Plays Brahms & Boccherini

On this CD:

1. The Tale of Tsar Saltan (Skazka o Tsare Saltane), opera in 4 acts with a prologue Flight of the Bumblebee
Composed by Nikolay Andreyevich Rimsky-Korsakov
Performed by Pablo Casals

2. Minuet for piano in G major, WoO 10/2
Composed by Ludwig van Beethoven
Performed by Pablo Casals

3. Suite for orchestra No 3 in D major, BWV 1068 Air
Composed by Johann Sebastian Bach
Performed by Pablo Casals

4. Sonata for solo violin No. 2 in A minor, BWV 1003 Andante
Composed by Johann Sebastian Bach
Performed by Pablo Casals

5. Komm, süsser Tod, for voice & continuo (Schemelli Gesangbuch No. 868), BWV 478
Composed by Johann Sebastian Bach
Performed by Pablo Casals

6. Sonata for cello & piano, No 10 in E Gavotte, Arranged by Piatti
Composed by Giuseppe Valentini
Performed by Pablo Casals

7. Kinderszenen (Scenes from Childhood) for piano, Op. 15 Träumerei (Dreaming)
Composed by Robert Schumann
Performed by Pablo Casals

8. Songs my mother taught me (Als die alte Mutter), song for voice & piano (Gypsy Melodies), B. 104/4 (Op. 55/4)
Composed by Antonin Dvorak
Performed by Pablo Casals

9. Song without Words for cello & piano in D major, Op. 109
Composed by Felix Mendelssohn
Performed by Pablo Casals

10. Sonata for violin & viola in C major, H. 6/6 Minuet
Composed by Franz Joseph Haydn
Performed by Pablo Casals, Otto Schulhof

11. Adagio and Allegro for cello & strings in A major, G20/3
Composed by Luigi Boccherini
Performed by Pablo Casals, Blas Net

12. Sonata for Cello & Piano No. 2 in F major, Op. 99
Composed by Johannes Brahms
Performed by Pablo Casals, Mieczyslaw Horszowski

Tracks:

Overture To 'Tannhauser'
Domna, Pos Vos Ay Chausida
We Don't Merely Use Instruments, We Play On Them. And They Play On Us.
Hungarian Dance No.7
The Violin Is One Of The Most Tender And Beautiful Instruments Ever Invented.
Violin Concerto In D Major (Adagio)
But For A Long Time It Was Seen As The Instrument Of The Devil.
The Soldier's Tale: Triumphal March Of The Devil
The Manipulative Seductiveness Of The Gypsy Violin.
Csardas Music
The Violin And The Initiation Of Nature
The Four Seasons (Spring, Mvt 1)
Birds Are Again Evoked In The Second Concerto, Especially Music's Natural Favourite.
The Four Seasons (Summer, Mvt 1)
Like The Devil, The Violin Is A Master Of Disguise.
Old Viennese Dance No.3 'Schon Rosmarin'
The Menacing Sensuality Of Ravel's Tzigane: A Very Different Side Of The Violin:
Tzigane
Do We Now Have The True Measure Of This Instrument? Not Just Yet.
Caprice No.24
The Many Effects Of The String Tremolando: Brandenburg Concerto No.4 (Last Mvt)/From Joy To Fright/Quartettsatz In C Minor/The String Tremolo Practically Spells The World Agitato.
Variations On A Theme Of Frank Bridge (No.7)
Prokofiev's Tremolo In Romeo And Juliet Should Not Be Heard Just Before Bedtime.
Romeo And Juliet: Act IV
Vivaldi Use It To Illustrate The Shivering Of Travellers Crossing The Ice.
The Four Seasons (Winter, Mvt 1)
The Violin Muted
Clair De Lune
The Gentleness Of Muted Strings Persists Even When A Whole Orchestra Plays.
Piano Concerto No.21 In C Major, K.467 (Slow Mvt)
The Pizzicato Violin
Pizzicato Polka
In Prokofiev's Second Violin Concerto, The Accompaniment Is Pizzicato.
Violin Concerto No.2 In G Minor (Slow Mvt)
Varieties Of Pizzicato: Colas Breugnon (The People's Feast)/Now A Drier, Leaner, Hungrier Pizzicato. There's Not A Lot Of Comfort Here./Capriol Suite (Tordion)/The Use Of Pizzicato As 'Percussion'/Romeo And Juliet (Act I)/Mahler Used Pizzicato...
The Planets (Mars - The Bringer Of War)
The Technique Of Double-Stopping Enables The Violin To Play Duets With Itself./Sonata No.3 In C Major For Unaccompanied Violin (Fugue)/Now A Later Example Of The Same Technique
Hungarian Dance No.4
Double-Stopping Is A Standard Feature Of A Lot Of Folk Music.
The Four Seasons (Autumn, Mvt 1)
Now The Same Technique, But The Sound Might Have Come From Another World.
Bolero
Double-Stopping Can Only Approximate The Sound Of A Real Violin Duet.
Cadenza To The Violin Concerto By Brahms
Now Compare That With A Real Violin Duet.
Forty-Four Duos (No. 1: Teasing Song)
Another Duo By Bartok, Demonstrating The Violin's Rich Lower Register
Forty-Four Duos (No.2: Maypole Dance)
And Now What May Be The Most Beautiful Accompanied Violin Duet In History
Concerto In D Minor For Two Violins (Largo)
The Soul Of The Violin Is In Song; But What About This Weird Passage?
Violin Concerto No.1 In D Major (Mvt 2)
The Use Of Harmonies In The Orchestra Can Be Both Magical And Unsettling.
Symphony No.1 'Titan' (Mvt 1, Opening)
Tchaikovsky's Use Of Harmonics In The Sleeping Beauty Is Both Strange And Darling.
The Sleeping Beauty (Act II, No.15: Entr'Acte)
Ravel's Harmonics In Mother Goose Effect A Magical Transformation.
Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
Stravinsky's Harmonics In The Firebird Transport Us Almost Into Another World./The Firebird (Introduction)
The Natural Upper Notes Of The Violins Have A Unique Emotional 'Grab'.
Also Sprach Zarathustra (Of The Afterworldsmen)
Still In Their Upper Register, The Violins Unleash The Energy Of A Young Colt.
Variations On A Theme Of Frank Bridge (No. 4)
Elsewhere, Britten Uses The Same High Register To Create A Very Different Mood.
Four Sea Interludes (Dawn) From 'Peter Grimes'
To End This Outing With The Violins, A Charming Little Elfin Dance
Elfenreigen

Tracks:

Introduction To The Viola
Viola Concerto (Mvt 1)
Khatchaturian Gets A Very Different Sound From It: Fuller, Fruitier, More Exotic.
Gayane Suite No.1 (Armen's Solo)
Very Nearly The Whole Of The Violin's Upper Register Is Also Available To The Viola.
Passacaglia, Op.33b From 'Peter Grimes'
The Viola Can Bring A Special, Rich Twanginess To Pizzicato That The Violins Lack./Don Quixote/Berlioz Drew Sounds From It That Retain Their Metallic Strangeness Even Today.
Harold In Italy (Mvt 4)
The Muted Viola: Intimate, Gentle, Poignant In Dvork
Cypresses (No.9)
The Massed Violas Of The Modern Symphony Orchestra In Mahler
Symphony No.4 (Mvt 3)
The 'Period' Viola In Bach
Brandenburg Concerto No.6 (Last Mvt)
The Cello: A Voice Of Unique Nobility
Suite No.1 For Unaccompanied Cello (Prelude)
Brahms And The 'Soul' Of The Cello
Piano Concerto No.2 In B Flat Major (Mvt 3)
Most Orchestral Composers Tend To Emphasize The Cello's Lower Register.
Cantata 'Herz Und Mund Und Tat Und Leben', BWV 147 (Soprana Aria: Bereite Dir, Jesu)
In The Time Of Beethoven The Cello Remained As Fundamental As Ever.
Symphony No.3 'Eroica' (Finale)
But The Cello Is Not Condemned To Spend Its Life In The Basement.
Elfentanz, Op.39
Not Only In Recital Showpieces Like That Is The Cello Is Used In Its Highest Register.
The Protecting Veil (Opening)
A Cello With An Identity-Crisis: The Pizzicato Flamencan
Flamenco
Double-Stopping In The Lower Reaches Of The Cello's Range
Solo Suiet For Cello And Piano (Sardana)
It's In The Middle Register That The Cello Really Comes Into Its Own.
Oriental Dance, Op.2 No.2
It Was To The Cellos That Beethoven Gave Two Of His Most Famous Themes./Symphony No.5 (Mvt 2)/Still More Famous Than That Theme Is This One From The Ninth Symphony.
Symphony No.9 (Finale)
Introduction To The Double-Bass
The Carnival Of The Animals (The Elephant)
But The Double-Bass Can Be Intensely Expressive And Graceful.
Elegy No.1 In D Major
The Range Of The Double-Bass Is The Greatest Of All The String Instruments/Allegro Di Concerto, 'Alla Mendelssohn'/And It's Also Capable Of Very Considerable Virtuosity.
Capriccio Di Bravura
Double-Bass Solos In Orchestral Scores Are Rare But Often Memorable./Symphony No.1 'Titan' (Mvt 3)/In His Third Symphony Mahler Makes A Very Different Use Of The Instrument./Symphony No.3 (Mvt 1)
The Double-Bass Muted In Prokofiev/Lieutenant Kije Suite (Kije's Wedding)/In Another Work Prokofiev Uses The Double-Bass To Enhance The Winds./Romeo And Juliet (Act III)/And He Combines The Bass Clarinet With A Shivering Tremolo From The Double-Basses....
Symphony No.5 (Mvt 3)/So Much For The Strings/On Now To The Winds

Tracks:

The Antiquity And Magic Of The Flute
Prelude A L'Apres-Midi D'Un Faune
The Versatility And Agility Of The Flute
Orchestral Suite No.2 In B Minor (Badinerie)
The Flute In Fifteenth-Century Spain
Sa'Dawi
Other Flutes: The Bass And Alto
Chamber Music No.II
The Piccolo - Aptly Named
La Naissance D'Osiris (Mvt 6)
From A Piccolo Of The Eighteenth Century To One Of Its Descendants In The Twentieth
Suite No.1 For Small Orchestra (Valse)
A Variety Of Techniques
Chamber Music No.II
Flutter-Tonguing. But Tchaikovsky Got There Eighty Years Before.
The Nutcracker (Act II, No.2: Scene)
From The Transverse To The Vertical: The Baroque Recorder
Recorded Suite In A Minor (Menuet II)
An Unfamiliar, Early Vision Of The Instrument
Naelden, Naelden
The Bachian Oboe
Cantata 'Ein Feste Burg Ist Unser Gott', BWV 80 (No.7: Duetto)
Introduction To The Cor Anglais Or 'English Born'
Symphony No.9 'From The New World' (Mvt 2)
The Loneliness Of The Cor Anglais
The Swan Of Tuonela
The Cor Anglais Joins The French Horn In Haydn.
Symphony No.22 'The Philosopher' (Opening)
Introduction To The Oboe D'Amore, Beloved Of Bach - But Also Of Ravel
Bolero
The Clarinet Family: Boxing The Compass, From The Depths Of The Bass Clarinet.../The Egyptian (Violence)/...To The Raucous And Squealy.../Taras Bulba (The Death Of Ostap)/...To The Shrill And Complaining...
Petrushka (No.8: Peasant With Bear)/...To The High Sprits Of A Playful Puppy./Symphonie Fantastique (Last Mvt)/And To The Downright Jazzy/Romeo And Juliet (Act II)
As The High Clarinets Tend To Be Loud, So The Bass Tends To Be Soft:
Gayane Suite No. 1 (Mvt 5)
The Bass Clarinet Is Used By Most Composers Mainly As A Colouring Agent.../Petrushka (No.4: The Blackamoor)/...But It Does Occasionally Get A Whole Tune To Itself./Iberia (Almeria).
The Range Of The Normal Clarinet Parts Goes Quite High...
The Snow Maiden (Scene 5: Melodrama)
...And Quite Low.
Peter And The Wolf (The Cat)
The Clarinet As Concerto Soloist
Clarinet Concerto In A Major (Rondo)
But That's Not The Instrument Mozart Wrote It For; This Is:
Clarinet Concerto In A Major (Rondo)
Introduction To The Saxophone
Hary Janos Suite (Mvt 4)
The Soprano Saxophone Has Quite A Different Feel To It.
L'Arlesienne Suite No.1 (Minuet)
The Little Sopranino Sax Goes Even Higher.
Bolero
The Most Famous Use Of The Saxophone Is In An Orchestration By Ravel.
Pictures At An Exhibition (The Old Castle)
The Saxophone Can Be Quite Contagiously Good-Humoured.
Sax-O-Phun
The Puffa-Puffa Image Of The Bassoon
Peter And The Wolf (Grandfather)
The Bachian Bassoon, In Accompanimental Mode
Cantata 'Weichet Nur, Betrubte Schatten' ('Wedding Cantata'), BWV 202 (Aria No.1)
Bizet Leaves The Puffa-Puffa Image Out, Allowing The Bassoon To Sing./Carmen Suite No.1 (Les Dragons D'Alcala)
And Ravel, Also In Spanish Mode, Does Likewise.
Bolero
The Bassoon As A Voice Of High Seriousness, Indeed Desolate Loneliness
Symphony No.3 (Opening)
The Eerie Bassoon In Its Highest Register
The Rite Of Spring (Opening)
Stravinsky Now Draws On Its Lowest Register, Lonely And Melancholy.
The Firebird Suite (1919, Berceuse)
The Bassoon As Concerto Soloist, Avoiding All Exaggeration
Bassoon Concerto In G Minor (Finale)
The Deep-Voiced Contra-Bassoon, As A Fairy-Tale Beast
Ma Mere L'Oye - Mother Goose (Beauty And The Beast)
The French Horn Under Its Woodwind Hat
Wind Quintet, Op.43 (Last Mvt)
Now A More Prominent Role, In A Woodwind Quintet From An Earlier Era
Wind Quintet In A Minor, Op.100 No.5 (Mvt 2)
The Horn In Harmonious Blend With Strings In Another Quintet
Horn Quintet, K.407 (Finale)

Tracks:

The Trumpet As Virtuoso Soloist
Brandenburg Concerto No.2 (Last Mvt)
The Special Brillance Of Paired Trumpets
Concerto In C For Two Trumpets, RV537 (Mvt 1)
The Ceremonial Trumpet
Fanfare For The Common Man
Trumpets And Drums - An Incomparable Alliance
Messiah (The Trumpet Shall Sound)
The Versatility Of The Trumpet, From The Most Public To The Most Lonely
Piano Concerto In F (Slow Mvt)
The Trumpet As The Voice Of The City/An American In Paris/The Trumpet As Recruitment Officer/The Soldier's Tale (The March)/The Trumpet As Swaggerer
Carmen Suite No.2 (Habanera)
The Trumpet As The Voice Of Strength And Courage
Carmet Suite No.2 (Toreador's Song)
The Trumpet Muted/Petrushka (No.4: The Blackamoor)/Lieutenant Kije Suite (Opening)/The Trumpet As The Voice Of Weariness
Billy The Kid
The Trumpet As Character Actor
Pictures At An Exhibition (No.6)
The Trumpet As The Voice Of God
Mass In B Minor ('Et Exspecto')
The Birth Of The Trombone
Aenmerckt Nu Hier
The Birth Of The Brass As A Family
Canzon 12 In Double Echo
The Trombone In The Eighteenth Century
Trombone Concerto In B Flat Major (Finale)
The Tone Of The Tenor Trombone/Romance For Trombone And Organ/The Memorable Voice Of The Bass Trombone/Requiem (Mvt 2)/But The Bass Trombone Is More Than An Instrumental Bullfrog.
Hosannah
The Trombones Become Part Of The Orchestra.
Symphony No.5 (Finale)
The Wagnerian Trombone:/Overture To 'Tannhauser'
The Trombone As Caricaturist
Pulcinella (No.19: Vivo)
The Trombone As Raspberry/Concerto For Orchestra (Intermezzo)
The Horn And The Hunt
Horn Concerto No.4 In E Flat, K.495 (Finale)
The Challenging Horn Of The Baroque
Abaris Ou Les Boreades (Menuet)
The Scarcity Of First-Rate Players In Handel's Time
Walter Music (Minuet 1)
The Horn As Magician/The Firebird Suite (1919, Finale)
Horns And The Sound Of Nobility
Overture To 'Tannhauser' (Opening)
The Special Sound Of The Horn In Its Higher Register
Mass In B Minor ('Quoniam Tu Solus Sanctus')
The Trumpet-Like Sound Of Massed Horns
Symphony No.3 (Mvt 1, Opening)
The Tuba - Unfairly Maligned?
Symphony No.6 (Mvt 3)
The Tuba Perfectly Cast By Ravel
Pictures At An Exhibition (Bydlo)

Tracks:

Introduction. And We Begin With A Bang.
Fanfare For The Common Man/The Bass Drum On The Battlefields/Wellington's Victory, Op.91 (Opening)
At The Opposite Extreme Is The Triangle.
Piano Concerto No.1 In E Flat (Scherzo)
Categories Of Percussion: Tuned And Untuned. The Side Drum
Overture To 'La Gazza Ladra' - The Thieving Magpie (Opening)
The Side Drum In An Effective But Unexpected Role/Clarinet Concerto (Mvt 1)
The Tambourine. One Of The Oldest Instruments In The World
Den Hoboecken Dans
Even Older Is The Originally Oriental Gong.
Ma Mere L'Oye - Mother Goose (Laideronette)
No Single Instrument Can Match The Gong In Evoking The Breaking Of Waves./Passacaglia, Op.33b From 'Peter Grimes'/But Gongs Don't Have To Be Struck To Be Effective.
Gymnopedie No.2
The Cymbals Are Generally Discovered Early In Life./The Sanguine Fan/And They Do More Than Clash Together Loudly. They Can Be Clashed Together Softly./Studio Example: But They Needn't Be Clashed Together At All/Studio Example: They Can Be Lightly...
Other Untuned Percussion Instruments Include The Whip.: Piano Concerto In G Major (Opening)/And Here Are No Fewer Than Twenty, Cracked By Tchaikovsky: The Nutcracker (Act I, Scene 5)
More Versatile Than The Whip Are The Wood Blocks.../Studio Example/...Which Crop Up All Over The Place In Twentieth-Century American Music.
Rodeo (Hoe-Down)
Related To The Wood Blocks, By Sound, Are The Castanets./Jota Aragonesa/But The Castanets Were Also Used By Monteverdi Back In The Seventeenth Century.
Scherzi Musicali (Damigella Tutta Belle)
A Still Earlier Example From Fifteenth-Century Spain
Yo M'Enamori D'Un Aire
The Birth Of The Bongo
Symphonic Dances From 'West Side Story'
From The Streets Of New York To The Blacksmith's Shop/Il Trovatore ('Anvil Chorus')
Desert-Island Decibels: Grand Canyon Suite (On The Trail)/Arcana
From One Vegetable To Another: The Humble Squash, Or Marrow/Huapango
Onwards To The Tuned Percussion. First, The Timpani
Also Sprach Zarathustra (Introduction)
But The Drum Roll Can Be More Effectively Frightening Than The Big Bang.: Symphony No.2 'Resurrection' (Mvt 3)
Not One Drum Roll, But Many/Grand Canyon Suite (Sunrise)/Symphonie Fantastique (Last Mvt)
Taking Advantage Of Tunability
Music For Strings, Percussion And Celeste (Mvt 2)
The Russian Composer Rodion Shchedrin Takes A Downward Turn./Carmen Suite (Changing Of The Guard)/Tuned, Yes; But For The Truly Melodic We Must Look Elsewhere.
Introducing The Glockenspiel/Carmen Suite (Carmen's Entrance And Habanera)
Saint-Saens And The Xylophone
The Carnival Of The Animals (Fossils)
Ravel And The Xylophone
Ma Mere L'Oye - Mother Goose (Laideronette)
Introducing The Marimba/Carmen Suite (First Intermezzo)
Introducing The Vibraphone
The Treasure Of The Sierra Madre (Narange Dolce)
The Vibraphone Goes Russian.../Carmen Suite (Carmen's Entrance And Habanera)/...And Is Joined By The Marimba./Carmen Suite (Carmen's Entrance And Habanera)
Introducing The Hungarian Cimbalom
Folk Dances
The Cimbalom And The Symphony Orchestra
Hary Janos Suite (Mvt 3)
Introducing The Tubular Bells
Hary Janos Suite (Viennese Musical Clock)
A More 'Up-Front' Approach From Rodion Shchedrin
Carmen Suite (Introduction)
But The Bells Can Also Make The Sinister Even More Sinister./Symphony No.7 'Sinfonia Antartica' (Mvt 1)
Introducing The Celeste
The Nutcracker (Dance Of The Sugar Plum Fairy)
Magic, In The Use Of Collective Percussion
Miroirs (La Vallee Des Cloches)
Plucked Instruments: The 'Undercover Percussion'/Carmen Suite (Scene)
A Prime Case In Point Is The Harp, Irresistible To The Romantics./The Nutcracker (Act II, No.1: Scene)/The Non-Solo Harp As An Integral Part Of The Orchestra/Hungarian Rhapsody No.1
The Traditionally Subservient Role Of The Harpsichord In The Baroque Orchestra
Brandenburg Concerto No.2 (Slow Mvt)
The Piano: King Of The Tuned Percussion/Symphony No.3 'Organ' (Mvt 3)/And A Quarter Of A Century After That:
Petrushka (Russian Dance)
The Anti-Romantic Piano As An Integral Part Of The Orchestra
Music For Strings, Percussion And Celeste (Last Mvt)

Tracks:

Keyboard Instruments In The Orchestra - The Most Powerful Of Them All:
Symphony No.3 'Organ' (Finale)
But Things In Handel's Day Were Very Different.
Organ Concerto In B Flat, Op.4 No.3 (Last Mvt)
The Organ Is Difficult To Classify.
An Unexpected, Organ-related Guest
Concerto Pour Zampogna (Last Mvt)
Peasant-Fancying... And A Touch Of The Roaming Cowboy
Les Miserables (Drink With Me)
Outside Artefacts And The Power Of Association
Mahler's Sleighbells
Symphony No.4 (Opening)
A Roll-Call Of Some Unusual Guests/The Typewriter/Parade
Chains, And More/Integrales/An American In Paris/Sandpaper Ballet
Purpose-Built Oddities: Wind Machines/Symphony No.7 'Sinfonia Antartica' (Opening)
Don Quixote (Variation VIII)
National Calling Cards: The Guitar For Spain/Concierto De Aranjuez (Finale)
And The Guitar's Poor American Relative, The Banjo/Washington Breakdown
And Poorer Still, The Mouth Organ/The Treasure Of The Sierra Madre (Packing Up)
The Balalaika For Russia/Romeo And Juliet (Act II: No.14)
The Maracas For Mexico/The Treasure Of The Sierra Madre (El Desayuno)
The Bongos And Congas And A Whole Wealth Of Other Drums For Africa And Central America/Studio Example
The Sitar Of India/Evening Raga: Bhapoli
The Accordion For France (Especially Paris)/Paris Canaille
The Zither For Vienna/The Third Man (Theme)
The Cimbalom For Hungary/Folk Dances
The Guitar As An Integral Part Of The Orchestra/Rondena
There Are Whole Orchestras Of Balalaikas./Sveit Mesiats
The Effect Of The Wordless Human Voice, Used Purely As An Instrument/Symphony No.7 'Sinfonia Antartica' (Mvt 1)
Nocturnes
Instruments And the Imitation Of Nature. The Clarinet As Cuckoo
The Carnival Of The Animals (The Cuckoo)
The Flute As An All-purpose Aviary
The Carnival Of The Animals (The Aviary)
The Oboe As Duck
Peter And The Wolf (The Duck)
The Recording Of Reality. Does It Work As Well?
The Pines Of Rome (The Pines Of The Janiculum)
The Recording Of Reality Electronically Reborn In New Guises
Cantus Articus - Concerto For Birds And Orchesra (Mvt 2)
Beethoven Turns Avian: Cuckoo, Nightingale, And Quail
Symphony No.6 'Pastoral' (Andante Molto Mosso)
Some Improbable Casting: The Violin As Braying Donkey
The Carnival Of The Animals (Persons With Long Ears)
A Truly Orchestral Hee-haw To Be Reckoned With
Overture To 'A Midsummer Night's Dream'
A Thunderstorm In A Million
Symphony No.6 'Pastoral (Allegro-Allegretto)
the Instrumental Depiction Of A Silent World
The Carnival Of The Animals (The Aquarium)
Saint-Saens' Menagerie Takes A Curtain Call.
The Carnival Of The Animals (Finale)

Tracks:

The Grouping Of Instrumental Families. An Additive Approach. First, Two Violins
Forty-Four Duos (No.4)
A Great Contrast, Of Both Pitch And Character: Violin And Viola
Duo For Violin And Viola In B Flat Major, K.424 (Finale, Vars 1 & 2)/Studio Example
Arrival Of The Standard String Trio: Violin, Viola, And Cello
String Trio In B Flat (Menuetto)
The String Quartet: Two Violins, Viola, And Cello
String Quartet In F, Op.18 No.1 (Mvt 3)
The String Quintet - When The Extra Instrument Is A Second Viola
String Quartet No.5 In D, K.593 (Adagio)
The String Quintet - When The Extra Instrument Is A Second Cello
String Quintet In C (Mvt 3)
The String Sextet: Two Violins, Two Violas, And Two Cellos
String Sextet In B Flat (Mvt 2)
The String Octet: The Standard String Quaret Times Two
Octet In E Flat, Op.20 (Mvt 1)
Double The String Octet: A Fully Fledged String Orchestra
String Symphony No.2 (Finale)
The Massed Strings Of A Symphony Orchestra
Fantasia On A Theme Of Thomas Tallis
Contrasts Of Pitch And Instrumental 'Colour' In The Woodwind Section
Wind Quintet In A Minor, Op.100 No.5 (Theme)
In The First Variation It's The Horn That Gets The Lion's Share.
Wind Quintet In A Minor, Variation 1
In Variation Two The Torch Is Handed To The Bassoon.
Wind Quintet In A Minor, Variation 2
In Variation Three The Oboe Leads.
Wind Quintet In A Minor, Variation 3
Variation Four: Conversation Before Returning To A Solo-dominated Texture
Wind Quintet In A Minor, Variation 4
And Variation Five is Dominated By The Clarinet.
Wind Quintet In A Minor, Variation 5
The Next To Be Featured Is The Virtuoso Flute.
Wind Quintet In A Minor, Variation 6
Individual Farewells And A Closing Chorus
Wind Quintet In A Minor, Variation 7
A Mixed Group: Clarinet, Bassoon, Horn, String Quartet, And Double-Bass
Octet In F (Mvt 3)
The Early Classical Symphony Orchestra Of Haydn And Mozart
Symphony No.29 In A, K.201 (Finale)
Strings, Wind, But No Brass. What Haydn And Mozart Never Knew
Canzon 28
Beethoven's Fifth: Two Horns, Two Trumpets, And Three Trombones Join The Team.
Symphony No.5 (Finale)
From Beethoven To The Massive Orchestras Of Berlioz, Wagner, And Mahler
Beethoven Changed The Face Of The Symphony And The Orchestra Forever
Symphoy No.6 'Tragic' (Mvt 1)
The Cult Of Orchestral Elephantiasis Reaches Its Peak.
Symphony No.1 'Gothic' (VI: Te Ergo Quaesumus)
When Large Doesn't Necessarily Mean Loud: Debussy
Images (Gigues)
A Crisis Of Confidence; The Orchestra's Survival Hangs In The Balance, But It Still Develops. The Ondes Martenot:
Turangalila Symphony (Chant D'amour 1)
The Advent Of The 'Early Music' Movement Brings A New Vitality And Freshness.
Balle De Xerxes (Gavotte En Rondeau)
Computer And Synthesiser: Friends Or Foes?
Concerto In D Minor For Two Violins (Largo)
A Speculative Look Ahead/Mass In B Minor ('Dona Nobis Pacem')

Customer Reviews:

Instruments of the Orchestra - Great Reference Material!.......2007-04-04

This set lends itself to greatly enhancing one's knowledge of the orchestra, instruments in it, and their usage. I am a huge music buff, and I still picked up a great deal I previously did not know. I highly recommend this for all who wish to understand the origin of music, as well as the processes that are employed to create music!

Beginner or Expert.......2007-03-12

This CD is excellent for the beginner or expert! To be able to haear the instrumets separately and then together really provides a good education. and/or refresher. The book thaty comes with the CD is alomost worth the price by itself!

Very Informative and Enjoyable.......2006-11-20

Whether you're a music novice or pro, "The instruments of the Orchestra" is a very worthwhile purchase. The 7 CDs, with a total of 8 hours, are expertly narrated by Jeremy Siepmann. He's a great speaker, very much like the late Leonard Bernstein was. Mr. Siepmann takes you on an unforgetable musical journey covering the origins and use of the various orchestral instruments throughout musical history. The balance between his narration and a wealth of musical examples, which range from snippets to entire movements, is superb. The comprehensive enclosed booklet is excellent and faithfully follows the 7 CDs in content. Even with my 40+ years of music training I still learned new things from this wonderful collection. Considering the excellence of the content, and a cost that translates to about $5 per disc, this collection is a great value. Grab it, you won't regret that you did. Five solid stars!

Frank's view.......2006-08-19

This boxed set of CD's with booklet achieved all I had hoped that it would. There are good samples of individual instruments and well done commentary on each. The only drawback was that some of the samples were too brief and could have been longer, hoiwever I guess this fits in with time constraints of the medium. It has given me a lot of clues as to future purchases of CD's for listening to individual instruments. Altogeth a satisfactory purchase and a welcome addition to my collection.

Excellent Intro for Those Not Familiar with the Orchestra.......2003-11-08

I've listened to classical music for years and am interested in composition. I bought this CD set to learn how an orchestra and its instruments work. I thought the CDs would be a nice but boring lecture. They aren't! Not only are they FUN but they are informative as well. I learned a huge amount from each CD and couldn't wait to listen to the next one.

The narrator and writer is a great speaker and holds your attention well. He is definitely knowledgeable. He provides musical examples for each point he makes, so you get to "hear" what he just talked about. I'd say the CDs are about 65% music and 35% narration. You'll learn about the range of instruments, some history, different ways to play them, how they sound, and how they are used in the orchestra. This CD set was a great learning experience and is sold at such a low price!

I recommend this CD for those who want to learn about classical music and those who know about it but are interested in learning more about the inner workings of an orchestra. You'll learn much useful information. For instance, the Rite of Spring (with that eerie start) is written for bassoon! I never knew a bassoon could sound like that but now I do.

The one complaint I have is the last CD. This deals with the orchestra. I wanted more of a tour of how the orchestra has been used through history up to the present. Instead, it was a tour of how different groups of instruments sound. I thought it could have been better. The other 6 CDs are excellent.

Arturo Benedetti Michelangeli plays Mozart, Chopin, Brahms, etc. (Box) [Germany]
Average customer rating:

excellent but obscure!

The Art of Michelangeli

Arturo Benedetti Michelangeli plays Mozart, Chopin, Brahms, etc. (Box) [Germany]
Arturo Benedetti Michelangeli
Manufacturer: Documents Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B0009QYPBA
Release Date: 2006-05-04

Tracks:

Piano Concerto No.15 In B Flat Major, Kv450
Piano Quartet In E Flat Major, Kv493
Scherzo No.1
Scherzo No.2
Ballade No.1
Piano Sonata No.2, Op.35
'marche Funebre'
Fantasie In F Minor, Op.49
Waltzes
Mazurkas
Carnaval, Op.9
Faschingsschwank Aus Wien, Op.26
Piano Sonata No.11
Piano Sonata No.12
Piano Sonata No.32
Four Ballades, Op.10
Variations On A Theme By Paganini, Op.35
Children's Corner
Images I
Images Ii
Preludes
Livrei (Excerpts)
Italian Concerto In F Major, Bwv 971
Seven Sonatas
Sonata V In C Major
Piano Concerto In A Minor, Op.54
Totentanz (Dans Macabre) For Piano And Orch., S126
Symphonic Variations For Piano And Orchestra
Concerto In A Minor, Op.16

Customer Reviews:

excellent but obscure!.......2007-02-09

I have all of michelangeli,s recordings on the bigger labels. deutsche grammopon,EMI these recordings are top rate. they are done from euro radio and tv shows. most all the matrial is from 1962-1990. the last disk was done in the forty's this disk is not very good but all the others are par excellence! the debussy images,the brahms.schumann,beethoven and most of the chopin,these recordings put the big labels to shame. this set is not a bargin its simply a giveaway! Buy it NOW!

The Art of Michelangeli.......2006-11-09

HIGHLY RECOMMENDED:
This 10-CD set represents the recordings of the great Italian pianist Arturo Benedetti Michelangeli, from the maestro's earlier, post-World War years to the 1990's, spanning half a century of outsanding pianism and musicianship.

Michelangeli was an eccentric, a truly special personality in the world of music who offered surprises and delights at every turn. His concert repertoire was insignificant and limited compared to those of his contemporaries Richter and Arrau, and he cancelled concerts at the slightest whims. His playing was equally unpredictable; it was at times extremely beautiful, colorful, and divinely expressive; on the other hand, it could also be robust, sturdy, and deafeningly powerful. His Debussy offered a transparent, watery atmosphere splashed with delicious sweetness and surreality, yet his Beethoven was direct and vigorous; his Chopin involved elements of both. Simply put, the art of Michelangeli was a fusion of sheer brilliance and an unmovable, forceful personality.

The track listings are as follows:
CD 1 - Wolfgang Amadeus Mozart (64:12)
Concerto for Piano and Orchestra No.15 in B-flat Major, KV.450
Piano Quartet in E-flat Major, KV.493

CD 2 - Frédéric Chopin (76:48)
Scherzo No.2 in B-flat minor, Op.31
Ballade No.1 in G Minor, Op.23
Andante spianato et Grande Polonaise Brillante in E-flat Major, Op.22
Berceuse in D-flat Major, Op.57
Piano Sonata No.2 in B-flat Minor, Op.35
Mazurka in F-sharp Minor, Op.59/3
Valse in E-flat, op. posth.

CD 3 - Robert Schumann (57:45)
Carnaval, Op.9
Faschingsschwang aus Wien, Op.26

CD 4 - Ludwig van Beethoven (72:05)
Piano Sonata No.11 in B-flat Major, Op.22
Piano Sonata No.12 in A-flat Major, Op.26
Piano Sonata No.32 in C Minor, Op.111

CD 5 - Johannes Brahms (46:56)
4 Ballades, op.10
Variations on a theme by Paganini, Op.35

CD 6 - Claude Debussy (77:24)
Children's Corner
Images, Livres I & II
Préludes, Livre I (9 Excerpts)

CD 7 - Bach/Scarlatti/Galuppi (70:54)
Chaconne in D Minor, BWV 1004 (trans. Busoni)
Italian Concerto, BWV 971

Seven Sonatas

Presto in B-flat major
Sonata V in C Major

CD 8 - Frédéric Chopin (70:36)
Scherzo No.1 in B Minor, Op.20
Fantaisie in F Minor, Op.49
3 Valses
7 Mazurkas

CD 9 - The Concertos in Vatican City for Pope John XXIII (63:56)
Schumann: Piano Concerto in A Minor, Op.54
Liszt: Totentanz

CD 10 - Schumann/Franck/Grieg (74:51)
Piano Concerto in A Minor, Op.54

Symphonic Variations for Piano and Orchestra

Piano Concerto in A Minor, Op.16

Vladimir Horowitz plays Tchaikovsky:Piano Concerto No. 1/Brahms:Piano Concerto No. 2

Average customer rating:

Horowitz and Toscanini
Get Set for an Amazing Ride!

Vladimir Horowitz plays Tchaikovsky:Piano Concerto No. 1/Brahms:Piano Concerto No. 2

Manufacturer: Classica D'oro
ProductGroup: Music
Binding: Audio CD

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ASIN: B000059LWO
Release Date: 2001-03-06

Tracks:

Pno Con No.1 in b, Op.23: Allegro Non Troppo E Molto Maestoso
Pno Con No.1 in b, Op.23: Andantino Semplice
Pno Con No.1 in b, Op.23: Allegro Con Fuoco
Piano Concerto No.2 in B-flat, Op.83: Allegro Non Troppo
Piano Concerto No.2 in B-flat, Op.83: Allegro Appassionato
Piano Concerto No.2 in B-flat, Op.83: Andante
Piano Concerto No.2 in B-flat, Op.83: Allegretto Grazioso

Customer Reviews:

Horowitz and Toscanini.......2005-12-31

For interpretation, I prefer the live concert performance that Vladimir Horowitz and Arturo Toscanini gave of the Tchaikovsky first piano concerto in 1943. That performance has also been digitally remastered by RCA Victor and it is very exciting, even including the applause at the end of both the first and third movements. That event took place in Carnegie Hall, as did the 1941 recording session included on this CD.

For many music lovers the 1941 recording, long available on 78-rpm discs and later on vinyl LPs, was the benchmark for interpretation of the Tchaikovsky concerto. It has been digitally remastered and remains an exciting, dramatic performance. Yes, there is some surface noise from the original sources (presumably 78-rpm disks since relatively few of RCA Victor's metal masters still remain from that era), but the performance more than makes up for any scratches or blemishes. This is one of the very Romantic interpretations of the concerto and it is an absolute treasure. It certainly shows how well Toscanini and Horowitz worked together.

The Brahms second piano concerto was recorded in 1940, also in Carnegie Hall, and this, too, is the epitome of Romantic performances. This is another extremely difficult work for the soloist and Horowitz was more than equal to the tasks. It is a wonderful recording of one of the longer piano concertos from the Romantic Era, a virtual symphony since it is in four movements rather than the usual three.

These are performances to enjoy over and over from two exceptional musicians, working with the top-notch orchestra that David Sarnoff assembled in 1937 for Toscanini.

Get Set for an Amazing Ride!.......2003-08-16

I'm not sure that these recordings are what you would call the
"definitive" performances of these two giants of the piano
repetoire, but they are certainly the most exciting and galvanic
performances of them you will find anywhere. Okay, so the
recordings date from 1941 and the sound is somewhat scratchy and
flat. So what? This is Horowitz at his absolute peak as a performer and Toscanini, while placing his orchestra completely
at the service of his soloist, makes sure Horowitz never engages
in the eccentricities, neuroses or exhibitionism that marred some of his subsequent concerto recordings.
There may be a few minor mistakes in the orchestra here and there
but I can't hear them. Horowitz is flawless and and daring to a
degree that only he could pull off. Certainly, you will never hear anyone take these two concertoes at a faster clip, and yet,
for all their formidable technical difficulties, not a single
note is missed or out of place. Every phrase is articulated with
incredible precision, nuance and feeling. You can actually start chuckling at how IMPOSSIBLY good it all is! The Brahms
Concerto is particularly astounding. The story goes that Horowitz heard a performance of this piece once in Berlin, fell in love with it, but thought he could do it better and taught it
to himself in six weeks! I believe it! His playing here is that
masterful and that sensitive!
This is the Horowitz of legend. Thank God these performances
were recorded! Compared to these HEROIC interpretations of these
two great concertoes, everybody else (and I mean that) simply
WIMPS out!
There are a lot of great recordings of these two pieces out there
by some truly great pianists, and they may have better sound, but
nothing matches this for its combination of technical brilliance,
daring and emotional commitment. There is a FIRE to these
recordings that simply has no equal.

Average customer rating:

Absolutely the best!
I finally found my favorite version of #1 !!!
Fleisher Plays Brahms
Leon Fleisher Brahms Piano Concerti et al
Best Brahms 1st Concerto

Leon Fleisher Plays Brahms

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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ASIN: B0000029YK
Release Date: 1997-10-14

Amazon.com

Wow! George Szell owned the First Piano Concerto. He played the opening movement like no one else, and he recorded the work with three outstanding pianists: Sir Clifford Curzon, Rudolf Serkin, and this performance with Anton Fleischer. When I say this is the best of the three, I'm making a tough choice, but Fleischer brings a youthful vigor and rage to the music that complements Szell's fiery accompaniment so well that they sound like they're both performing from the same musical brain. The Second Concerto is a gentler work, but it's played with no less vigor and dash. Along with the Emil Gilels/Eugen Jochum performances on DG, these are the Brahms piano concertos to have above all others. --David Hurwitz

Customer Reviews:

Absolutely the best!.......2007-03-20

Just a quick note. I owned both Fleisher/Brahms concertos on LP back in the 1970's. I have about fifteen different artists, all world class recordings of these wonderful concertos. When I heard Mr. Fleisher's, his playing set the standard for everyone to measure up to, (along with Szell and the Cleveland Orchestra's vision of the pieces.) In 1979, I had the honor of playing the first movement of the d minor concerto for Mr. Fleisher in a masterclass at Peabody, and the insight from that one lesson has lasted a lifetime. I would also like to mention for historical reasons, that Leon Fleisher was the first American pianist to win the Queen Elizabeth competition in Belgium, and one of the pieces he played in the competition was the Brahms 1st Concerto. Lastly, I have a recording on LP of Fleisher and (I think) the Julliard String Quartet playing the Brahms Piano Quintet. This has never been reissued, and I am about forced to buy one of those record players that will transfer it to digital. I would much rather buy a reissued CD, so PLEASE, will one of you recording labels reissue this !!! It is a great recording !!!

I finally found my favorite version of #1 !!!.......2006-12-01

Since many other people reviewed close enough, I'm not going to repeat myself. I just had to share with people that I've been looking for 'The Best' version of Brahms piano concerto #1 and I'm telling you, this is it. I've tried Zimerman/Rattle, Pollini/Abbado, Kovacevich/Sawallisch, Gilels/Jochum, Barenboim/Barbirolli and this recording made me stop hunting for a better version. It could be totally personal but I'm pretty confident about this. I can't wait to see Fleisher's performing the #1 at Carnegie Hall on Dec. 28th!

Fleisher Plays Brahms.......2006-11-18

The American pianist Leon Fleisher (b. 1928) had extraordinary attainments when his performing career was interrupted by an ailment to his right hand at the age of 37. Fleisher continued peforming with his left hand and became a distinguished teacher and conductor of chamber ensembles. In 2004, he began playing the piano again with both hands.

Fleisher is best-known for the remarkable recordings of the Beethoven and Brahms concertos made during his prime, in the late 1950s and early 1960s, with George Szell and the Cleveland Orchestra. This double CD is a reissue of Fleisher's recordings of the two Brahms piano concertos. It includes as well Fleisher's performances of two Brahms works for solo piano: the Variations and Fugue on a Theme by Handel, Op. 24, and the Waltzes, Op. 39. This is a glorious CD for lovers of Brahms.

The highlight of the collection is Brahms's piano concerto no. 1 in D minor, opus 15. Although I offer a minority opinion, I have always responded more deeply to this passionate, stormy work of Brahms's young manhood than to the more famous second concerto that he wrote over 20 years later. In Brahms's earlier music personal feeling predominates over the structure, learning and formalism of the works of the composer's later years.

The first concerto is a large, bravura work in the romantic tradition, deeply indebted to Robert Schumann and Beethoven. I have always loved the long rhapsodic passages for the solo piano in the opening movement. Brahms initially conceived the work as a symphony but transformed the work into a concerto at the recommendations of friends. During its first performances, the work was booed and hissed. It received recognition only late in Brahms's career. The first movement is long and stormy, with the improvisatory piano solos I mentioned, fierce trills, and long runs for the soloist. The second movement is a tribute to Robert Schumann as well as a paean of love to Clara. The flamboyant and stormy finale takes the finale of Beethoven's piano concerto no. 3 as a model.

The Szell-Fleisher performance of this work dates from 1956. Both soloist and orchestra offer a gutsy, large scaled, powerhouse reading of this masterpiece of Brahms's youth. In his still-valuable reference work "101 masterpieces of music and their composers," Martin Bookspan described this recording as "a performance of towering strength, impassioned poetry and flowing lyricism." He aptly observed that "Fleisher's playing here is a throwback to the grand manner of another era -- doubly welcome because it is a rare commodity these days."

Fleisher and Szell recorded Brahms's second piano concerto in B flat major in 1962. Their reading of the second is on the whole more subdued and lyrical than their performance of the first. If not as earth-shaking as the earlier recording, it remains an excellent version of the Brahms second concerto.

The second is a monumental, granitic work in four large movements. Where the first concerto features display passages for the pianist, the second has been described as a "symphony with piano obligato" as the writing for the soloist is fully integrated with the writing for the orchestra. The work opens with a horn call, reminiscent of the opening of Schubert's ninth symphony, followed by a movement both lyrical and majestic. I particularly liked Fleisher's playing of the brief solo passages just after the first passage in the work for full orchestra. The unusual second movement is large,tragic and tumultuous in character. Brahms ironically described it as "a tiny, tiny wisp of a scherzo." The lyrical third movement features a duet between the piano soloist and a solo cello. The wonderful finale is a flowing and joyous rondo which relieves the tension of the earlier three massive movements. The critic, Donald Francis Tovey, said there were "no adequate words" for the finale. Tovey proceed to describe the mood of the finale as "We have done our work -- let the children play in the world which our work has made safer and happier for them." (Would that it were so.)

The two solo piano works are beautifully played and are of quite different types. The difficult "Handel variations" opus 24 is a work modeled on Beethoven's large sets of variations. It shows Brahms's as a learned composer, offering 25 short variations on a flowing theme by Handel and concluding with a large fugue. The opus 37 waltzes are a reduction of an earlier work of Brahms for two pianists. The work was intended for amateurs and features Hungarian and gypsy themes alternating with delightfully lyrical, Schubertian waltzes. These waltzes were among Brahms's most popular and financially successful compositions during his life.

Robin Friedman

Leon Fleisher Brahms Piano Concerti et al .......2006-11-10

I have lone been a lover of the Brahms concerti. Recently on the radio, I caught the final movement of the #1 in d minor. The playing was astounding, breathing new life (for me) into the movement of the concerto that I preferred less. Lo and behold it was Fleisher. It is the d minor concerto that I prefer on this recording. It is truly one of the most definitive ever recorded, and UNDER THE BATON of George Szell and the Cleveland Orchestra. The 2nd concerto in B flat is great but I will give that concerto to others such as Emil Gilels. Coupled with the d minor concerto are the Brahms Variations on a theme by Handel for piano WOW. Superb, exciting musicianship and pianism. I recommend this album to any serious collector. Fleisher was and is truly a genious of the keyboard.

Best Brahms 1st Concerto.......2006-09-15

Like another reviewer, I was never the biggest fan of the Brahms 1st Piano Concerto. I preferred the second. This recording comes with both. But this recording is so good that it doesn't matter if I don't like the piece.

Despite my instincts to not prefer the Brahms First Piano Concerto, this recording of it is so good that I rate it perhaps as the finest classical piano recording, period, of any piece, that I have ever heard. Up there with it are other favorites of mine: Michelangeli playing Rachmaninoff's 4th Concerto, as one example. And I really enjoy listening to this performance, since it is so good.

As for the second concerto, I think that Gilel's performance is far superior. This album is definitely worth owning, though. Buy it.

Average customer rating:

Fulfilling.
The Messiah Plays Brahms
PERHAPS THE BEST IS STILL TO COME
Stunning and Dramatic Kissin

Evgeny Kissin Plays Brahms

Manufacturer: RCA
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Evgeny Kissin Plays Chopin

ASIN: B00009PAC2
Release Date: 2003-08-05

Tracks:

Allegro Maestoso
Andante Espressivo
Scherzo: Allegro Energico
Intermezzo: Andante Molto
Finale: Allegro Moderato Ma Rubato
Intermezzo
Capriccio
No. 1 in G Minor
No. 3 in F
No. 2 in D Minor
No. 7 in F
No. 6 in D-Flat

Amazon.com

The centerpiece of this CD is Brahms' Sonata, Opus 5, which he composed when he was 20 years old. At 38 minutes, it is a grand, expansive, five-movement work, practically symphonic in its complexity and format. The first movement is severe and intense, the second a love song-lullaby, the third alternates big-boned expressivity with great lyricism, the fourth evokes great tragedy, and the finale is a masterpiece of contrapuntal writing. Kissin's virtuosity is astounding--he can thunder or whisper--and his sense of line, melody, and mood are impeccable. His joy at playing the piano and just plain music-making is something to behold. Two pieces from Op. 76 (composed 22 years after the sonata) express a folksy flavor and sentimental yearning, respectively, and the five brief Hungarian Dances (transcribed for piano by the composer from his orchestral works) are perfect encores--energetic and easy to grasp. This is a glorious disc, a must for lovers of great pianism, and another feather in Kissin's already impressive cap. --Robert Levine

Customer Reviews:

Fulfilling........2004-08-06

Evgeny Kissin is quite possibly the best child to hit the world's stage, receiving international acclaim for his performance of the chopin concertos at age 12, since Josef Hoffman at the turn of the century. I know I am with all when I say this, he has the greatest potential of a pianist alive today. Before, I have listened to a great deal of Kissin, the Rachmaninoff 2nd and 3rd concertos, Chopin ballades, scherzi, several nocturnes and other assorted pieces. All have been close, very close, to incredible. It's just that he didn't really figure out the pieces, except the Rach 2 which was as good as it gets. But on this CD. It's everything. The Sonata, first and foremost, is an absolute delight. It's practically flawless. The Opus 79 pieces are "dessert" pieces, and very well played. But the Hungarian Dances! They absolutely capture the essence of a Hungarian Dance. My teacher stresses the feeling of "ballando", you should be able to make the listener want to get up and move around and dance while you are playing. And, quite frankly, that's exactly what I did while listening to each of these. They are fantastic, purely fantastic.

Thank you, Mr. Kissin. If this CD doesn't get where you should, it will sure as heck get you about 3/4 of the way. An encore, please. I wouldn't mind hearing Brahms' concertos . . . .

The Messiah Plays Brahms.......2004-02-14

Kissin has done it again, surprising his listeners in the most unusual places (I'm thinking of the tender passages of the Paganini Variations and the funeral march of the Chopin Sonata on earlier recordings). I, too, expected to be wowed by the Sonata on this disc, and then to enjoy the Hungarian Dances as pleasant little additions. Think again, folks. The sonata is, of course, brilliant and wonderful and more interesting than I've heard it from anyone else, but in the passion and sheer MUSIC that he finds in those old over-worked Hungarian dances, he truly brings the dead back to life. Listen to this while you're alone, because if you can recognize and respond to great piano playing, you will be jumping up and down and howling and weeping with joy.

PERHAPS THE BEST IS STILL TO COME.......2003-12-09

The sound at the start is simply terrific. At first I couldn't remember such an impact from the opening bars of any piano piece since I heard Serkin in the Hammerklavier more than 30 years ago, and that was a live performance. The mood stayed with me through the rest of the sonata. Everything was not only right, but outstandingly right. The alternations of blazing declamation and hushed awe and unease in the first movement were balanced perfectly. The flowing lyricism of the second movement built up with just the right intensity to its climax and relapsed again as it ideally should. The swagger in the third movement was effortless and in the right sense arrogant. The Ruckblick was pensive, anxious and resigned. The finale's wide tonal contrasts were handled with an effortless command, and from first to last the monstrous technical demands of the work were met with an Olympian near-disdain.

The A minor intermezzo from the op 76 set was next, and I was struck again by the natural instinct this player has for this composer, as I had been when I heard him in the op 116 set on a disc he had done 10 years or more previously. I remembered comparing his accounts with those of Katchen in his great omnibus Brahms set, and I remembered on balance rating Kissin better. This prompted me to remind myself how Katchen handled the sonata, and that was when I got something of a shock. The recorded sound Katchen was given was good in its time, but not even distantly comparable to Kissin's with its tremendous resonant low registers. All the same, it was quite good enough for me to realise that Katchen's despatch of the opening bars, and indeed of the whole first movement, was every bit as virtuosic and commanding as Kissin's. I found the same in the scherzo, and I found the same again in the finale. What was more, I found a marked similarity in the interpretations, and where they differed, notably at the end of the first movement where Kissin delivers a `triumphant conclusion' (Beethoven-style presumably) as specified in the liner note and Katchen gives me something I found more distinctively Brahmsian, I found myself tending to prefer Katchen. This impression was reinforced in the two slow sections. Good as Kissin is in the main andante, there is more inwardness from Katchen. Moreover to my surprise I even found Katchen more effective in some minor technical aspects, notably better definition in the trills and a more even delivery of the drumming repeated left-hand phrases in the Ruckblick.

The famous B minor capriccio is excellent, the speed fastish like Backhaus although predictably more flexible, not slowish as in Rubinstein's very striking reading. It leads in the 5 Hungarian dances, apparently favourite encores of Kissin's. These are less to my taste. Kissin changes his style of playing here, and I find him a bit too excitable. The changes of speed are right up to a point, but I have actually heard a Hungarian dance played (and introduced) by Brahms himself and it was a bit more sober than this approach. Kissin departs, I can only suppose deliberately, from his previous rhythmic finesse and pecks at the rhythm in a way I can't really get on with, particularly in the second and fourth of his selection - I heard Rattle give the former as an encore in the orchestrated version and it was another experience entirely.

This has to be a 5-star issue because the performance of the sonata is simply prodigious. The last recital disc I bought by Kissin was when he was 20 years old or less, and then I hoped and expected to find in him the special kind of individuality that I find in, say, Horowitz, Serkin, Michelangeli, Richter, Cziffra, Gould and Ogdon. Maybe I yet shall.

Stunning and Dramatic Kissin.......2003-12-05

'I wish I didn't have to play a virtuosic pieces for the sake of virtuosity. It's not that I dislike these pieces, but I am interested in other things' - Kissin

Tracks:

Pno Son No.3 in b, Op.58: I. Allegro Maestoso
Pno Son No.3 in b, Op.58: II. Scherzo (Molto Vivace)
Pno Son No.3 in b, Op.58: III. Largo
Pno Son No.3 in b, Op.58: IV. Finale (Presto Non Tanto)
Sonetto Del Petrarca No.104
Alborada Del Gracioso ('Miroirs' No.4)
Waltzes, Op.39 Nos.1, 2, 56, 10, 14 & 15
Pno Son No.3 in D, Op.25: I. Vivace Con Brio
Pno Son No.3 in D, Op.25: II. Andantino
Pno Son No.3 in D, Op.25: III. Allegro Con Spirito

Customer Reviews:

Ohhhld recording but excellent.......2004-09-09

These recordings date from 1937-47, Lipatti died in 1950. So they are of that era: somewhat boxy, muddy, and periodically oversaturated mono.

So if you were expecting modern quality you will be somewhat disappointed, but you can still hear everything quite well, and certainly evaluate the performances. Just imagine you're listening on one of those ancient phonographs with the big horn connected to the needle, and you will be thrilled.

As for the performances, I think everyone else has done a good job of describing them...they are sensational, and it is a pity this man didn't live long enough to have an adequate record of his genius. What remains is certainly worth appreciating.

untitled.......2004-09-08

Lipatti was a great artist, especially when he played great music. This is great music.

The Pianist's Pianist.......2003-07-29

Dinu Lipatti was perhaps the greatest pianist of the modern age. Such hyperbole is usually suspect in a review, and no doubt many will argue with it, but I find the recorded evidence to support the claim. Rubenstein may have been brasher, Horowitz splashier, Serkin more intellectual, Giesking more delicate, but Lipatti combines more of the virtues of a great pianist into a complete whole than any other giant of the century.

This recording is a case in point. Playing the music of composers as diverse as Chopin, Lizst, Ravel and Enescu, Lipatti shows many sides of his musical personality. The Chopin Sonata is by far the best recording of this work I have ever heard. The Sonata is phenomenally difficult, and yet, listening to Lipatti's version you are not aware of the difficulty. Lipatti tosses off the most fiendish run as if it were Chopsticks...and you are left to marvel at the sheer beauty of Chopin's creation. The third movement especially is breathtaking. This is an extremely difficult movement to pull off well. It hangs together by a line that tends to be hidden in the music, but Lipatti finds this line. The performance has a spirit and poetry that I've never heard equalled.

The other major work on this disc is the Enescu 3rd Piano Sonata. Enescu has recently undergone something of a renaissance, with more of his non-Romanian Rhapsody No. 2 works appearing on disc and in concert. But Lipatti was an early champion of his godfather's music. The Third Sonata is a delicate, almost neo-Baroque work, with a heavy debt to Debussy. Lipatti makes it sing lyrically, even in it's most virtuoso passages. His filigree is delicate and his sense for the inner poetry behind the music is unequalled.

The "filler" on this disc includes a lovely version of the Liszt Sonnet #104 of Petrarch, a duet reading of Brahms' Waltzes with Nadia Boulanger on second piano, and a stunning recording of the Ravel Alborada de gracioso. In all these works, Lipatti's touch is meltingly delicate, his virtuosity unmatched...and yet the spirit of the work is paramount. I cannot say enough about this wonderful pianist or this stunning record except, go get it now!.

go buy it.......2002-04-20

This is far and away the best performance of the Chopin (one of my favorite pieces) I've heard, quite possibly one of the best interpretations of anything... There's a fine line between not interpreting music and distorting it, and most classical and romantic artists, respectively, fall into one of these two categories. A handful of the old "classical" pianists, especially Gilels and Lipatti, managed to tread this line with a sublimely restrained kind of interpretation which still somehow does more for the rhetorical sense of the music. Though he is technically more subtle, the potency with which he delivers the music reminds me of Furtwangler. I'm not the biggest fan of the Brahms waltzes but all the other stuff on the disk is fantastic.

Buy any CDs as long as it is by Dinu.......2001-12-14

Listen to his Ravel and Brams and Chopin, you will be totally intoxcated. You can't expect a better pianist. Horowitz is slightly inferior. Rubinstein existed only to reflect how great Lipatti is.G.Gould makes you feel the same sometimes but he makes you uneasy most of the time.

Tracks:

Theme: Modere Variations
I. Modere
II. Un Peu Moins Modere
III. Modere, Avec Eclat
IV. Vif Et Passione
V. Tres Lent
I. Allegretto
II. Blues: Moderato
III. Perpetuum Mobile: Allegro
I. Wonder Years
II. Clear Lake
III. Eruption

Tracks:

Lachen Verlernt For Solo Violin
I. Allegro Moderato
II. Adagio Espressivo
III. Scherzo: Allegro-Trio-Coda
IV. Poco Allegretto-Adagio Espressivo-Tempo I
Scherzo In C Minor

Customer Reviews:

A Treasurable Recital By An Exceptional Violinist.......2005-06-17

Leila Josefowicz is an artist of great physical and musical beauty and one with keen intelligence and respect for the entire spectrum of music written for the violin. No ordinary recital, this, but instead this is a sampler of many periods and styles of music conceived programmatically and played in a manner that makes each individual work glow.

The opening brief Theme: modere variations by Messiaen sets the tone for what is to follow. The work is transparent and filigreed with lovely lines and is an apropos prelude to the Ravel work that follows. Josefowicz thoroughly inhabits the French sound (as does her fine piano collaborator John Novacek) and the works feels simple in their hands. This is followed by some contemporary work by Mark Grey ("San Andreas Suite") that is challenging to the performer but immensely accessible to the listener.

That Josefowicz should include a work by Esa-Pekka Salonen is natural in that they have performed together frequently (their performance of John Adams' Violin Concerto in this year's LA Philharmonic repertoire was a tremendous success!). The piece is for unaccompanied violin and as with Salonen's other compositions, this work finds planes of color and expression unheralded by other composers. It is a bit of perfection.

To satisfy listeners unfamiliar with new music Josefowicz wisely includes Beethoven and Brahms and reminds us how well she plays the old masters as well as the new ones. The balance between piano and violin is excellent and the recorded sound is realistic and flawless. This is a challenging, educational and richly rewarding recital by a very gifted musician. Highly recommended. Grady Harp, June 05

Lachen gewonnen...!.......2005-06-11

This is one the best recital CDs I have seen in long time, especially in terms of the choice of pieces performed. Ms Josefowicz's playing is solid and technically impeccable as usual, but this time she champions pieces that others seldomly dare to play. And how right she is! The Messiaen passes by fast, but then the Ravel is a first highlight, both in phrasing, rhythm and expression. The `San Andreas Suite' by Mark Grey convinces from a technical, virtuosic artistry perspective, but the true highlight to me is the Salonen. In my opinion, `Lachen Verlernt' is clearly the best piece Salonen has ever written. There is tension, there is lyricism, there is a story told (from Schoenberg's Pierrot Lunaire). In other words, this piece has the full spectrum that a solo violin can have: Memorable melodies, intelligence, and a emotional, haunting beauty as well as clever, well timed tone changes, but most of all: time. In other of his works, Salonen sometimes tends to rush us, tends to sound hectic; here there is nothing but an almost `Mahlerian' "do not rush"-approach. `Lachen Verlernt' is a drama and major masterpiece of our time, it will be remembered in generations from now, maybe accompanied only by John Adam's `Dharma at Big Sur' (for electric violin)... I think Esa-Pekka Salonen is the Jean Sibelius of our time, he just doesn't know it yet...
The Beethoven and Brahms are good, solid additions to this repertoire, but donot reach the novelty level of the Grey and Salonen.

Hélène Grimaud plays Beethoven, Brahms, Gershwin and others

Average customer rating:

Fine Retrospective From Warner Classics Of Helene Grimaud's Best Recordings For This Label

Hélène Grimaud plays Beethoven, Brahms, Gershwin and others

Manufacturer: Warner Classics
ProductGroup: Music
Binding: Audio CD

Etudes | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

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

Wild Harmonies: A Life of Music and Wolves
Reflection
Credo
Hélène Grimaud ~ Brahms - Piano Pieces Op. 116-119
Beethoven: Piano Concerto No. 4; Piano Sonatas Opp. 109 & 110

ASIN: B000FPYNVM
Release Date: 2006-10-17

Tracks:

I. Allegro Affettuoso
II. Intermezzo: Andantino Grazioso
III. Allegro Vivace
Allegro Vivace
Tranquillo
A Tempo. Sostenuto
Un Poco Animato. Quasi Cadenza

Tracks:

I. Capriccio - Presto Energico
II. Intermezzo - Andante
III. Capriccio - Allegro Passionato
IV. Intermezzo - Adagio
V. Intermezzo - Andante Con Grazia
VI. Intermezzo - Andantino Teneramente
VII. Capriccio - Allegro Agitato
I. Andante Moderato
II. Andante Non Troppo
III. Andante Con Moto
I. Intermezzo - Allegro Non Assai
II. Intermezzo - Andante Teneramente
III. Ballade - Allegro Energico
IV. Intermezzo - Alegretto Un Poco Agitato
V. Romanze - Andante
VI. Intermezzo - Andante, Largo E Mesto
I. Intermezzo - Adagio
II. Intermezzo - Andantino Un Poco Agitato
III. Intermezzo - Grazioso E Giocoso
IV. Rhapsodie - Allegro Risoluto

Tracks:

I. Allegro
II. Adagio - Andante Con Moto
III. Allegro Agitato
I. Allegramente
II. Adagio Assai
III. Presto

Tracks:

I. Maestoso
II. Adagio
III. Rondo - Allegro Non Troppo
Applause - Applaudissements - Applaus

Tracks:

I. Allegro Moderato
II. Andante Con Moto
III. Rondo: Vivace
I. Vivace Ma Non Troppo
II. Prestissimo
III. Gesangvoll, Mit Innigster Empfindung (Andante Molto Cantabile Ed Espressivo)
I. Moderato Cantabile, Molto Espressivo
II. Allegro Molto
III. Adagio Ma Non Troppo - Fuga - Allegro Ma Non Troppo

Tracks:

I. Moderato
II. Adagio Sostenuto
III. Allegro Scherzando
Allegro
No. 1: Allegro Non Troppo F Minor
No. 2: Allegro C Major
No. 9: Grave C Sharp Minor
Variations On A Theme Of Corelli, Op. 42

Customer Reviews:

Fine Retrospective From Warner Classics Of Helene Grimaud's Best Recordings For This Label.......2007-05-26

Warner Classics has turned once more to its vaults, hoping to reap some additional financial rewards from legendary young French pianist Helene Grimaud, who has now an exclusive recording contract with Deutsche Grammophon. While cynics may criticize this latest compilation from Warner Classics, serious fans of classical music may find much that is rewarding here. Grimaud's disciplined, yet emotionally intense performances have been compared favorably to the likes of Martha Argerich and Claudio Arrau. Many critics and fans have observed that she performs with the wisdom and maturity of an artist who is far more advanced in age than hers (This is an interesting observation in light of the recent success earned by another Deutsche Grammophon recording artist, Lang Lang, who has yet to attain the artistic maturity which Grimaud has demonstrated for years.). In these recordings made for Teldec in the mid to late 1990s, Grimaud was fortunate to work closely with such eminent conductors as David Zinman, Kurt Sanderling and Kurt Masur, and with excellent symphony orchestras in North America and Europe, including the Berliner Staatskapelle, New York Philharmonic and Baltimore Symphony orchestras. Among my favorites is her fiery performance of the Schumann Piano Concerto, which sounds remarkably fresh in her capable hands and in the excellent muscianship demonstrated from the Deutsches-Symphonie-Orchester Berlin and conductor David Zinman. Yet another favorite is an exquisitely well-played performance of the Brahms 1st Piano Concerto, in which she is accompanied by Kurt Sanderling and the Berliner Staatskapelle. Not surprisingly, yet another highlight is her excellent, rather vibrant, performance of the Gershwin Piano Concerto with David Zinman conducting the Baltimore Symphony Orchestra. If you've wondered why Helene Grimaud has received such ample praise from critics and fans alike, then hopefully you'll find this CD set as an important reason why she has earned such warm adulation from critics and classical music fans across the globe.

Average customer rating:

not bad, but not great
Utterly selfless playing by Goode. Not to be missed!
Goode shines with lesser-known Brahms

Richard Goode Plays Brahms

Manufacturer: Nonesuch
ProductGroup: Music
Binding: Audio CD

Fantasies | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

Caprices | Vocal Non-Opera | Opera & Vocal | Styles | Music
Similar Items:

Bach: Partitas Nos. 2, 4, 5
Richard Goode Performs Mozart
Partitas Nos 1 3 & 6
Beethoven: The Complete Sonatas
Schubert: Sonata in B flat; Allegretto in C minor; Impormptu in A flat major

ASIN: B000005IYA
Release Date: 1992-05-28

Tracks:

Eight Piano Pieces, OP. 76: No. 1. Capriccio In F-Sharp Minor
Eight Piano Pieces, OP.76: No. 2. Capriccio in B Minor
Eight Piano Pieces, OP.76: No. 3. Intermezzo in A-Flat Major
Eight Piano Pieces, OP.76: No. 4. Intermezzo in B-Flat Major
Eight Piano Pieces, OP.76: No. 5. Capriccio in C-Sharp Minor
Eight Piano Pieces, OP.76: No. 6. Intermezzo in A Major
Eight Piano Pieces, OP.76: No. 7. Intermezzo in A Minor
Eight Piano Pieces, OP.76: No. 8. Capriccio in C Major
Seven Fantasies, OP.116: No. 1. Capriccio in D Minor
Seven Fantasies, OP.116: No. 2. Intermezzo in A Minor
Seven Fantasies, OP.116: No. 3. Capriccio in G Minor
Seven Fantasies, OP.116: No. 4. Intermezzo in E Major
Seven Fantasies, OP.116: No. 5. Intermezzo in E Minor
Seven Fantasies, OP.116: No. 6. Intermezzo in E Major
Seveb Fantasies, OP.116: No. 7. Capriccio in D Minor
Four Piano Pieces Op. 119: No. 1. Intermezzo in B Minor
Four Piano Pieces, OP.119: No. 2. Intermezzo in E Minor
Four Piano Pieces, OP.119: No. 3. Intermezzo in C Major
Four Piano Pieces Op. 119: No. 4. Rhapsody in E-Flat Major

Customer Reviews:

not bad, but not great.......2005-04-20

I agree with another reviewer that Goode's approach to Brahms is lyrical--opp 116 #4 is one of the best tracks on the album. But other lyrical tracks show ragged details that call for a retake (for example, m. 55 of op 119 #3--why the accent on the 2nd beat?
It just sounds like RG lost it mentally for a moment. That happens in a live performance, but this is a recording.

And what about the more forceful pieces? Goode's self-written program notes (and for writing his own, I give the guy high marks) note that in Op. 76 #5 "A short coda is yet more crabbed, compressing the previous [rhythmic] complexities [. . .] Clara Schumann confessed herself at a loss with this piece." Goode can get into bed with Clara. Brahms's coda, a brilliant conclusion to the battle of the meters, shows how they come together in triumph, but there's no triumph in Goode's crabbed version.

And Op 119 #4, Brahms's best rhapsodie and the piece you play for dinner guests when you want them to go home (because it is so loud), is kind of slow and surprisingly muffled. I can't tell if it's the recording engineers or Goode, but it's not a very satisfying conclusion to Brahms's best keyboard writing.

I give it a high 3, almost a 4, but Brahms was a meticulous composer and this is not a meticulous performance.

Utterly selfless playing by Goode. Not to be missed!.......2002-12-07

Up until now, Wilhelm Kempff has been my favorite pianist in these marvellous works, but Goode is just as fine (in a very different way) and much better recorded. The recorded sound itself is excellent, but I was somewhat distracted by the extraneous noise, which the previous reviewer believes is Goode's humming, but sounds to me more like some mechanical sound (I've had the same problem with some of Goode's Beethoven recordings). But what a perfect Brahms sound he produces! Just listen to the opening of Op. 76/1 to hear what I mean. Goode is one of the very few pianists I've heard who can make the Op 119/4 sound grand without pomposity. Essentially, though, I'd say Goode is a lyrical player, coaxing the most telling nuances from the piano (op 119/1 is an excellent example). The lighter pieces (op 76/2, op119/3) are elegantly done. Goode puts his superlative technique entirely at the service of Brahms, and no lover of great piano playing should be without this fine disc. My only regret is that Goode hasn't (yet) recorded the op 117 and 118 sets.

Goode shines with lesser-known Brahms.......2001-11-20

This CD isn't new, but I heard it for the first time just recently (Nov. 2001). It is utterly gorgeous. As we know, Richard Goode shines in the standard German Romantic and Classic repertoire, and this recording makes his affinity for the dignified-yet-passionate idiom of Brahms quite apparent. Especially intriguing is what Goode says in his notes about the E-minor intermezzo (op.116 no.5; track 13), which turns out to be one of the most haunting and harmonically interesting little things you can imagine from the pen of the later Brahms.

Customer Reviews:

A compact treasure.......2007-02-02

The piano works of Johannes Brahms, here recorded, represent in brief the best of Brahms middle period. Here one finds a man who has reached the maturity of his years; his vision directed more towards the contemplative than the assertive. At last he finds rest.

Music Track:

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