A Brahms Recital

Track Listings

1. Intermezzo in A minor, Op. 118, No. 1

2. Intermezzo in A Major, Op. 118, No. 2

3. Ballade in G minor, Op. 118, No. 3

4. Variations on an Original Theme, Op. 21, No. 1

5. Sonata No. 3 in F minor, Op. 5, Allegro maestoso

6. Sonata No. 3 in F minor, Op. 5, Andante espressivo

7. Sonata No. 3 in F minor, Op. 5, Scherzo: Allegro energico

8. Sonata No. 3 in F minor, Op. 5, Intermezzo: Andante molto

9. Sonata No. 3 in F minor, Op. 5, Finale: Allegro moderato ma rubato

Tracks:

No. 3 C Sharp Minor, Op.39: Scherzo No. 3 In C Sharp Minor, Op.39
Rhapsody, Op.79: No.1 Agitato In B Minor
Rhapsody, Op. 79: No. 2 Molto passionato, ma non troppo allegro In G Minor
Toccata, Op. 11
Jeux D'Eau: Tres doux
Barcarole In F Sharp Major, Op. 60
Hungarian Rhapsody No.6: Tempo Giusto - Presto - Andante - Allegro - Presto
Sonata For Piano In B Minor: Lento assai - Allegro energico
Sonata For Piano In B Minor: Grandioso
Sonata For Piano In B Minor: Cantando espressivo
Sonata For Piano In B Minor: Pesante - Recitativo
Sonata For Piano In B Minor: Andante sostenuto
Sonata For Piano In B Minor: Quasi Adagio
Sonata For Piano In B Minor: Allegro energico
Sonata For Piano In B Minor: Piu mosso
Sonata For Piano In B Minor: Cantando espressivo senza slentare
Sonata For Piano In B Minor: Stretta quasi Presto -- Presto -- Prestissimo
Sonata For Piano In B Minor: Andante sostenuto - Allegro moderato - Lento assai

Amazon.com essential recording

Classical music people, critics in particular, have a reputation for being grumpy, and this disc illustrates why. It's called Martha Argerich Debut Recital. Now, what does this tell you about it? Nothing, that's what. And the title isn't even correct! Actually, there's more material here than appeared on her debut recital, not the least of which is a stunning Liszt Sonata in B minor, which is the major work on the disc. When one of the two or three greatest living pianists turns in a performance of a major work like the Liszt Sonata that has been generally acclaimed, you would think that her record company would somehow get that piece of news into the title of the recording. --David Hurwitz

Customer Reviews:

WOW! Absolutely stunning!.......2007-01-16

I just bought this disc and was blown away by it. It was everything I thought it would be and then some. It has to be one of the great piano recital CDs of all time. I can't imagine anyone being disappointed with this.

Undeniably Argerich.......2006-11-08

Any one interested in knowing how piano should be played and can be played should get this CD. When I first heard the CD, I was surprised already by her debut recital Argerich has mastered such a distinctive style. I must disagree with the reviewer below who describe this as not imaginative, for nothing could be further from the truth. Argerich's playing is clearly her own, and no one else's. If one wants to hear a technically perfect but emotionally empty playing of Chopin, many of the newer artists would happily fill that bill. And for the record, Horowitz can make plenty of mistakes too, but that doesn't take the charm away from listening to his playing.
That being said, this is one of the most turbulent, drenching rendition of Chopin there is. I love it.

You have to listen to this Lizst sonata.......2006-07-05

Before this performance I thought that I did not like the sonata because no other pianist could keep its many parts and segments together from the beginning to the end. This is the only performance that does that for me. When I listened to it for the first time, I broke up in tears. Argerich's interpretation is mezmerizing. Buy it! Any serious music collector should have this CD.

Unbelievably Amazing..........2006-06-16

I've never paid attention to the Liszt Sonata until I heard this recording. I canNOT BELIEVE some people are calling her without soul or "muddy"... This is the single most inspiring and shocking CD. Really gives you chills when you listen to it. Makes your heart beat faster.

Is that Liszt's great Sonata?.......2005-10-12

No words! Just a simple, superfast read of Liszt's masterpiece, no soul, no ritardandos, nothing. Only supersonic playing, full of virtuosity and bravura in "virtuoso parts", mere exercise in others. That is what people call "cirkus Liszt"! Horrible!

Average customer rating:

Instruments of the Orchestra - Great Reference Material!
Beginner or Expert
Very Informative and Enjoyable
Frank's view
Excellent Intro for Those Not Familiar with the Orchestra

Instruments of the Orchestra
Various Artists
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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What to Listen for in Music
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ASIN: B00006O0NT
Release Date: 2002-12-03

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.

Tracks:

Scherzo in C minor
Sonato for violin in G minor: Allegro vivo
Sonato for violin in G minor: Intermede. Fantasque et leger
Sonato for violin in G minor: Finale - Tres anime
Sonato for violin in E minor: Allegro
Sonato for violin in E minor: Tempo di Minuetto
Sonato for violin in A major: Allegretto moderato
Sonato for violin in A major: Allegro
Sonato for violin in A major: Recitativo-Fantasia - Moderato
Sonato for violin in A major: Allegretto poco mosso
Hungarian Dances No. 2 in B minor
Hungarian Dances No. 5 in G minor
Beau Soir

Customer Reviews:

Unparalleled!!.......2006-11-01

Mutter's Mozart violin sonata E minor is unparalleled in its emotional depth.
Better than any other recent recordings and even historical recordings by Arthur Grumiaux.
Another works are also excellent.

Not to be missed for the Mozart alone.......2006-03-22

Other reviewers have commented on Mutter's extraordinary technique and fully thought out interpretive choices on this recital. For me the highlight of the disc is the Mozart E-minor Sonata. This is the only Violin Sonata Mozart worte in the minor key, and given its chronological proximity to the death of his mother, one cannot help but wonder about its biographical significance. In any case, what a profoundly tragic and yet dignified music this is! The first movement is unrelentingly dramatic and contrapuntally ingenious. The second movement has an abundance of sweetness and melancholy that is positively Schubertian. One can argue that in terms of tragic grandeur and expressive profundity, Mozart never surpassed this sonata in any of his later compositions.
Mutter's interpretation of this sonata is stunning. I was totally surprised and initially disturbed by the wealth of accents, rubato and tonal colors that she brought to the piece. The overall tempo was also unusually slow. (What a contrast to another recent recording of the sonata by Hilary Hahn, which was also technically flawless, but interpretively more restrained and "classical".) And yet the more I listened to the performance, the more I come to be persuaded that the treatment was fully appropriate and indeed matches the profound musical utterances inherent in the composition.
We probably will not hear anything like this in a long time. And really, there is no better way to celebrate the 250th birthday of Mozart than listening to it and be moved by again and again by this miraculous music.

The most interesting violin recital to come along in a while.......2006-01-26

I must say,at the outset, that a lot of fine violinists have recorded these pieces so there is no shortage of technically and musically compelling performances to choose from, but this particular recording bears further scrutiny and I feel, should be in everyone's collection, both for its tremondous conviction and its few excesses.Unlike one of the reviewers, I never got the impression at any point in this recital that technique was put first and expression sacrificed in its stead. On the contrary, a few of the musical choices may be perhaps too strong-headed and almost overbearing for some of the music; in particular the tempo changes and agogic accents (accents of duration to make a given note have more expressive importance by being held beyond its "official" length) in the opening movement of the Mozart E minor Sonata strain the limits of the high classic style and lose the long line in favor of expressive detail that need not be so prominently highlighted. This tempo tugging works to much better effect in the atmospheric Debussy Sonata and successfully creates dramatic contrast in the Franck Sonata which also receives heightened contrast with passages, like the end of the Recitativo movement, played with a bare, vibrato-less tone that adds gravitas and a sense of finality to the proceedings. It would be no understatement to say that Mutter has thought these pieces through quite thoroughly, perhaps as much as anyone is capable of - her choices of where to speed things along, hold things back, add high-powered vibrato, or not, thicken the sound or thin it, hold on to certain notes or let them go more freely, all have an intellectually solid foundation and are not flightly, callous, flippant, or capricious. That said, I can understand that some might find her contrasts in tempi and dynamics to push the limits of what is acceptable. This is also what is so fascinating about this recording because I can think of no other violinist whose recorded this repertoire that has taken the chances she has and managed to pull it off convincingly. The only regret is that, given such a strong personality, she overwhelms Lambert Orkis who, though a fine musician, is nonetheless left a bit in the shadows by her dramatic even searing intensity. A more balanced combination can be found in the recording of French violin repertoire by Augustin Dumay and Maria Joao Pires, the latter possessing the most amazing legato playing of any pianist I've ever heard. With the caveat that the pianist and violinist are not on equal footing sonically (interpretaively they are), I would recommend this recording very very highly for its expressive power and plethora of interesting musical ideas. It is uncommon music making and deserves a fair hearing.

hey mr. Grawowski..........2005-05-07

Your opinion about Mutter has nothing to do with the sense of artistic feeling. It's just an excuse to avoid the fact that she's probably the best soloist in the world (in that is concerned to the violin). Are you bothered by the fact that a woman can be in the first place? Just guessing, I'm a man and I'm proud of such talent, because it's so inspiring, perfect... as any classical master intended to be.

In fact, I guess you're the kind of people who praise Horowitz, Toscanini, and those kind of self indulgent wanna be musicians. It's no wonder that you named Argerich... because she's the best example of this... plays fast all the time, too strong, too sharp... typical of somebody who jumps a ladder just to get to the bottom. This is no talent at all.

Anne Sophie Mutter has nothing to do with this circus. She has talent, discipline and character. What more you can ask for these sort of works? You should check the music again, unless you feel insecure about this gem. This is no 2nd class music.

Fabulous technique, but leaves me cold..........2004-09-06

This is an extraordinarily well-played CD. Mutter is probably the greatest violinist technically playing right now, and she and Orkis seem to make music without any human effort. And maybe that's part of the problem here. The effort has an expressive purpose. Listening to these performances, it's hard to imagine Mutter has ever shed a drop of sweat. She is so detached from the music she is making nowadays (compared to her style maybe 13 years ago and before) that it is almost scary. It seems to me like her main concern in every piece she plays is how perfectly she can play the piece, and her obsession with technique can border on showboating. With her technique, I think she can play *anything* flawlessly. But what I haven't gotten from her in a long time is a point of view in the music, an identification. Her recordings recently say to me "Let me show you what I can do with the violin in this piece" rather than "Let me show you what the composer is about." Her Brahms Hungarian Dance No. 5 has all the "gypsy" spirit of a Mozart recital. Such music is too earthy, I think, for Mutter. (The same goes for her recent CD of tango music with hubby Previn.)

It would be pointless to break these pieces down and discuss each. They're all played the same. No surprises, other than how perfect her technique is. I don't get the aristocratic elan of Stern, the burnished tone and slavic overtones of Perlman, the ringing line of Heifetz, or the steely granite of Oistrakh, or anything else. Orkis too is mechanically perfect but not at all individualistic. I'd defy anyone in a blindfold test to identify him. Furthermore, I don't hear the give-and-take collaboration I hear with so many other great chamber ensembles, which is why ultimately I don't think history will judge them as a great chamber music duo. True I liked much of their Beethoven collaboration, but even there I felt Mutter was leading and Orkis was on the leash. Here there's no doubt. I wish Mutter would push herself more--not with further technical challenges, which she does not need, but with collaborative challenges. (I'd love to hear her in duets with someone like Martha Argerich or Krystian Zimerman.) Until she does this, to my mind she won't be completely satisfying. Maybe Previn, a fine give-and-take chamber musician (or at least he was last time I heard him), can help.

Average customer rating:

desert island disc
A great Hotter anthology

Hans Hotter Lieder Recital

Manufacturer: Testament UK
ProductGroup: Music
Binding: Audio CD

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Hans Hotter Wolf Lieder Recital
Great Recordings Of The Century - Schubert: Winterreise / Hotter, Moore
Schubert: Schwanengesang
Hans Hotter, The Early EMI Recordings
Wagner: Das Rheingold

ASIN: B00004YU8N
Release Date: 2000-12-12

Tracks:

An Die Musik, D547
No.4 Standchen
No.7 Abschied
Im Fruhling, D882
Der Lindenbaum
Wanderers Nachtlied II, D768
Wer Machte Dich So Krank?, Op.35 No.11
Alte Laute, Op.35 No.12
Erstes Grun, Op.35 No.4
Die Beiden Grenadiere, Op.49 No.1
Liederkries, Op.39: No.5 Mondnacht
Edward, Op.1 No.1
Der Erloking, Op.1 No.3
Odin's Meeresritt, Op.118
Die Wandelnde Glocke, Op.20 No.3
Hinkende Jamben, Op.62 No.5
Wie Melodien Zieht Es Mir, Op.105
Sonntag, Op.47 No.3
Komm Bald, Op.97 No.2
Wir Wandelten, Op.96 No.2
Wie Bist Du, Meine Konigin, Op.32 No.9
Heimkehr, Op.7 No.6
Wenn Du Nur Zuweilen Lachelst, Op.57 No.2
Verrat, Op.105 No.5
Ach, Weh Mir Ungluckhaftem Mann, Op.21 No.4
Ich Trage Meine Minne, Op.32 No.1
Der Gartner

Customer Reviews:

desert island disc.......2002-08-29

Hans Hotter is a wonder. The voice has a remarkable agility and breadth of expression, that has justly earned him the admiration of several generations. He is an expert at chiaroscuro, sometimes lightening the tone, as in Ständchen, while in Loewe's "Edward", he adopts a minatory timbr that is chilling. It is well known that Hotter was THE Wotan of the post-war years, but he is not inferior to any lieder singer. These songs are mini-dramas in his expert hands. Testament is quite generous with these re-issues of classic singers, packing 27 songs onto this disc. It is a recording worth having.

A great Hotter anthology.......2002-06-19

This compilation comes from 1966 and 1968, when the experienced Hotter had a high level of refinement. Very few people have been so succesful in fusing elements of both singer and actor into one entity as Hotter could. This CD is more proof of that. To a newcomer, his voice will sound quite dark and rich, but has vibrance. His characterizations are intense, but not exaggerated. And amazingly, both these elements are completely integrated. The works represented here need no introduction - if any of them cannot convince with Hotter singing, there is little alternative. To compare Hotter with Fischer-Dieskau is neither simple nor right, it is really up to one's taste. Yet the CD is also good for someone new to lieder. The recording quality is exceptional, even for the mono selections (about half the disc).

Recital at Carnegie Hall, November 25, 1956

Average customer rating:

A missable item among the riches of the Schwarzkopf catalog
A complete Schwarzkopf lieder recital.

Recital at Carnegie Hall, November 25, 1956

Manufacturer: Capitol
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Baroque (c.1600-1750) | Historical Periods | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

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Italian | Languages | Opera & Vocal | Styles | Music
ASIN: B00000DO02
Release Date: 1990-10-25

Customer Reviews:

A missable item among the riches of the Schwarzkopf catalog.......2006-03-20

Since this double-CD is long out of print, I suppose there's not much value in criticizing it in detail. EMI has released dozens of lieder and opera recordings with their preeminent star, including great live concerts from Salzburg with Gerald Moore from this period in the mid-Fifties.

Compared to Moore and Edwin Fischer, by far her best accompanist, George Reeves is stiff and unimaginative, not to mention that the paino sounds thin and clattery. Schwarzkopf recorded every song here in at least one and often multiple versions that are much better. Unless you want a souvenir of Schwarzkopf live in New York, this set is a miss.

A complete Schwarzkopf lieder recital........2003-09-07

Lieder recitals featured prominently in the career of Elisabeth Schwarzkopf. Not many were recorded in their entirety, however, announced encores and all, or approved for issue. This double CD offers an opportunity to hear her in her prime, recorded in Carnegie Hall, New York, 25th November 1956.

With George Reeves, who brings vast experience and plenty of personality to the piano accompanying, Schwarzkopf delivers a succession of her favorite items, none too demanding (apart from an operatic aria) and all enthusiastically applauded by the audience. One or two of the Schubert strophic songs are given interesting dynamic "interpretative" presentations, not attempted in her studio recorded versions. After a bracket of Mozart lieder, Schwarzkopf announces that she has received many requests for the inclusion of an operatic aria. She provides one of Fjordiligi's arias from "Cosi fan tutte", coping wonderfully well with its many difficulties.

Tracks:

Der Blumenstrauss, Op.47 No.5
Pagenlied
Des Madchens Klage
Die Liebende Schreibt, Op.86 No.3
Suleika, Op.34 No.4
Suleika, Op.57 No.3
Reiselied, Op.34 No.6
Erster Verlust, Op.99 No.1
Auf Flugeln Des Gesanges, Op.34 No.2
Andres Maienlied, Op.8 No.8
Der Blumenkranz
Ferne, Op.9 No.9
Scheidend, Op.9 No.6
Reiselied, Op.19 No.6
Herbstlied, Op.85 No.2
Venetianisches Gondellied, Op.57 No.5
Schlafloser Augen Leuchte
Neue Liebe, Op.19 No.4
Der Mond, Op.86 No.5
An Die Entfernte, Op.71 No.3
Die Sterne Schau'n In Stiller Nacht, Op.99 No.2
Fruhlingslied, Op.47 No.3
Nachtlied, Op.71 No.6
Volkslied, Op.47 No.4
Zwei Gesange, Op.91: Gestillte Sehnsucht - Nathalie Stutzmann/Gerard Causse/Francois-Rene Duchable
Zwei Gesange, Op.91: Geistliches Wiegenlied - Nathalie Stutzmann/Gerard Causse/Francois-Rene Duchable

Average customer rating:

Laredo 's versatility superb in many styles

My Second Recital: Ruth Laredo, Piano

Manufacturer: Essay
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Mazurkas | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

Toccatas | Forms & Genres | Classical | Styles | Music

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My First Recital
Learning By Example Series, Vol. 1

ASIN: B00000083E
Release Date: 1994-01-28

Tracks:

Cant No. 147 'Herz Und Mund Und Tat Und Leben': Jesu, Joy Of Man's Desiring
Son in A, K.331: Rondo Alla Turca
Sonata in F#, Op.78: Adagio Cantabile - Allegro Ma Non Troppo
Sonata in F#, Op.78: Allegro Vivace
Arabesque, Op.18
Pour Le Pno: Sarabande
Waltz in E, Op.39 No.2
Waltz in g#, Op.39 No.3
Waltz in e, Op.39 No.4
Waltz in E, Op.39 No.5
Waltz in A flat, Op.39 No.15
Intermezzo in E flat, Op.117 No.1
Mazurka in f#, Op.6 No.1
Waltz in c#, Op.64 No.2
Nocturne in f#, Op.15 No.2
Deux Morceaux, Op.10: Humoresque
Six Morceaux, Op.51: Natha-Valse
The Seasons, Op37b No. 6: Barcarolle (June)
Toccata

Customer Reviews:

Laredo 's versatility superb in many styles.......1999-09-13

This is a wonderful way to hear many different styles of classical music played by a true artist. Perfect for young listeners or anyone who wishes to hear familiar classics. A CD to treasure!

Leon Fleisher Recital - Bach/Brahms, Scriabin, Saint-Saens

Average customer rating:

Dr. James L. Franklin
An Introduction to Leon Fleisher
Amazing left-hand recital!

Leon Fleisher Recital - Bach/Brahms, Scriabin, Saint-Saens

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Etudes | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

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

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
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Two Hands
The Journey
Leon Fleisher Plays Brahms
Beethoven: The Complete Concertos/Mozart: Concerto No.25
Korngold/ Schmidt: Music for Strings & Piano Left Hand

ASIN: B0000027UF
Release Date: 1993-07-27

Tracks:

Toccata and Fugue, Op. 56
Six Etudes, Op. 135: 1. Prde
Six Etudes, Op. 135: 2. Alla fuga
Six Etudes, Op. 135: 3. Moto perpetuo
Six Etudes, Op. 135: 4. Bourr
Six Etudes, Op. 135: 5. Ele
Six Etudes, Op. 135: 6. Gigue
Chacony (1988)
Partita II In D Minor For Solo Violin BWV 1004: Chaconne
Etude in A-flat major, Op. 36
Prde in C-sharp minor, Op. 9 No. 1
Nocturne in D-flat major, Op. 9 No. 2
'Der Zigeunerbaron' By Johann Strauss: Symphonic Metamorphoses of the 'Schatz-Walzer'

Amazon.com

Leon Fleisher made this recording in 1991, several years before he regained the ability to play with both hands. What makes this disc worthwhile even for the general music lover is Brahms's transcription of the Bach Chaconne, much more faithful and effective than the famous one by Busoni. The disc also includes an amusing set of études by Saint-Saëns, a dazzling étude by Felix Blumenfeld (Horowitz's teacher), two excellent pieces by Scriabin and several contemporary works. If Fleisher doesn't quite eclipse memories of Simon Barere in the Blumenfeld Étude, his playing is always musical and technically sound, especially in the difficult Brahms transcription, the best performance of this arrangement ever recorded. --Leslie Gerber

Customer Reviews:

Dr. James L. Franklin.......2007-01-15

A wonderful introduction to a sampling of the most important works for solo piano left hand, beautifully played and with an informative discussion of the music on the "record jacket".

An Introduction to Leon Fleisher.......2006-09-15

Leon Fleisher needs no introduction. Don't you just hate that? Everybody needs an introduction, no matter how famous they are. You, out there, may have never heard of Leon Fleisher. You may not even feel bad about it, considering that you are way behind in your other self-improvement projects. You may be stuck in the middle of the Plato's Dialogues, and may not have even started that Balzac.
No matter what your circumstances are, you need to be urgently introduced to Mr. Fleisher, and this CD is a perfect way of doing it!
You will be immediately impressed by the most delicate playing ever, in which Mr. Fleisher literally caresses each note. As you listen to his performance of Bach you will finally understand what Plato meant by the world of perfect forms. The rest of the pieces reveal emotional variety and richness in which you will easily participate.
Maybe Mr. Fleisher is so famous because he makes his listeners feel so special. We achieve musical greatness vicariously, through him.
After you finish listening to this CD, please "Google" Mr. Fleisher to learn about his extraordinary courage and spirit in times of disability of his right hand. There is a happy ending in which his love and great gift for music conquered all adversity! You will also learn about his incredible, most impressive musical pedigree. By this time, fortunately, it will be too late to be intimidated by it! Leon Fleisher has already become your friend. He played his gentle music just for you, in your living room.

Amazing left-hand recital!.......2000-12-15

Clear and detailed Toccata and Fugue. Crisp Saint Saens Op 135. Masterful interpretation of Brahm's transcription of the Chaccone from Bach's Second Solo Violin Partita. The Scriabin and Blumenthal are expressive and warm but seem aren't terribly moving. Thee hand-taxing Symphonic Metamorphoses is sparkly and flamboyant. Sound is a bit bright, but disc is highly enjoyable.

Average customer rating:

Sherrill Milnes In Recital, Vol. 1

Manufacturer: Video Artists Int'l
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

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Sherrill Milnes in Recital, Vol. 2
American Aria: Encore
Robert Merrill: Arias from Otello, Un Ballo in Maschera, Il Trovatore
Leonard Warren: His First Recordings

ASIN: B000003LLJ
Release Date: 1997-01-21

Tracks:

Marcello: I cieli immensi narrano
Marcello: solo Cantata, Pslam 42
Marcello: II mio bel foco...Quella fiamma
Brahms: Four Serious Songs, Op.121: Denn es gehet dem Menschen
Brahms: Four Serious Songs, Op.121: Ich wandte mich
Brahms: Four Serious Songs, Op.121: O Tod, wie bitter
Brahms: Four Serious Songs, Op.121: Wenn ich mit Menschen
Duparc: La Vie Anterieure
Duparc: La Vague et la Cloche
Duparc: Chanso triste
Duparc: Lamento
Duparc Le manoir de Rosemonde
Copland: The World Feels Dusty
Copland: At The River
Duke: Luke Havergal
Warlock: Yarmouth Fair
Giordano: 'Nemico della patria'
Lerner-Loewe: 'There but for You Go I'
Hutchinson: Old Mother Hubbard
Bernstein: 'Maria'

The Competition, A Piano Recital from the Motion Picture

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The Competition, A Piano Recital from the Motion Picture

Manufacturer: Town Hall Records
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Scherzo | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | New Age | Styles | Music

Solo Instrumental | New Age | Styles | Music

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The Competition
Prokofiev: The Five Piano Concertos

ASIN: B0000049SK
Release Date: 1995-10-01

Tracks:

Chopin: Scherzo No.2 in B flat Minor - 9:54
Schifrin: Le Moine Etourdi et L'Oiseau (BMI) - 1:14
Scarlatti: Sonata in D Major (Longo 641) - 3:59
Rachmaninoff: Prelude in B Minor (Opus 32, No. 10) - 4:50
Schifrin: Love Theme - The Competition (BMI) - 2:54
Scarlatti: Sonata in G Major (Longo 180) - 2:39
Scriabin: Etude in D sharp Minor (Opus 8, No. 12) - 2:40
Liszt: Concert Etude No. 3 in D flat Major "Un Sospiro" (1857) - 5:18
Chopin: Etude in C sharp Minor (Opus 10, No. 4) - 2:06
Chopin: Etude in G flat Major (Opus 10, No. 5) "Black Key" - 1:33
Brahms: Capriccio in F sharp Minor (Opus 76, No. 1) - 3:30
Gottschalk: Bamboula - 6:47

Album Description

Solo piano music from the motion picture "The Competition," starring Richard Dreyfus and Amy Irving, performed by sound track artist Lincoln Mayorga. This collection includes original piano music written for the film by composer Lalo Schifrin.

Music Track:

Recommended Music:

Chausson: Poème in Ef; Berlioz: Harold in Italy Op16

Music: Blue Eyed Elaine (Tubb the Songwriter)

Live Under Brazilian Skies [Original recording remastered]

Collections: a Very Best of 1995 - 2005 [Import]

Cocktail Hour: Doris Day

Camille Saint-Saëns: Violin Sonatas

Celtic Journey

Hades Park [Import]

Computer World

Circus [Import] [Original recording remastered]

Black Angel [Import]

Diamonds and Rain

All of You

1. Intermezzo in A minor, Op. 118, No. 1
2. Intermezzo in A Major, Op. 118, No. 2
3. Ballade in G minor, Op. 118, No. 3
4. Variations on an Original Theme, Op. 21, No. 1
5. Sonata No. 3 in F minor, Op. 5, Allegro maestoso
6. Sonata No. 3 in F minor, Op. 5, Andante espressivo
7. Sonata No. 3 in F minor, Op. 5, Scherzo: Allegro energico
8. Sonata No. 3 in F minor, Op. 5, Intermezzo: Andante molto
9. Sonata No. 3 in F minor, Op. 5, Finale: Allegro moderato ma rubato