumann brought forth through the mind and fingers of Ms. Argerich. (I truly feel indebted to her, knowing her aversion to solo playing, that she has graced us with these recordings, of which the purchase price is as nothing when compared with the inestimable value of the production.) This is a performance that is at once intensely passionate and caressingly beautiful. Thunderously powerful and quietly mysterious -- all as Schumann intended . . . but almost never realized in the concert hall, so difficult is the performance of this work both technically and interpretively. In closing, while I still adore the (justly) legendary Kreislerianas of Kempff and Horowitz, there's just something about Argerich here that makes the heart beat a bit faster.

One phenomenal artist!.......2004-09-26

For those fortunate enough to have heard Martha Argerich in concert are well aware of her innate musicality and brilliance of execution. Though she is usually associated with the "barn-burner" repertoire she has always been equally at home in the gentler tenderness of such works as in this recordings Kinderszenen by Robert Schumann (paired with an equally successful reading of the Kreisleriana). Yes, she does have her own ideas about tempi and dynamics, but this music is, after all, form the Romantic Era when just such personality traits were de rigueur with performers (and composers performing their own works!). Argerich never gets in the way of the composer's markings, she just leans into the inner voices and there finds interpretations that sing. Her nonchalant (read 'unfussy') opening of 'Von fremden Landern und Menschen' is childlike innocence itself, and when she approaches 'Ritter con Steckenpferd' we are on a wild ride of technical finesse. The balance of the recording (made in 1984) is up to the old standards set by DGG. This is an enormously satisfying CD of two wonderful cycles from Schumann's repertoire for the piano alone.

Argerich According to Taste.......2000-06-19

Last Summer I finally had the opportunity to hear Argerich live in concert (Prokoviev, not Schumann -- but it hardly mattered). I felt my musical appreciation life was complete. As recent New York Times articles have said, Argerich in concert inspires something very like the 'Lisztomania' phenomenon in the 19th century. Live, sitting at the piano, fingers often moving so fast they can't be followed with the eye, yet always poised like doing this were the most natural thing in the world, Argerich seems more an elemental force or goddess than a human pianist...at least to people who become involved in her music making. (At the concert I attended she received a 15-20 minute nonstop standing ovation -- no exaggeration -- so it seemed everyone was involved.)

This is all by way of saying that Argerich's recordings don't in my experience -- possibly can't -- live up to her live performances. And so what some people hear as 'virtuosity for its own sake' (quoted from above review), may be the most thrilling music ever heard by the people in the studio at the time she recorded it. Or maybe she needs a concert hall audience, and the studio technicians heard brilliant virtuosity.

As to this recording, I find it to be for the most part vintage Argerich. There are passages that are either too briskly stormed through or that didn't translate onto record and needed to be heard live (microphones are not ears and do change the sound -- that's why there's no perfect stereo system). But if you are able to get into Argerich's sound world -- one of profound emotional intelligence and dynamism -- then what could sound like caprice begins to thrill. The Gramophone reviewer noted Argerich's identification with the child's point of view in Kinderszenen, and I hear that as well. That performance is full of wonder and impulse and 'seeing what's on the other side of that door.' The Kriesleriana is a wild, passionate ride, but with great concentration and intensity in the slow movements. Her tempi, as always, are fast -- almost like the rest of the world is moving in slow motion to her. The sound on the LP was crystal clear, a little light in the bass, neither rich and warm nor cold nor brittle -- just raindrop clear: a typically good DG recording.

If you like Argerich, this is a marvellous disc. If you often have reservations about her playing, you will almost certainly have them again here; though I heartily recommend attending at least one of her concerts at the earliest opportunity.

One of the best Schumann performences.......2000-06-02

I loved Argerich's interpretation of those pieces. No Doubt that this is one of the best recordings of the 20th century! a must.

Average customer rating:

The Definitive Kreislerianna
Horowitz was good...only.
perfection

Schumann: Kinderszenen Op15

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000026GD
Release Date: 1990-10-25

Tracks:

Toccata Op. 7
Scenes From Childhood, Op. 15: I. From Foreign Lands And Peoples
Scenes From Childhood, Op. 15: II. A Curious Story
Scenes From Childhood, Op. 15: III. Blind Man's Buff
Scenes From Childhood, Op. 15: IV. Pleading Child
Scenes From Childhood, Op. 15: V. Happiness
Scenes From Childhood, Op. 15: VI. An Important Event
Scenes From Childhood, Op. 15: VII. Dreaming
Scenes From Childhood, Op. 15: VIII. At The Fireside
Scenes From Childhood, Op. 15: IX. Knight Of The Hobbyhorse
Scenes From Childhood, Op. 15: X. Almost Too Serious
Scenes From Childhood, Op. 15: XI. Frightening
Scenes From Childhood, Op. 15: XII. Child Falling Asleep
Scenes From Childhood, Op. 15: XIII. The Poet Speaks
Kreisleriana, Op. 16: I. Ausserst bewegt
Kreisleriana, Op. 16: II. Sehr inning und nicht zu rasch
Kreisleriana, Op. 16: III. Sehr aufgeregt
Kreisleriana, Op. 16: IV. Sehr langsam
Kreisleriana, Op. 16: V. Sehr lebhaft
Kreisleriana, Op. 16: VI. Sehr langsam
Kreisleriana, Op. 16: VII. Sehr rasch
Kreisleriana, Op. 16: VIII. Schnell und spielend
Arabesque, Op. 18
Blumenstuck, Op. 19

Customer Reviews:

The Definitive Kreislerianna.......2005-11-01

Everything on this disc is what you'd expect from one of the greatest pianists of all time: superb. But the treasure is the Kreislerianna, of which this is the definitive recording. I've searched in vain for a more recent, sonically better version. There is, for example, a decent recording of the piece by Perahia, a mediocre one by Brendel, and an awful one by Argerich (arghhh!), but nothing matches this. Radu Lupu's comes the closest, but it lacks the definition and vision of Horowitz's, especially in the opening section. People sometimes berate Horowitz as too much a technician, much as they did Gould. But how they can say that in the face of a deeply felt interpretation such as this is beyond me. I first heard this recording when I was about 16 (luckily, since this isn't your average bedtime classical sampler, and it needs the right interpreter) and have loved it ever since. The Kreislerianna, incidentally, is also among Schumann's most lovely works, melodic, and complex.

Horowitz was good...only........2004-11-26

Horowitz in my opinion epitomized the typical virtuoso pianist expected by the unknowledged majority. Horowitz was great with some of the most difficult pieces of music. His technique was grand, but his musicality lacked purity and warmth. A great man once said that it is ok to drop your voice at the end of a sentece, but too loose it completely was simply pushing the boundries. Horowitz is not my choice for playing the Kinderzenen, but the rest of the program was his to conquer.

perfection.......1999-08-08

an essential Schumann CD. Kreisleriana especially is mind-blowing

Average customer rating:

The facets of the lyricism!
Divine
To be avoided
aristocratic and heartfelt schumann
aristocratic and heartfelt schumann

Schumann: Piano Works

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B000001GFJ
Release Date: 1992-02-11

Tracks:

Papillons Op. 2, Introduction. Moderato...
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 1. Lebhaft
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 2. Innig
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 3. Mit Humor (Etwas hahnbuchen)
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 4. Ungeduldig
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 5. Einfach
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 6. Sehr rasch (Sehr rasch und in sich hinein)
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 7. Nicht schnell (Mit ausserst starker Empfindung)
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 8. Frisch
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 9. Lebhaft
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 10. Balladenmassig. Sehr rasch
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 11. Einfach
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 12. Mit Humor
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 13. Wild und lustig
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 14. Zart und singen
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 15. Frisch
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 16. Mit gutem Humor
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 17. Wie aus der Ferne
Davidsbundlertanze Op. 6, (18 Charakterstucke) - 18. Nicht schnell
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 1. Preambule. Quasi maestoso - Piu moto - Animato - Vivo - Presto
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 2. Pierrot. Moderato
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 3. Arlequin. Vivo
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 4. Valso noble. Un poco maestoso
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 5. Eusebius. Adagio
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 6. Florestan. Passionato
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 7. Coquette. Vivo
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 8. Replique. L'istesso tempo - (Sphinxes)
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 9. Papillons. Prestissimo
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 10. A.S.C.H. - S.C.H.A. (Lettres dansantes). Presto
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 11. Chiarina. Passionato
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 12. Chopin. Agitato
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 13. Estrella. Con affetto
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 14. Reconnaissance. Animato
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 15. Pantalon et Colombine. Presto
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 16. Valse allemande. Molto vivace
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 17. Paganini. Intermezzo. Presto
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 18. Aveu. Passionato
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 19. Promenade. Comodo
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 20. Pause. Vivo
Carnaval Op. 9, Scenes mignonnes sur quatre notes - 21. Marche des (Davidsbundler) contre les Philistins. Non Allegro - Molto piu vivo - Animato - Vivo - Animato molto - Vivo - Piu stretto

Tracks:

Symphonische Etuden, Op. 13 - Thema. Andante
Symphonische Etuden, Op. 13 - Etude I. Un poco piu vivo
Symphonische Etuden, Op. 13 - Etude II.
Symphonische Etuden, Op. 13 - Etude III. Vivace
Symphonische Etuden, Op. 13 - Etude IV.
Symphonische Etuden, Op. 13 - Etude V. Vivacissimo
Symphonische Etuden, Op. 13 - Etude VI. Agitato
Symphonische Etuden, Op. 13 - Etude VII. Allegro molto
Symphonische Etuden, Op. 13 - Etude VIII. Andante
Symphonische Etuden, Op. 13 - Etude IX. Presto possibile
Symphonische Etuden, Op. 13 - Etude X. Allegro
Symphonische Etuden, Op. 13 - Etude XI. Con espressione
Symphonische Etuden, Op. 13 - Etude XII. Finale. Allegro brillante
Kinderszenen, Op. 15 - 1. Von fremden Landern und Menschen
Kinderszenen, Op. 15 - 2. Kuriose Geschichte
Kinderszenen, Op. 15 - 3. Hasche-Mann
Kinderszenen, Op. 15 - 4. Bittendes Kind
Kinderszenen, Op. 15 - 5. Gluckes genug
Kinderszenen, Op. 15 - 6. Wichtige Begebenheit
Kinderszenen, Op. 15 - 7. Traumerei
Kinderszenen, Op. 15 - 8. Am Kamin
Kinderszenen, Op. 15 - 9. Ritter vom Steckenpferd
Kinderszenen, Op. 15 - 10. Fast zu ernst
Kinderszenen, Op. 15 - 11. Furchtenmachen
Kinderszenen, Op. 15 - 12. Kind im Einschlummern
Kinderszenen, Op. 15 - 13. Der Dichter spricht
Kreisleriana, Op. 16 - Fantasien - 1. Ausserst bewegt
Kreisleriana, Op. 16 - Fantasien - 2. Sehr innig und nicht zu rasch - Intermezzo, Sehr lebhaft - Intermezzo II. Etwas bewegter - Lngsamer (erstes Tempo)
Kreisleriana, Op. 16 - Fantasien - 3. Sehr aufgeregt
Kreisleriana, Op. 16 - Fantasien - 4. Sehr langsam
Kreisleriana, Op. 16 - Fantasien - 5. Sehr lebhaft
Kreisleriana, Op. 16 - Fantasien - 6. Sehr langsam
Kreisleriana, Op. 16 - Fantasien - 7. Sehr rasch
Kreisleriana, Op. 16 - Fantasien - 8. Schnell und spielend

Tracks:

Fantasie C-dur, Op. 17 - 1. Durchaus phantastisch und leidenschaftlich vorzutragen - Im Legendenton - Tempo Primo
Fantasie C-dur, Op. 17 - 2. Massig. Durchaus energisch - Etwas langsamer - Viel bewegter
Fantasie C-dur, Op. 17 - 3. Langsam getragen. Durchweg leise zu halten - Etwas bewegter
Arabeske, Op. 18 - Leicht und zart - Minore I. Etwas langsamer - Minore II. Etwas langsamer - Zum Schluss (Coda). Langsamer
Humoreske, Op. 20 - Einfach - Sehr rasch und leicht - Noch rascher - Erstes Tempo - Wie im Anfang
Humoreske, Op. 20 - Hastig - Nach und nach immer lebhafter und starker - Wie vorher - Adagio
Humoreske, Op. 20 - Einfach und zart - Intermezzo - (Wie vorher -) Innig
Humoreske, Op. 20 - Sehr lebhaft - Mit einigem Pomp - Zum Beschluss - Allegro
Novelette No. 9 - aus: Bunte Blatter, Op. 99 - Lebhaft

Tracks:

Sonate Nr. 2 g-moll Op. 22 - 1. So rasch wie moglich
Sonate Nr. 2 g-moll Op. 22 - 2. Andantino. Getragen
Sonate Nr. 2 g-moll Op. 22 - 3. Scherzo. Sehr rasch und markiert - attacca:
Sonate Nr. 2 g-moll Op. 22 - 4. Rondo. Presto - Prestissimo. Quasi Cadenza
Nachtstucke, Op. 23 - 1. Mehr langsam, oft zuruckhaltend
Nachtstucke, Op. 23 - 2. Markiert und lebhaft
Nachtstucke, Op. 23 - 3. Mit grosser Lebhaftigkeit
Nachtstucke, Op. 23 - 4. Ad libitum - Einfach
Drei Romanzen, Op. 28 - 1. Sehr markiert
Drei Romanzen, Op. 28 - 2. Einfach
Drei Romanzen, Op. 28 - 3. Sehr markiert - Intermezzo I. Presto - Intermezzo II. Etwas langsamer - Wie vorherPresto - Inter
Waldszenen, Op. 82 - Neun Klavierstucke - 1. Eintritt. Nicht zu schnell
Waldszenen, Op. 82 - Neun Klavierstucke - 2. Jager auf der Lauer. Hochst lebhaft
Waldszenen, Op. 82 - Neun Klavierstucke - 3. Einsame Blumen. Einfach
Waldszenen, Op. 82 - Neun Klavierstucke - 4. Verrufene Stelle. Ziemlich langsam
Waldszenen, Op. 82 - Neun Klavierstucke - 5. Freundliche Landschaft. Schnell
Waldszenen, Op. 82 - Neun Klavierstucke - 6. Herberge. Massig
Waldszenen, Op. 82 - Neun Klavierstucke - 7. Vogel als Prophet. Langsam, sehr zart
Waldszenen, Op. 82 - Neun Klavierstucke - 8. Jagdlied. Rasch, kraftig
Waldszenen, Op. 82 - Neun Klavierstucke - 9. Abschied. Nicht zu schnell

Customer Reviews:

The facets of the lyricism!.......2006-05-30

Wilhelm Kempff made sing the piano as any other pianist ever born. But besides, his profound domain of the thematic material as well as his tune produced a Schumann so original, expressive and eloquent with sentiment but no sentimentality.

This album is a formidable and fundamental set of the most remarkable Schumann piano works. To create such atmosphere and interpretative freshness in this composer is not easy, but in Kempff hands we are talking about another dimension of pianism.

In this age, pitifully, you cannot count with many thinkers pianists; ones due the very adjusted schedule and the rest by unknown reasons seem to consider a matter of second priority to play with a determined conception. The technique seems to prevail under any other aspect. And that's not a good symptom.

That is why among other arguments you should acquire as soon as possible this extraordinary set.

Absorbing and rewarding in summon grade.

Divine.......2005-07-18

When I first read the reviews here on Amazon, I was a bit concerned about buying this set. I truely love Kempff and elegant performing style, but after having almost around 150 of his collections and cd's, I know that he can be dreadful when he is not on form. So I was worried about this set, but it was useless.

This 4-cd set contains some of the best performances that Kempff could offer considering his age. There are numerous highlights here: Papillons, Davidsbündlertänze, fantasy,..... All of them find him on top form. Although one might argue that there are studio recordings and who knows how many takes one recording must have to become perfect, but let me tell you, even in his live and extremely nerve breaking situations and venues such as the Salzburg festival, he was always on top form.

So Kempff's fan, buy this. It's worth it. In here you won't quite find the excitement that Richter put into his Schumann, but you will find the poetry, emotions and sensitivity that many others lack in their recordings.

To be avoided.......2003-11-22

Despite his reputation as one of the towering exponents of the 19th Germanic repetoire, Kempff acquits himself poorly in these recordings, made at the end of his life. Whether these weak performances are due to his advanced age or to more basic flaws in his training and capabilities is purely academic. They are among the poorest choices in the catalogue, perhaps the very worst. But please - don't take my word for it. Listen to the Etde IX in the op. 13, on disc 2. Kempff's attempt to pull this off is embarrassingly amateurish; he cannot even cover all the notes at "presto possibile", much less raise his playing to something approaching an interpretation. Elsewhere, you can expect the same. The op. 17 is played with little poetry, no finesse and palpable frustration in following Schumann's basic roadmap. You cannot run away from this mess fast enough.

aristocratic and heartfelt schumann.......2003-08-28

this compilation has the benefit of including most of schumann's important keyboard works (among excluded works are the toccata, first sonata, bunte blatter and fantasiestucke), under the hands of an extraordinary schumann interpreter.

recorded in the 1970's, when kempff was nearing 80, this is genuinely classic schumann. the virtuosic extremes of the symphonische etuden and kriesleriana are not quite fully exploited, but there is no flubbing, stumbling or cutting corners: kempff has things always under control. look to argerich, pollini or pogorelich for white hot schumann, kempff delivers him as a human being.

for the sheer poetry of schumann, kempff has never been bettered. his davidsbundlertanze, especially the last 5 movements, is without peer. the kinderszenen is delightful. the poetry of the fantasie in C is magnificent. there is a lifetime of musical experience and temperament in this playing.

aristocratic and heartfelt schumann.......2003-08-28

Tracks:

Nocturne No.12 in G, Op.37 No.2 - Tamas Vasary
Consolation No.3 - Daniel Barenboim
Son No.23 in f 'Appassionata': Andante Con Moto - Emil Gilels
Pno Con No.5 in f: Largo - Wilhelm Kempff
Waltz in E flat: Sostenuto - Lilya Zilberstein
3 Prlds: Andante Con Moto E Poco Rubato - Werner Haas
Fants, Op.16: Sehr Langsam - Wilhelm Kempff
Son No.14 in c# 'Moonlight': Adagio Sostenuto - Emil Gilels
Pno Son in C KV 545: Andante - Christoph Eschenbach
Intermezzo, Op.117 No.1 - Wilhelm Kempff
Pour Le Pno: Sarabande - Tamas Vasary
Prld No.13 in F#, Op.28 - Martha Argerich
Songs Without Words, Op.62 No.5: Venetian Gondola Song - Daniel Barenboim
Intermezzo in e/Fant, Op.116 No.4 - Wilhelm Kempff
Etude in E, Op.10 No.3 - Tamas Vasary
Son No.2 in E-flat: Sicilienne - Wilhelm Kempff
Scenes From Childhood: The Poet Speaks - Daniel Barenboim

Robert Schumann: Radu Lupu - Kinderszenen/Kreisleriana/Humoreske

Average customer rating:

Beautiful Playing, but Bad Recording
Piano playing of the highest order
The best Kreisleriana so far...
Beautifully played but he's better in Schubert

Robert Schumann: Radu Lupu - Kinderszenen/Kreisleriana/Humoreske

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

Fantasies | Forms & Genres | Classical | Styles | Music

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Schubert: Impromptus D 899 & D 935 / Radu Lupu
Plays Schubert
Brahms: Piano Concerto No. 1; Piano Sonata No. 3; Rhapsodies, Op. 79; Piano Pieces, Opp. 117-119
Beethoven: The Piano Concertos; 3 Sonatas; 2 Rondos
Brahms: Two Rhapsodies, Op. 79; Piano Pieces, Opp. 117-119

ASIN: B00000422M
Release Date: 1996-01-23

Tracks:

Humoreske , Op. 20: Einfach - Sehr rasch und leicht - Noch rascher - Erstes Tempo - Wie im Anfang
Humoreske , Op. 20: Hastig - Nach und nach immer lebhafter und starker - Wie vorher - Adagio
Humoreske , Op. 20: Einfach und zart - Intermezzo
Humoreske , Op. 20: Innig
Humoreske , Op. 20: Sehr lebhaft - Stretto - Mit einigem Pomp
Humoreske , Op. 20: Zum Beschluss - Adagio - Allegro
Kinderszenen, Op. 15: I Von fremden Landern und Menschen
Kinderszenen, Op. 15: II Kuriose Geschichte
Kinderszenen, Op. 15: III Hasche-Mann
Kinderszenen, Op. 15: IV Bittendes Kind
Kinderszenen, Op. 15: V Gluckes genug
Kinderszenen, Op. 15: VI Wichtige Begebenheit
Kinderszenen, Op. 15: VII Traumerei
Kinderszenen, Op. 15: VIII Am Kamin
Kinderszenen, Op. 15: IX Ritter vom Steckenpferd
Kinderszenen, Op. 15: X Fast zu ernst
Kinderszenen, Op. 15: XI Furchtenmachen
Kinderszenen, Op. 15: XII Kind im Einschlummern
Kinderszenen, Op. 15: XIII Der Dichter spricht
Kreisleriana, Op. 16: I Ausserst bewegt
Kreisleriana, Op. 16: II Sehr innig und nicht zu rasch
Kreisleriana, Op. 16: III Sehr aufgeregt
Kreisleriana, Op. 16: IV Sehr langsam
Kreisleriana, Op. 16: V Sehr lebhaft
Kreisleriana, Op. 16: VI Sehr langsam
Kreisleriana, Op. 16: VII Sehr rasch
Kreisleriana, Op. 16: VIII Schnell und spielend

Amazon.com essential recording

This marvelous disc won all sorts of international awards when it was first issued a few years ago, and with good reason. Radu Lupu is a very special pianist. He doesn't record all that often, and he doesn't appear in concert all that frequently, either, owing to his reluctance to travel. He has long been regarded as one of the supreme interpreters of Schubert, but he is equally persuasive in this Schumann recital. He brings to this music his typically gentle, lovely piano tone, an acute sensitivity to the music's many moods, and most important of all, that sense of innocence and romantic poetry that gives Schumann's music its uniqueness. A great recording. --David Hurwitz

Customer Reviews:

Beautiful Playing, but Bad Recording.......2001-12-06

I won't say much, because I'd just be echoing the favorable comments of the others. Just say that this is great playing and I have not heard a finer version of Kreisleriana or a more electrifying Humoreske, whose restrained energy was a suprise to me. The Kinderszenen was beautiful as well, played at a quicker whimsical pace, not as slow and maudlin as some recordings of this I've heard. Lupu coaxes a one of a kind tone from the piano. Robust, full, but never harsh or banging. This man has strong fingers. My only beef is that the recording levels are set way way too low! And the microphones sound like the piano is recorded in a tile bathroom, way too much reverb. Besides these difficulties, Lupu's playing, to his credit, shines through. A worthwhile purchase, a great contrast to Horowitz and Argerich.

Piano playing of the highest order.......2000-06-25

I'm not a great lover of Schumann's piano music, but this cd makes me wonder if I might be wrong. This is piano playing of the highest order. I wonder if I have ever have heard any better.

Lupu combines the virtues of a poet and a lion, or should I say wolf, since I have heard that "lupu" is Romanian for wolf. His phrasing, his shifts of dynamics is so poetical. Just listen to the deceptively simple Kinderszenen, it is so delicate, full of longing , melancholy and memory. But he is not only a poet. When this music calls for drama and power, he plays with all the intensity and virtuosity one could expect. But it's is not virtuosity for its own sake, no, it is to serve the music. The way he makes the piano sing in both the Humoreske and Kreisleriana, especially in the second part of the Kreisleriana, is magical. I have not heard anything like it.

Lupu seems to be an enigmatic and elusive personality and you can hear this in his playing. There is an inward feeling to it, you can almost feel like he is discovering the music for himself. The freshness of first discovery is there.

The music on this CD is so full of lovely inventions and melodies and Lupu realises the beautifully. It is a must for lovers of Schumann's music and/or pianism of the highest order.

The sound is a bit reverberant but fully acceptable.

The best Kreisleriana so far..........1999-12-04

I can't say much about the Humoreske since I don't know the piece so well, but Kinderszenen is played gorgeously, with a simple beauty that recalls Horowitz's late interpretation of this piece. Lupu's Kreisleriana is by far the best recording of this work so far. But I still have a few reservations about it. His delivery of the triplets in the first movement is rather odd, but I could see how it is a response to Schumann's phrase markings. I could imagine the coda of the third movement being even more explosive (especially the big low Neapolitan chord which Horowitz played like an explosion in his DG recording). But Lupu plays the slow movements well, even if he ignores Schumann's dynamics for the main theme of the second movement (no one seems to follow Schumann in this spot!). Unfortunately, Lupu also misses a note in the seventh movement (the octave C's in the left hand don't sound quite like an octave) -- which is unfortunate since this missed note is right on the climax of the movement! Also, the final climax of the last movement (hammered out octaves in both hands right at the end of the D minor section) is completely tappered out in a decrescendo when Schumann's dynamics indicate intensification! But despite these nagging faults, I love this Kreisleriana, even more that the excellent recordings by Perahia and Horowitz.

Beautifully played but he's better in Schubert.......1999-10-23

The familiar qualities of Lupu's playing are all in evidence here, and the Decca recording is excellent as usual. But somehow this ends up seeming rather bland interpretatively compared to my favourite Schumann recordings (Cortot especially in Kreisleriana). Go for Lupu's Schubert instead.

Complete Masterworks Recordings, 1962-1973

Average customer rating:

Horowitz: good. Amazon: good. Sony Classical: BAD.
ARE YOU CRAZY RICH OR CRAZY STUPID?
merely spectacular!
I have never regretted buying this...
The greatest 20th Cent. pianist at his best!

Complete Masterworks Recordings, 1962-1973

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Similar Items:

Complete Recordings on Deutsche Grammophon
Liszt: Piano Works
Chopin: The Piano Works
Martha Argerich Collection (Box) [Germany]
Horowitz Encores

ASIN: B000002909
Release Date: 1993-10-05

Tracks:

Sonata In E Major, K 531 (L430): Allegro
Sonata In A Major, K322 (L483): Allegro
Sonata In G Major K455 (L209): Allegro
Sonata No. 8 In C Minor, Op. 13 'Pathetique': I. Grave - Allegro di molto e con brio
Sonata No. 8 In C Minor, Op. 13 'Pathetique': II. Adagio cantabile
Sonata No. 8 In C Minor, Op. 13 'Pathetique': III. Rondo. Allegro
Impromptu In G-flat Major, Op. 90 (D899) No. 3: Andante
Etude in C minor, Op. 10 No. 12: Allegro con fuoco
Etude In C-sharp Minor, Op. 25 No. 7: Lento
Scherzo No. 1 In B Minor, Op. 20: Presto con fuoco
3 Preludes - From Book II: IV. Les fees sont d'exquises danseuses. Rapide et leger
3 Preludes - From Book II: V. Bruyeres. Calme
3 Preludes - From Book II: VI. General Lavine - eccentric.
Poeme In F-sharp Major, Op. 32 No. 1: Andante cantabile
Etude In C-Sharp Minor, Op. 2 No. 1: Andante
Etude In D-Sharp Minor, Op. 8 No. 12: Patetico

Tracks:

Piano Sonata No.2 In B- Flat, Op.35: I. Grave- Doppio movimento
Piano Sonata No.2 In B- Flat, Op.35: II. Scherzo
Piano Sonata No.2 In B- Flat, Op.35: III. Marche funebre. Lento
Piano Sonata No.2 In B- Flat, Op.35: IV. Finale. Presto
Etude-Tableau In C, Op.33 No.2: Allegro
Etude-Tableau In C, Op.33 No.2: Appassionato
Arabeske In C, Op.18: Leicht und zart
Kinderszenen, Op.15 - Scenes From Childhood: 1. Von fremden Landern und Menschen
KINDERSZENEN, OP.15: 2. Kuriose Geschichte
KINDERSZENEN, OP.15: 3. Hansche-Mann
KINDERSZENEN, OP.15: 4. Bittendes Kind
KINDERSZENEN, OP.15: 5. Gluckes genug
KINDERSZENEN, OP.15: 6. Wichtige Begbenheit
KINDERSZENEN, OP.15: 7. Traumerei
KINDERSZENEN, OP.15: 8. Am Kamin
KINDERSZENEN, OP.15: 9. Ritter vom Steckenpferd
KINDERSZENEN, OP.15: 10. Fast zu ernst
KINDERSZENEN, OP.15: 11. Furchtenmachen
KINDERSZENEN, OP.15: 12. Kind im Einschlummern
KINDERSZENEN, OP.15: 13. Der Dichter spricht
Toccata In C, Op.7: Allegro
Hungarian Rhapsody No.19 In D Minor: Lento patetico (Lassan)- Vivace (Friska)

Tracks:

Keyboard Sonatas: Allegro
Keyboard Sonatas: Allegro
Keyboard Sonatas: Allegro
Keyboard Sonatas: Andante moderato
Keyboard Sonatas: Allegretto
Keyboard Sonatas: Allegro
Keyboard Sonatas: Andante
Keyboard Sonatas: Andante e cantabile
Keyboard Sonatas: Allegro
Keyboard Sonatas: Allegro
Keyboard Sonatas: Andante e cantabile
Keyboard Sonatas: Allegro
Keyboard Sonatas: Allegro
Keyboard Sonatas: Andante
Keyboard Sonatas: Allegro
Keyboard Sonatas: Andante moderato
Keyboard Sonatas: Vivo
Keyboard Sonatas: Allegro

Tracks:

Toccata, Adagio And Fugue In C, BWV 564: I. Preludio, quasi improvvisando. Tempo moderato
Toccata, Adagio And Fugue In C, BWV 564: II. Intermezzo. Adagio
Toccata, Adagio And Fugue In C, BWV 564: III. Fuga. Moderamente sherzando, un poco umoristico
Fantasie In C, Op.17: I. Durchaus phantastisch und leidenschalflich vorzutragen
Fantasie In C, Op.17: II. Massig. Durchaus energisch
Fantasie In C, Op.17: III. Langsam getragen. Durchweg leise zu halten
Piano Sonata No.9, Op.68 'Black Mass': Moderato quasi andante-Molto meno vivo-Allegro-Piu vivo-Allegro...
Poeme In F-Sharp Major, Op.32 No.1: Andante cantibile

Tracks:

Mazurka In C-sharp Minor, Op. 30. No. 4: Allegretto
Etude In F major, Op. 10 No. 8: Allegro
Ballade No. 1 In G Minor, Op. 23: Largo - Moderato - Meno mosso - Presto con fuoco
Serenade For The Doll. Allegro ma non troppo
Etude In C-Sharp Minor, Op. 2 No. 1: Andante
Etude In A-Flat Major, Op. 72 No. 11: Presto e con leggierezza
Traumerei
Sonata No. 11 In A Major, K.331: I. Tema.Andante grazioso e variazioni
Sonata No. 11 In A Major, K. 331: II. Menuetto - Trio
Sonata No. 11 In A Major, K. 331: III. Rondo alla Turca
Polonaise-Fantaisie In A-Flat Major, Op. 61: Allegro maestoso

Tracks:

Mazurka In B minor, Op. 33 No. 4: Mesto
Nocturne In E Minor, Op. 72 No. 1: Andante
Piano Sonata No. 10, Op. 70: Moderato - Allegro - Puissant, radieux - Allegro - Piu vivo - Presto - Moderato
Piano Sonata In F Major, Hob. XVI: 23: I. Allegro
Piano Sonata In F Major, Hob. XVI: 23: II. Adagio
Piano Sonata In F Major, Hob. XVI: 23: III. Finale
Blumenstuck In D-Flat Major, Op. 19: Leise bewegt
L'ISLE JOYEUSE: Quasi una cadenza - Tempo.
Vallee d'Obermann: Lento assai - Piu lento - Un poco piu di moto ma sempre lento - Presto - Lento

Tracks:

Ballade No. 1 In G Minor, Op. 23: Largo - Moderato - Meno mosso - Presto con fuoco
Nocturne In F Minor, Op. 55 No. 1: Andante
Polonaise In F-Sharp Minor, Op. 44: Tempo di polacca - Doppio movimento, tempo di Mazurka - Tempo I
Sonata In E major, K 380 (L23): Andante commodo
Sonata In G major, K 55 (L335): Allegro
Arabeske In C Major, Op. 18: Leicht und zart
Etude In D-Sharp Minor, Op. 8 No. 12: Patetico
Traumerei
Variations On A Theme From Bizet's Opera 'Carmen'

Tracks:

Sonata In E-Flat Major, Op. 12 No. 2: III. Rondo
Adagio sostenuto In F Major
Sonata In B-Flat Major, Op. 25 No. 3: II. Rondo
Sonata In A Major, Op. 50 No. 1: II. Adagio
Corale Prelude 'Lch ruf zu dir, Herr Jesu Christ'
Sonata In F-Sharp Major, K 319 (L35): Allegro
Sonata In G Major, K 260 (L124): Allegro
Sonata In C Major, HOB. XVI: 48: I. Andante con espressione
Sonata In C major, Hob. XVI:48: II. Rondo
Sonata No. 28 In A Major, Op. 101: I. Allegretto ma non troppo
Sonata No. 28 In A Major, Op. 101: II. Vivace alla Marcia
Sonata No. 28 In A Major, Op. 101: III. Adagio ma non troppo, con affetto - Allegro

Tracks:

Piano Sonata No. 14 In C-Sharp Minor, Op. 27, No. 2 'Moonlight': I. Adagio sostenuto
II. Allegretto
Piano Sonata No. 14 In C-Sharp Minor, Op. 27, No. 2'Moonlight': III. Presto agitato
Piano Sonata No. 21 In C Major, Op. 53 , 'Waldstein-Sonata': I. Allegro con brio
Piano Sonata No. 21 In C Major, Op. 53 , 'Waldstein-Sonata': II. Introduzione. Adagio molto - attacca
Piano Sonata No. 21 In C Major, Op. 53 , 'Waldstein-Sonata': III. Rondo. Allegro moderato - Prestissimo
Piano Sonata No. 23 in F Minor, Op. 57, 'Appassionata': I. Allegro assai
Piano Sonata No. 23 in F Minor, Op. 57, 'Appassionata': II. Andante con moto -attacca
Piano Sonata No. 23 in F Minor, Op. 57, 'Appassionata': III. Allegro, ma non troppo - Presto

Tracks:

Mazurka in A minor, Op. 17 No. 4: Lento, ma non troppo
Etude in G-flat major, Op. 10 No. 5: Vivace
Introduction & Rondo In E-Flat Major, Op. 16: Introduzione. Andante - Rondo. Allegro vivace
Waltz in A minor, Op. 34 No. 2: Lento
Polonaise in A-flat Major, Op. 53: Maestoso
Mazurka in F-sharp minor, Op. 59 No. 3: Vivace
Mazurka in C-sharp minor, Op. 50 No. 3: Moderato
Mazurka in D-flat major, Op. 30 No. 3: Allegro non troppo
Mazurka in E minor, Op. 41 No. 2: Andantino
Mazurka in D major, Op. 33 No. 2: Vivace
Etude in C-sharp minor, Op. 10 No. 4: Presto
Etude in E major, Op. 10 No. 3: Lento, ma non troppo
Etude in C minor, Op. 10 No. 12: Allegro con fuoco
Prelidu In B Minor, Op. 28 No. 6: Lento assai

Tracks:

Posonaise in A major, Op. 40 No. 1: Allegro con brio
Prelude in D-flat major, Op. 28 No. 15: Sostenuto
Etude in E-flat minor, Op. 10 No. 6: Andante
Etude No. 2 in A-flat major from 'Trois Nouvelles Etudes': Allegretto
Mazurka In F Minor, Op. 7 No. 3
Waltz in C-sharp minor, Op. 64 No. 2: Tempo giusto
Variations On A Theme By Clara Wieck From Sonata No. 3 In F Minor,Op. 14: Andantino
Kreisleriana, Op. 16: I. Ausserst bewegt
Kreisleriana, Op. 16: II.Sehr innig
Kreisleriana, Op. 16: III. Sehr aufgeregt
Kreisleriana, Op. 16: IV. Sehr langsam
Kreisleriana, Op. 16: V. Sehr lebhaft
Kreisleriana, Op. 16: VI. Sehr langsam
Kreisleriana, Op. 16: VII. Sehr rasch
Kreisleriana, Op. 16: VIII. Schnell und spielend

Tracks:

Impromptu In A-Flat Major Op. 90 (D899) No. 4: Allegretto
Impromptu In F Minor Op. 142 (D935) No. 1: Allegro moderato
Impromptu In A-Flat Major Op. 142 (935) No. 2: Allegretto
Impromptu In E-Flat Major Op. 90 (D899) No. 2: Allegro
Consolation In E Major S. 172 (R.12) No. 2
Pour les arpeges composes: Dolce e lusingando
La terrasse des audiences du clair de lune: Lent
Etude In A Minor Op. 104b No. 3: Allegro vivace
Scherzo & March S. 177 (R.20)

Tracks:

Feuillet d'album In E-Flat Major Op. 45 No. 1: Andante piacevole
Etude In F-Sharp Minor Op. 8 No. 2: A capriccio, con forza
Etude In B-Flat Minor Op. 8 No. 11: Andante cantabile
Etude In D-Flat Major Op. 8 No. 10: Allegro
Etude In A-Flat Major Op. 8 No. 8: Lento (Tempo rubato)
Etude In F-Sharp Major Op. 42 No 3: Prestissimo
Etude In F-Sharp Major Op. 42 No. 4: Andante
Etude In C-Sharp Minor Op. 42 No. 5: Affannato
Etude Op. 65 No. 3: Molto vivace
No. 1: Allegretto
2 Poemes Op. 69: No. 2: Allegretto
Vers la flamme Op. 72: Allegro moderato
Feuillet d'album Op. 58
Fairy Tale In A Major Op. 51 No. 3
Sonata No. 2 In B-Flat Minor Op. 36: I. Allegro agitato
Sonata No. 2 In B-flat, Minor, Op. 36: II. Non allegro
Sonata No. 2 In B-Flat Minor, Op. 36: III. Allegro molto
Prelude In G-Sharp Minor Op. 32 No. 12: Allegro
Moment musical In B Minor Op. 16 No. 3: Andante cantabile
Etude-Tableau In E-Flat Minor Op. 33 No. 5: Non allegro - Presto
Etude-Tableau In C Major Op. 33 No. 2: Allegro
Etude-Tableau In D Major Op. 39 No. 9: Allegro moderato (Tempo di Marcia)

Amazon.com

It may surprise you to learn that, despite his untouchable reputation with the public, Vladimir Horowitz enjoyed a certain dubious reputation with the critics. For many, he was the epitome of the witless virtuoso, all technique and vulgar display, and no brains. There was some truth in this to the extent that he really could be variable on record, but by general consensus his Masterworks recordings show him at his absolute best. Aside from his famous Carnegie Hall concerts from 1965, you get stunning performances of music by Schumann, Haydn, Beethoven, Chopin, Scriabin, and above all, Scarlatti--the composer that Horowitz, more than anyone, put back on the map for pianists the world over. A great set. --David Hurwitz

Customer Reviews:

Horowitz: good. Amazon: good. Sony Classical: BAD........2004-05-24

I bought this set in December, and because I have so many classical CD's (more than 300), it took me 5 months to realize that the set contained TWO volume 8's and NO volume 9's. Worried that it might be too late, I e-mailed Amazon. Their first reply was that the replacement was already on its way (with return shipping paid for as well). Wow, that was a relief!

When I got the new set, I decided to study it closely and make sure that everything was good. It turns out that several of the discs (in both sets) had holes through the aluminum reflective layer -- which seemed to be because it was too thin to begin with. One disc was cracked, and another looked like the aluminum was "rotting out" on the edge. You would think that for $230, Sony Classical would put more quality into their discs. So what good is "Super Bit Mapping" and "High Definition Remastering" if the discs are so cheap that the player will misread the data? And I don't have much confidence that the discs will last many years, either.

Fortunately I got to pick the best discs from the 2 sets, so I won't need to replace this one for another. But I certainly lost respect for Sony Classical.

And kudos to you Amazon; you're really looking out for your customers!

ARE YOU CRAZY RICH OR CRAZY STUPID?.......2002-08-25

Why would any one in the right mind plunk down [money] for 13 CDS by the same pianist? Is it so you can brag about owning 11 years' worth of the same old thing? Or did you get it as a gift designed to impress but not really to listened to? Now you could probably get [money] for it whether you used it or not. Columbia Masterworks should have brought along new and younger talent. For my bet I can't think of many American pianists who are currently recording. Do we have to recycle Schumann, Rachmaninoff, Schubert, Beethoven, Liszt, Chopin, Scriabin, and others over and over? This is the Twenty-first Century. We should at least be thinking of Twentieth Century piano works. I can get 10 CDs by 10 pianists currently recording if I look to Europe.

merely spectacular!.......2001-03-10

I've only had this set about a week and have already indulged three complete listenings; it's a gold mine! - the power of preaching is persuasive in the Temple of Horowitz! I'm taken aback by the unity and continuity of sonics, an excellent and remarkable display of high engineering art. Everything important is here (almost! I wish some of the Scriabin Preludes had been included). There are sketches of incomparable pianism and supreme intelligence in these discs: Liszt's 'Vallee d'Obermann', and the Consolations; Debussy's 'L'isle joyeux' - so 'russian playing french'! - Scriabin's 'Vers le flamme' and the Black Mass sonata - one simply can't climb out of the volcano, it's terrifying and beautiful! - and the Scarlatti and Chopin. Only Gilels approaches Horowitz's indigenous understanding of Chopin. In the course of thirteen discs the glory can start to crash in around you, but at the last moment of endurance along comes 'Serenade of the Doll', or one of the Consolations. The Bach-Busoni is cerebral and fine. Horowitz gets rapped for the wrong romanticism - it's the romanticism of artistic intelligence that his art claims! I love that famous C clunker at the beginning of the Bach-Busoni in the Return to Carnegie Hall recital; more than that, I appreciate how Horowitz played his public pride in it, no retouches, etc. Shrewd, and very real, I think. He was a pianist of enormous humility on the inside, so completely knowing of his gifts - one of the reason his playing was something special. He possessed the often disregarded ability to stand completely outside his playing and admire it as one might a beautiful woman, with complete humility. It affords us the privilege of reaping joy after joy of a remarkable art the likes of which will surely stand true for a long time. 200 bucks is a lot of money, I probably would have thought it too much for the convenience of a collection; I'm glad someone else didn't feel that way, and gave me the set! - now I find it curiously too clever a package to be considered merely a consolidation of recordings into a 'set' - there is something indefinably congruent about these recordings. They fit together with harmonious intent, and shine and shadow the land with a marvelous music. Highest recommendation without reservation.

I have never regretted buying this..........2000-08-22

Considering that this set is devoted to a single instrument played by one artist in a 12-year period, the depth is mind-blowing. If variety is the spice of life, than this set is a very warming set indeed.

For the most part, Horowitz communicates a deep respect for the specific style of each composer: his Scarlatti is done articulately and without any smear with the pedal. His Liszt is demonic. His Rachmaninov is dazzling, with all of the "superfluous" notes (!) and Russian virtuosity in tact. Horowitz's Schumann is sensitive, passionate and Romantic.

And then there are his interpretations of Chopin. To me, Vladimir Horowitz is one of Chopin's best ambassadors. In particular, I draw attention to the Polonaise-Fantaisie in Vol. 3 and the mazurkas and etudes of Vol. 7.

For a good summary of this collection, listen to Vol. 4, "The Legendary 1968 TV Concert." Applause is omitted between selections, and the repertoire is tailored to Horowitz's pianistic gifts.

The first disc of Vol. 3 (Including the Bach-Busoni Toccata and the Schumann Fantasy) is not top-notch piano-playing... It's a little sloppy and inaccurate. I'm sure there are other minor slips elsewhere in this collection, but here they are most obviously seen.

Regardless, this collection is a MUST for Horowitz fans. Save up your money little by little and go and buy it. It is truly the most rewarding purchase of classical music I have ever made.

The greatest 20th Cent. pianist at his best!.......2000-04-15

If you were to take a set of piano music from only one performer to a desert island, this would be the set. Vladimir Horowitz was a pianist of incredible, almost unique, technical prowess capable of creating wonderful piano textures and tone colorings, and possessing his own dark, distinctive sound on a wonderful Steinway he had transported to each of his concerts or studio recording sessions. Of almost limitless ability, he suffered criticism from music critics because he severely limited his performing repertoire and stayed away from the concert stage for several prolonged periods because of his terrible insecurity and stagefright. He was especially criticized in his early years for bravura performances which were brilliant, but loud and not always tasteful. He was known for giving his enthralled audiences what they wanted, but it should be remembered that he championed Scarlatti and almost single-handedly brought him back into the performing world from near-oblivion, and it was Horowitz who premiered several important works by twentieth century composers such as Barber and Khatchaturian. He kept the works of the mysterious and exotic Alexander Scriabin from disappearing from piano benches in the conservatories, and he created some of the most imaginative and thrilling encore transcriptions ever heard in the concert hall. In later years, his repertoire expanded and he played some wonderful Mozart, Haydn, and Beethoven, much of which is featured in this set. The highlight of this disc collection from the early 60's through about 1973 is the historic return concert at Carnegie Hall in 1965. After a self-imposed exile from public performing for 12 years, he made this famous recital which is one of the most memorable in the history of recorded piano performance. Although he made several nerve-induced mistakes in the opening Bach piece, he settled down quickly and delivered a thrilling performance, highlighted, for me, at least, by the Chopin Ballade in G minor, which took away my breath and featured one of the most dazzling climaxes I have ever heard on a piano. His incredible performance possessed a youthful vitality which belied his 62 years. Throughout the other discs in this set one hears Horowitz at his best: still technically awesome yet more musically mature and capable of producing little miracles from pieces well-known, and less-known. No longer pandering to the expectations of the audience, he gave as his encore at the Carnegie Hall return concert, a precious, child-like Traumerei from Kinderszenen. The Schumann featured on these discs includes some of the most beautiful offerings available anywhere of this composer, including a wonderful Fantasy in C and perhaps the best performance ever on record of Kreisleriana. The Schubert impromptus are little miracles, and the Debussy that's thrown in makes us fantasize about the other French music he could have given us! His wonderful Chopin reminds us there are other views besides Rubinstein's to this most-important-of-all piano literature, and his Rachmaninoff is glorious. Performing into his eighties, he was a wonder of music and the 13 discs offered here give a personal record of a dazzling career from his very best years. It might be pointed out that several pieces are offered more than once in the set as they were recorded in several concerts and studio sessions and it is interesting to hear the differences in his performances. One might wish that his piano oeuvre had included more composers and a wider range of pieces, but this collection certainly highlights the work he was best known for, including as it does the various Chopin, Rachmaninoff, Liszt, Schumann, Scarlatti, Scriabin, Bach, Mozart, Haydn, Schubert, Clementi, and Beethoven gems he was noted for throughout his long career. Anyone loving the piano, or just beautiful music must hear these discs!

Bach-Busoni: Chaconne; Beethoven: Rondos; Schumann: Kreisleriana

Average customer rating:

Kiss, Kiss, Kissin!
Coarse, external pianism--a sad disappointment
Very natural and glittering, but somewhat facile
addictive cd
Buy it for the Bach-Busoni!

Bach-Busoni: Chaconne; Beethoven: Rondos; Schumann: Kreisleriana

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Fantasies | Forms & Genres | Classical | Styles | Music

Rondos | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

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

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

Evgeny Kissin: Beethoven, Franck, Brahms
Chopin: 24 Preludes, Op. 28; Sonata for Piano No. 2, Op. 35; Polonaise, Op. 53
Schumann: Piano Concerto
Beethoven Piano Concertos No.2 and No.5
Carnegie Hall Debut Concert

ASIN: B00000GV4A
Release Date: 1999-01-12

Tracks:

Chaconne in D Minor
Rondo, Op.51 No.2 In G Major
Rondo a capriccio, Op.129 ('Rage Over A Lost Penny')
Kreisleriana, Op.16: Ausserst bewegt
Kreisleriana, Op.16: Sehr innig und nicht zu rasch
Kreisleriana, Op.16: Intermezzo I
Kreisleriana, Op.16: Intermezzo II
Kreisleriana, Op.16: Sehr aufgeregt; Etwas langsamer
Kreisleriana, Op.16: Sehr langsam, Etwas bewegter
Kreisleriana, Op.16: Sehr lebhaft
Kreisleriana, Op.16: Sehr langsam, Etwas bewegter
Kreisleriana, Op.16: Sehr rasch; Noch schneller
Kreisleriana, Op.16: Schnell und spielend

Amazon.com essential recording

As a preteen, Kissin had a technique most pianists would envy. His solo recordings since have revealed a predilection for Schumann's music, each showing signs of greater interpretive maturity. Now, he uses a combination of great abandon and even greater control to produce a stunning performance of Kreisleriana. The piece is one of the last of Schumann's quixotically titled piano works consisting of generously scaled, poetic movements (eight, in this case) in which technical prowess is absolutely necessary in order to clarify the textures but hardly sufficient to deliver the full expressiveness of this lovely music. Busoni's virtuosic Bach transcription is played with great imagination, and Beethoven's delightful Op. 129 is as wittily performed as it is written. --Paul Turok

Customer Reviews:

Kiss, Kiss, Kissin!.......2007-04-10

Kissin is one of my favorite pianists and in my humble estimation one of the rightful heirs to the aristocracy established by the Horowitzes, Richters, Ashkenazis, etc. I have always found Schumann rather "enigmatic" and his writing for the keyboard peculiar. I never really cared for him until I heard Kissin and Yundi Li play him. They both bring such youthfulness and exuberance to a tired venue. I am sick of those dull recordings long thought as the "poetic" standards. B-o-r-i-n-g. Move over and let the new generation have a whack at things! I want to hear ferocity, unbridled virtuosity and intensity. These are too often lacking in classical music where artists tend to fall back on the elitist, reactionary quality of classical music. Classical music can be electric and too often this is not communicated by artists.

I am all for poetry, when it is required, but too often Schumann and Schubert come off as dull and lacklustre. If classical music is to survive we must explore ways to attract a new crowd for the 21st century. Because of generational shifts in society the old audiences are dwindling away, we must fill those halls with new blood. Artists like Kissin and Li can attract them. We must allow the Kissins and Lis to make this their time and hear what they have to say and stop whining about the likes of Horowitz and the old guard. Their time has ended. "Time moves forward, not backwards, nor tarries with yesterday..." Khalil Gibran. Allow the new generation of pianists to shine on their own merits. The Heavens glow in the evening with all manner of stars and constellations, different in intensity and character.

Coarse, external pianism--a sad disappointment.......2006-03-18

For the past decade the whisper among piano connoisseurs has been "What happened to Kissin?" He is still publicly adored, and no doubt he's become the richest virtuoso since Horowitz. On the evidence of this CD, however, something magical has been lost. What was once spontaneous, innately sensitive musicality has turned coarse and external. This is most shockingly evident in the Kreisleriana, because Schumann was one of the young Kissin's best composers.

Naturally, there is sitll a complete musician at work here. The Schumann contains many inspiring moments and a flood of dazzling technique. Nobody seriously believes that technqiue is enough in Schumann, though--where's the poetry, the inwardness? I'd say that the earlier pieces come off even worse. The Bach-Busoni is stiff and bombastic, a parody of Bach in the grand mananer, while the Beethoven Rondos sound perfunctory and clipped. I don't blame Kissin if he's bored with being a public idol--he's had to fill the part for most of his young life--but one longs for him to find his better self again.

Very natural and glittering, but somewhat facile.......2006-02-09

All three pieces are difficult in various ways. The Bach-Busoni has prismatic changes in theme transformations, odd hand positioning, and technical difficulties galore. Kissin handles all the above easily. This is Busoni at his most exciting. However, a certain depth is lacking. I guess I wanted to hear more of Bach in this piece.

This is the best Krieslieriana I have heard. It is played with a technical proficiency that only Kissin can muster. Again, it is extremely exciting and on the first few listenings, it captivates your attention well. However, after repeated listenings, I was wanting just a little more. I wanted more of the angst that Schumann wrote in his most soulful and yet schizoid work.

The Beethoven is again, technically glittering. No hesitations here. These are excellent interpretations of light showy pieces.

Overall, do buy this CD for Kissin's technique and naturalness.

addictive cd.......2004-07-09

First time I heard Kissin play on the stage, nearly seven years ago, I was captivated by his music--not just his technique. To this day, his playing is thrilling and exhilarating to me. And this CD is certainly on the top of all his recordings I own (now, if I were to compare his CDs with all the other CDs I have, ALL of his CDs would be on the top with some Beethoven playings by some well-known pianists on the bottom). His playing of Chaconne is addictive. I'm so glad we don't have to buy tapes these days, because a tape that is playing ten hours everyday would not survive long, and I would have to get another one and another one--
Also, with CD, you can just repeat track one over and over again. I'm not saying that I don't like his Beethoven or Schumann in the CD, but I just don't listen to them as much. I think that Kissin is the Horowitz of my day--boy, I would do anything to see Horowitz playing live, but well, that ain't gonna happen, so Kissin is good. His playing, at times, might not be the best, but is never disappointing.
So Mireille Wastwater, I certainly agree whole lot more with you and don't agree AT ALL with Kalle Kuusava (I'm not quite sure if we have the similar-functioning ears, and Alfred Brendel is one of those "golden age" pianists, well, I guess we don't). The only complaint about Kissin that I have is that he doesn't quite fully understand the different aspects of humanity (well, he grew up on the stage with a piano and applause), and hence, his playing, at times, sounds like that. For instance, I'm not sure if he would ever be able to understand Schumann at the time of his writing Kreislerina--Kissin is whom Schumann wanted to be, so bad enough to try something that would even permanently disable his fingers. Yet, I do hear that Kissin shares Schumann's feelings and other composers' feelings as well; some almost all, some just a little, and most anywhere in between. Kissin has the technique and the musicality, but no, he's not perfect.

Buy it for the Bach-Busoni!.......2004-01-01

Kissin's technique is undoubtfully phenomenal. The Bach-Busoni Chaconne on this CD is given an excellent, virtuosic, and passionate reading. The Beethoven Rondo op. 51 no. 2 is given a very sensitive and thoughtful performance. The Rondo a capriccio performance is very exciting and at times humorous. This CD is highly recommended for these works. I personally bought it for the Bach-Busoni. The Schumann is not really played as well as these other pieces. It is surely virtuosic. But I don't think in this recording he understands Schumann all to well yet. Horowitz is still KING in the Kreisleriana, his 1969 recording is unforgettable, surely a contender for one of the best recordings of all time. Kissin's performance just doesn't compare to the Horowitz. On the other hand, Kissin's newer recording of the Schumann Sonata op. 11 and Carnaval is superb and highly recommended.
I'd recommend this CD for the Bach-Busoni and Beethoven rondos, and they really are spectacular recordings, if you are looking for an excellent performance of the Kreisleriana, Horowitz is my top choice.

Music Review:

Music Review

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