Plays Debussy
On this CD:
1. Préludes (12) for piano, Book I, L..117
Composed by Claude Debussy
Performed by Alfred Cortot
2. Prélude, aria, et final, for piano, M. 23
Composed by Cesar Franck
Performed by Alfred Cortot
3. Prélude, choral, et fugue, for piano, M. 21
Composed by Cesar Franck
Performed by Alfred Cortot
Plays Debussy, Music, Alfred Cortot, Chamber Music & Recitals, Classical
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Instruments of the Orchestra
Various Artists
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD
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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.
The one complaint I have is the last CD. This deals with the orchestra. I wanted more of a tour of how the orchestra has been used through history up to the present. Instead, it was a tour of how different groups of instruments sound. I thought it could have been better. The other 6 CDs are excellent.
Average customer rating:
- the first work to die for...
- "you complete me"
- Beautiful compliation of Debussy - Jacques Loussier's BEST!
- joyful
- Masterful Jazz Renditions of Debussy
|
Plays Debussy
The Jacques Loussier Trio
Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD
General
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Similar Items:
- Satie: Gymnopedies Gnossiennes / Jacques Loussier Trio
- Solo Piano: Impressions on Chopin's Nocturnes
- Jacques Loussier Plays Bach
- Baroque Favorites
- Jacques Loussier Trio: Bach's Goldberg Variations
ASIN: B00004Y6SM
Release Date: 2000-09-26 |
Tracks:
- Clair De Lune
- Prelude A L'apres-midi D'un Faune
- Arabesque (From Deux Arabesques)
- La Fille Aux Cheveux De Lin (From Preludes Book 1)
- L'isle Joyeuse
- Reverie
- La Cathedrale Engloutie (From Preludes Book 1)
- Syrinx
Customer Reviews:
the first work to die for..........2007-04-18
This is a great CD and the first work is too wonderful to put in words. A great buy!
"you complete me".......2006-02-21
I love classical music,but this recording amazes me.It's a perfect marriage of jazz and classical--body and soul.This cd is enjoyable to listen to because of the imaginative arrangement and superb musicianship.The sound quality is fresh and alive.Each track is a gem.After listening to this cd,you will understand what I mean when I say "you complete me".
Beautiful compliation of Debussy - Jacques Loussier's BEST!.......2003-01-13
I have many other Jacques Loussier CDs and although I completely enjoy his style and interpretations, this by far is my favorite CD. I could listen to it for hours. It is just beautiful!!
joyful.......2002-10-31
Let me just say that these renditions of Debussy's works are an absolute pleasure to listen to. While listening to the album, I realized that many of these pieces could be mistaken for actual jazz compositions, probably because Debussy's music lends itself (more than, say, mozart's) to numerous interpretations. The "Impressionistic" (i know, i know) style of the pieces gives them much more interesting harmonic sequences and opporunity for improvisation. But the most important thing here lies not in the 'novelty' of the jazz feel, but in Loussier's loyalty to the original magical quality of Debussy's music. The entire album is beautiful and sparse without being too simple or forced. Claire de Lune simply lilts, especially when the trio reverts to the original 9/8 meter. All in all, a great album, but not a replacement for Debussy in any way. Only get this if you at least moderately enjoy jazz. Or Debussy. Or good music.
Masterful Jazz Renditions of Debussy.......2001-03-01
OK- So Debussy hated the term 'Impressionism', but that's what stuck to his style, so that's what we call it...
So, on to this CD... The Jacques Loussier Trio play exceptional jazz renditions of more than a handful of Debussy greats, such as Claire de Lune, Arabesque, and L'Apres midi d'une Faune. This is an incredible accomplishment considering some of Debussy's original pieces, such as "L'Apres midi..", were almost entirely devoid of beat and consistent measure. One would assume that such an undertaking would produce garbage, but whoa- here the Trio has created delicious and highly-professional, polished jazz. The Jacques Loussier are not new to this kind of transmogrification of classical into jazz, some of their other CD's are devoted to jazz renditions of Bach and Vivaldi (Four Seasons).
The trio consists of piano, bass, and drums. Each carry their distinctive instrumental essences with complexity yet smoothly and with soul. Taken together, the chemistry of the trio is sublime. Sumptuous!
Average customer rating:
- Debussy A La Moravec
- Manificent playing of great music at a bargain price
- ONE OF THE MOST BEAUTIFUL CD'S
- Exquisite playing
- Wonderful performances.
|
Ivan Moravec Plays Debussy & Chopin
Manufacturer: Vox (Classical)
ProductGroup: Music
Binding: Audio CD
Mazurkas
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Similar Items:
- Chopin: Nocturnes
- Chopin: Sonata in B-flat minor, Berceuse, etc.
- Ivan Moravec Plays Beethoven
- Chopin: 24 Preludes Ballade in F Minor
- Moravec Plays Schumann & Franck
ASIN: B000001K47
Release Date: 1994-08-22 |
Tracks:
- Image (Book 1): Reflets Dans L'eau
- Image (Book 1): Hommage A Rameau
- Image (Book 1): Mouvement
- Image (Book 2): Cloches a travers les feuilles
- Image (Book 2): Et la lune descend sur le temple qui fut
- Image (Book 2): Poissons d'or
- Prelude (Book 1, No. 6): Des pas sur la neige
- Estampe: Pagodes
- Estampe: Soiree dans Grenade
- Estampe: Jardins sous la pluie
Tracks:
- F Minor, Op. 63, No. 2
- A Minor, Op. 68, No. 2
- B Flat Major, Op. 7 No. 1
- C Sharp Minor, Op. 30, No. 4
- B Minor, Op. 33, No. 4
- A Minor, Op. 34, No. 2
- C Sharp Minor, Op. 64, No. 2
- E Minor, Op. Posth
- C Sharp Minor, Op. 26, No. 1
- Polonaise Fantasie In A Flat major, Op. 61
Amazon.com
These two CDs were digitally recorded for LP release in 1982-83, and thus add up to just under 95 minutes. With playing on this level, though, they'd still be a bargain at almost any price. The color, shading, and imagination Ivan Moravec applies to Debussy makes the music glow and shimmer. His Chopin playing is some of the best in the business; sample the idiomatic rhythms of the Mazurkas, or the memorable journey he makes out of the Polonaise- Fantaisie. As it happens, the discs sell for a very low price (less than that of a standard full-price single disc), making this set a major bargain. --Leslie Gerber
Amazon.com
Ivan Moravec isn't a superstar in terms of having a glitzy career. But to critics and connoisseurs, he is one of the greatest pianists. His relatively few recordings are scattered among a variety of labels. This collection, from two early-eighties digital LPs, is particularly well recorded--important for a pianist with such wonderful tonal variety. The composers are two of Moravec's specialties, and he gives them consistently colorful, imaginative performances. The short timing (94:00) is compensated by the ultra-low price, making this set a great piano bargain. --Leslie Gerber
Customer Reviews:
Debussy A La Moravec.......2006-01-13
Short and to the point.
Hey go ahead and ignore my opinion, go buy this and forget Roge.
But after you buy this cd, then buy Roge, and you tell me which you prefer.
I even prefer Michelangeli(4 stars) over Moravec.
Manificent playing of great music at a bargain price.......2001-11-18
This is was the first Moravec recording that I purchased. I bought it despite some reservations by a friend who had heard the Vox LPs and whose opinions on music I take very seriously. He changed his tune when he heard this recording.
Where should I begin? Moravec's technique is fabulous. His articulation is crisp, and his tone is gorgeous. What's more, his personality is expressed here not by showboating but by his unerring ability to bring out the characteristics of Debussy and Chopin. With Debussy, the shocking dissonances are made clear but, at the same time, are sweetened by a lucious tone and a sensitivity to Debussy's underappreciated tunefulness. In the Chopin, Moravec's precise technique is coupled with his sensitivity to rhythm so that the different types of pieces (mazurkas, waltzes, polonaises) are indeed unmistakably different, each type pleasing in very different way.
And all this for (the price).
Those who want to hear more Moravec should immediately purchase his Chopin Nocturnes and his Schumann Kinderszenen, both of which are, in my view, the finest that have been recorded. Period.
Finally, I heard the pianist recently in Toledo (of all places) and spoke to him after his performance. He is a kind and thoughful fellow, and I enjoy supporting him by buying his recordings.
ONE OF THE MOST BEAUTIFUL CD'S.......2001-03-23
This is truly one of the most beautiful CD's I own. I first heard of it about 15 years ago, before I owned a CD player: I read in a British classical music magazine that Moravec's playing of Chopin was inspired and that his playing of Debussy was reason enough to buy a disc player. The writer called CD's "silver cookies" and this disc was right at the top of his list of ten favorites. I have listened over and over and still continue to marvel at the subtleties of Moravec's pianism. Gorgeous and delicate, but these are not wispy interpretations which melt like cotton candy. Moravec plays with strength. I love the Chopin CD and think it honestly compares favorably with Rubenstein, but it is the Debussy interpretations that have stayed with me and that I come back to time and time again for a 45 minute vacation from life in New York City. The price listed above is unbeatable...about 1/2 of what I paid. HIGHLY RECOMMENDED.
Exquisite playing.......1999-12-08
It irked the French of my Dad's generation that the greatest interpreter of Debussy piano music was Walter Gieseking - not exactly a Frenchman.
I don't know if it bothers the French today that the mantle has passed to a Czech. If it does, they should get past it, and just be grateful that anyone can play this beautifully.
The Chopin Mazurkas are I think as close to Moravec's heart as they were to the composer. He often offers them as encores at recitals, and invariably reduces the audience to hushed rapture.
All music lovers should snap up any Moravec album they come across - especially if it includes a Chopin Mazurka.
Wonderful performances........1999-11-16
I stumbled across this album several years ago and couldn't believe my good fortune. I've listened to recorded piano music for a number of years, and while I would by no means consider myself to have any special expertise, I consistently find Mr. Moravec to be the single most communicative pianist in my experience. This set, along with all of his recordings reissued on VAI that I've been able to hear, are simply wonderful.
Average customer rating:
- Horowitz Review
- No better place to hear musical genius!
- Incredible performance, scratchy sound.
- I undoubtedly declare that Horowitz is the best.
- Horowitz is amazing as usual, BUT...
|
Horowitz Plays Mussorgsky, Scriabin, Prokofiev, and others
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD
All Works by Mussorgsky
| Mussorgsky, Modest
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Similar Items:
- Horowitz Encores
- Horowitz Plays Scriabin
- Prokofiev: Sonata No.7/Toccata, Op.11/Barber: Sonata, Op.26/Kabalevsky: Sonata No.3/Fauré: Nocturne No.13/Poulenc: Pr
- Horowitz Plays Rachmaninoff/Concerto for Piano in Dm; Sonata for Piano No2/Vladimir Horowitz, Pianist
- Horowitz: The Last Recording
ASIN: B000003F1S
Release Date: 1992-03-10 |
Tracks:
- Promenade
- The Gnome
- Promenade
- The Old Castle
- Promenade
- Tuleries
- Bydlo
- Promenade
- Ballet of the Unhatched Chicks
- Samuel Goldenberg & Schmuyle
- Limoges-The Market
- Catacombs
- Con Mortuis In Lingua Mortua
- The Hut on Fowl's Legs
- The Great Gate at Kiev
- Etude Op.2 No.1 in C-Sharp Minor
- Prelude, Op. 11, No. 5 in D
- Prelude, Op. 22 No. 1 in G-Sharp Minor
- Danse Excentrique
- Sonata No. 9 , Op. 68: Sonata No. 9 , Op. 68 - Black Mass
- Dumka, Op. 59
- Variations On A Theme From 'Carmen'
- Sonata no. 7, Op. 83: III: Sonata no. 7, Op. 83: III. Precipitato
- Humoresque, Op. 10, No. 5
- Barcarolle, Op. 10, No. 3
- Serenade To The Doll, No. 3, Children's Corner
- The Stars And Stripes Forever
Amazon.com essential recording
Horowitz's Pictures is one of his most controversial recordings. In true Romantic tradition, he made changes in Mussorgsky's much-maligned score. Ignore those strict constructionists who hold that the composer's word is law, and you'll revel in the sheer high spirits and unabashed virtuosity of this electrifying performance. Few make this piece as exciting as Horowitz. The fillers offer his inimitable versions of various Russian favorites along with his not-to-be-missed transcriptions of Carmen highlights and a Sousa Stars and Stripes Forever as you've never heard it. --Dan Davis
Customer Reviews:
Horowitz Review.......2007-01-10
This recording was made in 1947 and the recording quality reflects that. It sounds like the CD was made from a scratchy record with no clean up.
I have heard better Horowitz performances. This one is very mechanical, without much color or feeling.
No better place to hear musical genius!.......2005-08-22
Horowitz' arrangement of Stars and Stripes Forever is possibly the most incredible piece I have ever heard (and I don't even like that song very much.) If you have never heard it in its entirety, you have really been missing something. The first half is really good but the second half is mind-blowing. Horowitz was a genius!!!
The other works on the disc are great too but I prefer more recent recordings such as Evgeny Kissin's Pictures at an Exhibition. Of course it's not that Evgeny plays it better than Vladimir but the recording quality has much improved since 1947.
Whatever you do, don't miss Stars and Stripes Forever. You will never forget it.
Incredible performance, scratchy sound........2000-12-17
A very good CD, but some of the titles are also on the Encores CD, and all the titles except the Rachmaninoff (recorded in 1979) are in mono. Besides the Rachmaninoff, the recording dates range from 1928 (whew!) to 1956. That said, this is Horowitz! It's great! I'd pay the money for the Prokofiev and Danse Excentrique alone. I just want to warn you that this is not the crystal-clear CD sound we're used to.
I undoubtedly declare that Horowitz is the best........2000-12-03
You may know that Horowitz is a TOP pianist. But there is a one more. This recording is the most suitable recording that shows the differences beteween Horowitz and other pianists. In other words, this recording represents the genuine playstyle of Horowitz. One of the conspicuous specialty of Horowitz is ffff. The Grate Gate At Kiev (Pictures at an Exhibition) needs exteremly strong finger power.(Self-confidence of piano touch) Also to "Prokofiev sonata No.7","The Stars and Stripes Forever", the same can be told. I want to say, It`s needless to say who is the second, at least in these pieces. ( the gap between 1st and 2nd is too wide )(And, I`m not saying abut all the pieces of Horowitz. I`m only telling you about the pieces in this record.) I have an absolute pitch, and can compose a little.So believe me. Have a nice day!
P.S. To music lover who want`s to listen awesome 'Carmen Vars.' : Horowitz recorded 'carmen vars' not only once. (because it revised several times.) Carmen.V. in this CD is different from "Horowitz Encore". After buing this record, listen carefully the samples (in Horowitz Encore). They are not the same. (Both has it`s tastes.)
Horowitz is amazing as usual, BUT..........1998-09-27
Horowitz is amazing as we have all come to expect, but at the time that Mussorgsky's PICTURES AT AN EXHIBITION was recorded, recording techiniques had not been perfected as they have today. The rest of the CD is outstanding. If you are a Horowitz fan, I highly recommend this recording.
Average customer rating:
- A personal review from Dr. Splat Bar Jr. (read entire review)
|
Marimba When...Leigh Howard Stevens plays the great Albums for the Young
Manufacturer: Resonator Records
ProductGroup: Music
Binding: Audio CD
Classical
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- Leigh Howard Stevens plays Bach on Marimba
- The Marimba Festival Orchestra
- Ragtime Concert
- Prism
- Marimba Spiritual
ASIN: B0001B4XKG
Release Date: 1999-01-01 |
Tracks:
- Doctor Gradus ad Parnassum
- Serenade for the Doll
- The Snow is Dancing
- The Little Shepherd
- Golliwogg's Cakewalk
- Song of the Lark
- Morning Prayer
- The Hobby Horse
- Italian Song
- German Song
- Walts
- Neapolitan Dance-Song
- Mazurka
- The Doll's Burial
- The New Doll
- Nursery Tale
- Sweet Dreams
- Humming Song
- Soldier's March
- The Wild Rider
- Knecht Ruprecht
- May, Sweet May
- Roundelay
- No. 26 (untitled)
- Remembrance
- No. 30
- Ivan Sings
- Ivan Can't Go Out Today
- Ivan is Ill
- Ivan Goes to a Party
- Ivan and Natasha
- Ivan is Very Busy
Album Description
Hailed by Time magazine as "the world's greatest classical marimbist", Leigh Howard brings a fresh approach to music making on the marimba. The piano works for children featured on this CD are particularly well suited to transcription for the marimba.
Customer Reviews:
A personal review from Dr. Splat Bar Jr. (read entire review).......2006-07-19
Ok, if you're looking up this CD then the chances are that you have already heard of Leigh Howard Stevens. You've probably heard that he is a great technical musician, which you will find incorrect when you listen to his CD. I mean, he can do all of those one handed and double lateral rolls backwards and forwards and while counting his change on the Marimba while standing on his head, but who can't now? Sure, he can play the fuge from Bach's Prelude in Bflat Major while talking about current events and cracking jokes, but that doesn't mean that he is a great player; he's just lucky! And Tschaikowsky is overrated. Any composer whose name is that hard to spell should be shunned.
Really, this is a great CD by a master musician. If you are a lover of great performances of great music then you owe it to yourself to purchase this CD. Marimba When and Bach on Marimba (also by Mr. Stevens) are the two greatest marimba cds. Period.
Thank you for doing this album, Mr. Stevens.
A student from the LHS Summer Seminar 2000
Average customer rating:
- Svatoslav Richter, the giant of the piano
- What can happen in a live performance - a miracle
- Another historical recital for the future's musical memory!
- Richter's Unmatched Insights Are Well Worth the Price
- Breathtaking
|
Sviatoslav Richter Plays Chopin, Debussy, Beethoven
Manufacturer: Orfeo D'or
ProductGroup: Music
Binding: Audio CD
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| Beethoven, Ludwig van
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Richter, Sviatoslav
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Similar Items:
- BBC Friends: Richter (Great Performers of the Twentieth Century)
- Rachmaninov, Tchaikovsky: Piano Concertos / Richter
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- Schumann: Papillons; Introduction & Allegro appassionato; Schubert: Piano Sonata in B flat major, D. 960
- Schubert: Piano Sonatas
ASIN: B00000DD44
Release Date: 1998-11-01 |
Tracks:
- Andante Favori F - Dur WoO 57
- Walzer As - Dur Op. 34,1
- Walzer A-Moll Op. 34,1
- Walzer F - Dur Op. 34,3
- Scherzo B - Moll Op. 31
- Barcarolle Fis - Dur Op. 60
- Suite Bergamasque: Prelude
- Suite Bergamasque: Menuet
- Suite Bergamasque: Claire De Lune
- Suite Bergamasque: Passepied
- Estampes: Pagodes
- Estampes: La Soiree Dans Grenade
- Estampes: Jardins Sous La Pluie
Customer Reviews:
Svatoslav Richter, the giant of the piano.......2007-05-07
Richter is surely one of the greatest pianists of the 20th century.
This performance of Clair de lune is simply magnificent.
This CD is a must, strongly suggested.
What can happen in a live performance - a miracle.......2006-12-16
I have little to add to what the other excellent reviewers have said about this recital. I just want to draw your attention to the performance of the Chopin Barcarolle which is by far the greatest I have ever heard. Richter plays a painful wrong note about 60 seconds into the piece (audible in the Amazon exceerpt) - it acts as a moment of liberation that throws all inhibition aside, after which he plays as a man possessed. The final climax and coda of the piece are nothing short of awesome - I have never heard any pianist (certainly not Lipatti, for whom I have high regard) come close to unleashing the extraordinary passion, mixed with anxiety, of those pages. Had Richter left us with no legacy other than this one performance, his reputation among the piano greats would be guaranteed. Incidentally, I have heard many other performances of the Barcarolle by Richter, both live and on CD; none comes close to this.
Another historical recital for the future's musical memory! .......2006-07-29
When finally the great living legend at that moment, decided to play in Salzburg Festival, a crowd of enthusiastic people assisted to watch him. Richter accustomed to make his recitals in small Concert Halls, so the chance could not be missed.
In this program Richter chose to play an unusual repertoire, combing Beethoven with an atmospheric Chopin and an superb Debussy.
Chopin' s Richter sound in this opportunity with aristocratic elegance and sumptuous lyricism. His Debussy was loaded of ethereal and incorporeal rapture. I must confess that, since the times of Walter Gieseking, I had not heard such peerless éclat, filled of ecstatic poetry, dressy earnestness and delirious lyricism. He literally reinvented the Bergamasque Suite, embellished of expressive profundity and gratifying phrasing.
Thanks to Orpheus label' s efforts, we will always be able to remind this unforgettable recital, one of the most amazing artistic experiences for all those fortunate people who could presence it.
This recital must be a must-acquire for you, because of the fact this decade was specially loaded of interpretative effervescence. Try by all your means to get the famous Varsaw Recital of 1972 best known as All Scriabin and you will owe two golden living recods of this majuscule pianist: the supreme Richer.
Richter's Unmatched Insights Are Well Worth the Price.......2005-03-25
Unlike many pianists, Richter, a Russian-German from around the Ukraine who was famous for being his own worst critic, would not perform a piece unless he felt he could add something to the way it had been interpreted by others. This CD is an outstanding example of just how much Richter could add. He opens so many new windows onto these compositions that even if you have heard them for many years, you will find new insights and ways to hear, understand and enjoy this music. These are exquisite performances. It is almost as if Richter demands that he be able to justify each note as an intrusion on silence, and hews to a sort of baseline of calm, departing from it only when the music requires it, or perhaps examining each work from the ground up. There is no "wallpaper" here. I could not take any of these selections for granted. Richter has this effect in many cases, his Appassionata sonata, Rachmininoff 2d concerto and Tchaikowsky 1st being only the first examples I encountered as an adolescent. Over the ensuing years I have grown to understand how this man came to be lionized by so many. Though some pieces seem simple, Richter, through his unmatched capacity for reflection and interpretation, draws from them their inherent beauty, power and passion. The music on this recording enriches one's emotional and intellectual life. It is the opposite of New Age.
Breathtaking.......2004-11-26
For those already familiar with the genius of Sviatoslav Richter, this disc would make an excellent addition to an already extensive library. There is not a single weak track here; each piece has its own finely nuanced character, and is treated to perfection by Richter's sensitive and exciting (but never over-indulgent or sentimentalized) playing.
Newcomers would also be well-advised to purchase this recording. The selection of music, especially the Chopin and Beethoven and Debussy's Claire de Lune, is particularly accessible and beautiful. In that respect, it makes a better starting point than, say, Prokofiev or Mussorgsky, if one has not yet become familiarized with the brilliance of Richter's intrepretations.
The only drawbacks I can think of are in terms of recording quality. All of the songs were recorded live at the end of the 1977 Salzburg festival, so there is some hiss and audience noise in the background when the music is turned up enough to be well heard. I find, however, that if listened to with headphones, distractions are considerably reduced, and the excitement factor associated with live recordings increases dramatically. Claire de Lune is the best example of this. Being a very well known and widely recorded piece, it can be difficult for some to adjust to new and different interpretations. Richter takes it very slowly, slower than most would dare, and yet this tempo provides for a tenfold increase in energy. The space between notes is filled with anticipation; I have not found a more satisfying version of Debussy's lyric masperpiece.
All things considered, I give this album my highest recommendations. It perfectly represents the rich and sensitive beauty for which Richter was so justifiably famed. Buy it.
Average customer rating:
- And you thought you knew the Grieg Concerto....wait till you hear this!!
- BREATHTAKING GRIEG!
- INCREDIBLE....MUST GET
- the finest
- the finest
|
Michelangeli Plays Grieg & Debussy
Manufacturer: BBC Legends
ProductGroup: Music
Binding: Audio CD
Grieg, Edvard
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Michelangeli, Arturo Benedetti
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Similar Items:
- Ravel/Rachmaninov: Piano Concertos
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- L'Arte Di Arturo Benedetti Michelangeli
- Arturo Benedetti Michelangeli plays Mozart, Chopin, Brahms, etc. (Box) [Germany]
ASIN: B00004WJMG
Release Date: 2000-10-10 |
Customer Reviews:
And you thought you knew the Grieg Concerto....wait till you hear this!!.......2006-04-22
I thought I knew the Grieg concerto very well, owning beautiful recordings by e.g. Lupu, Zimerman.
This recording however opened a whole new Grieg-world to me: not the gentle, polite Grieg, but the virtuosic, passionate Grieg. I never heard anything like this before! What a stunning recording, and what a technical command (remember it's a live recording!). It made me realize this concerto is much, much better then I ever thought.
The Debussy is also very good, interesting to own as comparison to the Deutsche Grammophon recording.
If you want to own a truly exciting cd, buy this one today!
BREATHTAKING GRIEG!.......2004-01-29
Although the Debuusy Preludes are excellently played and well-recorded, the main appeal of this issue is Michelangeli's stunning live performace of the Grieg piano concerto. Listening to this performance is like hearing the work for the first time. He's certainly the only pianist I've ever heard who actually makes the Grieg concerto sound dangerous. The concerto usually makes pleasant rather than exciting listening, but Michelangeli changes all that, charging through this work with unbridled energy and stunning virtuosity. Just listen to him explode into the last movement. Its opening theme sounds more like Bartok than Grieg and its whirlwind final pages remind me of the dizzy waltz that ends the Prokofief Third. For once the concerto's lyrical passages sound passionate rather than placid. In every way this is the most gripping performance of the work I've ever heard. The recorded sound is mediocre. but perfectly listenable. In sum, don't miss this performance!
INCREDIBLE....MUST GET.......2003-01-02
This performance of the Grieg concerto is, IMHO, one of the VERY FINEST the world has EVER heard. Of course, we have heard many great masters tackle this piece, from the early Solomon and Moiseiwitsch to the pianists of our age, especially Murray Perahia. However, Michelangeli is in a class of his own. his playing is an incredible mix of immaculate precision and demonic virtuosity, of heartfelt sensitivity and extroverted flair. Some of my friends feel it's too aggresive for their taste, but i disagree. it's this kind of almost lisztian virtuosity that really ignites this piece. also, check out his very special way of phrasing the music, it has almost become his signature. do yourself a favor and get this CD. you'll be glad you did.
the finest.......2001-05-26
I have recordings (Michelangeli performing Grieg Concerto, op 15) from Geneva 7 June 1941, Milan 9 February 1942, Rome 27 June 1963 - and this recording (London 17 June 1965) is the finest. "Geneva" survives only in fragment (Italian imports; complete assessment of the work not possible); "Milan", the sound quality of the Teldec CD (Teldec release; the same recording can be found in Italian Imports too in which the sound quality differs one CD from another depending on a varing transfer process employed in CD transfer; as far as the transfer go, Teldec exceeds in dynamic range and tonal retrieval of the piano tone - some Italian Imports do offer a clear view of the instrument at the expense of obvious tonal thinning). "Rome" can be found in Italian imports; sound quality and performance are both fine considering the source tape (though it is exceedingly good recording by standard it falls short of the BBC's finest transfer in "London".)
On performance side, "London" simply has everything: 'teeth' (some would prefer 'temperament', 'substance'), concentration ('perfection' - usually refers to designate not only the generic notion 'overall perfection' but 'perfection here on this very occasion'), and a huge satisfaction (I need not know whose that is - since I hear one audience member's frenetic assent, shouting the supreme approval at his own expense [he's rather funny!]) I really was surprised by this BBC release, out of nowhere bringing out the best of Michelangeli and his Grieg interpretation with the fine quality recording only to be totally eclipsed by Michelangeli at his best, musically or otherwise, truly a glorious performance even for the seasoned collectors and Michelangeli fans.
The CD also contains Debussy Preludes Book I, recorded live in London, 13 April 1982. You might want to compare this performance with Deutsche Gramophon release (studio recording; Hamburg 1978 - Deutsche Grammophon 413 450-2) or Memoria label (Hamburg 7 May 1993 - Memoria 999-101). For me, "Hamburg 1993" would serve best, not that both DG and BBC version is less than, in my mind, what they are.
the finest.......2001-05-26
I have recordings (Michelangeli performing Grieg Concerto, op 15) from Geneva 7 June 1941, Milan 9 February 1942, Rome 27 June 1963 - and this recording (London 17 June 1965) is the finest. "Geneva" survives only in fragment (Italian imports; complete assessment of the work not possible); "Milan", the sound quality of the Teldec CD (Teldec release; the same recording can be found in Italian Imports too in which the sound quality differs one CD from another depending on a varing transfer process employed in CD transfer; as far as the transfer go, Teldec exceeds in dynamic range and tonal retrieval of the piano tone - some Italian Imports do offer a clear view of the instrument at the expense of obvious tonal thinning). "Rome" can be found in Italian imports; sound quality and performance are both fine considering the source tape (though it is exceedingly good recording by standard it falls short of the BBC's finest transfer in "London".)
On performance side, "London" simply has everything: 'teeth' (some would prefer 'temperament', 'substance'), concentration ('perfection' - usually refers to designate not only the generic notion 'overall perfection' but 'perfection here on this very occasion'), and a huge satisfaction (I need not know whose that is - since I hear one audience member's frenetic assent, shouting the supreme approval at his own expense [he's rather funny!]) I really was surprised by this BBC release, out of nowhere bringing out the best of Michelangeli and his Grieg interpretation with the fine quality recording only to be totally eclipsed by Michelangeli at his best, musically or otherwise, truly a glorious performance even for the seasoned collectors and Michelangeli fans.
The CD also contains Debussy Preludes Book I, recorded live in London, 13 April 1982. You might want to compare this performance with Deutsche Gramophon release (studio recording; Hamburg 1978 - Deutsche Grammophon 413 450-2) or Memoria label (Hamburg 7 May 1993 - Memoria 999-101). For me, "Hamburg 1993" would serve best, not that both DG and BBC version is less than, in my mind, what they are.
Average customer rating:
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Nancy Allen Plays Ravel & Debussy
Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD
Ravel, Maurice
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- A Celebration For Harp
- The Most Relaxing Harp Album in the World... Ever!
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ASIN: B0009YA43K
Release Date: 2005-07-19 |
Tracks:
- Introduction And Allegro
- Prelude
- Minuet
- Clair De Lune
- Passepied
- Pavone Of The Sleeping Beauty/Laideronnette, Empress Of The Pagodas
- Reverie
- In E, Andantino Con Moto
- In G, Allegretto Scherzando
- Danses Sacree Et Profane
Customer Reviews:
Nancy Allen..........2005-07-26
I first heard Nancy Allen's performance in 2001 on the station known in the Los Angeles/Orange County area as K-MoZarT (KMZT). I just managed to get the young lady's name and went searching on CDNOW to find a copy. I bought one used, and haven't regretted it! I find Ms. Allen's playing wonderful. Her pacing and dexterity are both on-par. I recommend the disk for the discerning listener!
Average customer rating:
- Refined Rameau
- Ravishing
- Overall really good, but lacking in some areas
- more please...
|
Alexandre Tharaud plays Rameau
Jean-Philippe Rameau , Claude Debussy , and Alexandre Tharaud
Manufacturer: Harmonia Mundi Fr.
ProductGroup: Music
Binding: Audio CD
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ASIN: B00005QAGJ
Release Date: 2002-02-12 |
Customer Reviews:
Refined Rameau.......2007-03-28
After reviewing the recent Angela Hewitt Rameau recording, a fellow reviewer brought this disc to my attention and bestowed enormous praise on it. After repeated listening, the Rameau and especially the Debussy encore leave a bit to be desired and overshadow this beautifully recorded recital, despite its many Ramellian virtues.
Before starting this review let me quote the back of this cd.
Until very recently pianists no longer dared play the French harpsichord repertoire: the pertinence of the "authentic" performances on period instruments by new artists had established their claims - and we had decided once and for all that this music was unsuited to today's pianos... Hence Alexandre Tharaud's approach is both brave and original: this young man is equally indebted to the legendary recordings of Marcelle Mayer and to current interpretations on the harpsichord.
I am sorry, but this is just ridiculous.
a) Musicology is an entirely "soft science". Actually, to use an Oscar Wildism, it has minimal ground to dispel the notion that it is little more than a collection of bad habits. Thus, it ends up being little more than a matter of public opinion. On the one hand public opinion should have no influence whatsoever on artists. They may not end up selling too much, but serve art's purpose of showing all things anew. On the other, having followed the authentic movement for thirty years and having heard the evolution from unbearably poor performances to halfway decent ones that at times approach the professional level, "authentic" should be qualified in a standard fashion as is now du riguer for "organic".
b) Many of us have access to all kind of keyboards, few to expensive and bothersome harpsichords. As such, mandating harpsichord performance would ban the great majority of players from playing and enjoying Rameau and colleagues. This would in fact censor Rameau and equate to cultural elitism.
Up to Tharaud.
Tharaud is a highly skilled pianist. He has made a very good recording of Ravel's complete piano works and a musical, though somewhat romantic and at times unstructured Bach album. His Rameau appears a labor of love involving years of study, a reassessment of the interpretation of the French baroque on the piano and a careful choice of the recording instrument.
Let's start with the discs strengths Tharaud is technically flawless and very musical. Together with the use of the piano that is in many ways superior to the harpsichord his approach results in a highly sophisticated and differentiated performances, that outdo most of his colleagues who play the nail box.
Yet there are some weaknesses. To me Tharaud has not found his own personal solution to playing harpsichord music on the piano, this in contrast to the likes of Gould, Sokolov and Hewitt. What he does here is come as close to the harpsichord as possible, only here and there deviating in right pedaled closing arpeggiated flourishes. Gould, in his video "the choice of instrument" discusses "how much of the piano to use", to me and especially in the light of the great importance of color in Rameau, Tharaud explores his instrument's possibilities too little. Unintentionally, this results in a slightly over-romantic approach, that is fortunately less distracting here than in his Bach disc.
Secondly, and far more importantly is Tharaud's underplay of the counterpoint and drama of these pieces. Counterpoint aims to increase the tension over pure melodic and melody + accompaniment approaches. To me this disc is devoid of drama. This is too bad because a combination of the strengths of this pianist and composer could lead to the Himalayan heights that the likes of Sokolov (Couperin on Live in Paris DVD) and John Williams (Couperin, Les Barricades..., The Baroque Album) have reached.
While I still consider Tharaud's Rameau still in the five star area, his Debussy was a great let down. Here, the pianist's lack of exploring the haunting dialetic between the Image's themes leads to a rather shallow affair. Compare this with the likes of Gieseking, Casadesus and last but not least Michelangeli, that are able to do so much more with this beautiful piece. In addition, the piano of choice may be appropriate for Rameau, but lacks significantly when it comes to Debussy.
In all, a strong disc with a few weaknesses.
Ravishing .......2005-12-11
Rameau is invariably enjoyable, whether on original instruments, modern forces, indeed synthesizer (let's not forget Bob James' fun, respectful and serious work), or, as in this case, M. Tharaud's piano. Like many, I came to Rameau's music as a musically formed adult, one could say "late." However, once I did, it opened windows to so many beauties, instrumental and vocal, that I regret not having its company earlier. Of course, all this happened quite a while back, though one remains thankful to the likes of William Christie, Christophe Rousset, J.E. Gardiner, etc. who have shown us so many facets of Rameau.
The same feeling of a new musical awareness being awakened in me can be ascribed to my response to this miraculous recording of two of Rameau's harpsichord suites by Alexandre Tharaud on a glorious Steinway. Listen to the opening Allemand of the Suite in A, the first track on the CD. The musical lines always stand out, on secure, inner rhythmic momentum, with embelishments truly beautifying the line, and the counterpoint colored throughout by the magic of Mr. Tharaud's touch and pedaling. This is perhaps the most sensual piano recording I own. That it sounds shaped by great intellectual rigor and intense discipline adds to the pleasure. This is a CD to which I return as if to a bottle of exquisite, rich Burgundy, afraid it will run out..... fortunately, it just keeps giving.
M. Tharaud has also successfully recorded Ravel's complete solo piano music, Milhaud, Poulenc, Schubert and now Bach. He ends the Rameau CD with Debussy's "Hommage à Rameau" which makes one wish for a recording of the Preludes not too far in the future.
Overall really good, but lacking in some areas.......2003-02-23
Tharaud's Rameau is for the most part excellent, but I felt that something was lacking. His playing in some places seemed restrained and timid to my ears. This is music that is full of rhythmic vigor, and it doesn't always come through in Tharaud's playing. His ornaments are beautiful and accurate...something that is not altogether easy to transfer from the harpsichord to the piano. I quite enjoyed his 'Gavotte and Six Doubles' (a piece I play, by the way). He does some things I've not heard in other interpretations, which were fairly interesting. If you like Rameau's keyboard music and already have the recordings of Meyer, Sokolov, Casadesus, Cziffra, etc., then this would probably be a welcome addition to your collection. If you are new to his keyboard music, you may want to listen to some of the names mentioned previously before getting this.
more please..........2002-02-20
There are frightfully few recordings of Rameau on the piano. This is one of them, and it is delightful. Mordecai Shehori also has an excellent recording of Rameau music on the piano. If you have enjoyed listening to Bach on the piano, I think you'll enjoy this flavor of Baroque music. The music can be haunting and introspective and interestingly, colors emerge that one might not have thought if you are familiar with the harpsichord incarnation of the music. If you are a pianist, it will probably give you some ideas for new repertoire.
The recording quality is good -- and I find myself easily relistening to this recording.
Average customer rating:
|
Earl Wild plays Spanish and French Gems
Manufacturer: Ivory Classics
ProductGroup: Music
Binding: Audio CD
All Works by Falla
| Falla, Manuel de
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Granados, Enrique
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Wild, Earl
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ASIN: B00000DCQP
Release Date: 1998-09-10 |
Tracks:
- El sombrero de tres picos: Danza del molinero
- Espana, Opus 165: Malaguena
- Suite espanola, Opus 47: Castilla (Seguidillas)
- Images, Set l: Reflects dans l'eau
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- Jeux d'eau
- Images, Set ll: Poissons d'or
- Goyescas: Quejas o la mafa y el ruisenor
- Miroirs: Alborada del gracioso
Album Description
Earl Wild, considered by the critic Harold C. Schonberg to be the last of the grand Romantic pianists, plays fifteen of the most evocative Spanish and French tone-paintings. These musical landscapes by Falla, Albéniz, Debussy Granados, Moszkowski, Mompou and Ravel, are performed with the extraordinary finesse and sensitivity of a true Romantic Master. (ADD) Recorded 10/64, 10/65, 4/68. Mastered using 20-Bit State-of-the-Art Technology HDCD Encoded
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