Liszt: Piano Concertos 1 & 2/Les Préludes

On this CD:

1. Piano Concerto No. 1, for piano & orchestra in E-flat major, S. 124 (LW H4)
Composed by Franz Liszt
Performed by Vienna Pro Musica Orchestra with Alfred Brendel
Conducted by Michael Gielen

2. Piano Concerto No. 2, for piano & orchestra in A major, S. 125 (LW H6)
Composed by Franz Liszt
Performed by Vienna Pro Musica Orchestra with Alfred Brendel
Conducted by Michael Gielen

3. Les Préludes, symphonic poem for 2 pianos, S. 637 (LW C11)
Composed by Franz Liszt
Performed by Hamburg Symphony Orchestra with Alfred Brendel
Conducted by Hans-Jurgen Walther

Tracks:

Piano Concerto No. 1 In E flat: 1. Allegro maestoso
Piano Concerto No. 1 In E flat: 2. Quasi adagio
Piano Concerto No. 1 In E flat: 3. Allegretto vivace - Allegro animato
Piano Concerto No. 1 In E flat: 4. Allegro marziale animato
Piano Concerto No. 2 In A: Adagio sostenuto assai - Allegro agitato assai
Piano Concerto No. 2 In A: Allegro moderato
Piano Concerto No. 2 In A: Allegro deciso - Marziale un poco meno allegro
Piano Concerto No. 2 In A: Allegro animato
Sonata In B Minor: Lento assai - Allegro energico
Sonata In B Minor: Andante sostenuto
Sonata In B Minor: Allegro energico - Andante sostenuto - Lento assai

Amazon.com

Since they were first issued, Sviatoslov Richter's Liszt Piano Concertos have been widely admired as the finest performances available, and for most listeners they still are. Now they have been remastered by none other than Wilma Cozart Fine, Mercury Living Presence's goddess of the sound console, and they have come up sounding better than ever. To make matters even more exciting, you also get Richter's well-nigh definitive performance of the massive Sonata in B Minor--and all for only mid-price! Even if you hate Liszt, hate concertos, hate pianos, hate Russians, hate music in general, you should own and treasure (or punish yourself regularly) with this recording. --David Hurwitz

Amazon.com

Although Sviatoslav Richter's account has power and authority, it's best in the meditative moments, which are almost balletic in their grace. The Russian pianist achieves seamless transitions from one mood to the next, and his countryman on the podium sees to it that there is a wonderful dovetailing of the accompaniment around the solo. Richter is especially magical at the end of the Adagio, where he anticipates the shadings of Liszt's late style. This was originally a Mercury "Living Presence" recording; it has been tellingly remastered by its original producer, and sounds remarkably more vivid than when Philips first issued it on CD. --Ted Libbey

Customer Reviews:

Great But Not The Greatest.......2007-06-14

Of course, as great pianists go, Richter is perhaps the best all-rounder, and like many a pianophile I probably have more recordings by him than by any other single pianist. Nevertheless, there is greater refinement and daring in Byron Janis's Mercury Living Presence recording of the Liszt concertos. Much as I also like serious and probing accounts of the Liszt sonata and so would not part with Arrau on Philips (coupled with a fine Vallee d'Obermann and a superb Benediction), it is difficult to return to him or indeed to Richter once you have encountered Martha Argerich's astonishing recording of the sonata on her Debut Recital compilation on DG. Richter's only fault was that he could occasionally take too firm an approach to a piece just as Michelangeli could sometimes seem to be too aloof. Richter's virtuosity could be astonishing (the Mendelssohn Variations serieuses appended to the Richter/Rostropovich DVD of the complete Beethoven cello sonatas, the Chopin Etude Op10 No4 on the Bruno Monsiagneon DVD, and Debussy's L'Isle joyeuse on BBC Legends) - and his poetry could be just as breathtaking (the Chopin Ballade No3 on the same BBC CD set) - but sometimes Richter could also go over the top and allow his ferocious virtuosity to squeeze the poetry out of a piece. Neither the Liszt concerto recordings nor the sonata are cases of this approach, but nor are they Richter at his most completely inspired - and for my money the Janis and Argerich recordings are superior for the COMBINATION of virtuosity and poetry. Byron and Martha rule on this occasion!

On the Lizst piano sonata.......2007-02-28

Might I mention one performance that Jeffrey Lipscomb omits - that recorded live in Budapest 1960. It was issued as a Phillips Legendary Classics CD, 422 137-2. The cd is a sort of twin to the 1958 Sofia Concert but has always been very much harder to find. This is my favorite of the recordings I know.

There is also a performance in the Chopin/Liszt box from the Authorised Recordings collection, Phillips again, 438 620-2. The minimal information claims it was recorded in 1988 but I believe it is the Livorno 1966 version.

To unbalance for rebalance! .......2006-08-23

It's far to be a mere casualty, the fact Richter and Francois have become the most important performers in which concern the major achievement of Franz Liszt `s Piano Concertos. Both pianists have some similarities, first and foremost, they possessed a nonchalant respect for the objective rules of interpretation so frequently watched until the 60's. Additionally, they created atmospheres every time they played and the glorious musical intuition, logic consequence of that irreverent posture before the rational way of playing the piano, permitted them to discover and explore new horizons around these well known and many times neglected works. They caught the entire attention of the public, because the Dionysian spirit made they considered these Op. as transient works between an agonic Romanticism and an emerging musical Impressionist. That explains why composers such Bartok, Respighi or Reger decided to undertake new musical paths.

The main difference between Richter, Francois and the rest is they illuminated and explored new facets of the score. Go for this unavoidable album an then you will agree with me.

The performance of the Sonata in B minor is mesmerizing.

Consummate Mastery In The Liszt Concertos.......2005-04-25

If you are new to the late Russian pianist Sviatoslav Richter, arguably the greatest all-round keyboard virtuoso of the last century, this is a splendid place to start. And if you are new to Liszt's piano concertos, there is little need to look any farther. Few "legendary" recordings live up to the praise heaped upon them so deservedly as these classic 1961 studio recordings. Richter's inspired blend of drama and poetry is matched by a superb accompaniment from Kondrashin and the London Symphony. Philips here has actually improved on the sound of the original LPs: only a trace of hiss betrays the fact that these performances were taped over four decades ago.

However, for Richter collectors, the situation is a little more complicated. These concertos are sensibly coupled with a "live" 1966 concert reading (from Livorno) of Liszt's Piano Sonata. Recently, Philips has re-issued these same concertos (minus the Liszt Sonata) in a coupling with three Beethoven sonatas (#10, 19 & 20). The sound on the newer disc is SLIGHTLY better than what is heard on this less expensive CD. Of course, Richter completists will want to have both.

Further complicating the situation, BBC Legends has issued the "live" 1961 Richter/Kondrashin concerto accounts (Royal Albert Hall, London) that preceded these studio recordings. While I generally prefer the "spontaneity" of actual concert performances, I think the studio accounts here are a little better realized and have superior sound. But again, the compleat Richterphile will need to own both: the BBC CD also has a "live" Liszt Hungarian Fantasia and Chopin's "Andante Spianato & Grande Polonaise." The Chopin is a personal favorite, along with the Czerny-Stefanska/Smetacek version on Supraphon (see my review). So, in short, I own both Philips releases as well as the BBC concert CD.

That brings us back to the Liszt Sonata, which Richter never recorded in the studio. This 1966 account is one of four "live" recordings by Richter (all of which have some wrong notes). It's superior to the 1965 Aldeburgh (Classica d'Oro), which is very messy and rushed, and about on a par with the 1965 Moscow (Brilliant Classics). All in all, it's a rather analytical reading, and I would rank it just behind historic recordings by Simon Barere (mine's on Turnabout LP) and Ernst Levy (on a wonderful Marston CD that includes a great account of Beethoven's "Hammerklavier" Sonata).

Unfortunately, Richter's GREATEST account of the Liszt Sonata is the only one that is currently un-available: a stupendously well-controlled, supremely poetic 18 May 1965 concert performance from Carnegie Hall. This was first issued on a rare LP (Private Edition P-101, apparently the only record issued by that label). I bought a copy in Manhattan back around 1974 for $20 - a princely sum in those days for a sole LP (adjusted for inflation, it's likely the most I have ever paid for a single disc). It also included the most awesomely well-played Mendelssohn "Variations Serieuses" I have ever heard (22 April 1965, Brooklyn), plus Richter's finest version of Beethoven's Op. 101 Sonata (3 May 1965, Carnegie Hall). This stunning Liszt Sonata was briefly available on a "Legendary Pianists" CD (Philips 422137, now deleted).

So, to summarize: 1) This Philips disc contains the greatest studio accounts of Liszt's piano concertos known to me, 2) You may want to supplement it with Richter's "live" BBC accounts, and 3) Hopefully, Philips will re-issue that fabulous "live" 1965 Liszt Sonata from Carnegie Hall. The latter is the greatest account of the Liszt Sonata I have ever heard, and just possibly Richter's greatest-ever recording, period. Philips, are you listening? [Nov. 2005 update: the 1965 Carnegie Hall reading of the Liszt Sonata has recently been re-issued on a Palexa CD, which is available here at Amazon]

Highly recommended.

The best CD of Liszt's major piano works.......2004-10-22

Franz Liszt had written an enomous piano works, including Rhapsodies, Waltzes, Préludes, Annees de Pelerinage, Etudes, Transcriptions, Symphonic Poems... And the number of works goes to the thousands. But he just wrote two concertos and one sonata. I believe they are some of most beautiful concertos and sonatas in classical.

When talk about Liszt, people often think about V. Horowitz, J. Bolet, E. Szegedi, or G. Cziffra. Even some famous pianists said "Noone can't play Liszt like Horowitz". It could be true, but not with these concertos and sonata. Richter had made a legendary record with outstanding technique. Comparing to Argerich, Cziffra in concertos and Horowitz in sonata in B, Richter played more dramatically and gently. Especially in concerto N. 1, Adagios, every notes like drops of crystal. Performed with Kiril Kondrashin and London Symphony Orchestra, this is a must have CD in your collection. Another CD of Liszt's concertos you could consider is Boris Berezovsky - Liszt concerto and sonata in B (Leonskaya). Boris Berezovsky is a young pianist (1969) with briliant talen and won Tchaikovsky competition in 1990.

Moreover, there are many valuable albums of Richter you can find if you want to explore more about this pianist, like Richter in Prague, Rediscovery - with Prokofiev's sonata No. 6 played in Carnegie Hall, Schumann's works...

Chopin, Liszt: Piano Concertos / Martha Argerich, London Symphony Orchestra

Average customer rating:

Readings that combine imagination, charisma, and incredible technique
Argerich - the finest
Majestic grandeur & quiet intimacy
beautiful recording
Definition of self-recommending?

Chopin, Liszt: Piano Concertos / Martha Argerich, London Symphony Orchestra

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
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Rachmaninoff: Concerto No. 3 in D minor, Op. 30 / Tchaikovsky: Piano Concerto No. 1 in B flat minor, Op. 23
Prokofiev, Ravel: Piano Concertos, etc / Martha Argerich
J.S. Bach: Toccata, Partita, English Suite 2/ Martha Argerich

ASIN: B000001GS1
Release Date: 1996-09-17

Tracks:

Concerto #1 in E minor: Allegro Maestoso
Concerto #1 in E minor: Romance, Larghetto
Concerto #1 in E minor: Rondo, Vivace
Concerto #1 in E flat:Allegro maestoso
Concerto #1 in E flat:Quasi Adagio
Concerto #1 in E flat:Allego marziate animato

Amazon.com

There has never been a more exciting pianist that Martha Argerich. Throughout her career, any appearance by her guarantees sellout crowds and an evening of memorable, not to say insane, music making. She has always drastically limited her repertoire--about a dozen concertos, a few more solo and chamber works--and will not perform or record solo recitals at all any more. But every single thing that she has recorded is a prime recommendation, plain and simple. She's one of the very few artists whose recordings one should collect just because of whom she is: unique and incomparable. These two concertos perfectly illustrate her gifts as an interpreter. Your ears will be glued to your speakers. --David Hurwitz

Customer Reviews:

Readings that combine imagination, charisma, and incredible technique.......2007-02-25

Is the ever comical David Hurwitz doing Argerich any good by saying that a more exciting pianist has never existed (has he heard Liszt in person)? Or that every one of her recordings is a prime recommendation (come now)? We get the idea that he likes the layd. These relatively early recordings of the Chopin and Liszt First Concertos are a pendant to her Prokofiev and Ravel with Abbado, two other brilliant recordings.

What makes me admire them is that neither work is first-rate, and both have achieved the status of tin-plated warhorses. Therefore, it takes something special to hold one's attetnion. Abbado's conducting is fine but not eye-opening. Ms. Argerich is a different matter: she plays with wonderful imagination and originality. There's barely a measure of music that doesn't sound new; she has the amazing ability to draw you into her own inner world, making you feel that you are eavesdropping on art in the making. Needless to say, all the essential flash and fire are also in place. Highly recommended

Argerich - the finest.......2007-01-12

Everything Martha Argerich does is outstanding. She is the female equivalent of Horowitz

Majestic grandeur & quiet intimacy.......2005-11-22

Argerich and Abbado, both recording in their youth, in 1968, have perfectly captured both the majestic grandeur of the allegro movements and the quiet intimacy of the adagios in these two piano concertos. I was extremely pleased at the clarity of the sound, especially given that this is an analog recording made more than 35 years ago. The balance between the orchestra and the soloist is one of the best that I have ever heard on the several versions of the Chopin Concerto that I have. I thoroughly enjoyed the Liszt as well. Argerich's scintillating style is a sheer pleasure to listen to and Abbado brings out the very best of the London Symphony Orchestra. The two, orchestra and soloist, complement each other perfectly. The outstanding sound quality of this recording may in part be due to the fact that it was recorded at Wahthamstow Town Hall, in the outskirts of London. According to the CD notes, this recording location was specifically chosen because the hall's acoustics have a high reputation. Recommended without reservation, and with complete enthusiasm.

beautiful recording.......2004-04-17

I like Argerich's Rachmaninoff, so I thought to try her Chopin, and I was not disappointed. She plays the Chopin concerto with both verve and lilting melody. It is a delight to listen to. The orchestra is up to Argerich's standards, as is the quality of the recording. It was hard to believe that this was an analog recording from the 1960s. The music of the Chopin concerto was more to my taste than the Liszt, but I still liked it very much; they are a good pairing on the CD.

Definition of self-recommending?.......2000-12-16

In Argerich's selective discography, her Chopin stands out. She has performed this concerto many times, and recently recorded it digitally with Dutoit for EMI. I frankly don't see a whole lot to separate them -- both are infused with Argerich's unique combination of impetuosity and repose. This is a masculine Chopin, not some salon charmer, strongly chorded, and virile and glittering in passage work. I cannot think of any other pianist who has played this work with such individuality. Abbado, too, is an excellent accompanist, alert and intelligent, despite the distinctly minor role he has in proceedings.

Tracks:

Pno Con No.1 in E flat, S.124: I. Allegro Maestoso/II. Quasi Adagio/III. Allegretto Vivace/IV. Allegro Marziale Animato
Totentanz, Paraphrase On The 'Dies Irae', S.126
Pno Con No.2 in A, S.125: I. Allegro Maestoso/II. Quasi Adagio/III. Allegretto Vivace/IV. Allegro Marziale Animato/V. Allegretto Vivace/VI. Allegro Marziale Animato
Hungarian Fant, S.123

Customer Reviews:

Seventy Minutes of Sheer Pleasure.......2007-03-04

Franz Liszt was probably the best pianist of his century, with Chopin being the silver medalist. Liszt's First Piano Concerto, included here, is his signature, as much as anything else. It's probably a good idea to have a quality recording of his first (and second, included as well) in your collection. I have another, more pedestrian version of both, but decided to get this one in addition.

I doubt I will listen to the other very much anymore.

Georges Cziffra excels on the gentle passages, and 'sticks the landing' on the virtuoso parts with a 'high degree of diifculty'. EMI sets loose a wonderful batch of musicians on some can't-do-without type of music and extends it out over seventy minutes. May not require you to throw out any other favorite readings you may already own, but all performers seemed up to the challenge.

As noted elsewhere, the Totentanz is a keeper as well. Nice liner notes and good sound help create over an hour of pleasant listening. Certainly worth the investment in time and money.

Very good.......2005-03-18

I bought this CD for the piano concertos, but the Totentanz is incredible, and is probably the piece I listen to the most now, which is not to say the other pieces are not well performed. Lovely recordings from an amazing pianist. Sound quality is also pretty good, and not just for its time.

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

If you still believe that Cziffra was just a virtuoso after listening to this CD, I can't blame you. But a great disc nonetheless.

CZIFFRA - the Reincarnation of Liszt!.......2002-10-26

This EMI "encore" CD is a budget price reissue of an earlier mid-price CD. Although there are many very fine recordings available of Liszt's two piano concertos by pianists as diverse as Katchen, Janis, Brendel, Francois, Bolet , Richter, Zimmerman and fine accounts of the first concerto played by Cherkassky, {Testament}, Ogdon {Melodiya}, Barere {`live'on APR}, Levitzski {APR}, and Argerich {DG} et al, to have both concertos, plus the Totentanz and Hungarian Fantasy played by the reincarnation of Liszt himself Georges CZIFFRA, with the Orchestre de Paris conducted by his ill-fated son György Cziffra Jr on one CD is very special! It is not just a matter of having a `million dollar technique' { we can take that for granted with Cziffra} but the sheer elixir of poetry, passion, gypsy swagger and joie de vivre makes these performances unique. Incidentally, the liner notes are careless. Cziffra died in 1994 - not 1991! - also the `Concours Cziffra' no longer exists. It has long been replaced by the `Fondation Cziffra' - a `Temple of the Arts' to assist young instrumentalists in their careers and also enshrining the `Auditorium Franz Liszt'; a memorial to Cziffra's great Hungarian compatriot.

Liszt: Piano Concertos Nos.1 & 2; Totentanz

Average customer rating:

Excellent performances by a great pianist
The Standard
Decent recording, but...
They never quite take this music *far* enough
Essential Lisztening!!

Liszt: Piano Concertos Nos.1 & 2; Totentanz

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B000001G9B
Release Date: 1990-10-25

Tracks:

Concerto For Piano And Orchestra No. 1 In E Flat Major: 1. Allegro maestoso
Concerto For Piano And Orchestra No. 1 In E Flat Major: 2. Quasi adagio - Allegretto vivace - Allegro animato
Concerto For Piano And Orchestra No. 1 In E Flat Major: Allegro marziale animato - Presto
Concerto For Piano And Orchestra No. 2 In A Major: Adagio sostenuto assai - Allegro agitato assai
Concerto For Piano And Orchestra No. 2 In A Major: Allegro moderato - Allegro deciso
Concerto For Piano And Orchestra No. 2 In A Major: Marziale un poco meno allegro
Concerto For Piano And Orchestra No. 2 In A Major: Allegro animato - Stretto (molto accelerando)
Totentanz (Danse macabre): Andante - Allegro - Allegro moderato (Var. I & II) - Molto vivace (Var. III) - Lento (Var. IV) - Vivace (Var. V) - Sempre allegro (ma non troppo) - Un poco meno allegro - Presto - Allegro animato

Customer Reviews:

Excellent performances by a great pianist.......2006-12-21

Krystian Zimerman is one of the greatest pianists of the modern era. His technique is outstanding, but it is the superb artistry of his performances which makes him one of the few truly great pianists currently performing. Another reason that Zimerman's performances are consistently outstanding is that he is guite selective in what he performs and records. He limits his repertoire to music which he personally likes and with which he feels empathy, rather than simply recording whatever the public wants to buy.

Personally I love the Liszt piano concertos and I'm grateful that Zimerman chose to record them. His performances are superb. Yes, these works in parts have the bombast typical of Liszt, but they are beautiful nevertheless and many passages are exquisitely lyrical. If you think of these compositions as tired old warhorses, please acquire this CD and let Zimerman's outstanding artistry reveal them to you as the masterpieces they are.

The Standard.......2006-07-05

Over my now fairly long lifetime, I have heard many different recordings of the Liszt Piano Concertos, but this is the one I keep returning to. And as one who is fortunate to have occasional contact with many great artists, I can tell you that more than one has mentioned this is the recording of Lizst No.2 they find outstanding.

Decent recording, but..........2004-08-05

Good performances, but there is definitely something missing for me. The word 'dry' pops into my head when I hear this recording.

Not quite enough sound? Not quite enough passion? I can't quite put my finger on it, but perhaps I percieve any performance of Liszt's music as having to be more passionate.

Good performances, yes. But there are better interpretations out there than these. Recommended only marginally.

They never quite take this music *far* enough.......2002-09-23

These are surprisingly ordinary musical interpretations, though they are--typically today--beautifully played and recorded. But they say nothing new about either concerto. The agitated opening of the First, for example, is not as agitated as it could be or as I think it should be. And of course with Zimerman at the keyboard there is virtuosity, but he doesn't feel to me as though he's really pushing himself. These concerti, like much of Liszt, were "far out" for their day, pushing the genre farther than anyone since Beethoven. (In fact, the E-flat extends many of the ideas Beethoven had in his last concerto, also in E-flat.) This music calls for living on the edge. I don't mean just sound and fury. I mean expressive *and* structural discoveries, for these works have a structural integrity and complexity not always acknowledged by many detractors. Throughout these performances I feel like Oz and Zim are holding back, and should give more. There's a curious detachment, and it doesn't serve the music.

Take the second part of the Second Concerto, labeled Allegro agitato assai. It's not agitato enough to my ears. The strings do not bear down hard enough with their bows. The tympani sounds muffled, soft. The following movement, which brings us down to earth following the heaven-storming of the previous one, does not bring us very far. It's not all that tender and lyrical, despite, or maybe because of, lots of heavy vibrato. It's as if they're faking it. Contrast Richter/Kondrashin on Philips for a thrilling ride, with a savage, slashing opening movement (that at the same time never gets away from the players), and a lyrical second movement of unearthly beauty. It would take too much space here to give many A-B examples like that, but another is the trill leading into Allegretto vivace in the First Concerto. When Zimerman plays it it's just a trill. When Richter plays it, and Kondrashin accompanies him, it's so tactile you can almost feel it, "hushed pianissimo." By barely touching the keys, Richter manages to bring forth the most delicate sound, somewhere between glass and air. This extreme, coming on the heels of the heaven-storming previous movement (where they shake up the joint much more than Zimerman/Ozawa) just makes for gooseflesh on the arms. Kondrashin has a better grasp of the structure too, phrasing parts to remind you of a connection earlier or later in the piece with another line, for example. You can really hear the interconnectivity between movements and within movements. By contrast, the present recording is on the whole little more than perfunctory, with everyone playing THE NOTES but adding little more to the reading. (The exception is Charlie Schleuter, who adds a loud and overly-bright first trumpet that occasionally goes sharp in loud passages.)

If these were obscure pieces of I'd recommend this disc without hesitation. It's all generally well-played and well-recorded. (I'm another one who doesn't hear those "obvious problems" in the loud passages, even when following the score and listening on Grado audiophile headphones.) But these are warhorses--or certainly the first is--and why go with this average recording in a crowded field of extraordinary performances that bring more performer insight to the music? One of those extraordinary recordings is the Richter/Kondrashin. There are others too. You wouldn't go wrong by buying this disc, but you wouldn't get a particularly interesting performance, comparatively-speaking, either.

Essential Lisztening!!.......2002-07-26

After listening to this CD repeatedly, I feel compelled to share my thoughts and responses about the outstanding performances of Krystian Zimerman and Seiji Ozawa.

To open Liszt's Piano Concerto No. 1, the orchestra gives a first-rate opening to usher in Krystian Zimerman. What follows is truly extraordinary! Zimerman plays the runs with a power that does not exceed beauty. Every note in his runs rings with clarity. Zimerman's sense of rhythm is impeccable, and he plays the soft sections with great sensitivity and poetry.

However, Zimerman also uses a sort of muscular playing for the louder, more aggressive playing, but it is not like the sometimes overly muscular playing of pianists like Horowitz or Argerich. Zimerman belongs to the class of self-effacing pianists like Radu Lupu and Murray Perahia who use their brilliant pianism to communicate the composer's intentions poetically.

The second concerto is full of the same graceful effort and attention to detail and poetry. Zimerman, Ozawa, and the Boston Symphony Orchestra create a nostalgic mood that escapes words. The stretto to end the concerto is brilliant and full of amazing energy!

However, I believe that the most impressive performance among those on this CD is that of the Totentanz. This is Zimerman at his most ferocious and virtuosic. He thunders away to open the Totentanz, and then he gives full attention to the urgent runs up and down the piano. Everything Zimerman does sounds terrific and makes so much sense musically. The virtuosity is incredible, and the orchestra is thrilling. The second-to-the-last variation is absolutely mind-blowing and sends chills up and down my back and arms!!

In short, this CD, I believe, is the definitive set of these works. Sviatoslav Richter gives performances of the Liszt Concertos which closely rival Zimerman's, but I have to give Zimerman pride of place even over the legendary Richter!!

Tracks:

Concerto No. 21 In C, KV 467 (Elvira Madigan): 1. Allegro
Concerto No. 21 In C, KV 467 (Elvira Madigan): Andante
Concerto No. 21 In C, KV 467 (Elvira Madigan): Allegro vivace assai
Concerto No. 2 In F Minor, Op. 21: Maestoso
Concerto No. 2 In F Minor, Op. 21: Larghetto
Concerto No. 2 In F Minor, Op. 21: Allegro vivace
Concerto No. 1 In E Flat, S. 124: Allegro maestoso - Liszt
Concerto No. 1 In E Flat, S. 124: Quasi adagio - Liszt
Concerto No. 1 In E Flat, S. 124: Allegretto vivace - Allegro animato
Concerto No. 1 In E Flat, S. 124: Allegro marziale animato - Liszt

Tracks:

Concerto No. 5 in E flat, Op. 73 < >: Allegro
Concerto No. 5 in E flat, Op. 73 < >: Adagio un poco mosso
Concerto No. 5 in E flat, Op. 73 < >: Rondo. Allegro
Concerto symphonique No. 4, Op. 102: Scherzo
Concerto No. 2 In C Minor, Op. 18: Moderato
Concerto No. 2 In C Minor, Op. 18: Adagio sostenuto
Concerto No. 2 In C Minor, Op. 18: Allegro scherzando

Customer Reviews:

RUN - not walk - to pick this up!!.......2006-10-30

I purchased this CD set on eBay for less than $2 some time ago. Reviews here on Amazon are usually written by people who buy the CD from Amazon, but this set has brought me so much pleasure that I am obliged to - nay, MUST - write a review here to spread the word. :)

I have been a classical aficionado for the last 6 years or so, and have to date accumulated a collection of >150 classical CDs. Artistic merit aside, I am picky about recorded quality; most of my listening is done through headphones (AKG k501), so poor sound quality in a CD is a big no-no for me.

I'll get sound quality out of the way first then - the SQ on this set varies from good to excellent. Sometimes the miking may come across as a little too warm (Rachmaninov) or a wee bit hollow sounding (Chopin), but there is nothing major to complain about here. There is a spot of easily noticed distortion in the first 10 seconds of the Emperor (more on that later).

I originally purchased this set for just one performance in particular - Clara Haskil's Chopin #2. This particular performance has been out of print for some time and was last available as part of an exorbitantly priced set (Clara Haskil: Legacy) that is now impossible to find.

In a nutshell, Haskil's performance alone is worth the full price of the entire set. The playing in the 2nd movement is absolutely magical - Haskil interprets Chopin with a delicacy and refinement that is difficult to put into words. Her playing brings to mind something my old piano teacher once told me - "Anyone can play Chopin, but few can play Chopin well". The way the solo melodic line is strung together at ~41 seconds into the 2nd movement will send shivers down your spine. Beauty too rich for use / for earth too dear, indeed.

But wait - there's more!

Imagine my surprise when another of the performances in this set turned out to be a 'sleeper hit': Brendel's Beethoven #5 ("Emperor"). I quickly grew to prefer Brendel's Emperor over my 'reference' recording - Pollini with Abbado (part of a very expensive DG 3CD set!). Brendel plays with more emotion and warmth - his Emperor comes off as truly majestic when compared to Abbado, who comes off as a little more magisterial and cold. There is a spot of piano clatter about 10 seconds into the first movement, but it is nothing major and certainly does not detract from the beautiful playing that follows.

Unfortunately Brendel's Elvira Madigan comes across as faaaaar tooooo slooooowwwww (for my taste). The playing is mannered, and there is none of the wiry elegance that should (in my opinion) characterise interpretations of music written during the Classical period. I much prefer my Pires with Abbado on DG for this concerto.

Janis's Rachmaninov #2 is worth a mention as well. Tape hiss on this recording is noticeable on headphones, but not overly prominent. There are few options for the Rach 2nd nowadays - Ashkenazy's warhorse is the usual (and nearly unanimous) recommendation.

Byron Janis was (in?)famous due to his being one of Vladimir Horowitz's two 'officially' recognised pupils, yet I find little Horowitz in this interpretation. There is none of the bravado and bold impulsiveness that characterised Horowitz's earlier work, no awkward mannerisms that characterised his middle work and none of the introspectiveness and coolness that characterised his late work.

What you will get instead is a well-measured and 'polite' Rach #2 with rather melancholy overtones, I find. Certainly a viable alternative to the Ashkenazy mentioned earlier, but a choice subject to personal taste. I prefer my own copy on Naxos by Jando.

I am not familiar with the Litolff and the Liszt, so I shall reserve comment on their respective readings. They are both well recorded though - warm and expansive.

From the sublime to the merely good........2006-04-27

This collection is an absolute steal. Three of the concerto recordings are unsurpassed. The Haskil Chopin is legendary, Richter's Liszt is colossal and Janis's Rachmaninoff is absolutely formidable. Brendel's recordings of Mozart and Beethoven are on a lesser level of achievement, but never less than good.

It should be noted that the Liszt and Rachmaninoff are Mercury Living Presence recordings, and if you've never heard a recording with only 3 well-placed mics, they do sound different from the usual 25-plus microphone recordings we are usually blessed (cursed) with.

At this price, one of the absolute CD bargains of all time.

Meh..........2006-03-28

This collection serves as a descent introduction to some great piano concertos, but the performances are not the best and the recording quality of most of them leaves much to be desired for me. I learned my lesson with regards to the 'best of' classical collections. Personally I'd rather have gotten great recordings of great performances of great classical pieces for a little more money.

In spite of..........2005-06-21

The problem with a heterogeneous collection like this one is that you may like some of the concertos, but not all. I have never found any better recording of Chopin's 2nd concerto than the one with Haskil/Markevitch, so this alone is worth the price, hence my five stars - only for that one! Brendel on Mozart's 21st is also one of many nice accounts. The others are not good enough, if you ask me. Chopin's 2nd by Haskil/Markevitch carries the stars; it is pure magic!

Great Piano Concerto Collection.......2003-07-03

Back in the days before I became a serious collector of classical music, I had this title. What a wonderful introduction it was for me, and if all you are looking for is some first rate performances of some of the best loved Piano Concertos ever written, then this disc is for you. Of course, I no longer own this CD, but I still have all of the individual performances (save the Litolff by Dichter/Marriner) on more comprehensive collections -- the Mozart on the Philips Duo of the "Great Mozart Piano Concertos" featuring Brendel and Marriner, the Chopin on the now o.o.p. Clara Haskil Legacy Vol. 2, the Liszt on a recently reissued Philips 50 title, the Beethoven on the new 3CD Universal Trio collection, and the Rach 2 on good old Mercury Living Presence -- and they are still among my favorites. If you buy this set, just be prepared to upgrade like I did.

MacDowell: Piano Concerto No.2/Liszt: Piano Concertos No.1 & No.2

Average customer rating:

I "think" Watts is playing beautifully!
Exceptional Performance

MacDowell: Piano Concerto No.2/Liszt: Piano Concertos No.1 & No.2

Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

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Tchaikovsky: Piano Concerto No.1/Saint-Saëns: Piano Concerto No.2
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Brahms: Piano Concerto No. 2 / Variations on a Theme by Haydn for Orchestra Op. 56a
Gershwin: Rhapsody In Blue; Concerto in F

ASIN: B000003D1W
Release Date: 1996-03-26

Tracks:

I. Larghetto Calmato
II. Presto Giocoso
III. Largo
I. Allegro Maestoso, Tempo Giusto
II. Quasi Adagio
III. Allegretto Vivace
IV. Allegro Marziale Animato
Adagio Sostenato Assai -
Allegro Agitato Assai -
Allegro Moderato -
Allegro Deciso -
Marziale, Un Poco Meno Allegro -
Allegro Animato

Customer Reviews:

I "think" Watts is playing beautifully!.......2005-07-16

I bought this CD to add to my MacDowell Piano Concerto collection. I love the piece and have heard Watts play it in person so I know he does a wonderful job with the composition.

The problem with this recording is that to my ears, the Telarc engineers muddled up an otherwise beautiful performance. Rarely is the piano heard above the orchestra and most of MacDowell's fun and wild passage-work is lost. The orchestra plays well as does Watts, when you can hear him. This is not my stereo system as it is state of the art and other CD's sound just fine. It's a shame because you just know that beautiful playing is there behind all the muddy acoustics. Same problems with both Liszt Concertos as well.

Exceptional Performance.......2005-01-24

This is a great recording as well as rendition of MacDowell/Liszt Piano Concerti. Andre gives a great interpretation of Liszt and the Dallas Symphony is brilliant at best.

Liszt: The Piano Concertos, Beethoven: Piano Sonatas 10, 19, & 20

Average customer rating:

absolutely great
Go for a better recording!!
Definitive Performances of Liszt's Piano Concertos

Liszt: The Piano Concertos, Beethoven: Piano Sonatas 10, 19, & 20
Kirill Kondrashin
Manufacturer: Umvd Labels
ProductGroup: Music
Binding: Audio CD

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Rachmaninoff: Piano Concerto No. 3, Op. 30 / Suite No. 2 for two pianos
Chopin, Liszt: Piano Concertos / Martha Argerich, London Symphony Orchestra

ASIN: B00005CCAD
Release Date: 2001-05-08

Tracks:

Piano Concerto No. 1 In E Flat Major: I. Allegro maestoso
Piano Concerto No. 1 In E Flat Major: II. Quasi adagio
Piano Concerto No. 1 In E Flat Major: III. Allegretto vivace
Piano Concerto No. 1 In E Flat Major: IV. Allegro marziale animato
Piano Concerto No. 2 In A Major: I. Adagio sostenuto assai - Allegro agitato assai
Piano Concerto No. 2 In A Major: II. Allegro moderato
Piano Concerto No. 2 In A Major: III. Allegro deciso - Marziale un poco meno allegro
Piano Concerto No. 2 In A Major: IV. Allegro animato
Piano Sonata No. 10 In G Major, Op. 14 No. 2: I. Allegro
Piano Sonata No. 10 In G Major, Op. 14 No. 2: II. Andante
Piano Sonata No. 10 In G Major, Op. 14 No. 2: III. Scherzo: Allegro assai
Piano Sonata No. 19 In G Minor, Op. 49 No. 1: I. Andante
Piano Sonata No. 19 In G Minor, Op. 49 No. 1: II. Rondo: Allegro
Piano Sonata No. 20 In G Major, Op. 49 No. 2: I. Allegro ma non troppo
Piano Sonata No. 20 In G Major, Op. 49 No. 2: II. Tempo di menuetto

Customer Reviews:

absolutely great.......2004-03-11

this is a very intense reading of the liszt piano concertos... not lacking in any respect... despite what an obviously biased reviewer said here... richter's reading of the three beethoven sonatas included here are also well worth the price on their own... in sum, must get!!

Go for a better recording!!.......2001-12-26

Having just received this CD today, I must admit I'm sorely disappointed after waiting so long for a supposedly great recording of the Liszt concertos. The problem with these is, despite earlier reviews, the quality of these recordings is not excellent. Anyone with a decent sound system will note the "hissing" background quality quite clearly. As a side note, I'm not too fond of Richter's interpretation in parts of this, especially the first movement of the first concerto. I advise anyone looking for a good copy of the Liszt concertos to go with the Zimerman performance. At the very least, if it must be Richter, buy the Richter copy with the Liszt Sonata instead of the Beethoven Sonatas. Though all is well technically on this CD, it just doesn't deliver.

Definitive Performances of Liszt's Piano Concertos.......2001-08-28

Richter's commanding performances of Liszt's piano concertos have been the benchmarks against which others are measured. These are demanding, technically difficult works; Richter's performances are riveting, dramatic traversals through these scores. And yet he manages to play with much empathy and warmth, without forsaking technical excellence. Kondrashin and the London Symphony Orchestra are fine accompanists, yet they can barely keep pace with Richter's playing. Philips' coupling of these concerti with several Beethoven piano sonatas is quite odd; one would have expected a more logical coupling would be with Richter's splendid account of Liszt's piano sonata. Yet his performances of these Beethoven piano sonatas are just as vibrant and warm as those of Liszt's piano concerti. Those interested in great performances of Liszt's and Beethoven's piano music by one of the legendary pianists of the 20th Century will not want to pass up this CD.

Liszt: Concertos Nos. 1 & 2/Grieg: Concerto, Op. 16

Average customer rating:

Has any American pianist outdone Van Cliburn in popularity?
Cliburn Captures the Other Romantics

Liszt: Concertos Nos. 1 & 2/Grieg: Concerto, Op. 16

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B000003ERT
Release Date: 1990-10-25

Tracks:

Concerto No. 1 In E Flat Major: Allegro maestoso
Concerto No. 1 In E Flat Major: Quasi adagio: Allegretto vivace: Allegro animato
Concerto No. 1 In E Flat Major: Allegro marziale animato
Concerto In A Minor, Op. 16: Allegro molto moderato
Concerto In A Minor, Op. 16: Adagio
Concerto In A Minor, Op. 16: Allegro moderato molto e marcato; Quasi presto; Andante maestoso
Concerto No. 2 In A Major: Adagio sostenuto assai
Concerto No. 2 In A Major: Allegro agitato assai
Concerto No. 2 In A Major: Allegro moderato
Concerto No. 2 In A Major: Allegro deciso
Concerto No. 2 In A Major: Marziale un poco meno allegro
Concerto No. 2 In A Major: Allegro animato

Customer Reviews:

Has any American pianist outdone Van Cliburn in popularity?.......2006-06-12

The irony behind Van Cliburn's immense fame for "beating the Russians" duing the Cold War is that despite winning the first International Tchaikovsky competition in 1958, he never won over other musicians. Cliburn became the face of classical music for a wide public, and his RCA recordings sold in the millions. Even so, as this jam-packed CD of the two Liszt concertos and the Grieg A minor concerto shows, Cliburn was a stiff performer, a hayseed virtuoso who couldn't match the great Europeans.

That's unfair, however, considering that no American pianist has ever matched him in popularity or sales. Even though Cliburn doesn't manage to sound imaginative or even personal in any of this music, he had tremendous technique and enough shy charisma to throw the music over the footlights. The Moscow public adored him during the competition, and no less than Sviatoslav Richter sitting on the jury gave Cliburn a score of 100 and second place a score of zero!

This CD is for his fans. The Grieg is quite clunky in the famous first-mvement melody, the Liszt concertos are proficient but don't breathe fire the way they should, and Ormandy's accompaniments are mostly a snooze. Even so, like every other young music lover back then, I have a soft spot in my heart for the lanky Texan who put the Tchaikovsky First on the map forever in America.

Cliburn Captures the Other Romantics.......2000-08-20

Van Cliburn's recordings of the Tchaikovsky First and Rachmaninoff Second Piano Concertos are legendary, but his performances of some of the other famous Romantic Concertos often get overlooked. This CD of the Grieg and two Liszt Concertos by Cliburn, and conductor Eugene Ormandy leading the Philadelphia Orchestra, is an outstanding title and one of the best currently available (particularly until Julius Katchen's accounts resurface). There are memorable recordings that pair the Liszt Piano Concertos (Cziffra, Richter, Zimerman), and lots of the Grieg (though most are matched with the Schumann), but very few that combine all three to such great effect. Van Cliburn is at his best on these Concertos, particularly on the Grieg and the second Liszt, as he melds his "heart-on-sleeve" style with commanding technique and phrasing. Some may not like this style of playing, and sometimes it does not suit a particular piece (his Brahms First comes to mind), but here there is no question.

Franz Liszt: Piano Concertos Nos. 1 & 2/Totentanz, R. 457

Average customer rating:

Liszt's great concertos performed gloriously

Franz Liszt: Piano Concertos Nos. 1 & 2/Totentanz, R. 457

Manufacturer: Elektra / Wea
ProductGroup: Music
Binding: Audio CD

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ASIN: B000000SP3
Release Date: 1995-10-03

Tracks:

Pno Con No.1 in E flat, R.455: Allegro Maestoso. Tempo Giusto
Pno Con No.1 in E flat, R.455: Quasi Adagio
Pno Con No.1 in E flat, R.455: Allegretto Vivace - Allegro Animato
Pno Con No.1 in E flat, R.455: Allegro Marziale Animato - Presto
Pno Con No.2 in A, R.456: Adagio Sostenuto Assai - Allegro Agitato Assai
Pno Con No.2 in A, R.456: Allegro Moderato
Pno Con No.2 in A, R.456: Allegro Deciso
Pno Con No.2 in A, R.456: Marziale, Un Poco Meno Allegro
Pno Con No.2 in A, R.456: Allegro Animato - Stretto (Molto Accelerando)
Totentanz (Danse Macabre), R.457

Customer Reviews:

Liszt's great concertos performed gloriously.......2005-12-09

Berezovsky here is awesome (indeed he's great in every of his numerous recordings). I love Liszt's Concertos really much and the Totentanz is spectacular in my opinion. The version with the Orchestra of this difficult piece is beautiful but i love also when performed as a solo piece (Francesco Libetta's performance at La Roque d'Antheron 2002 is amazing!). Berezovsky fingers-work is fabulous and every note is played perfectly. His tone is wonderful and (as always) he lets the listener understand the music he's playing. Everthing played by this Russian pianist seems easy though indeed some works are beyond-difficult.
Highly recommended!

Average customer rating:

Liszt Concertos for Piano, Nos.1 & 2

Manufacturer: Ent. Media Partners
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music

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ASIN: B000002XAA
Release Date: 1997-10-23

Tracks:

Con No.1, in E flat: Allegro Maestoso
Con No.1, in E flat: Quasi Adagio-Allegretto Vivace-Allegro Animato
Con No.1, in E flat: Allegro Marziale Animato-Presto
Con No.2, in A: Adagio-Allegro Agitato-Allegro Moderato-Allegro Deciso-Allegro Animato
Conc Study No.1, 'Waldesrauschen'
Conc Study No.2, 'Gnomenreigen'
Consolation in E
Les Funerailles
Hungarian Rhap No.2, in c#
Valse Oubliee No.1

Music Track:

Music Track

music track

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