Pioneering Liszt Recordings 1937-1941

On this CD:

1. Hungarian Rhapsody, for piano No. 12 (aka "No. 2") in C sharp minor, S. 244/12 (LW A132/12)
Composed by Franz Liszt
Performed by Louis Kentner

2. Ballade, for piano No. 2 (II) in B minor, S. 171 (LW A181)
Composed by Franz Liszt
Performed by Louis Kentner

3. Bénédiction de Dieu dans la solitude, for piano (Harmonies poétiques No. 3), S. 173/3 (LW A158/3) No 3, Bénédiction de Dieu dans la solitude
Composed by Franz Liszt
Performed by Louis Kentner

4. Berceuse (II), for piano, in D-flat major, S. 174/2 (LW A186/2)
Composed by Franz Liszt
Performed by Louis Kentner

5. Polonaise, for piano No.1 in C minor, S. 223/1 (LW A171/1) No 1
Composed by Franz Liszt
Performed by Louis Kentner

6. Scherzo und Marsch, for piano, S. 177 (LW A174) Scherzo
Composed by Franz Liszt
Performed by Louis Kentner

7. Scherzo und Marsch, for piano, S. 177 (LW A174) March
Composed by Franz Liszt
Performed by Louis Kentner

8. Hungarian Rhapsody (Carnival in Pest I & II), for piano in No. 9 in E-flat major, S. 244/9 (LW A132/9)
Composed by Franz Liszt
Performed by Louis Kentner

Customer Reviews:

badly remastered.......2007-06-25

"The Complete Rachmaninoff', at 2-3 times the price is a better deal. This version is re-mastered in a way that reduces surface noise, but, at the same time, removes much of the pianists' tone quality that comes through so well on the original LP release, as well as the more expensive set. Also, this album is lacking the documentation of recording dates that the LP and 'The Complete Rachmaninoff' provide. For the neophyte, the re-mastering reduces the magic of Rachmaninoff's tone. I would expect the connoisseur to be even more disappointed. There are bargains out there, but for this album, you get what you pay for.

Rachmaninov is the master.......2007-05-15

Some people like the recordings and some dont, but as a fan of Rachmaninov it would be a shame not to own these recordings. To hear a master composer from history play his own works is not that common. Just put the cd in your player put your headphones on and watch the black and white images appear in your mind as though you were at a concert in the 1930's looking on at the man sitting at the piano carefully but with feeling pounding each note into the air of time. If you don't like the scratchy recordings then obviously you are a spoiled brat who doesnt appreciate fine art.

A Master of Musical Love.......2007-01-18

There have been other brilliant composers and genius pianists as Rachmaninoff lived and afterwards. Yet, in my opinion, he is the real central figure of his days and, as far as I can feel, what there is of most modern up to now in classical music. I do not think it exaggerated to say that, after all these decades, someone is still to pick up the torch from his hands at that level of inspiration, just as he picked it up from Tchaikovsky. It is true that a few of his compositions seem quirky and cerebral: but more than a few are the masterpieces. His second Concerto is the concert of the century. And where do we find, for instance, a match for his etude tableau 39/5 in one hundred years? Or a simply revolutionary piece as his prelude 32/12 is?

One could go on with a list of marvelous compositions either created or played by him and many reviewers already pointed so much of great in his recordings. So a good thing to do here is what a previous reviewer also did: to say something special about one favorite piece of the box-set. My forerunner pointed to Rach's rendering of Haendel's "Harmonious Blacksmith" and I agree with each word he wrote about it. Now I should like to declare my amazement about his version of "Leise flehen", initially a Swansong written by Schubert and later transcribed by Liszt.

Hopefully Dietrich Fischer-Dieskau and other singers will not mind my saying this, but Rachmaninoff unveils and exposes such a treasure in this song that now its original lyrics only seem to obstruct the inestimable wealth in piano notes below them at all other known recordings: the piece is infinitely more beautiful when left to the pianist alone. Rach's playing is warm and generous, just like Schubert's creative Geist, and the result is light-years ahead of the usual rough, squared, catacomb mood with which people bring the composition along with singers.

Impossible not to love, but there is more to that. After listening so many times to this piece that never ceases to stun me, I came to conclude that in fact very few people could manage to play the `leise flehen' like this, even among good pianists. As expressed here, its notes speak to their listener in such frank, open, and direct way - like a true friend making an important confession - that only a man with Rachmaninoff's `heart of gold' could manage to convey its meaning.

Ahhh, maybe we're talking about technique... To have a most noble heart, then, is THE decisive technical prerequisite for communicating these notes, otherwise they will simply not come out at all.

Notes: Here are a few opinions about the pieces mentioned above; hopefully they will be helpful for persons who don't know Rachmaninoff's works and stimulating for those who already know them. 1) As far as I am aware, besides Rachmaninoff only Valentina Lisitsa recorded the Leise flehen in a solo version. It can be found in her 2005 DVD with the Swan Songs program. 2) The etude tableaux 39/5 is not in this box set; many performers have played it, but none as Van Cliburn, who simply operates a miracle in the CD "My Favorite Rachmaninoff". His playing and the vertigo sensation it leaves behind are so powerful that I am sometimes afraid to listen to him. 3) Horowitz, the wizard, masters the prelude 32/12 in his CD "Horowitz Plays Scriabin" and in his legendary 1986 Moscow recital; the prelude is also in Rach's box-set. 4) About the second concerto, there are so many recordings, most of which I have not heard; my favorite performer is Benno Moiseiwitsch, a sublime piano poet much admired by Rachmaninoff himself. None of the recordings I've heard of the concerto, including the two available by its own composer, reach the climax of its third movement as Moiseiwitsch does in a 1944 movie called "Battle for Music". It is only a short excerpt from one of his wartime presentations with the LSO, but long enough to show how it sounds when perfectly done. The excerpt is also in the movie "The Art of Piano", in which the entire footage involving Rachmaninoff and Moiseiwitsch is simply a gem (however much historically unprecise).

Classic Historic Rachmaninoff........2006-01-14

If you're a tad bit confused between this boxed set and "The Complete Recordings" boxed set from 1992, fear not. Both this and "The Complete Recordings" are exactly the same. The only difference is in the cover art and packaging. Also, the price of this recent reissue is half as much as the original edition. If you have the original edition, there's no need to buy it again. If you don't own this already, then this present edition is the one to get mainly because of its reduced price tag.
With this out of the way, onto the music itself:
The Rachmaninoff Complete recordings collection includes everything the great Russian composer/pianist recorded between the years 1919 and 1941. Besides recording historic versions of his own classic Piano Concertos, his "Rhapsody on a Theme of Paginini" as well as conducting his own Third Symphony and Isle of the Dead, Rachmaninoff also recorded arrangements of works by such great composers ranging from Bach, Handel, Mozart, Beethoven, Schubert to most importantly, Chopin. These recordings are also included in this mammoth set alongside more obscure works by Mussorgsky, Daquin, Henselt and Dohnanyi.
The sound quality varies throughout the set ranging from highly listenable to sounding as if it were transferred by placing a microphone directly into the horn of an old grammophone. Despite the variants of sound quality, one cannot deny that this music as well as these recordings are important and historic.
The CD booklet gives a brief insight to Rachmaninoff's history as a recording artist as well as a breakdown of the tracks themselves. The only major flaw with this present edition is the fact that there are no recording dates listed anywhere in the liner notes. Considering that these are historic recordings dating from the very birth of the recording age, it would've definitely been helpful to be able to identify the year in which each work included here was recorded. Considering that I do not own the original edition of this set, there's a good chance that the first edition included the dates of the recordings. Not so here though. This is the reason why this reviewer docked this set one star.
Apart from this, this present edition or Rachmaninoff's complete recordings is a must for the die-hard Rachmaninoff fan. You get to hear the genius at work not only with his own material but with works by others as well. There are also a few note worthy collaborations such as a full disc of duets with legendary violinist Fritz Kreisler, an appearance by mezzo soprano Naddejda Plevitskaya on the arrangement of the traditional tune "Powder and Paint" and a fabulous four-hand piano rendition of Rachmaninoff's own "Italian Polka" with his daughter Natalie as second pianist (which actually sounds like a homemade wax-cylinder recording).
With this said, if you can get around guessing when these recordings were made, this is some great and historic music from one of the very best composer/musicians of our time - the one and only, the great Sergei Rachmaninoff.

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

Polkas | Ballets & Dances | Classical | Styles | Music

Polonaises | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Rondos | Forms & Genres | Classical | Styles | Music

Scherzo | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | 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.

Amazon.com

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

Customer Reviews:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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!

Average customer rating:

A total delight...........
The Ultimate Liszt
Heroic Pianism
Awesome compositions
Tastefully virtuosic. Excellent Interpretation

Nojima Plays Liszt

Manufacturer: Reference Recordings
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

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

Nojima Plays Ravel
Garden of Dreams
World Keys
12 Transcendental Etudes
Shostakovich: The Golden Age

ASIN: B00000157J
Release Date: 1993-01-05

Tracks:

Mephisto Waltz #1
La Campanella
Harmonies du soir
Feux Follets
Sonta in b

Album Description

"Demands recommendation alongside history's best recorded performances." - Stereophile

Connoisseurs of great piano playing will love this classic reissue. A reclusive cult figure who records even less often than he plays in public, Nojima is Japan's most celebrated concert pianist and a Cliburn Competition Silver Medal winner. Long out of print—brought back by popular demand! Newly remastered from the original analog tapes in HDCD. A contemporary pianist that evokes the wonders of the golden age of pianists typified by Horowitz, Godowsky, Lhevinne, and the other giants of that period. Nojima performs with Japan's major orchestras, including frequent appearances with the New Japan Philharmonic, Tokyo Symphony, Tokyo Metropolitan Symphony Orchestra, Yomiuri Nippon Symphony, Kyushu Symphony, and Gunma Symphony in domestic subscription performances and as a soloist on overseas tours, as well as collaborating with orchestras and conductors such as the Montreal Symphony and Charles Dutoit. His 1988 recording Minoru Nojima Plays Liszt quickly became a reference! work, named Best Recording of the Month by Stereo Review, which described it as "a stunning demonstration of technique put at the service of profoundly musical ends".

Customer Reviews:

A total delight..................2007-06-13

Someone once made the comment to me that Franz Liszt was really messed-up.....my reply was that if we lost all the music by messed-up composers, we wouldn't have much left. Oh, we'd still have Bach and Vivaldi, and, probably Haydn, but then........Known in his own day more as performer than composer, Liszt was, by any standard, a mess. SO WHAT? He was, you see, a genius. Further, and more important, he shared his genius. The music in this album was part of Liszt's gift to the ages.

If Franz Liszt left a high standard, Minoru Nojima meets, or exceeds, it. The whole album is fabulous, though I especially enjoyed what Nojima does with "Harmonies du soir". The only regret is that this performer is not far better known...two albums, for a small boutique label, is not nearly enough.

Speaking of the small label, Keith Johnson has been working miracles for Reference Recordings for close to 50 years. Great performance of great music is a joy....great recording skill is entertaining....But a great performance of great music, recorded with great skill...THAT'S a miracle. This one is no accident; the whole catalog is filled with miracles, whether of classical or jazz, solo or ensemble, vocal or instrumental.

In closing, I mention another regret; Professor Johnson and his analog, vacuum tube recorder were not around in Liszt's day. That MIGHT have topped this, but nothing else will. Don't fail to get this one.

The Ultimate Liszt.......2007-03-24

Minoru Nojima is the Clark Kent of pianists. This mild, self-effacing fellow transforms into supernatural powers when placed in front of a piano. This is by far the most dynamic, most subtle recording of the foremost Liszt piano works to be found. It is the only recording of the Sonata in B minor that is a model of clarity rather than the usual turgid bombast. If you're a Liszt fan buy this by all means. Even if you hate Liszt, give this one a try.

Heroic Pianism.......2003-08-12

This is an extraordinary recording. Nojima may well be the finest pianist most people have never heard of. Minoru Nojima was a child prodigy in Japan, won a major nationwide competition there as a teenager, studied with Lev Oborin in Moscow and then with Constance Keene and Abram Chasins in New York, and burst upon the international music scene as a winner of the Van Cliburn piano competition in 1969. Although known and highly respected amongst pianists as a "pianist's pianist," he is not well known to most music lovers, largely because he doesn't like to make recordings and has made extremely few. This technically superb, rich-sounding digital recording was made in 1986 by Keith Johnson in the Civic Auditorium of Oxnard, California, for the San-Francisco-based audiophile label Reference Recordings; Nojima plays a tonally beautiful Hamburg Steinway concert grand.

Franz Liszt was of course the leading piano virtuoso of his day, and he wrote these pieces for his own concerts. Hence they bristle with formidable technical difficulties and challenges. These are surmounted by Nojima without breaking a sweat; he almost makes them sound easy. His playing here is a revelation. He is a consummate virtuoso, and his huge, effortless technique is often mind-boggling, but is always at the service of a profound grasp of and genuinely idiomatic feeling for the Liszt piece he is performing. Indeed, his Liszt playing--with a real command of legato, of cantabile singing tone, and with dazzling pyrotechnics nicely integrated with poetry, sensitivity, a feeling for the phrase, the long line, the architecture of the piece--is in the grand tradition of Arrau and Bolet, the two greatest Liszt pianists of recent decades. This recording should be heard and treasured by anyone who loves Liszt's piano music, and/or by anyone who admires breathtaking pianism.

(Note for audiophiles: I compared this CD to Jorge Bolet's series of digital recordings of Liszt piano works on Decca/London. Of the major classical labels, Decca/London has long been my favorite for sound quality. But in this comparison, the Decca/London recordings are not even close in engineering quality. Which prompts this reasonable audiophile question: if Keith Johnson, working for the small audiophile label Reference Recordings, can capture the immediacy, brilliance, depth, and richness of piano tone that we hear here, why can't the major classical labels, with all their resources, engineer recordings of comparable excellence?)

The success of this CD led to a second Reference Recordings CD of Nojima playing Ravel. It too is exceptionally fine, also enjoys state-of-the-art piano sound, and can be confidently recommended to anyone who enjoys this recording.

Awesome compositions.......2002-08-30

I like Thelonious Monk, Bill Evans, and some other jazz pianists. But Liszt's and other great classical piano compositions make jazz piano sound like child's play. Its a shame more people aren't interested in the greatest musical idiom, classical.

Tastefully virtuosic. Excellent Interpretation.......2002-05-03

Having attempted on a few occasions two of the pieces on this disk -- Mephisto Waltz No. 1 and La Campanella -- I had a few expectations in mind. Upon listening to the latter, I realized immediately several flaws in my own approach, particularly in the repeated d-sharps in the introduction and in the highly chromatic middle sections. Nojima's delicacy in the introduction is mesmorizing, and I have spent many an hour at the keyboard trying to replicate the apparent ease with which he plays.

The Mephisto Waltz is also executed with similar confidence and attention to detail. Although not my favorite of Liszt's Waltzes, this recording is a gem.

In general, this is an excellent example of how wonderful Liszt can be when done *right*. The level of difficulty found in this music exceeds that of nearly any other romantic-era composer, but the more fundamental content -- the form, harmony, and other compositional factors -- is treated in a complete, intellegent, and artistic manner. When approached in a purely methodical manner, this music can come off as being self-serving or as an excercise, but Nojima's treatment gives it the sensible, sensual, and aesthetic context that it deserves.

Tracks:

Der Engel
Ich atmet' einen linden Duft
Auf Flugen des Gesanges
Oh, quand je dors
Le Bonheur est Chose legere
En Priere
Chere Nuit
Mondnacht
Wiegenlied
Giulio Cesare: V'adoro, pupille
Zdes' khorosho
Ya ne prorok
Wasserose
Wiegenlied
Litanei auf der Fest Allerseelen
St. Ita's Vision
Long Time Ago
The Little Horses

Amazon.com

Metropolitan Opera soprano Heidi Grant Murphy and her husband, the pianist and conductor Kevin Murphy (also of the Met), conceived the concept for this recording with guidance from their friend and Met colleague, Ken Noda. The intent was to convey a feeling of infinite tranquillity, reverie, dreaminess, and tenderness. Though the disk's packaging--including its title--may strike some as slightly drippy, the recording deserves high praise on musical grounds. The selection of repertoire is excellent, and as a result, the disk's overall feeling is one of serene continuity. As interpreter, Heidi Grant Murphy brings out the many subtly-shaded moods in this music, and her voice is stunning without calling undue attention to itself. It is by turns quiet, close, tender, and yielding. It's a special disk to have. --Gwendolyn Freed

Customer Reviews:

Truly lovely.......2006-08-23

Ms. Grant Murphy has an exquisitely tuned and toned soprano, and her husband, Mr. Murphy, accompanies and supports with great delicacy and musicality. The selections are wide-ranging and eclectic, and I found most of the disc utterly entrancing. Heidi Grant Murphy's voice is clear, high, pure and uniquely beautiful in timbre. I had the great pleasure of hearing her live in concert in 2005 with the Boston Symphony Orchestra at Tanglewood, in Mahler, and on the strength of that decided to purchase this CD. If pressed to find what I considered to be a weak spot, I would have to say that I did not find Ms. Grant Murphy's voice particularly suited to "O quand je dors", although the duo performance of that song was as thoroughly musically informed and well-conceived as any of the other selections included. I think this is quite a remarkable collection and I would definitely recommend it to lovers of art song.

Brilliant!.......2003-12-30

Seems like Laura, who gave a terrible review, is a bit jealous! She must have been competing with Heidi and was not picked. It is obvious she is terribly resentful of Heidi's beautiful voice and talent. Heidi's voice is angelic and peaceful. I highly reccommend all of her CD's. Her husband Kevin and she make a great pair and their talents are amazing! Keep them coming Heidi. As for you Laura, keep trying. Besides the attitude and resntment, you must not have the talent you thought you possessed.

Not worth the money!.......2000-11-26

Looking at the high praise this mediocre recording receives in the other reviews, I'm wondering whether I listened to the same one. I bought this recording with high hopes, but having never listened to her voice - I regret it. The material she performs is good (if somewhat standard), but her voice is really...weird. It has a Beverly Sills (past the golden years) wobble in it that she seems to think is a healthy vibrato. I know she was pulled out of Indiana U early for a Met contract, and I think they did her a disservice - her technique is horrible. She does have good control of her pianissimi, but as a whole, the recording is most disappointing. In the Rach, her fortes are frighteningly bad, almost embarassing. How does this woman sing at the met?

A Beautiful Voice.......2000-02-25

Heidi Garant Murphy is an exceptional singer. The magical tone of her voice is matched by intelligent musicianship. I recently (Feb 10) saw her as Sophie in Der Rosenkvalier at the Met. A wonderful performance, in which she was clearly the interpreter closest to what I think Strauss had in mind. She also had the most beautiful voice (although Fleming was also in excellent voice) This disc is another wonderful example or her singing. Kevin Murphy, who is her husband, provides a sensitive piano accompaniment. This disk is not background music. The sensitive interpretations require your complete attention to be appreciated.

Buy!.......2000-02-15

Judging from most reviews in the classical genre, I am not qualified to evaluate Twilight & Innocence for its technical merits, but let me say that Heidi Grant Murphy has one of the most beautiful voices I've ever heard. The selections, and lovely piano accompaniment are a perfect showcase for her talent. I've worn out my repeat button on V'adoro, pupille...heidi and kevin, encore!

Vladimir Horowitz: The Studio Recordings - New York 1985

Average customer rating:

Magical
A reason to live to be 83
AT 82 HOROWITZ PLAYS WITH SENILITY, NUANCE, INTELLECT
The True Horowitz... Absolutely necessary
The True Sound of Horowitz

Vladimir Horowitz: The Studio Recordings - New York 1985

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
Similar Items:

Horowitz in Moscow
Horowitz: The Last Romantic
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ASIN: B000001G7K
Release Date: 1990-10-25

Tracks:

Kreisleriana, Op. 16: 1. Ausserst bewegt. Agitatissimo
Kreisleriana, Op. 16: 2. Sehr innig und nicht zu rasch. Con molta espressione, non troppo presto - Intermmezo I. Sehr lebhaft. Molto vivace - Intermezo II. Etwas bewegter. Poco piu mosso - Langsamer (Tempo I). Piu lento
Kreisleriana, Op. 16: 3. Sehr aufgeregt. Molto agitato
Kreisleriana, Op. 16: 4. Sehr langsam. Lento assai
Kreisleriana, Op. 16: 5. Sehr lebhaft. Vivace assai
Kreisleriana, Op. 16: 6. Sehr. langsam. Lento assai
Kreisleriana, Op. 16: 7. Sehr rasch. Molto presto
Kreisleriana, Op. 16: 8. Schnell und spielend. Vivace e scherzando
Sonata In B Minor, K. 87 (L. 33)
Sonata In E Major, K. 135 (L. 224): Allegro
Impromptu, ('Nocturne') In F Sharp Major
Valse oubliee No. 1: Allegro
Etude In D Sharp Minor, Op. 8 No. 12: Patetico
Impromptu In B Flat Major, D 935 No. 3: Thema. Andante - Variazone I-V
Military March In D Flat Major, D 733 No. 1: Marche militaire

Amazon.com

At age 82, Vladimir Horowitz felt he had a few more things to say--like a new interpretation of Schumann's Kreisleriana and first recordings of works like Schubert's Marche militaire. Technically, age rarely showed in Horowitz's playing; interpretively, his age brought marvelous insights, as we hear on this fine program. The virtuoso is definitely at work here, but so is the "grand old master, in sovereign command of his resources." --David Vernier

Customer Reviews:

Magical.......2006-03-03

A very personal Kreisleriana that's probably unmatched for depth and colour. Perlemuter, too, recorded the piece in his eighties and achieves a very fine result.

Many top recordings, including the earlier Horowitz, are rushed, conformist and dull. A stark exception is Helene Grimaud who balances lyricism and power to great effect. Hers and this second Horowitz stand well out of the crowd.

A reason to live to be 83.......2005-08-14

One of my early teachers told me in a lesson, "that was quite good, but you'll play it better when you're forty." Now that I'm getting uncomfortably closer to that age, it's heartening to see how much far Horowitz's 1985 Kriesleriana, recorded when he was almost 83, outshines his 1969 recording, made when he was a mere 65 or so. I bought this recording when it came out in 1986, and althought I accumlated a number of other recordings of it around the time I learned the piece, this recording remains the most convincing performance I've heard, even in places where I don't *agree* with Horowitz's interpretation. The virtuosity of this performance lies especially in its extreme, yet completely natural, rhythmic freedom, and in its highly intelligent-- and gorgeous-- voicings. His personality is also well suited to the dialectical nature of the pieces. The piece is now thought to be based on Hoffman's _Life and Opinions of the Tomcat Murr_: Horowitz's tempermental virtuoso side reflects Hoffman's Kriesler, while his more contemplative, whismsical side perfectly portrays the Tomcat Murr, years before a connection between Hoffman's novel and Schumann's work was made (in print, anyway). Of the shorter items on the CD, Scarlatti K. 87 sonata, stands out in particular for its impeccable phrasing (even though he plays from an edition with a couple glaring mistakes in it).

AT 82 HOROWITZ PLAYS WITH SENILITY, NUANCE, INTELLECT.......2002-08-25

Joachim Kaiser wrote "An what is still absolutely gripping is that romantic, virtuosic mixture of sensuality, nuance, and intellect." I prefer senile. Still Horowitz played Schumann and Scarlatti about the same way when he was 61. Just because he had mental problems and a great wife doesn't mean he should not let other American pianist have a try at performance.I have heard far more energetic Kreisleriana performances in less than 31 minutes.

The True Horowitz... Absolutely necessary.......2001-04-24

Before I bought this CD I had a very close-minded notion of Horowitz's playing from the recordings I had of him, especially from around the 50s a early 60s (before his temporary retirement); very harsh tonality, 'twiddly' superficial fingering, rushing through pieces, and overall somewhat awkward. I wondered what the heck everyone was ranting about him being the greatest pianist ever for.

Much like Heifetz, however, Horowitz's sound could only be appreciated either in a live concert (which I never was able to attend, unfortunately) or modern digital recording.

This CD demonstrates, first and foremost, the incredible sound that Horowitz had that no doubt filled a concert hall. Incredible tonal colors (even Schubert's Military March), perfectly controlled sonority without 'banging' (some of it's pedal but some is also the way he can hit the keys. Horowitz knew the instrument like no other), and smooth natural fingering.

This is, of course, not to take away from the musical quality of the pieces. For those who are already familiar with Horowitz, this recording is also special because it has both recordings that Horowitz has never made before and some of his favorite pieces of music that he developed a different notion about than before. Consequently, these pieces are slower and more thoughtful (Similar to Gould's rerecording of the Goldberg variations in 1982)...But still VERY EXCITING!

The True Sound of Horowitz.......2000-04-13

As someone who heard Horowitz in recital (Boston, October 19, 1986, I will never forget that day) I can report that this CD comes closer than anything else I have heard to the real thing. This is a demonstration quality disc for piano fans.

Schumann's Kreisleriana was a Horowitz speciality. The interpretation here is freer, looser structurally than his 1969 recording. For me, the earlier version is still unmatched in its' concentration and the laying bare of Schumann's duality--in my opinion it remains Horowitz finest solo recording. But this 1985 version also has a lot going for it--the tempos are so flexible, without losing the basic meter; and the phrasing is just so "right."

Thus is it with the rest of the recording. This is some of Horowitz' most romantic Scarlatti playing, almost as if Scarlatti were a baroque Chopin--not as outlandish as it seems, as Chopin adored Scarlatti's music.

The Liszt Valse Oubliee was another Horowitz specialty, he recorded it at least three times officially, this one is my favorite. Horowitz captures Liszt's mystical eroticism in a way few others have matched. The Impromptu from 1872 is rarely played, and hearing it one understands the comment that Horowitz can get forty colors from a piano by striking two keys.

The Scriabin Etude is the central romantic pivot in this recital. Horowitz plays it differently here than in earlier recordings, beginning quietly and building to a stunning climax.

The Schubert Impromptu is played with more flexibility than we would here from such modern imterpreters as Brendel. But past Schubert specialists like Schnabel didn't feel the need to be human metronomes to reveal the structure of the piece. Horowitz imbues the piece with that long lost quality known as charm, and the running scale passages in the final variations are as well balanced as a string of pearls.

Tracks:

Toccata And Fugue in d, BWV 565
Recit De Tierce En Taille
Fant in f, K.608
Hyperion, Or The Rhetoric Of Fire: First Movt: Hermes
Hyperion, or The Rhetoric Of Fire: Second Movt: The Fires Of Silence
Hyperion, Or The Rhetoric Of Fire: Third Movt: The Inflamed Soul
Hyperion, Or The Rhetoric Of Fire: Fourth Movt: Agni-Ignis
First Movt From Sym No.5, Allegro Vivace
Fant And Fugue On The Name 'B.A.C.H.'

Customer Reviews:

The strangest organ recital ever?.......2002-02-06

Jean Guillou could be compared with the pianist Glenn Gould in some respects. He is an artist with his own unique ideas about performance practice: his registrations are unconventional, he pulls tempi about often to extreme degrees, he highlights (by means of solo stops) material that makes one pause and think - "Why have I never heard that in there before?" He plays entirely from memory (except his own compositions, and even with those he barely glances at the score whilst playing), and if memory lapses occur, he improvises in such a way that casual listeners never suspect that anything has gone wrong or that what they are hearing is not part of the piece they think they are hearing. His finger action is lightning-fast, and he dances on the pedals as if they were red-hot coals. Essentially, he re-interprets music in his own way, treating musical scores as little more than blueprints to vary and improvise upon as he sees fit. (It is worth noting that no-one - even one from among his pupils - has yet been able to imitate his playing convincingly.) And no matter where he performs (his recital career has taken him around the world and back again) he somehow manages to make the listener imagine that they are at home with him in Ste Eustache, by re-creating as nearly as possible the sound of that organ using the resources of the instrument set before him. Above all else, he is a deeply original musical thinker and an outstanding, living example of the French tradition of composer-organists, having studied with Dupré, Duruflé and Messiaen - two of the finest players and one of the most remarkable composers of the last century.

This disc is probably the best with which to sample Guillou's work both as performer and as composer. It reproduces the programme of the concert he gave in Ste Eustache (where he has been titulaire for nearly four decades) in 1989 to mark the rebuilding of the organ by J. van den Heuvel - a rebuild, interestingly enough, that Guillou oversaw and into which he had considerable input.

The programme reflects Guillou's enthusiasm for the music of J. S. Bach by including his best-known organ work (setting aside issues of true authorship that have recently arisen) - the Toccata and Fugue in D minor, BWV 565. Right from the start, there is evidence of Guillou's quirky mind at work: the famous opening flourishes and spread diminished seventh chords are dispensed with very rapidly; the florid runs are taken more slowly and with a lot of detached playing (as opposed to the smoothness adopted by most organists for such passages). In the fugue, taken at a considerably fast tempo, there are numerous manual changes and surprising registrations; most notably, in the echo passages he plays about with delicate high flute sounds. Nicholas de Grigny's "Récit de Tierce en taille" is a typical representative of the French Baroque, and is played discreetly here, but still with much manipulation of tempo and momentum. Mozart's Fantasia in F minor bristles with energy and is subjected to similar 'creative' registrations as the Bach; the first movement of Widor's celebrated Fifth Symphony appears to rise and fall like waves ebbing as Guillou explores previously unseen nuances in the music, the result being that the work sounds more athletic than Romantic! To those who already know this music, these performances are guaranteed to be something of a surprise, or even a shock. However, on listening Guillou's own symphonic work "Hyperion," the listener can appreciate most of the unusual treatments given to the other music. "Hyperion" is a prime example of the extraordinary creative energy of this artist, as it is themed around the subject of "Fire" - defined by Guillou in his liner notes in metaphysical and philosophical terms, as well as depicting fire in the literal sense. The first and last movements ("Hermes" and "Agni-Ignis") are bold toccatas: the one being playful and full of contrast, the other being fierce and aurally shattering. The second movement is a melody that echoes the sort of thing one hears in the de Grigny work, flanked by austere motifs and a profound sense of mystery. The third movement is even more mysterious, taking a journey into the "Inflamed Soul" and exploring the full range of colours available on the magnificent Ste Eustache organ. This is by no means easy listening, but it is a sound world that etches itself into the mind and proves irresistable to all who like it to any degree.

The programme ends with a display of organ virtuosity that puts even Guillou's composition to shame. There are many recordings of Liszt's "Fantasia and Fugue on BACH," but none like this. The work exists in three versions: a first version for organ that is full of dazzling displays, a second version for organ in which Liszt purged some of those fireworks, and a third version re-composed with new fireworks and adapted for piano. Most organists play the second version as the "standard" one; some brave ones take on the challenge of the first version; a few pianists have tackled the piano version in like manner. On this disc, Guillou transcends them all by performing his own "syncretic" version, in which he skilfully transfers the pianistic effects of the third version to the original medium of organ. The result is horrifically difficult to play as a result of the transfer, but Guillou demonstrates the height of his virtuosity by making it sound effortless - and needless to say, his own quirks continue to emerge through the music so that the overall impression is that he is partly remembering and partly improvising the work. It is stunning beyond question.

Purists may have a hard time with Guillou; organists will be enthralled and dumbfounded by his sheer brilliance - all the more remarkable since he is in his seventies! At the core, however, whilst this is one of the oddest organ recitals available on CD, it is also one of the most unique and recommendable.

Jean Guillou: indisputably a master musician!

Guillou at Saint Eustache, Inaugural Recording.......2000-02-06

In this recording, the great Jean Guillou inaugurates the brand new Van den Heuvel organ in the Church of Saint Eustache, Paris. The recording is excellent! Guillou gives a highly diverse program: from Bach to Guillou himself, and he gives equal treatment to all of the composers. I have never heard any of these pieces played better. The first movement of Widor's fifth symphony has never been played better than on this recording. Guillou shows of the magnificent organ wonderfully!

Vladimir Horowitz, Complete Masterworks Recordings 1962-1973, Vol. I: The Studio Recordings 1962-63

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Horowitz at his Musical and Technical Prime
Delightful First Volume

Vladimir Horowitz, Complete Masterworks Recordings 1962-1973, Vol. I: The Studio Recordings 1962-63

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Toccatas | Forms & Genres | Classical | Styles | Music

Scherzo | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

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

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ASIN: B00000290A
Release Date: 1994-07-19

Tracks:

Piano Sonata No. 2 In B Flat Minor, Op. 35: Grave-Doppio movimento
Piano Sonata No. 2 In B Flat Minor, Op. 35: Scherzo
Piano Sonata No. 2 In B Flat Minor, Op. 35: Marche funebre. Lento
Piano Sonata No. 2 In B Flat Minor, Op. 35: Finale. Presto
Etude - Tableau In E Flat Minor, Op. 39 No. 5: Allegro
Etude - Tableau In E Flat Minor, Op. 39 No. 5: Appassionato
Arabeske In C Major, Op. 18: Leicht und zart
Kinderszenen, Op.15 - Scenes From Childhood: Von fremden landern und Menschen
Kinderszenen, Op.15 - Scenes From Childhood: Kuriose Geschichte
Kinderszenen, Op.15 - Scenes From Childhood: Hansche-Mann
Kinderszenen, Op.15 - Scenes From Childhood: Bittendes Kind
Kinderszenen, Op.15 - Scenes From Childhood: Gluckes genug
Kinderszenen, Op.15 - Scenes From Childhood: Wichtige Begbenheit
Kinderszenen, Op.15 - Scenes From Childhood: Traumerei
Kinderszenen, Op.15 - Scenes From Childhood: Am Kamin
Kinderszenen, Op.15 - Scenes From Childhood: Ritter vom Steckenpferd
Kinderszenen, Op.15 - Scenes From Childhood: Fast zu ernst
Kinderszenen, Op.15 - Scenes From Childhood: Furchtenmachen
Kinderszenen, Op.15 - Scenes From Childhood: Kind im Einschlummern
Kinderszenen, Op.15 - Scenes From Childhood: Der Dichter spricht
Toccata In C Major, op. 7: Allegro
Hungarian Rhapsody No. 19 In D Minor: Lento patetico (Lassan) - Vivace (Friska)

Tracks:

Sonata In E Major, K 531 (L430): Allegro
Sonata In A Major, K322 (L483): Allegro
Sonata In G Major K455 (L209): Allegro
Piano Sonata No 8 In C Minor, Op. 13 'Pathetique': Grave - Allegro di molto e con brio
Piano Sonata No 8 In C Minor, Op. 13 'Pathetique': Adagio cantabile
Piano Sonata No 8 In C Minor, Op. 13 'Pathetique': Rondo. Allegro
Impromptu In G Flat Major, Op. 90 (D 899) 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: IV Les fees sont d'exquises danseuses. Rapide et leger
3 Preludes: V Bruyeres. Calme
3 Preludes: VI General Lavine - eccentric. Dans le style et le mouvement d'un Cake-Walk
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

Amazon.com essential recording

This collection features wide-ranging repertory, including Russian Romantics like Rachmaninoff and Scriabin that were Horowitz's concert staples, all stunningly played. The Chopin "Funeral March" Sonata is taken at a flowing pace, with a crisp, touching march. Schumann's Kinderszenen is fetchingly done with disarming simplicity and heartfelt poetry. He "improves" Liszt's 19th Hungarian Rhapsody with doubling and rewriting, but it's no less exciting for all that. A stylish Beethoven "Pathetique" Sonata is treasurable for singing tone reined into a classical framework. A good overview of Horowitz's style and repertory with many delights. --Dan Davis

Customer Reviews:

Horowitz at his Musical and Technical Prime.......2003-01-06

Volume One of Sony's reissue of Vladimir Horowitz's Complete Columbia Masterworks Recordings contains studio recordings from 1962-63. His first three LPs for Columbia (Columbia Presents Vladimir Horowitz, The Sound of Horowitz, and In His First Recordings of...) were conceived as mini-recitals and have been carefully resequenced to fill two CDs.

By 1962, Horowitz had not performed in public for nine years. Frustrated with the repertoire restrictions, poor sound and lack of marketing he was receiving from RCA, he abandoned Little Nipper and signed on with Columbia Masterworks, headed by the legendary Goddard Lieberson. Thomas Frost was assigned as Horowitz's producer, and the two clicked immediately. The fine results they obtained can be heard here.

For decades Horowitz had a problematic relationship with Chopin's Second Sonata. A 1936 attempt to record the piece was aborted due to the pianist's first nervous breakdown (the first movement survives). Horowitz's 1950 recording for RCA is a bizarre collection of details, with a Funeral March that sounds like a Russian boat song on steroids. This 1962 recording is highly successful, however. Horowitz is obviously on top of the piece, technically, with his spare pedaling highlighting Chopin's use of counterpoint. The Funeral March is, for once, played with a crisp rhythm, the central section exquisitely balanced. He performed this work several times in the 1970s, but not as convincingly. The other Chopin works fare as well, including a passionate "Revolutionary" Etude and a tightly controlled B-minor Scherzo with a characteristically Horowitzian touch: Interlocking octaves replace Chopin's chromatic scales in the coda.

Schumann was Horowitz's favorite German composer. Here we have a swift Arabeske, painted in delicate watercolors, and a reflective Kinderscenen, featuring some remarkable voicing. Less successful is the Toccata, which is pianistically unstable and was spliced together virtually bar-by-bar (this remastering smoothes out the edits much better than previous issues).

Horowitz was less fond of Beethoven. He admired the Master's musical ideas and architecture, but was frustrated by Beethoven's piano writing, and many of Horowitz's Beethoven recordings are not convincing--although none could be classified as "bad." This version of the Pathétique (the only Sonata named by Beethoven himself) is one of the best ones, with a perfectly paced opening movement, a beautifully weighted Andante, and an unrushed Finale. Likewise with the lovingly voiced Schubert Impromptu, which is a great improvement over his 1953 recording which was performed in the wrong key!

Horowitz seldom played Debussy and recorded no Ravel. One wonders why, listening to the three Preludes from Book II included here. Horowitz's ability to control the lower levels of dynamics, playing soft-softer-softest, and his deft tone painting suit this music perfectly.

Of course, no Horowitz recital would be complete without Scarlatti, Scriabin and Rachmaninoff. The three Scarlatti Sonatas document Horowitz's increasing concern with authenticity, coupled with his ability to play with infinite grades of detachment and color. The Rachmaninoff and Scriabin illustrate Horowitz's huge dynamic range and unique understanding of Russian rhetoric.

Liszt's Hungarian Rhapsody No. 19 is a rather monotonous piece in the original version, but Horowitz's arrangement of it here unquestionably improves the piece. Not only is the work more spectacular with Horowitz's additions, but the pianist's editing maked the structure more coherent. This was originally the last piece on the first LP he made for Columbia, and it's obvious his intent was to show that although he had mellowed and matured, he could still play "like Horowitz" when he chose. He proved his point.

These recordings were produced at Columbia's legendary 30th Street Studio (actually a converted church) and the "360-degree" sound was widely praised in its day. The remastering has opened up the dynamics, and brought forth a fuller, more natural sound, reducing noise without overly capping the high frequencies.

Delightful First Volume.......2000-11-12

"The Studio Recordings 1962-1963" is the first of Vladimir Horowitz's incredible nine CD volumes of the Complete Masterworks Recordings, which are available individually or as a boxed set. Volume One features solo piano works by an amazing array of composers -- Beethoven, Chopin, Debussy, Liszt, Rachmaninov, Scarlatti, Scriabin, Schubert and Schumann. Several of these pieces I was not familiar with prior to purchasing this disc, especially Schumann's "Kinderszenen" and Horowitz's own transcription for Liszt's Hungarian Rhapsody No. 19, and they are wonderful additions to my collection. Some of the other pieces I do have other versions of, and it is delightful to hear the subtle differences in Horowitz's style and interpretation. I always thought Rubinstein was the best at playing Chopin, but Horowitz really gives him a run for his money. The Etudes and the Scherzo are played like they are Horowitz's old friends, and the "Funeral March" flows beautifully between the somber and revelatory passages. I might even have to give Horowitz's rendition the nod over Van Cliburn's version (see my review of that title). Horowitz handles Debussy's three Preludes (from Book II) with all the majesty of Walter Gieseking's classic recordings. And Horowitz's reading of Beethoven's "Pathetique" Sonata is equal, if not superior, to the version by Daniel Barenboim that is coupled with Tchaikovsky's "Pathetique" Symphony. Finally, Horowitz captures three Scarlatti sonatas (not featured on Volume 2) in the brilliant manner that only he could. This two-disc set is an essential purchase for the new and veteran classical music fan alike.

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SHURA CHERKASSKY - more 1940s delights resurrected!

The Historic Recordings

Manufacturer: Ivory Classics
ProductGroup: Music
Binding: Audio CD

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Fantasies | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Toccatas | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

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ASIN: B00005B196
Release Date: 2001-04-17

Amazon.com

Few, if any, historic releases are as charming as Ivory Classics' Shura Cherkassky--The Historic 1940s Recordings. For Cherkassky--as for his teacher, Josef Hofmann--music was a vehicle for self-expression. Stories about Cherkassky's personal eccentricities are the stuff of legend, but he was not so much an eccentric pianist as an individualistic one. Unlike individualists of our own day, who seem to play "differently" simply to provoke and who merely sound quirky, the miracle about Cherkassky is that he usually sounded natural. You'll surely never hear a Brahms F Minor Sonata more original than the one reissued here. In the finale, the pianist discovers inner voices whose existence would have astonished Brahms himself. But despite the pianist's interest in luscious tone, polyphonic texture, and details within individual phrases, he never loses grasp of the overall shape of the work. Much of the rest of what's contained in these two discs is simply magical. In short, familiar pieces by Chopin and Liszt and, particularly, in lesser-known works by Medtner, Rebikov, Chaminade, and Scriabin, Cherkassky's pianism evokes the elegance and melancholy of a vanished era. --Stephen Wigler

Customer Reviews:

SHURA CHERKASSKY - more 1940s delights resurrected!.......2001-05-19

This excellent duo of CDs contains the same collection of early Vox and Swedish Cupol label recordings as on Pearl's `Piano Masters' series that Cherkassky made in 1946 and 1949. {see my review}. In addition to these rare and wonderful bonbons by Khachaturian, Shostakovitch, Liadov, Prokofiev, Tchaikovsky, Rebikov, Glinka,Scriabin and Medtner etc., Ivory Classics also gives us the HMV historic 1940s recordings. Disc 1 begins with Saints-Saëns `Prelude and Fugue in F minor' in which the repeated chords of the Prelude shimmer delightfully at all dynamic levels from pianissimo through to fortissimo and the following Fugue sweeps along energetically with some brilliant octave playing. Cherkassky's Brahm's Sonata in F minor {a Vox recording} is also full of youthful passion, exuberance and grandeur. The Liszt `Liebesträume'{Electrola } is played with Cherkassky's full-throated cantabile and the HMV Chopin selection consists of: two Mazurkas, performed with a delightful feeling for their rhythmical dance origins - the second Impromptu in F sharp major played with Cherkassky's ravishing singing tone; the right hand scale passages fairly sparkle, as do those in the famous `Fantasie - Impromptu; Chopin's great Fantasie in F minor and two Etudes Op.10 {No: 12 & 4} which end disc 2 are brilliantly executed. Some critics have found Cherkassky's playing to be either `wilful' or `mannered'. On the contrary, these 1940s recordings are full of character and imagination - a quality that is in short supply these days! So do you purchase this Ivory Classics two CD set or the Pearl single CD? If you can afford it - buy both. The Pearl has a `live' recording of the second and third movts of Tchaikovsky's second piano concerto with Stokowski and the Hollywood Bowl SO . The Ivory Classics transfers are very good and their booklet is exemplary. Not only does it give detailed biographical notes of Cherkassky and all the composers featured but it also includes a fascinating selection of very rare photos of the great pianist as a boy and also at the time these recordings were made. I particularly like the photos taken of Cherkassky seated at the keyboard in his Hollywood home and one taken of him as a 13 year old wearing knee length boots and a large flat cap! An absolutely delightful tribute to a unique artist.

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