Concerti for Piano & Orchestra

On this CD:

1. Piano Concerto No. 21 in C major ("Elvira Madigan") K. 467
Composed by Wolfgang Amadeus Mozart
Performed by Dalia Ouziel

2. Piano Concerto No. 23 in A major, K. 488
Composed by Wolfgang Amadeus Mozart
Performed by Dalia Ouziel

Concerti for Piano & Orchestra, Music, Mozart, Ouziel, Classical, Classical Composers, Classical Music, Orchestral & Symphonic
Mozart: The Collector's Edition - (50 CD Set) Including Symphonies (selection), Piano Sonatas, Concerti, Masses, Operas (Nozze di Figaro, Zauberflote, Cosi fan Tutte), etc.
Average customer rating: Not rated
    Mozart: The Collector's Edition - (50 CD Set) Including Symphonies (selection), Piano Sonatas, Concerti, Masses, Operas (Nozze di Figaro, Zauberflote, Cosi fan Tutte), etc.

    Manufacturer: EMI Classics
    ProductGroup: Music
    Binding: Audio CD

    MinuetsMinuets | Ballets & Dances | Classical | Styles | Music
    QuartetsQuartets | Chamber Music | Classical | Styles | Music
    QuintetsQuintets | Chamber Music | Classical | Styles | Music
    SextetsSextets | Chamber Music | Classical | Styles | Music
    GeneralGeneral | Chamber Music | Classical | Styles | Music
    All Works by Wolfgang Amadeus MozartAll Works by Wolfgang Amadeus Mozart | Mozart, Wolfgang Amadeus | ( M ) | Featured Composers, A-Z | Classical | Styles | Music
    ConcertinosConcertinos | Concertos | Forms & Genres | Classical | Styles | Music
    GeneralGeneral | Concertos | Forms & Genres | Classical | Styles | Music
    FantasiesFantasies | Forms & Genres | Classical | Styles | Music
    DivertimentosDivertimentos | Serenades & Divertimentos | Forms & Genres | Classical | Styles | Music
    GeneralGeneral | Sonatas | Forms & Genres | Classical | Styles | Music
    SonatinasSonatinas | Sonatas | Forms & Genres | Classical | Styles | Music
    ClassicalClassical | Symphonies | Forms & Genres | Classical | Styles | Music
    Chamber MusicChamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
    GeneralGeneral | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
    Vocal & SongVocal & Song | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music | Cantatas | Romances
    RequiemsRequiems | Forms & Genres | Early Music | Historical Periods | Classical | Styles | Music
    General ModernGeneral Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music
    French HornFrench Horn | Brass | Instruments | Classical | Styles | Music
    PianoPiano | Keyboard | Instruments | Classical | Styles | Music
    BassoonBassoon | Reeds & Winds | Instruments | Classical | Styles | Music
    ClarinetClarinet | Reeds & Winds | Instruments | Classical | Styles | Music
    FluteFlute | Reeds & Winds | Instruments | Classical | Styles | Music
    ViolinViolin | Strings | Instruments | Classical | Styles | Music
    GeneralGeneral | Symphonies | Classical | Styles | Music
    GeneralGeneral | Sacred & Religious | Classical | Styles | Music
    GeneralGeneral | Classical | Styles | Music
    GeneralGeneral | Opera & Vocal | Styles | Music
    GermanGerman | Languages | Opera & Vocal | Styles | Music
    MassesMasses | Vocal Non-Opera | Opera & Vocal | Styles | Music
    MotetsMotets | Vocal Non-Opera | Opera & Vocal | Styles | Music
    OratoriosOratorios | Vocal Non-Opera | Opera & Vocal | Styles | Music
    RequiemsRequiems | Vocal Non-Opera | Opera & Vocal | Styles | Music
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    ASIN: B000NA2PD2
    Release Date: 2007-04-24

    Tracks:

    1. I: Molto Allegro - English Chamber Orchestra
    2. II: Andante - English Chamber Orchestra
    3. III: Presto - English Chamber Orchestra
    4. I: Allegro - English Chamber Orchestra
    5. II: Andante - English Chamber Orchestra
    6. III: Presto - English Chamber Orchestra
    7. I: Allegro Assai - English Chamber Orchestra
    8. II: Andante - English Chamber Orchestra
    9. III: Presto - English Chamber Orchestra
    10. I: Allegro - English Chamber Orchestra
    11. II: Andante - English Chamber Orchestra
    12. III: Molto Allegro - English Chamber Orchestra
    13. I: Allegro Maestoso - English Chamber Orchestra
    14. II: Andante - English Chamber Orchestra
    15. III: Molto Allegro - English Chamber Orchestra
    16. I: Allegro Maestoso - English Chamber Orchestra
    17. II: Andante - English Chamber Orchestra
    18. III: Menuetto & Trio - English Chamber Orchestra
    19. IV: Allegro - English Chamber Orchestra

    Tracks:

    1. I: Allegro Assai - English Chamber Orchestra
    2. II: Andante - English Chamber Orchestra
    3. III: Allegro - English Chamber Orchestra
    4. Appendix: Andante - English Chamber Orchestra
    5. I: Allegro - English Chamber Orchestra
    6. II: Andantino Grazioso - English Chamber Orchestra
    7. III: Presto - English Chamber Orchestra
    8. I: Allegro Con Brio - English Chamber Orchestra
    9. II: Andante - English Chamber Orchestra
    10. III: Menuetto & Trio - English Chamber Orchestra
    11. IV: Allegro - English Chamber Orchestra

    Tracks:

    1. I: Molto Presto - English Chamber Orchestra
    2. II: Andante - English Chamber Orchestra
    3. III: Allegro - English Chamber Orchestra
    4. I: Allegro Moderato - English Chamber Orchestra
    5. II: Andante - English Chamber Orchestra
    6. III: Menuetto - English Chamber Orchestra
    7. IV: Allegro Con Spirito - English Chamber Orchestra
    8. I: Molto Allegro - English Chamber Orchestra
    9. II: Andantino Con Moto - English Chamber Orchestra
    10. III: Menuetto - English Chamber Orchestra
    11. IV: Presto - English Chamber Orchestra
    12. I: Allegro Spiritoso - English Chamber Orchestra
    13. II: Andante - English Chamber Orchestra
    14. III: Menuetto: Allegretto - English Chamber Orchestra
    15. IV: Presto - English Chamber Orchestra

    Tracks:

    1. I: Allegro Spiritoso - English Chamber Orchestra
    2. II: Andante - English Chamber Orchestra
    3. III: Allegro Spiritoso - English Chamber Orchestra
    4. I: Allegro Con Spirito - English Chamber Orchestra
    5. II: Andante - English Chamber Orchestra
    6. III: Menuetto & Trio - English Chamber Orchestra
    7. IV: Finale: Presto - English Chamber Orchestra
    8. I: Adagio - Allegro - English Chamber Orchestra
    9. II: Andante - English Chamber Orchestra
    10. III: Menuetto: Allegretto & Trio - English Chamber Orchestra
    11. IV: Finale: Allegro - English Chamber Orchestra

    Tracks:

    1. I: Allegro Vivace - English Chamber Orchestra
    2. II: Andante Di Molto - English Chamber Orchestra
    3. III: Finale: Allegro Vivace - English Chamber Orchestra
    4. Appendix: Menuetto & Trio K409 (383f) - English Chamber Orchestra
    5. I: Allegro Assai - English Chamber Orchestra
    6. II: Andante Moderato - English Chamber Orchestra
    7. III: Menuetto & Trio - English Chamber Orchestra
    8. IV: Allegro Assai - English Chamber Orchestra

    Tracks:

    1. I: Adagio - Allegro Spiritoso - English Chamber Orchestra
    2. II: Poco Adagio - English Chamber Orchestra
    3. III: Menuetto & Trio - English Chamber Orchestra
    4. IV: Presto - English Chamber Orchestra
    5. I: Adagio - Allegro - English Chamber Orchestra
    6. II: Andante - English Chamber Orchestra
    7. III: Presto - English Chamber Orchestra

    Tracks:

    1. I: Molto Allegro - English Chamber Orchestra
    2. II: Andante - English Chamber Orchestra
    3. III: Menuetto: Allegretto & Trio - English Chamber Orchestra
    4. IV: Allegro Assai - English Chamber Orchestra
    5. I: Allegro Vivace - English Chamber Orchestra
    6. II: Andante Cantabile - English Chamber Orchestra
    7. III: Menuetto: Allegretto & Trio - English Chamber Orchestra
    8. IV: Molto Allegro - English Chamber Orchestra

    Tracks:

    1. I: Allegro Cadenza - English Chamber Orchestra
    2. II: Andantino - English Chamber Orchestra
    3. III: Rondeau: Presto - English Chamber Orchestra
    4. I: Allegro Maestoso - English Chamber Orchestra
    5. II: Andante - English Chamber Orchestra
    6. III: Allegretto - English Chamber Orchestra
    7. Concerto Rondo For Piano & Orchestra No.1 In D K382 - English Chamber Orchestra

    Tracks:

    1. I: Allegro - English Chamber Orchestra
    2. II: Larghetto - English Chamber Orchestra
    3. III: Tempo Di Menuetto - English Chamber Orchestra
    4. I: Allegro - English Chamber Orchestra
    5. II: Andante - English Chamber Orchestra
    6. III: Allegretto - English Chamber Orchestra
    7. I: Allegro - English Chamber Orchestra
    8. II: Andante - English Chamber Orchestra
    9. III: Allegro - Adagio - Allegro - English Chamber Orchestra

    Tracks:

    1. I: Allegro Vivace - English Chamber Orchestra
    2. II: Andantino - English Chamber Orchestra
    3. III: Allegro Ma Non Troppo - English Chamber Orchestra
    4. I: Allegro - English Chamber Orchestra
    5. II: Andante - English Chamber Orchestra
    6. III: Allegro - English Chamber Orchestra
    7. I: Allegro - English Chamber Orchestra
    8. II: Andante - English Chamber Orchestra
    9. III: Allegro Di Molto - English Chamber Orchestra

    Tracks:

    1. I: Allegro - English Chamber Orchestra
    2. II: Andante - English Chamber Orchestra
    3. III: Allegretto - English Chamber Orchestra
    4. I: Allegro - English Chamber Orchestra
    5. II: Larghetto - English Chamber Orchestra
    6. III: Allegretto - English Chamber Orchestra

    Tracks:

    1. I: Allegro Vivace - English Chamber Orchestra
    2. II: Andante Un Poco Sostenuto - English Chamber Orchestra
    3. III: Allegro Vivace - English Chamber Orchestra
    4. I: Allegro - English Chamber Orchestra
    5. II: Allegretto - English Chamber Orchestra
    6. III: Allegro Assai - English Chamber Orchestra

    Tracks:

    1. I: Allegro - English Chamber Orchestra
    2. II: Romanze - English Chamber Orchestra
    3. III: Rondeau: Allegro Assai - English Chamber Orchestra
    4. I: Allegro - English Chamber Orchestra
    5. II: Larghetto - English Chamber Orchestra
    6. III: Allegretto Assai - English Chamber Orchestra

    Tracks:

    1. I: Allegro Maestoso - English Chamber Orchestra
    2. II: Andante - English Chamber Orchestra
    3. III: Allegro Vivace Assai - English Chamber Orchestra
    4. I: Allegro - English Chamber Orchestra
    5. II: Larghetto - English Chamber Orchestra
    6. III: Allegro - English Chamber Orchestra

    Tracks:

    1. I: Allegro - English Chamber Orchestra
    2. II: Andante - English Chamber Orchestra
    3. III: Rondo: Allegro - English Chamber Orchestra
    4. I: Allegro - English Chamber Orchestra
    5. II: Adagio - English Chamber Orchestra
    6. III: Allegro Assai - English Chamber Orchestra

    Tracks:

    1. I: (Allegro Moderato) - David Oistrakh
    2. II: Adagio - David Oistrakh
    3. III: Presto - David Oistrakh
    4. I: (Allegro Moderato) - David Oistrakh
    5. II: (Andante) - David Oistrakh
    6. III: Rondeau: Allegro - David Oistrakh
    7. I: Allegro - David Oistrakh
    8. II: Adagio - David Oistrakh
    9. III: Rondeau: Allegro - Andante - Allegretto - David Oistrakh
    10. Rondo For Violin And Orchestra In C K373 - David Oistrakh

    Tracks:

    1. I: Allegro - David Oistrakh
    2. II: Andante Cantabile - David Oistrakh
    3. III: Rondeau: Andante Grazioso - Allegro Ma Non Troppo - David Oistrakh
    4. I: Allegro Aperto - David Oistrakh
    5. II: Adagio - David Oistrakh
    6. III: Rondeau: Tempo Di Menuetto - Allegro - David Oistrakh

    Tracks:

    1. I: Allegro - Jeffrey Tate
    2. II: Rondo: Allegro - Jeffrey Tate
    3. I: Allegro Maestoso - Jeffrey Tate
    4. II: Andante - Jeffrey Tate
    5. III: Rondo: Allegro - Jeffrey Tate
    6. I: Allegro - Jeffrey Tate
    7. II: Romance: Larghetto - Jeffrey Tate
    8. III: Allegro - Jeffrey Tate
    9. I: Allegro Moderato - Jeffrey Tate
    10. II: Romance: Andante Cantabile - Jeffrey Tate
    11. III: Rondo: Allegro Vivace - Jeffrey Tate
    12. Rondo In E Flat K371 - Jeffrey Tate

    Tracks:

    1. I: Allegro - Gordon Hunt
    2. II: Adagio - Gordon Hunt
    3. III: Rondeau: Allegro - Gordon Hunt
    4. I: Allegro - Gordon Hunt
    5. II: Larghetto - Gordon Hunt
    6. III: Menuetto - Gordon Hunt
    7. IV: Allegretto Con Variazioni - Gordon Hunt
    8. I: Allegro - Jane Glover
    9. II: Adagio - Jane Glover
    10. III: Rondo: Allegro - Jane Glover

    Tracks:

    1. I: Allegro Maestoso - London Philharmonic Orchestra
    2. II: Adagio Non Troppo - London Philharmonic Orchestra
    3. III: Rondo: Tempo Di Menuetto - London Philharmonic Orchestra
    4. I: Allegro Aperto - Andrew Litton
    5. II: Adagio Non Troppo - Andrew Litton
    6. III: Rondo: Allegretto - Andrew Litton
    7. I: Allegro - Andrew Litton
    8. II: Andantino - Andrew Litton
    9. III: Rondeau: Allegro - Andrew Litton

    Tracks:

    1. I: Allegro - Jane Glover
    2. II: Romanze: Andante - Jane Glover
    3. III: Menuetto: Allegretto & Trio - Jane Glover
    4. IV: Rondo: Allegro - Jane Glover
    5. I: Allegro - Jane Glover
    6. II: Andante Ma Adagio - Jane Glover
    7. III: Rondo: Tempo Di Menuetto - Jane Glover
    8. I: Allegro - Jane Glover
    9. II: Andante - Jane Glover
    10. III: Presto - Jane Glover
    11. I: Andante - Jane Glover
    12. II: Allegro Di Molto - Jane Glover
    13. III: Allegro Assai - Jane Glover
    14. I: Allegro - Jane Glover
    15. II: Andante - Jane Glover
    16. III: Presto - Jane Glover

    Tracks:

    1. I: Allegro Maestoso - Allegro Molto - Yehudi Menuhin
    2. II: Andante - Yehudi Menuhin
    3. III: Menuetto & Trio - Yehudi Menuhin
    4. IV: Rondo: Allegro - Yehudi Menuhin
    5. V: Menuetto Galante & Trio - Yehudi Menuhin
    6. VI: Andante - Yehudi Menuhin
    7. VII: Menuetto & Trios I & II - Yehudi Menuhin
    8. VIII: Adagio - Allegro Assai - Yehudi Menuhin
    9. I: Marcia: Maestoso - Yehudi Menuhin
    10. II: Menuetto & Trio - Yehudi Menuhin
    11. III: Rondeau: Allegretto - Yehudi Menuhin

    Tracks:

    1. I: Largo - Allegro Molto - Consortium Classicum
    2. II: Menuetto & Trios I & II - Consortium Classicum
    3. III: Adagio - Consortium Classicum
    4. IV: Menuetto & Trios I & II - Consortium Classicum
    5. V: Romance: Adagio - Allegretto - Consortium Classicum
    6. VI: Thema: Andante With Variations - Consortium Classicum
    7. VII: Rondo: Allegro Molto - Consortium Classicum
    8. I: Allegro - Consortium Classicum
    9. II: Menuetto I - Consortium Classicum
    10. III: Adagio - Consortium Classicum
    11. IV: Menuetto II & Trios I & II - Consortium Classicum
    12. V: Allegro - Consortium Classicum

    Tracks:

    1. I: Allegro - Consortium Classicum
    2. II: Andante - Consortium Classicum
    3. III: Menuetto In Canone - Consortium Classicum
    4. IV: Allegro - Consortium Classicum
    5. I: Allegro Spiritoso - Consortium Classicum
    6. II: Andante - Consortium Classicum
    7. III: Menuetto - Consortium Classicum
    8. IV: Contredanse En Rondeau: Molto Allegro - Consortium Classicum
    9. I: Allegro - Consortium Classicum
    10. II: Andante Grazioso - Consortium Classicum
    11. III: Menuetto - Consortium Classicum
    12. IV: Allegro - Consortium Classicum
    13. I: Andante - Consortium Classicum
    14. II: Menuetto - Consortium Classicum
    15. III: Polonaise: Andante - Consortium Classicum
    16. IV: Presto Assai - Consortium Classicum
    17. I: Allegro Molto - Consortium Classicum
    18. II: Andantino - Consortium Classicum
    19. III: Menuetto: Moderato - Consortium Classicum
    20. IV: Presto - Consortium Classicum

    Tracks:

    1. I: Allegro Moderato - Heutling Quartet
    2. II: Andante - Heutling Quartet
    3. III: Menuetto: Allegretto - Heutling Quartet
    4. IV: Allegretto Ma Non Troppo - Heutling Quartet
    5. I: Allegro Non Troppo - Heutling Quartet
    6. II: Andante Con Moto - Heutling Quartet
    7. III: Menuetto: Allegretto - Allegro - Heutling Quartet
    8. IV: Allegro Vivace - Heutling Quartet
    9. I: Allegro Vivace Assai - Heutling Quartet
    10. II: Menuetto Moderato - Heutling Quartet
    11. III: Adagio - Heutling Quartet
    12. IV: Allegro Assai - Heutling Quartet

    Tracks:

    1. I: Allegro - Heutling Quartet
    2. II: Menuetto - Heutling Quartet
    3. III: Andante - Heutling Quartet
    4. IV: Allegro Non Troppo - Heutling Quartet
    5. I: Adagio - Allegro - Heutling Quartet
    6. II: Andante Cantabile - Heutling Quartet
    7. III: Menuetto: Allegro - Heutling Quartet
    8. IV: Allegro Molto - Heutling Quartet
    9. I: Allegro - Heutling Quartet
    10. II: Larghetto - Heutling Quartet
    11. III: Menuetto: Moderato - Heutling Quartet
    12. IV: Allegro Assai - Heutling Quartet

    Tracks:

    1. I: Allegro - Heutling Quartet
    2. II: Andante - Heutling Quartet
    3. III: Menuetto: Allegretto - Heutling Quartet
    4. IV: Allegro - Heutling Quartet
    5. I: Allegro - Heutling Quartet
    6. II: Menuetto: Allegretto - Heutling Quartet
    7. III: Adagio Ma Non Troppo - Heutling Quartet
    8. IV: Adagio - Allegro - Heutling Quartet

    Tracks:

    1. I: Allegro Moderato - Heutling Quartet
    2. II: Adagio - Heutling Quartet
    3. III: Menuetto Ma Allegretto - Heutling Quartet
    4. IV: Allegro - Heutling Quartet
    5. I: Larghetto - Allegro - Heutling Quartet
    6. II: Adagio - Heutling Quartet
    7. III: Menuetto Ma Allegretto - Heutling Quartet
    8. IV: Allegro - Heutling Quartet
    9. I: Allegro Di Molto - Heutling Quartet
    10. II: Andante - Heutling Quartet
    11. III: Menuetto: Allegretto - Heutling Quartet
    12. IV: Allegro - Heutling Quartet

    Tracks:

    1. Allegro Con Spirito - Sviatoslav Richter
    2. II: Andantino Catabile - Sviatoslav Richter
    3. III: Allegretto - Sviatoslav Richter
    4. I: Allegro Moderato - Sviatoslav Richter
    5. II: Andantino Sostenuto E Cantabile - Sviatoslav Richter
    6. III: Rondo: Allegro - Sviatoslav Richter
    7. I: Andante - Sviatoslav Richter
    8. II: Allegro - Sviatoslav Richter
    9. I: Allegro - Sviatoslav Richter

    Tracks:

    1. I: Allegro Con Spirito - Daniel Barenboim
    2. II: Andantino Con Espressione - Daniel Barenboim
    3. III: Rondeau: Allegro - Daniel Barenboim
    4. I: Allegro Moderato - Daniel Barenboim
    5. II: Andante Cantabile - Daniel Barenboim
    6. III: Allegretto - Daniel Barenboim
    7. I: Tema (Andante Grazioso) Con Variazioni (I-VI) - Daniel Barenboim
    8. II: Menuetto - Trio - Daniel Barenboim
    9. III: Alla Turca: Allegretto - Daniel Barenboim
    10. I: Allegro - Daniel Barenboim
    11. II: Adagio - Daniel Barenboim
    12. III: Allegro Assai - Daniel Barenboim

    Tracks:

    1. I: Allegro - Daniel Barenboim
    2. II: Andante Cantabile - Daniel Barenboim
    3. III: Allegretto Grazioso - Daniel Barenboim
    4. Adagio - Allegro - Andantino - Piu Allegro - Tempo I - Daniel Barenboim
    5. I: Molto Allegro - Daniel Barenboim
    6. II: Adagio - Daniel Barenboim
    7. III: Allegro Assai - Daniel Barenboim

    Tracks:

    1. I: Allegro - Daniel Barenboim
    2. II: Andante Cantabile - Daniel Barenboim
    3. III: Allegretto - Daniel Barenboim
    4. I: Allegro - Daniel Barenboim
    5. II: Andante - Daniel Barenboim
    6. III: Rondo - Daniel Barenboim
    7. I: Allegro - Daniel Barenboim
    8. II: Adagio - Daniel Barenboim
    9. III: Allegretto - Daniel Barenboim
    10. I: Allegro - Daniel Barenboim
    11. II: Adagio - Daniel Barenboim
    12. III: Allegretto - Daniel Barenboim

    Tracks:

    1. Tema ('Laat Ons Juichen') (Allegretto) - Daniel Barenboim
    2. Variation 1 - Daniel Barenboim
    3. Variation 2 - Daniel Barenboim
    4. Variation 3 - Daniel Barenboim
    5. Variation 4 - Daniel Barenboim
    6. Variation 5 - Daniel Barenboim
    7. Variation 6 - Daniel Barenboim
    8. Variation 7: Adagio - Daniel Barenboim
    9. Variation 8 (Tempo I) - Daniel Barenboim
    10. Tema (Air): Allegro - Daniel Barenboim
    11. Variation 1 - Daniel Barenboim
    12. Variation 2 - Daniel Barenboim
    13. Variation 3 - Daniel Barenboim
    14. Variation 4 - Daniel Barenboim
    15. Variation 5: Adagio - Daniel Barenboim
    16. Variation 6 (Tempo I) - Daniel Barenboim
    17. Variation 7 - Daniel Barenboim
    18. Tema (Menuetto): Andante - Daniel Barenboim
    19. Variation 1 - Daniel Barenboim
    20. Variation 2 - Daniel Barenboim
    21. Variation 3 - Daniel Barenboim
    22. Variation 4 - Daniel Barenboim
    23. Variation 5: Adagio - Daniel Barenboim
    24. Variation 6: Allegretto - Daniel Barenboim
    25. Tema (Menuet) - Daniel Barenboim
    26. Variation 1 - Daniel Barenboim
    27. Variation 2 - Daniel Barenboim
    28. Variation 3 - Daniel Barenboim
    29. Variation 4 - Daniel Barenboim
    30. Variation 5 - Daniel Barenboim
    31. Variation 6 - Daniel Barenboim
    32. Variation 7 - Daniel Barenboim
    33. Variation 8 - Daniel Barenboim
    34. Variation 9 - Daniel Barenboim
    35. Variation 10 - Daniel Barenboim
    36. Variation 11: Adagio - Daniel Barenboim
    37. Variation 12: Allegro - Daniel Barenboim
    38. Tema (Air): Allegretto - Daniel Barenboim
    39. Variation 1 - Daniel Barenboim
    40. Variation 2 - Daniel Barenboim
    41. Variation 3 - Daniel Barenboim
    42. Variation 4 - Daniel Barenboim
    43. Variation 5 - Daniel Barenboim
    44. Variation 6 - Daniel Barenboim
    45. Variation 7 - Daniel Barenboim
    46. Variation 8 (Tempo Di Menuetto) - Daniel Barenboim
    47. Variation 9 - Daniel Barenboim
    48. Variation 10: Allegretto - Daniel Barenboim
    49. Variation 11 - Daniel Barenboim
    50. Variation 12 (Molto Adagio -) - Daniel Barenboim
    51. Variation 12 (Allegretto) - Daniel Barenboim

    Tracks:

    1. Tema - Daniel Barenboim
    2. Variation 1 - Daniel Barenboim
    3. Variation 2 - Daniel Barenboim
    4. Variation 3 - Daniel Barenboim
    5. Variation 4 - Daniel Barenboim
    6. Variation 5 - Daniel Barenboim
    7. Variation 6 - Daniel Barenboim
    8. Variation 7 - Daniel Barenboim
    9. Variation 8 - Daniel Barenboim
    10. Variation 9 - Daniel Barenboim
    11. Variation 10 - Daniel Barenboim
    12. Variation 11: Adagio - Daniel Barenboim
    13. Variation 12: Allegro - Daniel Barenboim
    14. Tema - Daniel Barenboim
    15. Variation 1 - Daniel Barenboim
    16. Variation 2 - Daniel Barenboim
    17. Variation 3 - Daniel Barenboim
    18. Variation 4 - Daniel Barenboim
    19. Variation 5 - Daniel Barenboim
    20. Variation 6 - Daniel Barenboim
    21. Variation 7 - Daniel Barenboim
    22. Variation 8 - Daniel Barenboim
    23. Variation 9 - Daniel Barenboim
    24. Variation 10 - Daniel Barenboim
    25. Variation 11: Adagio - Daniel Barenboim
    26. Variation 12: Presto - Daniel Barenboim
    27. Tema: Andante - Daniel Barenboim
    28. Variation 1 - Daniel Barenboim
    29. Variation 2 - Daniel Barenboim
    30. Variation 3 - Daniel Barenboim
    31. Variation 4 - Daniel Barenboim
    32. Variation 5 - Daniel Barenboim
    33. Variation 6 - Daniel Barenboim
    34. Variation 7 - Daniel Barenboim
    35. Variation 8: Adagio - Daniel Barenboim
    36. Variation 9 (Allegro -) - Daniel Barenboim
    37. Variation 9 (Tempo Di Tema) - Daniel Barenboim
    38. Tema - Daniel Barenboim
    39. Variation 1 - Daniel Barenboim
    40. Variation 2 - Daniel Barenboim
    41. Variation 3 - Daniel Barenboim
    42. Variation 4 - Daniel Barenboim
    43. Variation 5 - Daniel Barenboim
    44. Variation 6 - Daniel Barenboim
    45. Variation 7: Adagio - Daniel Barenboim
    46. Variation 8: Allegro - Daniel Barenboim
    47. Tema - Daniel Barenboim
    48. Variation 1 - Daniel Barenboim
    49. Variation 2 - Daniel Barenboim
    50. Variation 3 - Daniel Barenboim
    51. Variation 4 - Daniel Barenboim
    52. Variation 5 - Daniel Barenboim
    53. Variation 6 - Daniel Barenboim

    Tracks:

    1. Tema: Allegretto - Daniel Barenboim
    2. Variation 1 - Daniel Barenboim
    3. Variation 2 - Daniel Barenboim
    4. Variation 3 - Daniel Barenboim
    5. Variation 4 - Daniel Barenboim
    6. Variation 5 - Daniel Barenboim
    7. Variation 6 - Daniel Barenboim
    8. Variation 7 - Daniel Barenboim
    9. Variation 8 - Daniel Barenboim
    10. Variation 9: Adagio - Daniel Barenboim
    11. Variation 10 (Allegro -) - Daniel Barenboim
    12. Variation 10 (Tempo I) - Daniel Barenboim
    13. Tema: Allegretto - Daniel Barenboim
    14. Variation 1 - Daniel Barenboim
    15. Variation 2 - Daniel Barenboim
    16. Variation 3 - Daniel Barenboim
    17. Variation 4 - Daniel Barenboim
    18. Variation 5 - Daniel Barenboim
    19. Variation 6 - Daniel Barenboim
    20. Variation 7 - Daniel Barenboim
    21. Variation 8 - Daniel Barenboim
    22. Variation 9 - Daniel Barenboim
    23. Variation 10 - Daniel Barenboim
    24. Variation 11: Adagio - Daniel Barenboim
    25. Variation 12 (Allegro -) - Daniel Barenboim
    26. Variation 12 (Tempo I) - Daniel Barenboim
    27. Tema: Allegretto - Daniel Barenboim
    28. Variation 1 - Daniel Barenboim
    29. Variation 2 - Daniel Barenboim
    30. Variation 3 - Daniel Barenboim
    31. Variation 4 - Daniel Barenboim
    32. Variation 5 - Daniel Barenboim
    33. Variation 6 - Daniel Barenboim
    34. Tema - Daniel Barenboim
    35. Variation 1 - Daniel Barenboim
    36. Variation 2 - Daniel Barenboim
    37. Variation 3 - Daniel Barenboim
    38. Variation 4 - Daniel Barenboim
    39. Variation 5 - Daniel Barenboim
    40. Variation 6 - Daniel Barenboim
    41. Variation 7 - Daniel Barenboim
    42. Variation 8: Adagio - Daniel Barenboim
    43. Variation 9 (Allegro -) - Daniel Barenboim
    44. Variation 9 (Tempo I) - Daniel Barenboim
    45. Tema - Daniel Barenboim
    46. Variation 1 - Daniel Barenboim
    47. Variation 2 - Daniel Barenboim
    48. Variation 3 - Daniel Barenboim
    49. Variation 4 - Daniel Barenboim
    50. Variation 5 - Daniel Barenboim
    51. Variation 6 - Daniel Barenboim
    52. Variation 7: Adagio - Daniel Barenboim
    53. Variation 8 (Allegro -) - Daniel Barenboim
    54. Variation 8 (Tempo I) - Daniel Barenboim

    Tracks:

    1. Lieder: Sehnsucht Nach Dem Fruhlinge K596 - Barbara Hendricks
    2. Lieder: An Die Hoffnung K390 (340c) - Barbara Hendricks
    3. Lieder: Der Zauberer K472 - Barbara Hendricks
    4. Lieder: Die Kleine Spinnerin K531 - Barbara Hendricks
    5. Lieder: Die Verschweigung K518 - Barbara Hendricks
    6. Lieder: Das Lied Der Trennung K519 - Barbara Hendricks
    7. Lieder: Die Zufriedenheit K473 - Barbara Hendricks
    8. Lieder: Als Luise Die Briefe K520 - Barbara Hendricks
    9. Lieder: An Die Einsamkeit K391 (340b) - Barbara Hendricks
    10. Lieder: Das Veilchen K476 - Barbara Hendricks
    11. Lieder: Abendempfindung K523 - Barbara Hendricks
    12. Lieder: An Chloe K524 - Barbara Hendricks
    13. Cantata: Die Ihr Des Unermesslichen Weltalls K619 - Barbara Hendricks
    14. Canzonetta: Ridente La Calma K152 - Barbara Hendricks
    15. Lieder: Dans Un Bois Solitaire K308 - Barbara Hendricks
    16. Lieder: Oiseaux, Si Tous Les Ans K307 (284d) - Barbara Hendricks
    17. Lieder: Un Moto Di Gioia K579 - Barbara Hendricks
    18. Lieder: Komm, Liebe Zither K351 (367b) - Barbara Hendricks
    Mendelssohn: Piano Concerti Nos. 1 & 2; Capriccio Brillant; Rondo Brillant
    Average customer rating: 4.5 out of 5 stars
    • "Pearls scattered upon velvet"
    • Great playing, bad recording.
    • I love paradoxes
    • Super Performances and an Excellent Value
    Mendelssohn: Piano Concerti Nos. 1 & 2; Capriccio Brillant; Rondo Brillant

    Manufacturer: Hyperion UK
    ProductGroup: Music
    Binding: Audio CD

    GeneralGeneral | Concertos | Forms & Genres | Classical | Styles | Music
    PianoPiano | Keyboard | Instruments | Classical | Styles | Music
    Hough, StephenHough, Stephen | ( H ) | Featured Performers, A-Z | Classical | Styles | Music
    GeneralGeneral | Classical | Styles | Music
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    Similar Items:
    1. Saint-Saëns: The Complete Works for Piano & Orchestra
    2. Moscheles: Piano Concertos Nos. 1, 6, 7
    3. Weber: Piano Concerto No. 1 in C minor; Piano Concerto No. 2 in E flat major; Koncertstück in F minor
    4. Moscheles: Piano Concertos Nos. 4 & 5; Recollections of Ireland
    5. Litolff: Concerti Symphonique

    ASIN: B000002ZZU
    Release Date: 1997-08-12

    Tracks:

    1. Capriccio Brillant In B Minor, Op. 22
    2. Piano Concerto No 1 In G Minor Op. 25: I. Molto Allegro con fuoco
    3. Piano Concerto No 1 In G Minor Op. 25: II. Andante
    4. Piano Concerto No 1 In G Minor Op. 25: III. Presto -- Molto Allegro e vivace
    5. Rondo Brillant In E Flat Major Op. 29
    6. Piano Concerto No 2 In D Minor Op. 40: I. Allegro appassionato
    7. Piano Concerto No 2 In D Minor Op. 40: II. Adagio: Molto sostenuto
    8. Piano Concerto No 2 In D Minor Op. 40: Finale: Presto scherzando
    9. Serenade And Allegro Giocoso In B Minor Op 43

    Amazon.com

    Mendelssohn was called a "spoiled genius" by the famous musical scholar Tovey. Aside from a few out and out masterpieces, it's hard to find a single late work of his that doesn't overreach itself in one way or another. But that doesn't mean that there aren't many more fine works than he's usually given credit for, and the piano concertos certainly fall into this category. Modest in ambition and full of that feather-light filigree that Mendelssohn did better than anyone, when played with the verve and commitment that Stephen Hough brings to them, they sound like great music, plain and simple. The two Brillante works that come with the concertos live up to their titles. A fine disc. --David Hurwitz

    Customer Reviews:

    5 out of 5 stars "Pearls scattered upon velvet".......2006-07-11

    "Pearls scattered upon velvet" was how a writer once described a particular nineteenth century pianist's sound. ( I can't remember right now who it was, it might have been Thalberg, Mendelssohn's contemporary) This phrase came to my mind over and over as I listened to Stephen Hough's piano tone in these terrific recordings of Felix Mendelssohn's five works for piano and orchestra. I have heard high-powered performances, particularly of the First Concerto in G minor ( the piece that Berlioz claimed, in a wonderful moment of poetic conceit, all the pianos at the Paris Conservatoire played by themselves each night after the students had gone home!) which overwhelmed the delicate, refined style of Mendelssohn's music.Often the left hand repeated chords in the Finale are hammered out in the ugliest way. Stephen Hough finds a virtuosity which is at once elegant, gossamer when needed, and propulsive without ever being percussive. Tempi go along with that manner of playing, and are generally swift and airy. To go from the world of Hummel's Concerto in A minor or B minor to the concerti of Mendelssohn is really only a jaunt next door through the garden gate. I think Mr Hough's playing of concerti and sonatas by Hummel really helped him form a view of Mendelssohn's piano world which is not too heavily Romantic, but with a chaste Classical side to it.

    Orchestral contributions from the City of Birmingham Orchestra under Lawrence Foster are ideal.

    All in all, a lovely way to spend an hour and fifteen minutes with some lovely music.

    3 out of 5 stars Great playing, bad recording........2004-02-24

    What irony. These are charming, urbane, melodic works that show Mendelssohn's great gifts to fine effect. While Hough's playing could at times benefit from a little more verve or even fire, he certainly captures the easy grace of these works with style. There's one big problem with this disc, though, and a most distracting one at that: the engineering. The piano is beautifully recorded, but the orchestra sounds like it was recorded by someone standing outside a concert hall: slightly muffled, distant, and a bit shrill in the high strings, to boot. It's jarring to hear the soloist and orchestra in two seemingly different acoustics.

    5 out of 5 stars I love paradoxes.......2003-07-01

    The other reviewer of this CD said it all, so I'll just add that this CD is Mendelssohn the way it's supposed to sound. Stephen Hough is, in my opinion, as virtuoso a pianist as ever there was, and his genius lies in his inexplicable combination of raw power and precise, clear technique. Basically, you can hear every note he plays, yet they're all strong, confident notes. In addition, Hough definitely understands the felicitous nature of Mendelssohn's music; everything comes out sounding playful as well as powerful. I don't understand how Hough can do that either, but I'm sure not complaining; the result is some of the most irresistably compelling piano music I've heard. The City of Birmingham SO backs him up with their usual skill; they don't wimp out and try to hide behind the soloist, but come in with guns blazing, enjoying every minute of each piece--yet somehow, they always manage to keep the soloist at the forefront of the action. So there are all these paradoxes in the performances of these pieces, but they're all *good* paradoxes. If you haven't heard these pieces before, you can't go wrong with this CD. In fact, if you haven't heard Mendelssohn before, this CD will give you an excellent idea of what he's all about. Worth every penny.

    5 out of 5 stars Super Performances and an Excellent Value.......2001-11-03

    The excellent value comes as a result of getting all, I believe, of Mendelssohn's concerted music with piano (except for the early Violin and Piano Concerto) on one disc. That produces a CD of quite generous duration (75 minutes). But more importantly, the performances of all these works are some of the finest I've heard and are captured in sound that is both airy and crystalline.

    Stephen Hough is a specialist in the early-Romantic repetoire, and he does not disappoint in Mendelssohn's busy, bustling concerted pieces. Some have called Mendelssohn a note spinner at the piano, but these works are brim-full of memorable melodies and often exciting virtuoso passages, such as the cascading passagework in the First Concerto's last movement. Though the composer eschews the big-chord sound of later Romantics, his long-breathed runs and pianistic filigree bring their own formidable challenges, to which Hough is always equal. And if you don't know the less-familiar works on this disc, the Rondo Brilliant and Serenade, I can't think of a better way to get to know these delightful works, in which Mendelssohn is at his most "giocoso."

    Lawrence Foster leads the City of Birmingham Symphony in accompaniments that match Hough in brilliance and panache. All in all, this disc is a fine entertainment.
    Piano Concerti 1 & 2 / Romantic Piano Concerto 30
    Average customer rating: 4 out of 5 stars
    • Great performance and recording of uninteresting music
    • Unjustly neglected music well worth hearing
    • The Wonders of Lyapunov's Music for Piano and Orch. Revealed
    • The Lyapounov Boom Keeps On Going!!!!
    • Compelling Renditions of Lyapunov's Appealing Oeuvres.
    Piano Concerti 1 & 2 / Romantic Piano Concerto 30
    Liapunov , Milne , Brabbins , and BBC Scottish So
    Manufacturer: Hyperion UK
    ProductGroup: Music
    Binding: Audio CD

    GeneralGeneral | Symphonies | Classical | Styles | Music
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    Similar Items:
    1. Fuchs: Piano Concerto, Op. 27; Kiel: Piano Concerto, Op. 30
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    3. Scharwenka: Piano Concertos Nos. 2 & 3
    4. Arensky: Piano Concerto in F Minor, Op. 2; Fantasia, Op. 48 / Bortkiewicz: Piano Concerto No. 1 in B Flat, Op. 16
    5. Herz: Piano Concertos Nos. 1, 7 & 8

    ASIN: B00006L3WB
    Release Date: 2002-11-12

    Customer Reviews:

    1 out of 5 stars Great performance and recording of uninteresting music.......2004-11-10

    I looked forward to hearing the two Liapunov concerti. After I gave them a listen, I removed the CD from the player thinking that I'll never play that music again. The music is very dull and boring, with melodies and harmonies of no interest and no vitality and dynamics. This is too bad because the performance by Milne, the orchestra, and the production are really good. Alas, wasted, nonetheless, on uneventful and dry music that has nowhere to go.

    5 out of 5 stars Unjustly neglected music well worth hearing.......2003-12-28

    If this were music by a more famous composer such as Liszt, Schumann, Borodin, Tchaikovsky or Rachmaninov, it would surely be in the regular repertory (it has affinities with all of them). I only came across it because I had by chance encountered Lyapunov's First Piano Concerto many years ago, and have been looking in vain ever since for a recording. Hamish Milne, Martin Brabbins and the BBC Scottish SO make a very persuasive case for the music and show that it was worth waiting for. I equally enjoyed the Second Piano Concerto and Ukrainian Rhapsody, which were new to me. All the music has clear themes, memorable tunes and is well crafted - it knows where it's going. Think of Liszt's piano concertos with tunes in the Russian folksong-derived style of the "Mighty Handful" and you have a fair idea what to expect. The influences are clear, but Lyapunov has his own voice - this is not merely derivative. Edward Garden's comment on No.1 in his excellent notes in the booklet sums it up for me; "This is altogether much too good a concerto to have been neglected for so long". No hesitation in recommending both the performance and the recording if you want to try this music for yourself.

    Incidentally, it was queried whether this was the first ever recording. It is certainly the first easily available commercially. In 1989, having been unable to find one, I wrote to the BBC to ask for it to be played on air. They too were unable to track down any recording. However, they took it as a challenge and produced a studio recording, again with Hamish Milne but accompanied by the BBC Concert Orchestra. Sadly, they never released it commercially, but the new CD at last fills the gap, even more impressively. Thanks Hyperion!

    5 out of 5 stars The Wonders of Lyapunov's Music for Piano and Orch. Revealed.......2003-09-12

    The French and the Russians generally write the gaudiest and most exhilarating piano concerti of all. (I've long suspected Mendelssohn and Liszt of being secretly French). The release of a recording of Russian concerti is always (well, almost always) a cause for rejoicing.

    Hyperion has taken up where Vox left off, issuing a whole series of Romantic piano concerti - but at single CD prices that are even higher than the old Vox double-CD prices. Since these recordings duplicate a lot of the Vox repertoire, you can to some extent buy Vox instead of Hyperion - IF you can find the Vox. Still, the newer recordings are always first-rate, both in performance and in sound, and I don't hesitate to buy them if they have material I don't already have.

    Sergei Lyapunov isn't exactly a household name. But then, in some households, neither is Rachmaninov, so go figure. He was part of the Russian nationalist movement in composition, which means that his music is exotic, exciting, and full of Volga passion. Yummy. (It's thus no accident that his music sounds a good deal like Borodin's.) Lyapunov is well represented on Vox and 2 of the pieces on this CD (Piano Concerto #2 and the Rhapsody on Ukrainian Themes) are in 2 of the Vox collections. What makes this CD a must-buy for me is the first recording of Piano Concerto #1.

    The soloist in all 3 pieces is Hamish Milne, a superlative pianist whose day job is being a Professor at the London Academy of Music. He is ably and enthusiastically seconded by Martyn Brabbins and the BBC Scottish Symphony Orchestra, a mainstay of Hyperion's Romantic Piano Concerto series. This CD, by the way, is #30 in that series. You can go to the Hyperion web site, www.hyperion-records.co.uk, to get info on the entire series (although their list oddly omits #21, the concerti of Kullack and Dreyschock).

    All 3 pieces are pretty much, as Lewis Carroll would say, much of a muchness. They are very Russian, very pianistic and virtuosic, very tuneful, and very (obviously) Romantic. The 1st Piano Concerto in e-flat, despite its low opus number (4), is no student work. The composer was 29 when he wrote it. It's in the then-fashionable one-movement format, consisting of 5 relatively short sections (Allegro-Adagio-Allegro-Adagio-Allegro), lasting a little over 22 minutes. It's a work of considerable strength, and it's amazing it hasn't been recorded before.

    The Rhapsody is a brilliant work, again in a single movement, consisting of 4 sections. It's 17 minutes of brilliant pianism, Russian to the core. The last section is particularly bouncy.

    The 2nd Piano Concerto in E, was written when Lyapunov was at the height of his career, in 1909 (he died in 1924). Again, it's in a one-movement format, in this case consisting of 6 brief segments - only the first and the last are over (or even near) 5 minutes. The speeds are in an unusual sequence: Lento-Allegro-Allegro-Allegro-Lento-Allegro. The opening slow section is full of Russian sadness and wistfulness, and is thoroughly delightful. This gives way to 3 quick Allegros with lots of pianistic fireworks. The second slow section (which actually has its own excitement and drama) gives us barely a minute's repose before the forward charge continues in the last Allegro, bringing the concerto to a very satisfying end. This is very much the last gasp (although Glazunov of course keeps going...) of the old harmonic structures before Russian music gives way to the experimentation of Stravinsky and the huge-handed chording and pyrotechnics of Rachmaninov (not to mention the even more advanced writing of Prokofiev and Shostakovich).

    Although consisting of 3 major pieces, the CD is a little light on time, taking up only 59 minutes. One wonders why (as a for-instance) the producers didn't include the Zelazowa Wola, Lyapunov's tribute to Chopin on the centenary of his birth (1910) - or even the last movement of Balakirev's 2nd Piano Concerto, whose finale was essentially written by Lyapunov based on some sketches and the composer's own performances on (solo) piano. Well, this is still an estimable recording, well worth getting.

    5 out of 5 stars The Lyapounov Boom Keeps On Going!!!!.......2003-06-24

    Another peripheral on the Russian music scene, Lyapounov's music needs to be better known. Much of his music is influenced by Liszt. In fact, the beginning of the 2nd Concerto sounds a lot like the opening of Liszt's Second Concerto. You also hear some glissandi in the piano also towards the end of the work, just like in the Liszt. It is easy to overlook these influences with very good performances such as these. In the 2nd Concerto, Hamish Milne is in competition with Howard Shelley on Chandos, which couples the work with Lyapounov's First Symphony and Polonaise for orchestra. I can live happily with both, and I am interested to see if Shelley will record the other works as well. The Rhapsody is even more flavored with the spectre of Liszt as was the Rimsky-Korsakov Piano Concerto. There is more flamboyance here plus more of Lyapounov's expert orchestration. The first concerto is in the unexpected key of E-Flat Minor. This work somehow has lost some of the influence of Liszt and more 'Russianness' comes out. Here I feel that the loud sections are more impressive than the soft parts, which is not the fault of the performers. This is a much more interesting disc than the Stojowski concertos that I reviewed before. I look forward with anticipation more CD's in this series. I think this is number 31? There is still the concerto by Fritz Spindler......

    5 out of 5 stars Compelling Renditions of Lyapunov's Appealing Oeuvres........2003-01-04

    Hyperion continues with it highly valuable yet somewhat uneven "Romantic Piano Concerto" series with the release of Lyapunov's works for piano and orchestra. It mentions that the First Piano Concerto is a premiere recording. A shocking claim, perhaps, for Melodiya was too enterprising to pass this compelling piece of music by, and it's possible that there may be a recording or two of the music in archives (imagine if the Russian Revelation label continues to operate today). Besides, Lyapunov piano music was held too much in high esteem especially by the turn of the 20th Century for even prominent musicians to ignore (but then again I'm reminded that even pianists could be very selective, ignoring even the most memorable of piano music of, say Glazunov, Medtner Catoire, Arensky, to some extent Tchaikovsky, Rubinstein, and even Lyapunov himself).

    And Lyapunov's First Concerto is a compelling piece of music, rather as ambitious as the First Symphony written two years before, in 1888. And where the piano bravura is more or less in the mode of Lizst and Balakirev, the thematic invention and rhetoric are very much Lyapunov's own. Not to say that the composition is of its upmost originality, but the ideas and handling of them show why Lyapunov is a major point of reference when studying and analyzing Russian music. Listen to the piano entry at 1'42", how poetic yet noble the writing becomes (thanks in part to Milne's highly charged yet imaginative delivery here). There's something heroic within that recalls Balakirev (especially in his First Concerto). But the writing remains lucid, and in the second and fourth movements, beautiful and tranquil. The third movement is heroic, much in the manner of Liszt (his First Concerto-first movement), but in convincingly Russian in temperament, as in the finale, which rarely flags. A major accomplishment no doubt.

    Lyapunov's Rhapsody on Ukrainian Themes (1907) is in a rondo form, with the first theme (andante pastorale) announced by the cor anglais then by the woodwinds. It's a beautiful yet an innocent theme, recalling a bit of Balakirev and Rimsky- Korsakov, though in a Lyapunovian sense of lucidity. The piano entry is likewise beautiful yet poetic - like leaves blossoming in early Spring. And this theme truly blossom into something more expressive as it goes along, with the theme more emphatic at the finale bars. The second theme (allegro scherzando) is dancelike and flamboyant as in the orchestration. But the third theme (andante pastorale) returns to these same leaves still blossoming in great beauty & nobleness in character. It leads itself purposefully to the final theme (allegro giocoso), which is a kazachok (an Ukrainian folkdance). This theme, rather exuberant yet charming, become more Lizstian at the final minute of the work (listen to 3'05"-ff on track 9) but never devoid of Lyapunov's individualism.

    The Second Concerto (1909) is likewise a substantial affair, not as heroic as the First, but easy-going in its' noble, romantic way. In six continuous movements, the piece is rewardingly concise and, like the First Concerto & the Rhapsody, richly varied. The opening movement (lento ma non troppo) is indeed beautiful and lovely-a fantasia tranquil yet exotic. Whereas the second and fourth movements (allegro molto ed appasionato & allegro molto respectively) offer some vivacity, the third movement and fifth movements (allegro moderato & lento ma non troppo) has a compelling lightness of touch, rendered beautifully here by Milne (with a charmingly support of Brabbins & the BBC Scottish Symphony). But the poetic yet heroic moments of the finale are hardly banal, with the closing convincingly majestic that would have done Borodin proud (for a moment I thought of Prince Igor).

    The renditions here are fully ideal. After giving high praise in Hamish Milne's survey of Alexandrov's piano music (under the Hyperion label), Milne comes up huge here. His vivacious and imaginative playing are never in doubt, and his virtuosity in the First Concerto and in the Rhapsody adds to the compelling nature of the works. But the beauty and the dignity Milne brings in the slow movements of the works are worthy of everlasting praise. The same shall be said of the BBC Scottish Symphony, which has this Russian sonority that reminds me the Russian Federation Orchestra under the late Svetlanov (and I tend to forget, going along memory lane, that it is the BBC Scottish Symphony among the main features here). Brabbins' approach incidentally reminds me of Svetlanov, placing great emphasis on organic growth. While he's not as overindulgent as Svetlanov can sometimes be, he is as decisive as this late, great Russian maestro (listen to Brabbins' renditions of Bortkiewicz' symphonies). Edward Garden's booklet essay is of high quality, along with the recording, with its warmth and somewhat bright incandescence.

    No doubt a great yet important release which will raise Lyapunov status as Russia's important composer significantly. The blossoming of the leaves well worth waking up for, with this CD album in one's deep yet searching subconsciousness.
    Litolff: Concerti Symphonique
    Average customer rating: 5 out of 5 stars
    • The Final Two Concerti Symphonique
    • Donohoe hits another Litolff homerun.
    • Musical Life beyond the Celebrated Scherzo
    • Rare Romantic Gems
    Litolff: Concerti Symphonique

    Manufacturer: Hyperion UK
    ProductGroup: Music
    Binding: Audio CD

    GeneralGeneral | Concertos | Forms & Genres | Classical | Styles | Music
    PianoPiano | Keyboard | Instruments | Classical | Styles | Music
    GeneralGeneral | Symphonies | Classical | Styles | Music
    GeneralGeneral | Classical | Styles | Music
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    Similar Items:
    1. The Romantic Piano Concerto 14 - Litolff
    2. Kullak / Dreyschock: Piano Concertos
    3. Stojowski: Piano Concertos Nos. 1 & 2
    4. Moscheles: Piano Concertos Nos. 4 & 5; Recollections of Ireland
    5. Moscheles: Piano Concertos Nos. 1, 6, 7

    ASIN: B00005MGAC
    Release Date: 2001-08-14

    Customer Reviews:

    5 out of 5 stars The Final Two Concerti Symphonique.......2004-08-03

    Litollf wrote a total of five pieces in this form, but the first is lost. With this disc Hyperion has issued #3 and #5. Anyone who has heard and enjoyed the previous release of #2 and #4 will not be disappointed by these. Grand music it is indeed!

    Hyperion has done a great service to music lovers with their series The Romantic Piano Concerto. With so many recordings of a small number of classical pieces, it is always refreshing to hear music that is seldom if ever heard. Most of the concerti in this series deserve an occasional hearing, and some are truly forgotten masterworks.

    Highly recommended!

    5 out of 5 stars Donohoe hits another Litolff homerun........2002-04-24

    This is a second cd completing Donohoe's recording of all of the four remaining Litollf piano concertos. While I already greatly enjoyed the previous issue, I prefer the current Nrs. 3 and 5 over 2 and 4.

    The third concerto is subtitled National Hollandais. As a Dutch expatriate, I was scared for a while that this work was devoted to our anthem or paid tribute in any way, shape or form, to the royal Dutch family... but this fear was fortunately unfounded. To the contrary, the composer was actually of anti-Orange persuasion. Bravo Henry!

    Litolff decided to spice up the first movement of his third with the main theme of Beethoven's counterpart. The second, very French movement includes a slew of quotes including one from the main theme of the second movement of Beethoven 9. The slow movement is reminiscent of its counterpart in Chopin's nr. 2. The finale, based on a popular Dutch song, again exudes a revolutionary tone and gives the soloist plenty of opportunity for virtuoso display.

    The fifth concerto, from 1870, follows nr. 3 by 22 years, and reflects a greater maturity. The scale of the opening movement, the thematic and harmonic development no longer exude the happy go lucky atmosphere of it's predecessors. The wonderful second movement starts in a Brahmsian, slow movement 1st concerto, mood to develop into a curious Chopin/Bruckner amalgamate before returning to the base. Litolff revisits familiar territory in the light Scherzo, to the finale with extends the polyphonic style of the piano part of the first movement into a challenging fugato section before resolving into more romantic fireworks.

    Donohoe again does a stellar job. I have had the chance to see him in concert twice and both concerts were fabulous. While he is best known in the romantic and modern repertoire, he is equally well versed in earlier periods. I have fond memories of his rendition of Bach's fifth French Suite and hope that he may record some Bach in the future.

    Litton and the Scots assist the soloist in ideal fashion and Tony Faulkner did his usual fine job in recording.

    Bravo for Donohoe for this cd and Hyperion for this sublime series.

    5 out of 5 stars Musical Life beyond the Celebrated Scherzo.......2002-02-02

    Peter Donohoe's earlier recording of the Concertos Symphoniques 2 and 4 for Hyperion did much to elevate Litolff in my mind--no longer the composer of a famous scherzo surrounded by acres of extraneous notes. Still, I found the Second Concerto less than stimulating and the Fourth too adicted to empty Sturm and Drang posturing, fine as many of its best moments were. Well, here is a disc that should banish for all time the notion that Litolff was a musical one-trick pony.

    The Third Concerto, subtitled "National Hollandais" is a tribute to the Dutch people, who embraced his razzle-dazzle pianism with perhaps the greatest enthusiasm he had experienced up to that date (1845). To that end, the concerto uses Dutch melodic material and is in a singularly festive vein. The first movement, Maestoso, starts with martial flourishes in the brass and drums, and the brief march motif introduced by the drums shapes the whole of this celebratory movement. Except that some of the writing for piano displays the usual empty daring-do the great Romantic composer-pianists tossed together to show off their techniques, its an exciting and eventful movement. If the scherzo and slow movement are a somewhat less memorable, the last movement is an infectious romp for piano and orchestra, with an impressively triumphal coda.

    Better still is the Fifth Concerto, in the weighty key of C minor. The first movement starts with an agitated figure in the strings that sets the mood of this more darkly dramatic music. There are heaven-storming passages for both piano and orchestra, but there is also a lovely, heart-on-the-sleeve melody played by the piano and cellos that's about as luscious as one of the big tunes in the Tchaikovsky and Rachmaninov concertos. For that alone Litolff's concerto should be welcomed back into concert halls.

    But it has more going for it. First, we have gracious slow movement punctuated by moments of turbulent drama. The gracious stuff sounds like Mendelssohn; the turbulence recalls Saint-Saens--which is characteristic of this Janus-like composer. Then Litolff creates a fleet scherzo in the manner of the Fourth Concerto's justly famous one, though the present scherzo has something of the diabolic about it. Cunning music. Finally, the last movement has genuine tension and drama. For most of its length, it is a troubled, driven piece. The pianist injects moments of lyrical reflectiveness, but these are swept away by the whirlwind coda that concludes the work on an aptly stormy note. It's hard to believe this concerto, undoubtedly Litolff's best music, receives its first recording with this disc!

    As in their earlier Litolff offering, Donohoe and Litton seem the perfect partners, Litton providing unfailingly symphathetic support for the pianist's committed playing. Certainly, this disc represents one of the best surprises in Hyperion's often surprising Romantic Piano Concerto series.

    5 out of 5 stars Rare Romantic Gems.......2002-01-19

    It is curious that the Four remaining (the first has been lost) Concerto Symphoniques of Henry Litolff have not been given very much attention. The only music that is heard often is the Scherzo from the Fourth concerto. This is sad because these are tuneful and dramatic works with great writing for the piano. This disc holds the Third and Fifth Concertos performed beautifully by Peter Donohoe. The Third had a turbulent genesis in that Litolff was forced to flee from England (literally being smuggled out of the country) to Holland during a very messy divorce. In gratitude to the warm reception given to him in Holland, the Third Concerto, which includes two Dutch themes) was titled National Hollandais. The music is lyrical and Mendelssohnian in character.

    The Fifth Concerto did not enjoy as much popularity as the Third and Fourth concertos and this is its first recording. The Fifth has a broader orchestration and is darker and mature in character. However, make no mistake that this concerto is any less brilliant than those before it. The Scherzo is particularly memorable and no less engaging than the famous Fourth Concerto. This recording is a must for anyone who has the prior Litolff Hyperion disc and makes a great introduction to his music.
    20th Century Concerti
    Average customer rating: 5 out of 5 stars
    • Note from OANegrin
    • try finding anohther recording of the tuba concerto
    20th Century Concerti

    Manufacturer: Asv Living Era
    ProductGroup: Music
    Binding: Audio CD

    All Works by TailleferreAll Works by Tailleferre | Tailleferre, Germaine | ( T ) | Featured Composers, A-Z | Classical | Styles | Music
    All Works by TomasiAll Works by Tomasi | Tomasi, Henri | ( T ) | Featured Composers, A-Z | Classical | Styles | Music
    GeneralGeneral | Concertos | Forms & Genres | Classical | Styles | Music
    HarpHarp | Strings | Instruments | Classical | Styles | Music
    GeneralGeneral | Symphonies | Classical | Styles | Music
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    CompilationsCompilations | Classical | Styles | Music
    Similar Items:
    1. John Williams: Treesong
    2. Williams: The Five Sacred Trees (Bassoon Concerto) / Takemitsu: Tree Line / Hovhaness: Symphony No. s, Op. 132 "Mysterious Mountain" / Picker: Old and Lost Rivers
    3. Concertos for Brass
    4. British Tuba Concertos

    ASIN: B00005Y0ND
    Release Date: 2002-03-26

    Tracks:

    1. Tuba Concerto
    2. First Movement: Allegretto
    3. Second Movement: Lento
    4. Third Movement: Rondo
    5. Saxophone Concerto
    6. Xylophone Concertino

    Customer Reviews:

    5 out of 5 stars Note from OANegrin.......2003-10-02

    Note to fellow saxophonists:

    The saxophone soloist for this recording of the Tomasi Concerto is Duncan Ashby.

    OANegrin

    5 out of 5 stars try finding anohther recording of the tuba concerto.......2003-09-07

    this is a great recording of this piece. i bought it just wondering what the orchestra parts sound like, but this is a great recording of this piece.
    Kraft: Three Concerti
    Average customer rating: Not rated
      Kraft: Three Concerti

      Manufacturer: Harmonia Mundi
      ProductGroup: Music
      Binding: Audio CD

      GeneralGeneral | Concertos | Forms & Genres | Classical | Styles | Music
      PianoPiano | Keyboard | Instruments | Classical | Styles | Music
      PercussionPercussion | Instruments | Classical | Styles | Music
      GeneralGeneral | Classical | Styles | Music
      GeneralGeneral | Chamber Music | Classical | Styles | Music
      ASIN: B00000DUAW
      Release Date: 1995-03-06
      Piano Concerti 1 & 2 / Haydn 5
      Average customer rating: 4.5 out of 5 stars
      • Not my kind of uniqueness
      • Arrau is an acquired taste, but he's in his element here
      • Quite satisfaying
      • Proper interpretation
      • sencillamente genial...
      Piano Concerti 1 & 2 / Haydn 5

      Manufacturer: Philips
      ProductGroup: Music
      Binding: Audio CD

      All Works by BrahmsAll Works by Brahms | Brahms, Johannes | ( B ) | Featured Composers, A-Z | Classical | Styles | Music
      GeneralGeneral | Concertos | Forms & Genres | Classical | Styles | Music
      OverturesOvertures | Theatrical, Incidental & Program Music | Forms & Genres | Classical | Styles | Music
      PianoPiano | Keyboard | Instruments | Classical | Styles | Music
      GeneralGeneral | Classical | Styles | Music
      Similar Items:
      1. Brahms: Concertos pour piano 1 & 2
      2. Brahms: Concertos for Piano No. 1 & 2, Fantasia Op. 116
      3. Brahms: The Complete Symphonies / Karajan, Berlin PO
      4. Brahms: Symphonies Nos. 1-4; Double Concerto; Serenade No. 2
      5. 4 Symphonies / Variations

      ASIN: B000004165
      Release Date: 1993-08-10

      Tracks:

      1. Piano Concerto No. 1 In D Minor, Op. 15: 1. Maestoso- Poco Piu Moderato
      2. Piano Concerto No. 1 In D Minor, Op. 15: 2. Adagio
      3. Piano Concerto No. 1 In D Minor, Op. 15. 15: 3. Rondo (Allegro Non Troppo- Piu Animato- Tempo I)
      4. Variations On A Theme By Haydn, Op. 56A

      Tracks:

      1. Piano Concerto No. 2 In B Flat, Op. 83: 1. Allegro Non Troppo
      2. Piano Concerto No. 2 In B Flat, Op. 83: 2. Allegro Appassionato
      3. Piano Concerto No. 2 In B Flat, Op. 83: 3. Andante - Piu Adagio
      4. Piano Concerto No. 2 In B Flat, Op. 83: 4. Allegretto Grazioso - Un Poco Piu Presto
      5. Tragic Overture, Op. 81
      6. Academic Festival Overture, Op. 80

      Customer Reviews:

      3 out of 5 stars Not my kind of uniqueness.......2007-06-27

      Other reviewers have forthrightly disclosed the "controversial" or "unique" approach that Arrau takes, and gone on to say how wonderful it is. Somebody should represent the opposite view to which these reviewers allude (might there be a reason why no other prominent pianist approaches Brahms this way?), so here goes.

      Arrau's habit of slowing down to dwell on details (especially in the Concerto #2) reveals notes as if you were reading the sheet music. Of course this appeals to a Brahms fan's desire to delve into every detail of the score; and yes, it is distinctive, so it provides variety to the jaded connaisseur. It also disrupts momentum and makes the music feel ponderous, disjointed and episodic, qualities that Brahms, as a master of form and unity, would particularly seek to avoid. Sometimes the pacing just makes the music seem dead.

      Of course, other great pianists have played these works slowly indeed: notable examples are the Gilels/Jochum performances and especially the slow movement in Curzon's renowned recording of #1 with Szell. But those masters deployed slow tempos with consistency, controlling the pace to convey the wonderful unity of Brahms' carefully structured writing, the buildup and release of dramatic tension over extended stretches of playing, the sweep, drama and power of this unsurpassed music. Especially in #2, Arrau misses the forest for the trees--to strain that metaphor, he is absorbed in the veins of a leaf here, a pine cone there. I liked Arrau better in his older recording of #2 with Giulini (maybe it was the conducting).

      Uniqueness can be found in the polar opposite of Arrau's approach: the Gilels/Reiner #2 (if you can find it). Fast-paced and hard-hitting, it gives the music real drive and colossal momentum (besides making you wonder how human fingers could play like that). You do miss some of the miniatures in the writing (the RCA sound doesn't help) but Brahms comes across as a more-than-worthy heir of Beethoven, not as a befuddled composer of interesting trifles. The Serkin/Szell performance of #2 is not as fast as the Gilels/Reiner, but it's deeper and even more powerful--to the point of being a bit bombastic now and then, but that's a better way to gain distinction than to drain the energy out of the piece. The most highly acclaimed CDs, Gilels' recordings with Jochum, are far more stately (and better recorded) than his #2 with Reiner; they feature the deepest account of #2 and throw in a great set of Fantasies as an encore. Even when he slows the tempos, Gilels holds the music together better than Arrau; but in this regard both of them are handily surpassed by Clifford Curzon's account of the First Concerto--simply the best.

      While not my favorites, the Richter/Reiner and the various Rubinstein performances have more going for them than Arrau's--more coherence, more flow, more style. There is a second-rate Horowitz/Toscanini CD of #2 that at least offers vitality. But again, I will admit, Arrau is distinctive. Maybe when you've heard all the above, plus Brendel, Cliburn, Ax, Licad, Fischer, Ashkenazy and Barenboim...you'll come to love Arrau's uniqueness.

      5 out of 5 stars Arrau is an acquired taste, but he's in his element here.......2007-01-20

      Claudio Arrau was a divisive pianist who took such liberties with the score and drew so much attention to himself that he all but forced you to have a strong opinion. His general approach was grand, Romantic, and at times tragic. As he aged hsi playing grew more self-important to the point of ponderousness. But in 1970 when he made this Brahms First Concerto with Haitink, Arrau was in his element. In the first movement of the Second he displays equal authority, but at times he goes into slow motion to the point of pompous underlining.
      The composer intended both his massive concertos to be pillars of high seriousness and epic scope. Haitink approaches them that way in the orchestral part--he was an exciting Brahms interpreter during this period, as his symphony cycle wth the Concertgebouw demonstrates (only later did his Brahms become slack and uninvolved).

      Therefore we have a like-minded pairing of pianist and orchestra. There's rubato and even distension of phrases all over the place. Arrau couldn't pass by a cahdence without turning it into an oration. Even so, with all the pounding and self-conscious "greatness," these performances appeal to me strongly. We aren't wallowing in Brahms soup; Haitink and Arrau communicate a compelling energy in every bar. I'd rank both eprformances up there with Barenboim/Barbirolli (who are equally epic and grand), Fleisher/Szell, and Pillini/Abbado.

      5 out of 5 stars Quite satisfaying.......2006-04-16

      I know 4 versions of the piano concertos: Barenboim/Barbirolli, Pollini/B?hm(1)and Abbado (2), Arrau/Giulini and this one. Besides this glorious couple of concerti, all of them include the Tragic overture and Haydn variations (with B?hm in the second case) and the Academic Festival overture (Barbirolli and Haitink only).
      In my opinion this is the most satisfaying compilation of the 4 already listed. Of course, with such diverse works not all are prefect here but the balance of positive aspects outdo the negative ones more than the competition listed. So I will compare work by work, in cronological order of composition.

      Piano concerto op 15 under Pollini and B?hm is not quite satisfaying. At first hearing you have the glorious Wiener Philarmoniker with their special sound, but balances tend to put brasses behind (a defect of Haitink`s, too). Tempi are quite fluid: the most attractive of the four. But the approach is too superficial and Pollini, well, plays on authomatic pilot. Grammophone said it is a bad performance and after some hearings, I agree. Under Barbirolli the New Philarmonia sounds very good, better balances. The begginning is a bit ponderous (like the last mov), but in general he is attentive to the soloist: a good reading in general. Another tiny imperfections I notice is a lack of unanimous attack of notes in the 2nd mov, but still effective interpretation. Barbirolli shows in the concerti a slow, grand, hyper romantic view, which could be appropiate when played with intensity, as he does. Barenboim is fantastic. Period. Then we have Arrau and Giulini. Arrau is a great, great artist. He was in his sixties when recorded this under Giulini and the Philarmonia. To the virtuosism he adds maturity, a fact that makes his playing superior to Barenboim?s (and a prove that there are different levels of excelence). And the conducting of Giulini excels all competition in every matter: strength and vigour, politeness, orchestral balances (superb brasses!!!), tempi. Then you have Haitink. Still great playing from Arrau, but perhaps not so intense. Orchestra sounds involved (except in begginning of 2nd mov, too plain), but as I said balances are not observed as they should. Irregular, I would say, but not truly "bad", and still great Arrau.

      Haydn Variations find B?hm with a heavy reading, but still intense, and with such "gloomy" sound I tend to forgive him. The WP sounds more gloriously than ever. Good, very good.
      Under Barbirolli that orchestra does not so good, in fact brasses are too weak in the purely orchestral work that prevents this compilation from being a serious alternative, unless you are looking exclusively for the concerti. Again Giulini is the best here. The Philarmonia is excellent: precise, elegant playing; contrasting tempi (essential in this work) and carefull balances between strings, woodwinds, brasses and timpani, with great clarity, in general. In particular, horns show so focused, detailed phrasing (has it something to do with the fact that Giulini`s father was, if I am not wrong, a horn player??)!! Haitink is very, very good, perhaps not so polite, not enough clarity in brasses as with Giulini, but quite strong, very acceptable reading.

      Academic Festival Overture: too "festive" for Brahms, perhaps, but an essential contrast to the Tragic Overture. Barbirolli is very warm and noble; Haitink is another matter: here you discover the energy, the "push" lost under Barbirolli, and with fantastic brasses (far better than Barbirolli`s). Extraordinary. A pity Giulini didn`t record it (here).

      Tragic Overture: B?hm plays it with a style similar to that used in Variations. Under Barbirolli it is faster, but nothing resembling something menacing. Clearly underpowered. Giulini is, again, the best. Terrifying, intense, supreme. All the virtues cited before appear here. Haitink does not achieve that, but comes close, very close.

      Second Concerto: Pollini, not so good, not so bad. Abbado gets a very intense sound with Wiener Philarmoniker, with fast, fluid, perfect tempi. The problem that makes this version the worsest is the poor sound: pianist too close, orchestra too far behind, little clarity. Under Barenboim/Barbirolli you have a great reading. Slow tempi, but not a problem, perhaps the quieter sections in 2nd mov are played by Barenboim too slowly, but a small criticism in a great second. The last mov is particularly amusing. Then Arrau/Giulini ... surprisingly, not a memorable, great recording. Giulini conducts it with great expertise, but Arrau clearly does not focus himself as he did in op 15. Indeed, in comparison, very good played, but ... a bit boring. Not the "flame" that push them to the heights of artistic greatness. A pity, because this is achieved under Haitink. In the net I red a fan had said Arrau does not understand the structure of 2nd concerto. Please, open your mind. After the horn call, Arrau makes clear from the very begginning that his reading is revealing, quite special, the best of the four.
      To sum up, B?hm did acceptable orchestral pieces and a bad 1st, and Abbado a poorly recorded second, so not a favourite. Barenboim/Barbirolli made acceptable concerti, but IMHO not truly great orchestral pieces. Arrau/Giulini did not reoord Academic and have an ordinary second, despite great Tragic, 1st concerto and Variations, and Haitink good 1st (not so good as Giulini`s, but still good, and with a great Arrau), very good Variations, good Tragic, excellent academic and 2nd concerto. That is why this is the best compilation.

      There are others like Abbado`s new readings of the piano concerti with Pollini, the pair under Andrew Davis (Virgin label), the DG`s "Trio" compilation (adds to this one the violin and violin and cello concertos), not to forget the famous Gilels/Jochum and Fleischer/Szell couplings, which are filled with piano pieces. But I don?t know them.

      5 out of 5 stars Proper interpretation.......2005-04-30

      This is a specific performance of Brahms concertos. The first one is my favourite piano concerto.
      Arrau plays it with rich, thick sound, and very calm tempo. He accents sometimes very strong the single tones, and never play sharp sound in fast moments. It is very characteristic in his play.
      Here it captures the athmosphere of this concertos very well in my opinion. The music is like romantic meditation, hesitating and dreaming.
      If I take into account the wide orchestration and reduced role of piano in this concertos, this interpretation is logical for me.
      Brahms was serious and intellectual ROMANTIC composer, and these are great interpretations in my opinion.

      5 out of 5 stars sencillamente genial..........2004-11-27

      Llevo 6 años escuchando este CD y cada dia me maravillo de la gran interpretacion, Arrau es un interprete que se prepara de la mejor forma para llegar al alma del compositor y poner su don al deleite de nuestros oidos, para Brahms fuerza y pasion, dulzura y tensión, y por cierto gran rigor. Para que la audición sea continua, apasionada y por cierto cautivante.
      Bernard Haitink es un director de rigor, solemne y estricto, por lo que la orquesta suena como tiene que sonar nada sobra, quizas falte luminosidad pero es un detalle que solo se justifica al compararlo con directores mas pomposos o magnificentes.
      Ahora bien las Variaciones, la obertura tragica y la del festival academico no estan faltos de luninosidad y vigor, es mas son notoriamente distintos en forma de presentarlos a los conciertos, claro esta son menos solemnes y no requieren la rigides de las otras obras.
      Disfruten entonces de dos grandes conciertos y ademas tres obras sinfonicas en un CD grandioso.
      The Voices of Christmas
      Average customer rating: Not rated
        The Voices of Christmas

        Manufacturer: © 2002 Universal Classics Group / DECCA
        ProductGroup: Music
        Binding: Audio CD

        GeneralGeneral | Classical | Styles | Music
        London Philharmonic OrchestraLondon Philharmonic Orchestra | ( L ) | Featured Performers, A-Z | Classical | Styles | Music
        National Philharmonic Orchestra LondonNational Philharmonic Orchestra London | ( N ) | Featured Performers, A-Z | Classical | Styles | Music
        Vienna Philharmonic OrchestraVienna Philharmonic Orchestra | ( V ) | Featured Performers, A-Z | Classical | Styles | Music
        General ChristmasGeneral Christmas | Holiday | Miscellaneous | Styles | Music
        The Decca Records StoreThe Decca Records Store | Specialty Stores | Music
        General ChristmasGeneral Christmas | Holiday Music | Special Features | Music
        Similar Items:
        1. Ultimate Classical Christmas Album of All Time
        2. The Ultimate Christmas Album
        3. The Ultimate Sacred Christmas Album ~ Ave Maria
        4. Medieval Christmas
        5. Christmas Adagios

        ASIN: B00006LHWF
        Release Date: 2002-10-15

        Tracks:

        1. Joy To The World - Joan Sutherland
        2. Gesu Bambino - Luciano Pavarotti
        3. Adeste Fideles - Luciano Pavarotti
        4. Il Est Ne, Le Divin Enfant - Anne Sofie Von Otter
        5. Hodie Christus Natus Est - Monteverdi Choir
        6. Hark! The Herald Angels Sing - Leontyne Price
        7. While Shepherds Watched - David Willcocks
        8. O Holy Night (Cantique De Noel) - Luciano Pavarotti
        9. Coventry Carol - David Willcocks
        10. The Holly And The Ivy - John Scott
        11. Joseph Dearest, Joseph Mine - Musica Sacra
        12. Angels From The Realms Of Glory - Kiri Te Kanawa
        13. The Three Kings - David Willcocks
        14. Panis Angelicus - Kiri Te Kanawa
        15. In Dulci Jubilo, BWV 368 - Helmut Winschermann
        16. It Came Upon A Midnight Clear - Leontyne Price
        17. The First Noel - Musica Sacra
        18. Once In Royal David's City - David Willcocks
        19. Sinfonia Pastorale/There Were Shepherds/Glory To God - London Symphony Chorus
        20. The Nativity - Ariel Ramirez

        Tracks:

        1. Carol Of The Bells - Musica Sacra
        2. Lift Up Your Heads - Bavarian Radio Chorus
        3. Jauchzet, Frohlocket! - Fritz Wunderlich
        4. O Tannenbaum - Vienna Boys' Choir
        5. Silent Night - Choir Of St John's College, Cabridge
        6. Away In A Manger - David Willcocks
        7. O Little Town Of Bethlehem - David Willcocks
        8. What Child Is This? - Joan Sutherland
        9. I Saw Three Ships - David Willcocks
        10. God Rest Ye Merry Gentlemen - Leontyne Price
        11. Good King Wenceslas - The Ambrosian Singers
        12. Ave Maria - Leontyne Price
        13. Sweet Little Jesus Boy - Leontyne Price
        14. White Christmas - Kiri Te Kanawa
        15. We Wish You A Merry Christmas - Canadian Brass
        16. Fantasia On Christmas Carols - King's College Choir, Cambridge
        Bloch: Concerti Grossi Nos. 1 and 2 / String Quartet
        Average customer rating: 4.5 out of 5 stars
        • Wonderful Bloch Recordings
        • Bloch in Neo-Baroque Mode
        Bloch: Concerti Grossi Nos. 1 and 2 / String Quartet

        Manufacturer: Asv Living Era
        ProductGroup: Music
        Binding: Audio CD

        QuartetsQuartets | Chamber Music | Classical | Styles | Music
        GeneralGeneral | Chamber Music | Classical | Styles | Music
        All Works by BlochAll Works by Bloch | Bloch, Ernest | ( B ) | Featured Composers, A-Z | Classical | Styles | Music
        Concerto GrossiConcerto Grossi | Concertos | Forms & Genres | Classical | Styles | Music
        GeneralGeneral | Concertos | Forms & Genres | Classical | Styles | Music
        Chamber MusicChamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
        PianoPiano | Keyboard | Instruments | Classical | Styles | Music
        GeneralGeneral | Classical | Styles | Music
        Similar Items:
        1. Ernest Bloch: Macbeth (1919) - Two Interludes / Three Jewish Poems (1913) / In Memoriam (1952) / Symphony In E flat (1954/5) - Royal Philharmonic Orchestra / Dalia Atlas Sternberg
        2. Bloch: String Quartets 1-4
        3. Ernest Bloch: Sacred Service; Schelomo
        4. Eugène Ysaÿe: Sonates pour violon solo
        5. Virgil Thomson: Symphony No 1-3

        ASIN: B00005A8FK
        Release Date: 2001-04-24

        Tracks:

        1. Con Grosso No.1: First Movt: Prld (Allegro Energico E Pesante)
        2. Con Grosso No.1: Second Movt: Dirge (Andante Moderato)
        3. Con Grosso No.1: Third Movt: Pastorale And Rustic Dances (Assai Lento - Allegro)
        4. Con Grosso No.1: Fourth Movt: Fugue (Allegro)
        5. Con Grosso No.2: First Movt: Maestoso - Allegro
        6. Con Grosso No.2: Second Movt: Andante
        7. Con Grosso No.2: Third Movt: Allegro
        8. Con Grosso No.2: Fourth Movt: Tranquillo - Animato
        9. Str Qt No.1: First Movt: Andante Moderato - Poco Piu Animato
        10. Str Qt No.1: Second Movt: Allegro Trenetico

        Customer Reviews:

        5 out of 5 stars Wonderful Bloch Recordings.......2004-05-13

        This compilation of Ernest Bloch's two Concerti Grossi and String Quartets is superb. The true essence of Bloch's intense, vibrant music is brought through quite well, especially in the 1st (Prelude) and 4th (Fugue) movements of Concerto Grosso #1. This CD is an excellent buy for any Neo-Classical or 20th Century music connosouir.

        4 out of 5 stars Bloch in Neo-Baroque Mode.......2001-04-30

        Howard Hanson and the Eastman Rochester Orchestra established the benchmark for performances of Ernest Bloch's (1880-1959) two CONCERTI GROSSI (1925 and 1952) with their recording on Mercury in 1959. Bloch wrote the first CONCERTO GROSSO while on faculty at the Cleveland Institute of Music, one of his stopover assignments on the way to Berkeley, California, and (in retirement) Agate Beach, Oregon. It seemed modern to audiences of the day but is likely to strike contemporary ears as late-Romantic in its vocabulary. Some of the "Jewish" Bloch surfaces here and there in the score - in the opening Prelude and again in the ensuing slow movement ("Lament"). The Third Movement ("Pastorale and Rustic Dances") sounds a bit like the corresponding movement from Magnard's THIRD SYMPHONY. In the Finale, Bloch works up an exciting fugue, bringing back the "Jewish" motif from the Prelude for the stretto. Dalia Atlas delivers a performance less tense, perhaps, than Hanson's, but in bringing out the work's lushness she opens it to another view which we ought to be happy to have. If THE CONCERTO GROSSO NO. 1, despite its name, is not very baroque at all, the CONCERTO GROSSO NO. 2 from more than a quarter of a century later, better lives up to the nomenclature. Where CG No. 1 used strings and piano, CG No. 2 limits the forces to strings, but subdivides the voices to make for a thornier contrapuntal texture - one more in line with what Bloch showed he could do in his first two string quartets. Less immediately accessible than CG No. 1, CONCERTO GROSSO NO. 2 neverthelesss offers more nourishment in the long run. As Colin Wilson noted forty years ago, Bloch's music often has a faintly English quality, and this is apparent in CONCERTO GROSSO NO. 2, some passages of which sound like Elgar or Bliss. Again, Atlas and the "Atlas Camerata" give a muscular performance and do a slightly better job than Hanson's Eastman Rochester players did in bringing out the work's moments of mystical yearning. The CD tracks the four sections of CONCERTO GROSSO NO. 2 separately; Atlas also introduces brief pauses where other performances (e.g. Hanson's) link the movements (four in all) without pause. The separate tracks are an advantage in getting to know the work. The concluding fugue is especially dense and tends to reveal its inner workings only on repeated audition. For good measure, Atlas serves up Bloch's STRING QUARTET NO. 1 (1916), maybe the most audacious and radical score that he wrote. We get two movements, the first and second, arranged for string orchestra. In conception and layout, the QUARTET is so enormous that this music tends to make the two companion-pieces seem a bit trifling; but the CONCERTO GROSSO NO. 2 becomes, in this program, something of a return to a spiky nearly atonal musical language that Bloch ameliorated after his emigration to America. Bloch has enjoyed a revival on CD recently, although many of the issues seem to have dropped from the catalogue. A few years back, Atlas committed to silver disc the hitherto unrecorded SYMPHONY IN E-FLAT (1954) along with two interludes from the opera "MACBETH" (1902) and the "THREE JEWISH POEMS" (1913). In the early 90s, the Laurel label put out a CD of the CONCERTO SYMPHONIQUE FOR PIANO AND ORCHESTRA (1948), coupled with CONCERTO GROSSO NO. 2. Those interested should seek out these discs. They should also snap up the present one. It is a worthy addition to the Bloch discography. [P.S. If Bloch appeals to you, I recommend that you become acquainted with the Swedish composer Gösta Nystroem (1890-1966), who shares many traits with the author of "SCHELOMO." Both Bloch and Nystroem were obsessed by the sea, both employed baroque structures in a modern context with late-Romantic harmonies, and the work of both is animated by a strong mystic impulse in the direction of pantheism. Nystroem's SINFONIA CONCERTANTE FOR CELLO AND ORCHESTRA (1947) is the large-scale rhapsodic counterpart of Bloch's slightly earlier VIOLIN CONCERTO (1938). Nystroem's SINFONIA ESPRESSIVA (1932) bears a strong anticipatory resemblance to Bloch's SINFONIA BREVE and SYMPHONY IN E-FLAT.]
        OrchestraPro Bassoon, vol. 2
        Average customer rating: Not rated
          OrchestraPro Bassoon, vol. 2

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

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          Similar Items:
          1. Orchestral Excerpts for Bassoon
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          ASIN: B000009D4N
          Release Date: 1998-07-07

          Tracks:

          1. Intro
          2. Pno Con, K.491
          3. Sym No.41
          4. Sym No.5
          5. Sym No.7
          6. Sym No.8
          7. Emperor Con
          8. Unfinished Sym
          9. Pno Concerti
          10. Scottish Sym
          11. Pno Con No.1
          12. Double Tonguing
          13. Sym No.2
          14. Sym No.3
          15. Requiem
          16. Sym No.3
          17. Sym No.1
          18. Also Sprach Zarathustra
          19. Don Quixote
          20. Sym No.2
          21. Petrouchka
          22. Sym No.5
          23. Sym No.5
          24. Through the Looking Glass
          25. Three Cornered Hat
          26. Pictures at an Exhibition
          27. Pulcinella
          28. Dance Ste
          29. Trittico Bottecelliani
          30. Con for the Left Hand
          31. Peter and the Wolf
          32. Sym No. 1
          33. Carmina Burana
          34. Young Person's Guide
          35. Sym No.7
          36. Sym No.8
          37. Sym No.10

          Music Track:

          1. Demus: Works for Cello & Piano
          2. Die Winterreise / Selected Lieder
          3. Discovering
          4. Divertimento
          5. Divertimento in D
          6. Duo Saint-Martin
          7. Earl Wild plays Gershwin - Rhapsody in Blue/Porgy & Bess/etc.
          8. Elgar: String Quartet, Op. 83 / Piano Quartet, Op. 84
          9. Festival of the 20th Century
          10. Flute & The Bassoon in Venice Salzburg & Paris

          Music Track

          music track

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