Grieg, Schumann and Franck

On this CD:

1. Peer Gynt Suite for orchestra (or piano or piano, 4 hands) No. 2, Op. 55 Overture
Composed by Edvard Grieg
Performed by Halle Orchestra with Ambrosian Singers
Conducted by Sir John Barbirolli

2. Peer Gynt, incidental music, Op. 23 Wedding March
Composed by Edvard Grieg
Performed by Halle Orchestra with Ambrosian Singers
Conducted by Sir John Barbirolli

3. Peer Gynt Suite for orchestra (or piano or piano, 4 hands) No. 2, Op. 55 Ingrid's Lament
Composed by Edvard Grieg
Performed by Halle Orchestra with Ambrosian Singers
Conducted by Sir John Barbirolli

4. Peer Gynt Suite for orchestra (or piano or piano, 4 hands) No. 1, Op. 46 In The Hall Of The Mountain King
Composed by Edvard Grieg
Performed by Halle Orchestra with Ambrosian Singers
Conducted by Sir John Barbirolli

5. Peer Gynt, incidental music, Op. 23 Dance Of The Mountain King's Daughter
Composed by Edvard Grieg
Performed by Halle Orchestra with Ambrosian Singers
Conducted by Sir John Barbirolli

6. Peer Gynt Suite for orchestra (or piano or piano, 4 hands) No. 1, Op. 46 Death Of Aase
Composed by Edvard Grieg
Performed by Halle Orchestra with Ambrosian Singers
Conducted by Sir John Barbirolli

7. Peer Gynt, incidental music, Op. 23 Morning
Composed by Edvard Grieg
Performed by Halle Orchestra with Ambrosian Singers
Conducted by Sir John Barbirolli

8. Peer Gynt, incidental music, Op. 23 Arabian Dance
Composed by Edvard Grieg
Performed by Halle Orchestra with Ambrosian Singers, Patricia Clark
Conducted by Sir John Barbirolli

9. Peer Gynt, incidental music, Op. 23 Antitra's Dance
Composed by Edvard Grieg
Performed by Halle Orchestra with Ambrosian Singers
Conducted by Sir John Barbirolli

10. Peer Gynt, incidental music, Op. 23 Soveig's Song
Composed by Edvard Grieg
Performed by Halle Orchestra with Ambrosian Singers, Sheila Armstrong
Conducted by Sir John Barbirolli

11. Peer Gynt Suite for orchestra (or piano or piano, 4 hands) No. 2, Op. 55 Return Of Peer Gynt
Composed by Edvard Grieg
Performed by Halle Orchestra with Ambrosian Singers
Conducted by Sir John Barbirolli

12. Peer Gynt Suite for orchestra (or piano or piano, 4 hands) No. 2, Op. 55 Soveig's Lullaby
Composed by Edvard Grieg
Performed by Halle Orchestra with Ambrosian Singers, Sheila Armstrong
Conducted by Sir John Barbirolli

13. Lyric Suite for orchestra (orchestration of Op. 54) No 1, Shepherd Boy
Composed by Edvard Grieg
Performed by Halle Orchestra with Ambrosian Singers
Conducted by Sir John Barbirolli

14. Lyric Suite for orchestra (orchestration of Op. 54) No 2, Norwegian Rustic March
Composed by Edvard Grieg
Performed by Halle Orchestra with Ambrosian Singers
Conducted by Sir John Barbirolli

15. Lyric Suite for orchestra (orchestration of Op. 54) No 4, Notturno
Composed by Edvard Grieg
Performed by Halle Orchestra with Ambrosian Singers
Conducted by Sir John Barbirolli

16. Lyric Suite for orchestra (orchestration of Op. 54) No 3, March of the Dwarfs
Composed by Edvard Grieg
Performed by Halle Orchestra with Ambrosian Singers
Conducted by Sir John Barbirolli

17. Piano Concerto in A minor, Op. 16
Composed by Edvard Grieg
Performed by New Philharmonia Orchestra with John Ogdon
Conducted by Paavo Berglund

18. Piano Concerto in A minor, Op. 54
Composed by Robert Schumann
Performed by New Philharmonia Orchestra with John Ogdon
Conducted by Paavo Berglund

19. Symphonic Variations, for piano & orchestra (also arr. for 2 pianos), M. 46
Composed by Cesar Franck
Performed by London Philharmonia Orchestra
Conducted by Sir John Barbirolli

Tracks:

Bach: Jesu, Joy Of Man's Desiring
Vivaldi: Largo Winter
Bach: Air On A G String
Torelli: Trumpet Concerto
Bach: Sheep May Safely Graze
Handel: Let The Bright Seraphim
Handel: Pastoral Symphony
Boccherini: String Quintet, Minuet
Mendelssohn: On Wings Of Song
Liszt: Dream Of Love
Rachmaninov: Vocalise
Debussy: Claire De Lune
Satie: Gymnopedie No.1
Gluck: Dance Of The Blessed Spirits
Debussy: Arabesque
Bizet: Intermezzo
Elgar: Salut D'amour
Debussy: Prelude A L'apres - Midi D'un Faun

Tracks:

Wagner: Bridal Chorus
Clarke: Trumpet Voluntary
Handel: Royal Fireworks Music, Overture
Gabrieli: Canzon V
Charpentier: Te Deum
Purcell: Trumpet Tune
Mussorgsky: Promenade
Pachebel: Canon In D
Handel: Larghetto
Vivaldi: Guitar Concerto In D Major, Largo
Handel: Water Music, Air
Macdowell: To A Wild Rose
Beethoven: Pathetique Sonata, Adagio
Melchior: Adagio
Gounod: Ave Maria
Schubert: Ave Maria
Franck: Panis Angelicus
Faure: Pie Jesu
Rachmaninov: Rhapsody On A Theme Of Paganini
Schumann: Romance For Violin And Piano
Massenet: Meditation

Tracks:

Mendelssohn: Wedding March
Vivaldi: Concerto For Two Trumpets In B, Allegro
Telemann: Trumpet Concerto In D, Allegro
Vivaldi: Spring, Allegro
Telemann: Trumpet Concerto In B, Allegro
Handel: Concerto Grosso, Hornpipe
Bach: Brandenburg Concerto No.4, Allegro
Handel: Arrival Of The Queen Of Sheba
Schumann: Piano Quintet In E Flat Major
Widor: Toccata
Dubois: Toccata
Walton: Crown Imperial
Bach: Cantata No.51. 'Jauchzet Gott In Allen Landen.' Alleluia
Mozart: Exsultate Jubilate, Alleluia
Handel: Water Music, Hornpipe
Chopin; Variations On A Theme From 'La Cenerentola'
Faure: Sicilienne
Offenbach: Barcarolle
Faure: Berceuse
Saint-Saens: The Swan
Brahms: Waltz In A Flat
Grieg: Wedding Day At Troldhaugen

Album Description

The process of choosing music for a wedding day can certainly be a daunting process for any couple. There are many choices and the questions can be endless. Traditional music or something off the beaten path? Will your Mom cry (and not in a good way) if you do not come down the aisle to the traditional Wedding March from Wagner, or are you eager to try something new? This collection is designed to give the bridal couple some key pointers to navigate the world of classical music for their wedding day. The package includes over 3 1/2 hours of music on 3 CDs for all portions of the wedding service, all from the Naxos classical label (known for high-quality recordings at inexpensive prices). Wedding day favorites are there, along with new discoveries and tunes you may have never considered for a wedding. All pieces are hand selected by professional wedding musicians and consultants. As a bonus, the 20 page booklet will lead you through the process of choosing music, from hiring musicians to sample programs. Everything you need to create your own unique personal wedding soundtrack.

Customer Reviews:

GREAT WEDDING MUSIC!.......2007-01-24

I used these CD's for my wedding, and I was so happy I did. You need to buy this CD if you like having a traditional wedding! :)

Good Music.......2006-07-05

I bought these CDs for my wedding, in ceremony and reception. Also, when I created my own wedding video, I used it as background music.

A very complete selection of ceremony music!.......2005-02-02

I am getting married in several months and we couldn't decide what music we wanted at our wedding ceremony. This three disk compilation reminded us of all the great ones- including new options we hadn't thought about. I really enjoyed hearing the organ and strings versions of the songs. If you're someone who hears a classical or baroque piece of music, but can't remember the name or the precise tune, this is a must-have to jog your memory and trigger the tear ducts!

Comprehensive Classical Selection.......2004-04-15

I searched all over for a CD set that had a somewhat comprehensive list of classical selections that are traditionally played at weddings. When I found this 3 CD set, I was very pleased. It contains 61 works from almost as many composers. This set might not contain the "best recording ever" of each of the selections, however it is very well done and the quality is very good. I used it primarily to choose the pieces that I wanted to have played by the church organist, and so the actual recordings were more for my consumption rather than for use in the ceremony/reception itself. However, I would not have hestitated to use the CD's in the wedding itself if needed. The book inside includes a list of suggested songs for various wedding styles (formal, outside, morning, etc.). From the classical neophyte to the seasoned classical music expert, this CD set will meet if not exceed expectations.

Just one note..........2003-06-07

I have not heard this album, so I cannot rate it as a whole. (The form made me include a rating, but disregard that.) However, I want to point out that track 36, the Pie Jesu from Gabriel Faure's Requiem is - well, from a requiem, a mass for the dead. The Pie Jesu is a lovely, gentle movement, and it has a beautiful and pure sound that does seem to fit the mood of a wedding. The Latin words, however, mean "Merciful Lord Jesus, grant them everlasting rest," where "them" refers to the dead.

Tracks:

Op. 62, No.2: Chant du Paysan, Op. 62, No.2
Op. 12, No. 2: Waltz, Op. 12, No. 2
Op. 30, No. 3: Song Without Words, Op. 30, No. 3
Canzonetta
Op. 19, No. 6: Song Without Words Op. 19, No. 6
Menuetto
Largo assai
Romanza
Andantino Variato
Op. 39, No. 2: Waltz, Op. 39, No. 2
Prelude in A
Romanza
Melodie
Preludio
Allegretto
Sonata
Homenaje, Pour Le Tombeau De Debussy
Prelude
Prelude: La Fille Aux Cheveux De Lin

Amazon.com

Of all the discs in MCA's fine Segovia collection, this is the least successful, though fans of the great guitarist will naturally want this collection of transcriptions of piano works by various Romantic composers, including Grieg, Mendelssohn, Brahms, and Debussy. The problem does not lie with Segovia's performances, which are excellent, but with the music itself, some of which resists being performed on the guitar rather more than the Spanish pieces that are the "meat and potatoes" of the classical repertoire. If this one reservation doesn't trouble you, then by all means buy. --David Hurwitz

Customer Reviews:

My Personal Favorite.......2004-06-12

While Segovia's forte is Spanish music and his mastery of the Bach sonatas and partitas which were transcribed from the violin to the guitar, I keep finding myself listening to this CD on an almost daily basis. As a classical guitarist myself, hearing pieces like Grieg's piano works and Mendlesohns' string quartets played to perfection on his 1947 Herman Hauser II with such strength, clarity and authority makes me realize this man understood more about the music that went onto this one CD than most "musicians" past and present could ever hope to understand in a lifetime. His guitar sings like a human voice and when he plays it truly sounds like a choral ensemble being played through one instrument. Sweet!

The Greatest Classical Guitarist who ever lived!.......2000-09-22

Every classical Guitarist today owes a debt of gratitiude to Andres Segovia. He was not only an amazingly unique talent but an innovator as well. When he rediscovered the guitar it was a forgotten instrument that shared little respect from the musical community. He literally invented the technique that all classical guitarists use today. In addition he sought out and compiled thousands of lost pieces for the instrument. He also made many transcriptions of pieces written for other instruments such as the piano and translated them brilliantly into the language of the guitar. Out of the entire Segovia collection, this CD is my personal favorite for the diversity and choice of material. The waltzes are charming. My favorite cuts are Canzonetta and Song Without Words OP 19.no 6, both but Felix Mendelssohn. If you only buy one CD out of this collection it should be this one.

An expressive Genius.......1999-02-17

Segovia truly shows his expressive genius on this album. Many of these pieces were written for the piano but arranged for the the guitar by Segovia. These titles express much of what is moving about the romantic period in classical music and Segovia captures this in his masterful way. This is a must have for Segovia fans. If not for some noisy recordings, I would have given this album 5 stars.

Average customer rating:

Stunning. . . .
PORTRAIT OF AN ARTIST
A world-changing musician
CZIFFRA - A Keyboard Phenomenon

Les introuvables de Cziffra

Manufacturer: EMI Int'l
ProductGroup: Music
Binding: Audio CD

Bourees | Ballets & Dances | Classical | Styles | Music

Galops | Ballets & Dances | Classical | Styles | Music

Polonaises | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Rondos | Forms & Genres | Classical | Styles | Music

Toccatas | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Box Sets | Stores | Music
Similar Items:

Liszt: Works For Piano
Rendez-vous de Senlis
Georges Cziffra Plays Chopin, Liszt & Franck (EMI Classic Archive)
Chopin: uvres pour piano
Liszt: Transcendental Studies; Mephisto Waltz No. 1

ASIN: B000002SBW
Release Date: 2002-08-12

Tracks:

La Campanella, Grande Etude De Paganini No. 3
Nocturne No. 3 In A Flat Major, Reve D'Amour
Mephisto Valse (D'Apres Le Faust De Lenau)
Les Jeux D'Eau A La Villa D'Este
Valse Oubliee No. 1
Rhapsodie Espagnole
Valse Impromptu
La Ronde Des Lutins, Etude De Concert No. 2
Grand Galop Chromatique
Apres Une Lecture Du Dante, Fantasie Quasi Sonata (Extrait From 'Les Annees De Pelerinage')

Tracks:

Polonaise D'Eugene Oneguine (Tchaikovsky)
Rigoletto, Paraphrase De Concert (Verdi)
Tarentelle De Bravoure Sur Des Theme De 'La Muette De Portici' (Auber)
Valse De Faust (Gounod)
Improvisation Sur Les Themes De Guillaume Tell (Rossini)
Valse Triste (Vecsey)
Tritsch Tratsch Polka (Johann Strauss)
Le Beau Danube Bleu, Paraphrase (Johann Strauss)
Danse Hongroise No. 5 (Brahms)
Fantaisie Roumaine (Improvisation Dans Le Style Tzigane)
Le Vol Du Bourdon (Rimsky-Korsakov)

Tracks:

Islamey, Fantaisie Orientale
Toccata In C Major, Op. 7
Andante Et Rondo Capriccioso In E Major, Op. 14
Rondo In E Flat Major, Op. 11
Polonaise In C Major, Op. 89
Rondo A Capriccio In G Major, Op. 129
Andantino In B Minor
Bourree In E Flat Major
Sonata In C Major, K159
Le Tic Toc Choc ,Ou Les Maillotins
Les Barricades Mysterieuses
L'Anguille
La Bandoline
Les Petits Moulins A Vent
Les Folies Francaises Ou Les Dominos
La Poule
Le Rappel Des Oiseaux
Gavotte En Rondeau

Tracks:

Variations In C Major, Sur 'God Save The King', WoO 78
12 Variations In A Major, Sur Un Theme Russe (Wranitzky), WoO 71
32 Variations In C Minor, WoO 80
Fantaisie In F Minor, Op. 49
Book 1 - Variations Sur Un Theme De Paganini, Op. 35
Book 2 - Variations Sur Un Theme De Paganini, Op. 35

Tracks:

I. Grave - Allegro Molto E Con Brio, Sonata No. 8 In C Minor, Op. 13
II. Adagio Cantabile, Sonata No. 8 In C Minor, Op. 13
III. Rondo, Sonata No. 8 In C Minor, Op. 13
I. Allegro - Sonata No. 10 In G Major, Op. 14
II. Andante - Sonata No. 10 In G Major, Op. 14
III. Scherzo -Allegro Assai - Sonata No. 10 In G Major, Op. 14
I. Andante Con Variazioni - Sonata No. 12 In A Flat Major, Op. 26
II. Scherzo (Allegro Molto) - Sonata No. 12 In A Flat Major, Op. 26
III. Marcia Funebre (Andante Maestoso) - Sonata No. 12 In A Flat Major, Op. 26
IV. Allegro - Sonata No. 12 In A Flat Major, Op. 26
I. Andante - Allegro -Allegro Molto Vivace - Sonata No. 13 In E Flat Major, Op. 27
II. Adagio Con Espressione - Sonata No. 13 In E Flat Major, Op. 27
III. Allegro Vivace - Sonata No. 13 In E Flat Major, Op. 27

Tracks:

Preambule Carnaval Op9
Pierrot Carnaval Op9
Arlequin Carnaval Op9
Valse Noble Carnaval Op9
Eusebius Carnaval Op9
Florestan Carnaval Op9
Coquette Carnaval Op9
Replique Carnaval Op9
Papillons Carnaval Op9
A.S.C.H., S.C.H.A., Lettres Dansantes Carnaval Op9
Chiarina Carnaval Op9
Chopin Carnaval Op9
Estrella Carnaval Op9
Reconnaissance Carnaval Op9
Pantalon Et Colombine Carnaval Op9
Valse Allemande - Intermezzo: Paganinni Carnaval Op9
Aveu Carnaval Op9
Promenade Carnaval Op9
Pause Carnaval Op9
Danse Des Davidsbundler Contre Les Philistins Carnaval Op9
I. Des Abends Fantasiestucke Op12
II. Aufschwung Fantasiestucke Op12
III. Warum? Fantasiestucke Op12
IV. Grillen Fantasiestucke Op12
V. In Der Nacht Fantasiestucke Op12
VI. Fabel Fantasiestucke Op12
VII. Traumeswirren Fantasiestucke Op12
VIII. Ende Vom Lied Fantasiestucke Op12
I. Allegro - Carnaval De Vienne, Op. 26
II. Romanze - Carnaval De Vienne, Op. 26
III. Scherzino - Carnaval De Vienne, Op. 26
IV. Intermezzo - Carnaval De Vienne, Op. 26
V. Final - Carnaval De Vienne, Op. 26

Tracks:

Fantaisie Hongroise In F Major For Piano And Orchestra
Totentanz, Paraphrase Sur Le 'Dies Irae' Pour Piano Et Orchestre
Variations Symphoniques Pour Piano Et Orchestre
I. Allegro Molto Moderato - Concerto For Piano And Orchestra In A Minor, Op. 16
II. Adagio - Concerto For Piano And Orchestra In A Minor, Op. 16
III. Allegro Moderato Molto E Marcato - Andante Maestoso - Concerto For Piano And Orchestra In A Minor, Op. 16

Tracks:

I. Adagio Sostenuto Assai - Concerto No. 2 For Piano And Orchestra In A Major
II. Allegro Agitato Assai - Concerto No. 2 For Piano And Orchestra In A Major
III. Allegro Moderato - Concerto No. 2 For Piano And Orchestra In A Major
IV. Allegro Deciso - Concerto No. 2 For Piano And Orchestra In A Major
V. Marziale, Un Poco Meno Allegro - Concerto No. 2 For Piano And Orchestra In A Major
VI. Allegro Animato - Concerto No. 2 For Piano And Orchestra In A Major
I. Allegro Maestoso - Concerto No. 1 For Piano And Orchestra In E Flat Major
II. Quasi Adagio - Concerto No. 1 For Piano And Orchestra In E Flat Major
III. Allegretto Vivace - Allegro Animato - Concerto No. 1 For Piano And Orchestra In E Flat Major
IV. Allegro Marziale Animato - Concerto No. 1 For Piano And Orchestra In E Flat Major
I. Allegro Non Troppo E Molto Maestoso - Allegro Con Spirito - Concerto No. 1 For Piano And Orchestra In B Flat Minor, Op. 23
II. Andante Semplice - Prestissimo - Tempo 1 - Concerto No. 1 For Piano And Orchestra In B Flat Minor, Op. 23
III. Allegro Con Fuoco - Concerto No. 1 For Piano And Orchestra In B Flat Minor, Op. 23

Customer Reviews:

Stunning. . . . .......2007-01-10

I bought this set with some trepidation, since I didn't know what to expect from Cziffra's playing of composers other than Liszt. I had only heard him in his mercurially brilliant Lisztian incarnation, and didn't know how he would do with a less flamboyant style.
I have been very pleasantly surprised, especially at his Beethoven and his Schumann. I found that he kept the spontaneity of his Lisztian interpretations, but channelled it chronologically into insightful and spontaneous Beethoven interpretations, while respecting most of the rules and performance practices of the Classic era.
His Schumann was mercurial and spontaneous in a Romantic fashion, also, and - of course - brilliantly digitally played. As to the Liszt, it's par excellence; I've never heard that music played with such spontaneity and
digital fluency.
The sound quality is surprisingly good, altho somewhat uneven. I highly recommend this set to anyone who loves great piano-playing. My favorite pianist is still Richter, but Cziffra takes first prize in his Liszt, and runs a close second with other composers' music.

PORTRAIT OF AN ARTIST.......2006-10-15

The eight discs making up this set are invaluable to anyone interested in this extraordinary musician and pianist. His career was cut tragically short, and while it lasted he was most in demand to display his astounding technique in Liszt. He did it because he could. Not being enormously attracted to Liszt I was slow in coming to know Cziffra, but when I did what struck me forcibly was that the picture I had been given of him was seriously misleading. Any suggestion that he was a wilful virtuoso who turned the standard classics into something of his own is 180 degrees wide of the mark, and this selection enables us to hear what his playing was really like in music ranging from Lully and Couperin to the late 19th century, taking in on the way Rameau, Scarlatti, C P E Bach, Beethoven, Hummel, Chopin, Mendelssohn and Schumann. Liszt is here in the shape of the two concertos, the Totentanz and the Hungarian Fantasy plus some solos, my collection of least favourite romantic concertos is enhanced with his renderings of the Grieg and Tchaikovsky, but relief from these is provided with Franck's symphonic variations. Among the non-Liszt solo pieces we are given a number usually thought to call for exceptional virtuosity, namely Schumann's toccata, Mendelssohn's rondo capriccioso and Brahms's Paganini variations. Balakirev's Islamey is here too, but in a version of Cziffra's own, and so are some of his own virtuoso arrangements including one of the Flight of the Bumblebee as well as four similar efforts from Liszt.

Cziffra himself didn't aid popular comprehension by saying that he couldn't play Beethoven. I already owned his Waldstein, but here we have four more sonatas plus some smaller pieces, all early works. If I have a fault to find with his Waldstein it's that it is rather understated. What I don't fault at all is his sense of Beethoven's idiom, and the only flash of Cziffra's phenomenal technique comes where there can be no objection in the up-and-down octaves near the end. These are normally played glissando, because to finger them in strict time is impossible, allegedly. Even Horowitz can't do that - but Cziffra can. This really sums up his way of doing things - the technique is exercised strictly when needed, and then not in a showy way unless the sense of the music demands that. Try the Mendelssohn rondo here - light-fingered in the main rondo theme, relaxed in the episodes - then hear Serkin on Aura in his 1957 recital in Lugano, high-tension and full-speed-ahead. Serkin brought the audience to its feet, Cziffra is simply enjoying the piece, and very Mendelssohnian he sounds. Or again the Schumann toccata. Richter won raptures from the critics for his handling of the rat-tat fortissimo chords near the end while making no concessions to the tempo. He does that no better than Cziffra, if as well. The difference is that Richter `makes more' of the supposedly virtuoso sequences earlier. Now how about Cziffra's Beethoven here? It is natural, idiomatic and kept within a certain volume-level. There is no showing off let alone messing around. If Cziffra recalls anyone it is Kempff, and these performances would be safe models for teachers. In Schumann it's the same story. Not everyone could play Traumeswirren like this, and here and there the finger-work had me rubbing my eyes, but I keep sensing that Cziffra is not even aware that he's doing anything exceptional. The idiom is dead right, the rubato is natural, the lyricism is spontaneous if less `warm' than some, the sense of the overall structure is effortless - and I could say all that about Chopin's F minor fantasy too.

I can't avoid Liszt, but some comparisons are interesting. This high-powered Totentanz has been rightly praised, but both in this work and in the first concerto I feel that Michelangeli beats Cziffra at what is supposedly Cziffra's own game. I hear Michelangeli as Cziffra's solitary equal as a technician, but in second-rate music like this spontaneity and dexterity are trumped by an above-it-all Olympian aloofness, and Cziffra undoubtedly does not take the ultra-care that Michelangeli takes over perfect evenness of touch, sublime poise in the rhythm and super-perfection in the trills. (In the matter of trills, you can hear what Cziffra can do when he puts his mind to it in the fiendish 4th variation in book 1 of Brahms's Paganinis). In the 2nd concerto Cziffra is the best I have yet heard. In sheer technical address neither he nor anyone surpasses Richter, but where I like Cziffra better is in an aspect of his playing that gets too little attention, namely his natural and unaffected lyricism. In the Hungarian Fantasy, the Liszt solos and the various arrangements I imagine Cziffra is unsurpassed and unsurpassable, not that I propose to research that matter much.

The Grieg and Tchaikovsky concertos are here too. Cziffra adopts moderate tempi in the outer movements of the Grieg as the composer directs. The first movement of the Tchaikovsky is done as I like it, insofar as I like it at all. The introduction is taken fast, rather as Horowitz and Toscanini take it although I miss Toscanini's direction. The last movement however is taken at a very moderate pace, with the excitement saved for the end. Later performances are of some French music. In these pieces, as in the Scarlatti sonata, I wouldn't say that Cziffra stands out particularly - with one telling exception, Couperin's Barricades Mysterieuses, atmospheric and bewitching. Was this what they told you to expect from Cziffra?

He was a natural, a child of the gods. The near-unbelievable technique was an important part of his gift, but what I prize most is his lyric manner - simple, innocent and clear-eyed. His actual touch is not one that you could identify within seconds, as you could identify that of Horowitz, Serkin, Richter or Michelangeli, but it is utterly free from affectation. The better you know him, the more you will love him.

A world-changing musician.......2006-01-30

I've not a lot to add to Alan Thorpe's review except to say that to be young when Cziffra burst upon the world in 1956 after he left Hungary & started playing in western Europe was sheer intoxication--and it wasn't all Liszt either! Like Richter, who appeared at the same time, he played Schumann in a way that opened up entire new fields of tonal & interpretive possibility. I must say, too, that from the start, I admired his Beethoven--I like lyrically played Beethoven! Why shouldn't Beethoven sing as well as growl? He did write some lovely songs, after all. Cziffra's versions of Op.13, Op.14/2 & Op.26 on this set are very satisfying--I just wish they had managed to include a recording of his version of the Waldstein, too.

CZIFFRA - A Keyboard Phenomenon.......2001-05-26

Issued in 1991 by EMI France to celebrate Cziffra's 70th birthday this 8 CD boxed set is a bargain. The first CD is all Liszt and contains some of the most spellbinding playing you are ever likely to hear. Fire and brimstone reign as Cziffra tears up the keyboard in the Dante Sonata's demonic moments; surely a whiff of sulphur as he spontaneously combusts during the Mephisto-Valse; the Rhapsodie espagnole and Grand Galop chromatique {see him sweat playing this on Philip's `Great Pianists of the 20th Century video.}. As a contrast, be seduced by his heart-melting rendering of the third Liebestraume; the caprice of the Valse-Impromptu; and have the waters of `Les Jeux d'eau a la Villa d'Este' ever cascaded so onomatopoeically and with such a transcendental variety of touch and nuance. More diablerie follows on disc 2 with transcriptions by Liszt and those {in} famous ones by Cziffra himself. I have never heard a more demonic Gounod/Liszt ` Valse de Faust'; Auber/Liszt `Tarantelle de bravura'; or Tchaikovsky/Liszt Polonaise from `Eugene Onegin'; as for Cziffra's playing of his own transcriptions and paraphrases, especially the Strauss `Tritsch-tratsch polka' and Rimsky-Korsakov `Flight of the Bumble-bee; well, they are in a class of their own. Both Katsaris and Volodos recorded the latter pieces but I'm afraid they cannot compare with Cziffra's sheer electricity and panache. You will now need an ice pack as disc 3 opens with Balakirev's Islamey which starts steadily enough compared to say Simon Barere's famous account {now on APR} but increases in excitement as Cziffra adds all kind of gypsy embellishments as he builds to a fiery conclusion. Excitement is also the key to the next piece; Schumann's Toccata, which Cziffra plays with effortless abandonment and joie de vivre as he also does Mendelssohn's Rondo Capriccioso. Cziffra loved to play Baroque music and the rest of this disc is taken up by mainly short but characterful pieces by Couperin, Lully, Rameau and Krebs. Many were recorded in the 1980s and sound better if played back at a reduced volume level as they were obviously too closely miked. Cziffra once said that he couldn't play Beethoven so preferred to leave it to others who could. He did record a number of sonatas and this selection includes very fine accounts of the `Pathetique'; No. 13 in E flat Op27/1 {companion to the `Moonlight'};and Op. 26 in A flat. He brings a full cantabile to the latter works opening movt. and to the Adagio of the `Pathetique'. Elsewhere he plays with refinement and elegance; everything is in the best possible taste and there is nothing to offend, but those who like their Beethoven a bit more rough and gruff could be a bit disappointed as they might also be with Cziffra's Brahm's Paganini Variations which are technically stunning but find Cziffra musically out of sorts. The Schumann disc finds him on top form. Like many great artists Cziffra loved to play Schumann and he was equally at home with Eusebius { the dreamer} as he was with Florestan { the impetuous side of his character} and this is self evident in his brilliantly characterful accounts of Carnaval, Fantasiestücke, and Carnaval de Vienne - the latter piece highly praised by Cortot after he heard Cziffra during a Paris radio broadcast in the late 1950s. Discs 7 and 8 are all concertante works and show Cziffra at the very height of his stupendous powers. Again Cziffra has his demon up in the most astounding Liszt Totentanz ever recorded; a Hungarian Fantasy with all the improvisational colours of a band of gypsy fiddlers and an ideally recreative performance of the second concerto to make all others sound four-square . To cap this there is a fabulous Grieg concerto in which Cziffra dares to improvise the end of the Lisztian style cadenza; a meltingly beautiful slow movt with an excitingly brilliant finale. Last but certainly not the least, a very poetic reading of Franck's Symphonic Variations and a Tchaikovsky first concerto which combines thrilling virtuosity with all those individual touches that only a genuinely recreative artist can bring to such a familiar masterpiece. This collection is a splendid tribute to one of histories greatest pianists - an artist who knew the authentic meaning of ` bravura'.

Grieg, Schumann: Piano Concertos; Franck: Variations Symphoniques

Average customer rating:

A real bargain

Grieg, Schumann: Piano Concertos; Franck: Variations Symphoniques

Manufacturer: Unesco Classics
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical | Imports | Stores | Music
ASIN: B00004VW5U
Release Date: 2000-07-18

Customer Reviews:

A real bargain.......2001-07-16

Ogdon was a tremendously gifted pianist whose tragic death in 1989 at the age of 52 was a great loss for the world of music. Just listen to these recordings for instance, as they show Ogdon a complete master of these two concertos. These particular recordings are actually from the EMI vaults (the Unesco label shown here is misleading), and are actually excellent performances captured in very good sound. Ogdon's feeling for lyricism combined with power is evident in the Grieg and in the Schumann Ogdon shows off his poetic skills to great effect. Berglund's conducting of the New Philharmonia is more than adequate. In sum, while it may not match the best recordings of these two concertos (I love the Kovacevich/Colin Davis versions on the Philips label), it is a real bargain.

Grieg: Piano Concerto; Schumann: Piano Concerto

Average customer rating:

Grieg: Piano Concerto; Schumann: Piano Concerto

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

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music
ASIN: B00005YNP1
Release Date: 2002-02-05

Tracks:

Piano Concerto In A Minor, Op.54: Allegro Affettuoso
Piano Concerto In A Minor, Op.54: Intermezzo: Andantino Grazioso
Piano Concerto In A Minor, Op.54: Allegro Vivace
Symphonic Variations For Piano & Orchestra
Piano Concerto In A Minor, Op.16: Allegro Molto Moderato
Piano Concerto In A Minor, Op.16: Adagio
Piano Concerto In A Minor, Op.16: Allegro Moderato Molto E Marcato

Average customer rating:

Relaxed, genial Grieg from Barbirolli
Essential Grieg and at bargain price

Grieg, Schumann and Franck

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music

Tracks:

Peer Gynt: Incidental Music: Ov - Sheila Armstrong/Patricia Clark
Peer Gynt: Incidental Music: Wedding March (orch.Halvorsen) - Sheila Armstrong/Patricia Clark
Peer Gynt: Incidental Music: Ingrid's Lament - Sheila Armstrong/Patricia Clark
Peer Gynt: Incidental Music: In the Hall of the Mountain King - Sheila Armstrong/Patricia Clark
Peer Gynt: Incidental Music: Dance of the Mountain King's Daughter - Sheila Armstrong/Patricia Clark
Peer Gynt: Incidental Music: Death of Ase - Sheila Armstrong/Patricia Clark
Peer Gynt: Incidental Music: Morning - Sheila Armstrong/Patricia Clark
Peer Gynt: Incidental Music: Arabian Dance (b) - Sheila Armstrong/Patricia Clark
Peer Gynt: Incidental Music: Anitra's Dance - Sheila Armstrong/Patricia Clark
Peer Gynt: Incidental Music: Solveig's Song (a) - Sheila Armstrong/Patricia Clark
Peer Gynt: Incidental Music: Return of Peer Gynt - Sheila Armstrong/Patricia Clark
Peer Gynt: Incidental Music: Solveig's Lullaby (a) - Sheila Armstrong/Patricia Clark
Lyric Suite, Op.54: Shepherd Boy - Sheila Armstrong/Patricia Clark
Lyric Suite, Op.54: Norwegian Rustic Dance - Sheila Armstrong/Patricia Clark
Lyric Suite, Op.54: Nocturne - Sheila Armstrong/Patricia Clark
Lyric Suite, Op.54: March of the Dwarfs - Sheila Armstrong/Patricia Clark

Tracks:

Pno Con in a, Op.16: Allegro molto moderato - John Ogdon
Pno Con in a, Op.16: Adagio - John Ogdon
Pno Con in a, Op.16: Allegro moderato molto e marcato - John Ogdon
Pno Con in a, Op.54: Allegro affettuoso - John Ogdon
Pno Con in a, Op.54: Intermezzo (Andantino grazioso) - John Ogdon
Pno Con in a, Op.54: Allegro vivace - John Ogdon
Variations sym(s) - John Ogdon

Customer Reviews:

Relaxed, genial Grieg from Barbirolli.......2006-02-20

The English now dote on Sir John Barbirolli, albeit for decades he languished in the shadow of Beecham. I suspect that these Grieg recordings from 1969-72 first came out on Pye, the secondary label that Barbirolli and the Halle Orch. regularly rcorded on, given that EMI already had a classic Peer Gynt from Beecham (now in the Great Recordings of the Century series, while this Barbirolli version sells at super-bargain on Seraphim). His Peer Gynt is relaxed and lyrical, no match for the high-powered version from Karajan, but if you think this music should sing in a softer, more modest voice, his account is fine.

CD 2 is devoted to the pianist John Ogdon, a bear of a man tormented by mental illness. You'd never know it from his light, carefree readings of the Grieg and Schumann concertos, both accompanied by Barbirolli with a noticeable absence of drama and contrast. I found that I liked their understated way with these over-familiar works very much, and at pennies on the dollar, this two-fer is highly recommendable.

Essential Grieg and at bargain price.......2000-02-18

Sir John Barbirolli was always considered a strong proponent of Grieg. The first disc in this two disc set feaures a marvelous 1969 performance from the Halle Orchestra of music from Grieg's incidental music to the Ibsen play "Peer Gynt", and not just the eight pieces which make up the two popular suites but also some essential additional selections. First and foremost "Solveig's Song" and "Lullaby" both beautifully sung by soprano Sheila Armstrong. Also the addition of the chorus to "In the Hall of the Mountain King" adds even more power to this already exciting moment from the music. The remainder of the first disc contains the orchestrated versions of four movements from Grieg's Lyric Pieces, op. 54, originally written for piano. The Nocturne is a truly beautiful piece.

The second disc, which at this price is like an added bonus, includes a generous program (76 minutes) of music for piano and orchestra: the usual coupling of the Grieg and Schumann piano concertos plus the wonderful Symphonic Variations by Cesar Frank. The performances by John Ogdon (piano) with the New Philharmonia Orchestra conducted by Berglund are all very good. The Adagio movement from the Grieg gets a wonderfully sensitive reading from Ogdon.

Tracks:

Piano con In a, Op.54: I. Allegro affettuoso-Andante espressivo-Allegro (Tempo I)-Piu animato-...
Piano con In a, Op.54: II. Intermezzo: Andantino grazioso-
Piano con In a, Op.54: III. Allegro vivace
Variations Syms in f#
Piano con In a, Op.16: I. Allegro molto moderato
Piano con In a, Op.16: II. Adagio
Piano con In a, Op.16: III. Allegro moderato molto e marcato

Customer Reviews:

Gieseking/Karajan ensemble.......2002-06-27

These accounts have mainly historical value. Gieseking/Karajan ensemble is interesting enough itself. Schumann's concert performance is strictly classic by form with minimal romantic sense inside. Compare to famous Lipatti/Karajan account (now again available on EMI at GROC series) this one is too cold and formal. Main feature of it is aestethics.
Grieg's concert playing is ordinary and out of interst for me.

Average customer rating:

Shura Cherkassky in his old age

Shura Cherkassky: 1909-1995

Manufacturer: Nimbus Records
ProductGroup: Music
Binding: Audio CD

Mazurkas | Ballets & Dances | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Fugues | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

Scherzo | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical | Box Sets | Stores | Music

Tracks:

Vars On 'La, Ci Darem La Mano,' Op.2: Intro. Largo
Vars On 'La, Ci Darem La Mano,' Op.2: Tema. Allegretto
Vars On 'La, Ci Darem La Mano,' Op.2: Var I. Brillante
Vars On 'La, Ci Darem La Mano,' Op.2: Var II. Veloce, Ma Accuratamente
Vars On 'La, Ci Darem La Mano,' Op.2: Var III Sempre Sostenuto
Vars On 'La, Ci Darem La Mano,' Op.2: Var IV. Con Bravura
Vars On 'La, Ci Darem La Mano,' Op.2: Var V. Adagio
Vars On 'La, Ci Darem La Mano,' Op.2: Alla Polacca
Etudes Symphoniques, Op.13
Vars On A Theme Of Paganini, Op.35: Book 1
Vars On A Theme Of Paganini, Op.35: Book 2
Kaleidoscope, Op.40
Three Chinese Pieces: Rush Hour In Hong Kong

Tracks:

Partita in d: Chaconne
Son, Op.1
Funerailles Harmonies Poetiques Et Religeuses No.7
Son in E flat, Op.27, No.1 'Quasi Una Fant': Andante-Allegro
Son in E flat, Op.27, No.1 'Quasi Una Fant': Allegro Molto E Vivace
Son in E flat, Op.27, No.1 'Quasi Una Fant': Adagio Con Espressione
Son in E flat, Op.27, No.1 'Quasi Una Fant': Allegro Vivace

Tracks:

Impromptu No.2 in E flat, Op.90
Impromptu No.3 in G flat, Op.90
Kreisleriana, Op.16: 1. Ausserst Bewegt
Kreisleriana, Op.16: 2. Sehr Innig Und Nicht Zu Rasch
Intermezzo I: Sehr Lebhaft
Intermezzo II: Etwas Bewegter
Intermezzo II: 3. Sehr Aufgeregt
Intermezzo II: 4. Sehr Langsam
Intermezzo II: 5. Sehr Lebhaft
Intermezzo II: 6. Sehr Langsam
Intermezzo II: 7. Sehr Rasch
Intermezzo II: 8. Schnell Und Spielend
Scherzo in b, Op.20
Wine, Women And Song

Tracks:

Son in b, Op.58: I. Allegro Maestoso
Son in b, Op.58: II. Scherzo-Molto Vivace
Son in b, Op.58: III. Largo
Son in b, Op.58: IV. Finale-Presto Non Tanto
Mazurka in b, Op.33, No.4
Nocturne in D flat, Op.27, No.2
Mazurka in c#, Op.63, No.3
Nocturne in E, Op.62, No.2
Nocturne in e, Op.72
Andante Spianato & Grand Polonaise in E flat, Op.22

Tracks:

Son in b
Trois Movts De Petrouchka: I. Danse Russe
Trois Movts De Petrouchka: II. Chez Petrouchka
Trois Movts De Petrouchka: III. La Semaine Grasse
Hungarian Rhap No.2

Tracks:

Prld, Chor Et Fugue: Prld. Moderato
Prld, Chor Et Fugue: Chor. Poco Piu Lento
Prld, Chor Et Fugue: Fugue. Tempo I
Son in e, Op.7: I. Allegro Moderato
Son in e, Op.7: II. Andante Molto
Son in e, Op.7: III. Alla Menuetto, Ma Poco Piu Lento
Son in e, Op.7: IV. Finale: Molto Allegro
Quatre Etudes De Rythme-Ile De Feu I And II: Ile De Feu-I. Presque Vif
Quatre Etudes De Rythme-Ile De Feu I And II: Ile De Feu-II. Vif Et Freoce
Vars On A Theme Of Corelli, Op.42: Theme. Andante
Vars On A Theme Of Corelli, Op.42: Var I. Poco Piu Mosso
Vars On A Theme Of Corelli, Op.42: Var II. L'istesso Tempo
Vars On A Theme Of Corelli, Op.42: Var III. Tempo Di Menuetto
Vars On A Theme Of Corelli, Op.42: Var IV. Andante
Vars On A Theme Of Corelli, Op.42: Var V. Allegro (Ma Non Tanto)
Vars On A Theme Of Corelli, Op.42: Var VI. L'istesso Tempo
Vars On A Theme Of Corelli, Op.42: Var VII. Vivace
Vars On A Theme Of Corelli, Op.42: Var VIII. Adagio Misterioso
Vars On A Theme Of Corelli, Op.42: Var IX. Un Poco Piu Mosso
Vars On A Theme Of Corelli, Op.42: Var X. Allegro Scherzando
Vars On A Theme Of Corelli, Op.42: Var XI. Allegro Vivace
Vars On A Theme Of Corelli, Op.42: Var XII. L'istesso Tempo
Vars On A Theme Of Corelli, Op.42: Var XIII. Agitato
Vars On A Theme Of Corelli, Op.42: Intermezzo
Vars On A Theme Of Corelli, Op.42: Var XIV. Andante (Come Prima)
Vars On A Theme Of Corelli, Op.42: Var XV. L'istesso Tempo
Vars On A Theme Of Corelli, Op.42: Var XVI. Allegro Vivace
Vars On A Theme Of Corelli, Op.42: Var XVII. Meno Mosso
Vars On A Theme Of Corelli, Op.42: Var XVIII. Allegro Con Brio
Vars On A Theme Of Corelli, Op.42: Var XIX. Piu Mosso. Agitato
Vars On A Theme Of Corelli, Op.42: Var XX. Piu Mosso
Vars On A Theme Of Corelli, Op.42: Coda. Andante

Tracks:

Pictures At An Exhibition: Promenade
Pictures At An Exhibition: Gnomus
Pictures At An Exhibition: Promenade
Pictures At An Exhibition: Il Vecchio Castello
Pictures At An Exhibition: Promenade
Pictures At An Exhibition: Tuileries
Pictures At An Exhibition: Bydlo
Pictures At An Exhibition: Promenade
Pictures At An Exhibition: Ballet Of Chicks In Their Shells
Pictures At An Exhibition: Two Polish Jews, Rich And Poor
Pictures At An Exhibition: Promenade
Pictures At An Exhibition: Limoges, The Market-Place
Pictures At An Exhibition: Catacombae: Sepulcrum Romanum
Pictures At An Exhibition: The Hut On Fowl's Legs
Pictures At An Exhibition: The Great Gate Of Kiev
Son in A, Op.120: Allegro Moderato
Son in A, Op.120: Andante
Son in A, Op.120: Allegro
Touches: I. Chor. Andante A Piacere, Molto Rubato (With A Blues Feel)
Touches:II. Var 1. Vivace
Touches: III. Var 2. L'istesso Tempo
Touches: IV. Var 3. Piu Mosso
Touches: V. Var 4. Molto Moderato
Touches: VI. Var 5. Larghetto
Touches: VII. Var 6. Andante Moderato
Touches: VIII. Var 7. Allegro Molto
Touches: IX. Var 8. Vivace Come II
Touches: X. Coda. Largo
Con Paraphrase On Tchaikovsky's Eugene Onegin, Op.81

Customer Reviews:

Shura Cherkassky in his old age.......2000-07-12

Nimbus has done all fans of this legendary pianist quite a service by releasing these recordings on a bargain package. Needless to say, as in all Nimbus recordings, the sound is very well proportioned and it is pure delight to sense such intimacy as recorded here by Shura. To all those who know his playing, there are some surprises and also some dissapointments in this set. Most memorable are surprisingly those works which require a higher degree of instrospection such as the Shumann Kreisleriana and the Rachmaninov Corelli Variations, unfortunately we must keep in mind that these recordings were made towards the end of his life and highly-virtuosic works such as the Bach-Busoni Chaconne and the Pabst Eugene Onegin Paraphrase come through only after some obvious struggle - yet, there are some extraordinary moments which should cause envy on most younger performers. But all throughout, these recordings show Cherkassky as the master he was in his old age: reminiscent of piano-playing where the performer played as an extension of the keyboard and the composer - and that ever present sense of discovery found in his performances. This is always an ideal combination for great music making.

Grieg, Schumann: Piano Concertos; Franck: Symphonic Variations

Average customer rating:

Grieg, Schumann: Piano Concertos; Franck: Symphonic Variations

Manufacturer: Avid
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
ASIN: B0000267I8
Release Date: 1997-01-01

Tracks:

Concerto For Piano And Orchestra In A Minor, Op.16: 1st Movement: Allegro molto moderato - Benno Moiseiwitsch
Concerto For Piano And Orchestra In A Minor, Op.16: 2nd Movement: Adagio - Benno Moiseiwitsch
Concerto For Piano And Orchestra In A Minor, Op.16: 3rd Movement: Allegro moderato molto e marcato - Benno Moiseiwitsch
Concerto For Piano And Orchestra In A Minor, Op.54: 1st Mvoement: Allegro affettuoso - Myra Hess
Concerto For Piano And Orchestra In A Minor, Op.54: 2nd Movement: Intermezzo (Andante grazioso) - Myra Hess
Concerto For Piano And Orchestra In A Minor, Op.54: 3rd Movement: Allegro vivace - Myra Hess
Symphonic Variations For Piano And Orchestra - Myra Hess