Tableau

On this CD:

1. Three Metis Songs of Saskatchewan for voice & orchestra, Complete - Nos 1-3
Composed by Malcolm Forsyth
Performed by CBC Vancouver Orchestra with Judith Forst
Conducted by Mario Bernardi

2. Folk Songs of Eastern Canada for voice & orchestra
Composed by Godfrey Ridout
Performed by CBC Vancouver Orchestra with Judith Forst
Conducted by Mario Bernardi

3. Tableau for string orchestra
Composed by Harry Freedman
Performed by CBC Vancouver Orchestra
Conducted by Mario Bernardi

4. Canada Mosaic, suite for orchestra Introduction and Three Folk Songs
Composed by Jean Coulthard
Performed by CBC Vancouver Orchestra
Conducted by Mario Bernardi

5. Plateaus, for orchestra "Cariboo Country Tone Poem"
Composed by Phil Nimmons
Performed by CBC Vancouver Orchestra
Conducted by Mario Bernardi

Tracks:

Vocalise, Op. 34, No. 14
Piano Concerto No. 2 In C Minor, Op. 18: III. Allegro scherzando
Rhapsody On A Theme Of Paganini, Op. 43: 18th Variation
Symphony No. 2 In E Minor, Op. 27: III. Adagio
Prelude In G Minor, Op. 23, No. 5
Prelude In G-Sharp Minor, Op. 32, No. 12
Prelude in C-sharp minor, Op. 3, No. 2
Cello Sonata In G Minor, Op. 19: II. Allegro scherzando
Etude-tableau In D Major, Op. 39, No. 9
Six Pieces, Op. 11: Scherzo
Six Pieces, Op. 11: Slava
Symphonic Dances, Op. 45: III. Lento assai

Customer Reviews:

Yes.......2003-04-03

This is a marvelous collection. There were a few pieces I wish that it would include, such as the rest of his Piano Concerto No.2, or perhaps The Rock, but the fact that the performances are generally great and the recording quality is near-perfect makes up for that.

I would recommend this to anyone who is just starting to become interested in the works of Sergei Rachmaninov.

A decent introduction to the music of Rachmaninoff.......2001-08-12

Sergi Rachmaninoff was the last of the great Romantic composers, especially since the Romantic period had ended for European artists when he was at his height. Although a composer and a conductor, Rachmaninoff was also a virtuoso pianist, which explains why his best compositions feature the piano, either in solo work or with an orchestra. His "Prelude in C-Sharp Minor," which he wrote when he was 20, made him famous throughout the world. This collection also includes several other preludes, "Vocalise," and the famous 18th Variation (Andnate cantible) from Rhapsody on a Theme of Paganini. My only serious complaint about this collection as an introduction to Rachmaninoff is that it only has one movement from his Second Piano Concerto and I have other CDs that include the entire work, which I thing is a good idea.

Great Collection of "Hits".......2000-06-22

This is actually not a bad collection of Greatest Hits. Usually the problem with collections like these is that they have bad recordings and not very good performances but some of these ones are actually okay, and it features performances by Yo-Yo Ma and Emanuel Ax among others. In general these are the works of art you think of when you think of Rachmaninoff and so these pieces are a perfect representation of his style.

One of the best CD I own.......1999-12-30

This is one of the best I own. The music is so great, hard to explain...so moving, especially the first track. It reminds me of Russia a lot. I listen to it everyday while driving to work. I highly recommend it.

Average customer rating:

Anna Netrebko: Opera Arias
First DGG album--very promising
Remarkable!
Beautiful voice, beautiful girl
Fresh soprano blood

Anna Netrebko: Opera Arias
Anna Netrebko , Elina Garanca , Gianandrea Noseda , Wiener Philharmoniker , and Hector Berlioz
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Sempre Libera
Russian Album
Violetta: Arias and Duets from Verdi's La Traviata [Includes DVD]
Anna Netrebko - The Woman, The Voice
Verdi - La Traviata

ASIN: B00008MLSH
Release Date: 2003-09-09

Tracks:

Idomeneo: Recitativo ed Aria "Quando avran fine omai" - Mozart
Don Giovanni: Recitativo accompagnato e Rondo "Crudele!" - Mozart
Benvenuto Cellini: Cavatine "Entre l'amour et le devoir" - Berlioz
La Sonnambula: Recitativo e Cavatina "Care compagne, et voi, ternei amici" - Bellini
Manon: Air du Cours-la-Reine "Suis-je gentille ainsi?" - Massenet
Lucia di Lammermoor: Scena e Cavatina "Ancor non giunse!" - Donizet
Faust: Ricitatif "Les grands seigneurs ont seuls des airs..." - Gounod
Rusalka: "Mesicku na nebli hlubokem" - Dvorak
La Boheme: "Quando me'n vo' (Musette's Waltz)" - Puccini

Amazon.com

Here, a year after her sensational Metropolitan debut as Prokofiev's Natasha from War and Peace, comes the debut solo recital album of 30-something soprano Anna Netrebko. She hails from southern Russia, and her emergence from the life of a conservatory student has a touch of the Cinderella tale—the bit, that is, about being discovered by Gergiev mopping floors for the Kirov as a part-time job and making her way into the Kirov's ranks. Later she became a favorite at San Francisco Opera, trying on for size a swath of comic and dramatic roles. Opera Arias parades Netrebko's way through a spectrum of vocal styles and characters. This mesmerizing lyric soprano engages--at times thrillingly grips--the listener with an imagination far greater than the disc's title (couldn't someone have dreamt up a less ridiculously bland handle?), but most significantly leaves an impression that the enterprise here isn't merely about singing. Netrebko's Ilia and Donna Anna are flesh-and-blood characters in real situations, as Mozart wanted them to be. The results are a bit more uneven with her bel canto heroines, where the required balance between Netrebko's emotional identification, so obviously a forte, and the musical phrasing thereof is a delicate one. Her shading of Lucia's mood swings, vocal and emotional, isn't consistently compelling. On the other hand, Netrebko uncovers gemlike facets not just in Gounod's "Jewel Song" but particularly in her stunning, passionately realized and beautifully phrased Manon (even if her trills disappoint). A shame that samples of her Russian repertory are missing here, though Netrebko's "Song to the Moon" from Dvorak's Rusalka concentrates and sets a mood with enviable mastery. Netrebko's musical intelligence and theatrical savvy seem destined to ensure her a magnificent career, so it's no surprise that many fans are already clamoring for more than the tease of an aria collection. --Thomas May

Customer Reviews:

Anna Netrebko: Opera Arias.......2007-03-29

Her voice takes my breath away, I fell in love with her.
I highly reccomend it.

First DGG album--very promising.......2007-02-01

Anna Netrebko has rapidly become a first tier star in opera. This album, her first at DGG, illustrates why some rate her so highly; it also illustrates some of the questions that some have raised about her. All in all, though, a very nice CD.

A few selections illustrate:

Mozart, Idomeneo, "Quando avran fine omai." She displays a rich and clean voice. There is a very attractive quality to her voice manifest in this work.

Mozart, Don Giovanni, "Crudele? Ah no, mio bene!...Non mi dir." This is Donna Anna's poignant aria, given her circumstances. Netrebko displays rich tones. This is a well sung cut. "Non mi dir" shows off some agility in her voice.

Donizetti, Lucia di Lammermoor. "Ancor non giunse!. . .Regnava nel silenzio. . .Quando rapito in estasi" Something of a disappointment. Coloratura is not her forte (and see her "Sempre Libera" CD for further confirmation). She clearly shows off a rich and lush voice. I think that she displays some characterization here that is compelling. She hits high notes cleanly. But her ornamentation is indifferent, and she appears unable to trill. I know, some say that that is irrelevant. But compare Beverly Sills' version of this work, with almost too many trills extraordinarily well sung and her florid technique, and this version simply pales.

Bellini, La Sonnambula. "Care compagna. . .Come per me sereno." Again, Netrebko displays a rich voice. She displays an agile voice and the ability to hit the high notes. Her rendition of "come per sereno" is spirited.

Gounod, Faust. "The Jewel Song." Very smooth singing; animated singing. But the technique does not measure up to Anna Moffo's version--let alone Joan Sutherland's.

Puccini, La Boheme. "Musetta's Waltz." Yikes! What a version. Brava Netrebko. Her darker voice is very well suited to this. The characterization of Musetta seems on the mark. A wonderful cut.

All in all, this shows the promise of Netrebko. It also indicates where her strengths are and where she does not do so well (coloratura work). However, this is a very nice introduction to her work and her art.

Remarkable!.......2006-11-02

Perhaps her voice is not as candid as some other sopranos, but her rendition of the score and interpretative expression make her and exquisite hearing pleasure. This recording shows a more matured artist capable of capturing the role dynamics and emotions.

Yes, her voice is not as lyric as you might expect, and some roles may sound a little big heavy (sometimes maybe bordering verismo), but definitively at stated before hearing her is a gloriuos pleasure, almost as good as looking at her.

Beautiful voice, beautiful girl.......2005-11-22

When I heard Anna Netrebko singing Quando Men Vo I was stunned by a voice of stunning purity, great power and sheer beauty. The best Musetta I've heard! Her Song to the moon is stunning and I love her Bel Canto! Anna Netrebko has a very bright future ahead of her. Her Mozart is top class!

Fresh soprano blood.......2005-09-07

Any budding soprano that doesn't choose the usual warhorses, and opens her debut album with an aria from Mozart's Idomeneo, and turns it into a tour de force, sparkling performance, is worth all the hype. And the best is yet to come- the second track, Non mir dir from Don Giovanni is even better. Not technically, far from it: the way she fudges that trill at the end is astounding, but this Anna is so alive, so achingly beautiful, that it remains one of my favourites among the many versions I have heard over the years. Netrebko has performed Donna Anna on stage - to a great acclaim- and that shows here.
The rest of the album offers energetic Berlioz, great bits of Lucia - a wonderful mezzo Elina Garanca joins Netrebko on this one- and La sonnambula sung in a way that makes Dionizetti and Bellini palatable for me... The runs are little messy sometimes, but give Netrebko the vocal challenges, the idiotic libretti and a sleeping gown and she can act the hell out of it, even in a studio recording. The spunky Manon makes her mark in the gavotte, the Faust is charming- and devoid of many written trills and such, but it's good clean fun and she is putting some life into that chirpy classic.
And then, the kinky Rusalka, lovely, strong and devoid of any of that cheese and swooning nonsense that many other singers have splattered on it. I love this opera and Mesicku aria is one of my big favourites, and I have heard countless renditions of it, from a near perfect Benackova to a very cool Karita Mattila to a horrible, slurring and scooping, bottom of the lake Fleming, and Netrebko really gets it right for me. When I was a kid reading all the stories about rusalki, this is how I imagined them- sad, erotic, and with some character. I can understand her Czech too, how often that happens! I guess only someone from our Slavic language pool would understand how well she controls that super rounded Russian oh's from overtaking what she is singing, and even though her diction is funny business overall, the voice more than makes up for it.
The closing Musetta's Waltz is just about perfect- once again, not too much, not too little, would make me see the tired old Boheme if it played around here and she was in it... Netrebko has some work to do on varying the colors of her lovely, dark voice, and kicking up the diction, but she is shaping to be major economic force in the opera world and from this debut CD it is clear why- the looks are backed by a high wattage talent, acting skills and plain good taste.

Average customer rating:

An Amazing Live Recital
Fabulous
A masterpiece!
Best of numerous Perahia's disks

The Aldeburgh Recital

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Etudes | Forms & Genres | Classical | Styles | Music

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Songs Without Words
Murray Perahia Plays Franck & Liszt
Handel/Scarlatti: Murray Perahia Plays Handel & Scarlatti
Schubert: Piano Sonatas, D958, 959, 960
Chopin Etudes

ASIN: B00000279L
Release Date: 1991-01-18

Tracks:

32 Variations For Piano In C Minor, WoO 80: Allegretto
Carnival Jest From Vienna, Op. 26: I - Allegro. Sehr lebhaft
Carnival Jest From Vienna, Op. 26: II - Romanze. Ziemlich langsam
Carnival Jest From Vienna, Op. 26: III - Scherzino
Carnival Jest From Vienna, Op. 26: IV - Intermezzo. Mit grosster Energie
Carnival Jest From Vienna, Op. 26: V - Finale. Hochst lebhaft
Hungarian Rhapsodie No. 12: Introduction. Mesto - Adagio - Allegro zingarese - Allgretto gioioso - Stretta. Vivace
Consolation No. 3 In D Flat Major: Lento placido
Etudes-Tableaux: Op. 33 No. 2 in C Major
Etudes-Tableaux: Op. 39 No. 5 in E-flat Minor
Etudes-Tableaux: Op. 39 No. 6 in A Minor
Etudes-Tableaux: Op. 39 No. 9 in D Major

Customer Reviews:

An Amazing Live Recital.......2005-05-25

This is one of the most incredible live performances I've ever heard, plain and simple. The Beethoven variations are crisp and propulsive, an excellent opener to the program. Schumann's Carnival Jest is not my favorite piece, but Perahia performs it flawlessly.

The Hungarian Rhapsody No. 12 is the highlight of the disc - this is a work of staggering technical difficulty, and I'll be damned if I can find a single mistake. Perahia handles the crashing fortissimos and quiet delicacies with equal aplomb, and his wide trills (a favorite of Liszt) are perfect. This is one of the few pieces which still reliably gives me shivers.

The Consolation acts as a nice let-down from the bravura of the Rhapsody - it's like a Chopin nocturne, but with a little more sugar and a little less melodic inventiveness. As for the Rachmaninoff Etudes-Tableaux, they are played marvelously. No. 2 in C is spooky in its cross-rhythms and modal ambiguity, and Perahia's performance of No. 5 in E-flat minor, probably the most musically profound of them all, is my favorite on record.

Overall, an excellent CD well worth buying.

Fabulous.......2003-02-26

This is a terrific recital. It is virtually flawless technically and musically it lives up to Perahia's well earned reputation a great musician first. So I second the sentiments of the previous reviewers. I would recommend folks to seek out the video recording also made in the Maltings, Snape - home of the Aldburgh Festival and longtime residence of Benjamin Britten and Peter Pears. Its is a object lesson in how economically the greatest pianists play.

A masterpiece!.......2000-04-24

I fully agree with the music fan from Minneapolis, this CD is certainly one of the best recorded by Perrahia and for many reasons: the variety of the program in this life concert, some unequivalent interpretation of Liszt, actually with Brendel or Zimerman. The R.Shumann Carnival inimitable, and the interpretation talent shown in Etudes Tableaux of Rachmaninov have nothing to envy the others like Horowitz or Ashkenazy. The Listz rapsody: amazing! fan of Horowitz, Cziffra: listen this version, we may only regret that Murray did not record yet the Complete Rapsodies....The Consolation in D major is a regal when you have a pianist of a delicate touch. For the Beethoven Variations i have nothing to add to our other customer rewiewer... I have more than a dozen of CD with Perrahia and this one is presently my favourite. The sound is excellent, concert was recorded in 1989 and in DDD.

Best of numerous Perahia's disks.......1999-02-21

I think this is the best recording of numerous Perahia's disks. As it's a live recording, we can listen to how he plays in front of live audiences. His performance here is much more lively and spontaneous than his studio recordings. In particular, his performance of Beethoven's "32 variations" is the best performance recorded so far.

Average customer rating:

Breathtaking!
A Unique Millennium Event
Glenn Gould on Acid.
A first - rate pianist!
Lots of flash....Too much, in fact

Pletnev Live at Carnegie Hall

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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Grieg: Lyric Pieces; Sonata; 7 Fugues

ASIN: B000056PRG
Release Date: 2001-01-30

Tracks:

Partita No.2, BWV 1004: Chaconne in d
Pno Son No.32 in c, Op.111: 1. Maestoso - Allegro Con Brio Ed Appassionato
Pno Son No.32 in c, Op.111: 2. Arietta. Adagio Molto Semplice E Cantabile
Scherzo No.1 in b, Op.20
Scherzo No.2 in b-flat, Op.31
Scherzo No.3 in c#, Op.39
Scherzo No.4 in E, Op.54

Tracks:

Etude-Tableau in e-flat, Op.39 No.5: Appassionato
Poeme in F#, Op.32 No.1: Andante Cantabile
Son in d, K.9: Allegro Moderato
Etude De Virtuosite in F, Op.72 No.6: Presto
Islamey: Oriental Fant: Presto Con Fuoco

Amazon.com's Best of 2001

The 44-year-old Russian pianist-conductor Mikhail Pletnev made a belated Carnegie Hall debut as a pianist in November 2000. Listening to that recital on this CD confirms the wisdom of the pianist's decision to resign as music director of the Russian National Orchestra. In the Bach-Busoni "Chaconne," Pletnev's crescendos wash over the listener like tidal waves; the mighty edifice of the music seems to rise, mysteriously and inexorably, on its own. The angry surges in the first movement of Beethoven's Sonata, opus 111, are perhaps overdrawn. But the concluding movement's variations glide by as if in a dream, suggesting the transformation of the earlier movement's passionate anger into a vision of Paradise beyond the power of words to describe. In Chopin's Four Scherzos, Pletnev emphasizes too many details and inhibits the music's lyrical sweep. But the charm and dazzling pyrotechnics of his encores help make this the first great piano recording of the millennium. After Rachmaninov, Scriabin, Scarlatti, and Moszkowski, Pletnev's fifth and final encore was Balakirev's transcendentally difficult Islamey. The superhuman virtuosity, sonorous splendor, and Technicolor exoticism of this performance will knock your socks off--and the rest of your clothes as well! --Stephen Wigler

Customer Reviews:

Breathtaking!.......2007-07-06

This is an amazing performance, especially as it was recorded live and not reworked in a studio. Pletnev is one of this generation's greatest pianists. He manages to find nuances in the music that make these works fresh, particularly the four Chopin Scherzi that are part of every concert pianist's repertoire. The bonus CD is especially fine as it shows how Pletnev is capable of playing just about any style of music. As if the rest of the program wasn't virtuosic enough, Pletnev caps off the concert with the fiendishly difficult Islamey as one of his encores.

A Unique Millennium Event.......2007-05-09

Having written extensively on Mr Pletnev's hyper-idiosyncratic playing in his 1997 Chopin Recital, it is interesting to turn to his 2000 live Carnegie Hall Recital--where the main programmed attractions are the four Chopin Scherzos. You will not find a better recording of the Scherzos as a group--even if Argerich surpasses Pletnev in terms of ferocious drive and sheer brilliance in Nos 2 & 3. Pletnev's Scherzo No 4 is the best yet to have appeared on disc--`perfect' in the sense that music virtually comes to life as a free-standing organism. Never before has Chopin's genial writing in this work been conveyed with such impeccable mastery.

As one can expect, all the large-scale bombast in the Bach-Busoni Chaconne is delivered with high-voltage pianism in the Grand Manner. By sharp contrast, the second movement in Beethoven's last Sonata is given its probably dreamiest account ever--which evidently reveals Beethoven as one of the main initiators of the romantic era. As far as the encores go, generously provided by DG on the supplementary disc, they are delivered with such panache and masterfulness that you are unlikely to find them bettered--irrespective of where you look. The Balakirev Islamey really has to be heard to be believed--other great modern versions by Gavrilov and Berezovsky pale by comparison.

This extraordinary live recital more than anything confirms Pletnev's position as one of the truly greatest living pianists. The only drawback is that the CD makes you envy those lucky souls who had the opportunity of being there on site. Luckily enough, DG's recording is a worthy second best.

Glenn Gould on Acid. .......2006-12-16

My whole review is in the title.

--E. R. O'Neill

A first - rate pianist!.......2006-07-13

The sumptuous and refined style of Michael Plentev confirms the accurate security Sviatoslav Richter kept in mind at the moment he accepted to become his musical mentor. The time, the supreme judge and the great audiences around the world have fortunately verified this initial statement.

Plentev is without discussion, one of the major pianists in the actual musical stages. His prodigious technique has worked out under expression' s service, and the result is absolutely gratifying. He has captured the essential musical roots around the whole pianist repertoire, and being such young artist we eventually will have to wait for future major achievements.

When you listen him, you should realize his outcome precedes form that inner vision conferred by the touch of genius.

Lots of flash....Too much, in fact.......2004-08-18

To say that Pletnev reminds me of the flamboyant pianists of the past would be a slight to the flamboyant pianists of the past. Even though they were not being kosher to the score, there was something about them that held interest. Pletnev often doesn't even do that. These are very superficial, shallow performances.

Things start off very encouraging, with a stupendous Bach-Busoni Chaconne. At this point I was ready to give the album five stars. Pletnev thunders, he turns his piano into an organ, he turns in one intense reading. Ah, I thought, we are going to be in for a treat.

But that's the high point. His next work is very different and calls for a very different approach, and he treats it largely the same. He adds his own razzle-dazzle to Beethoven's Op. 111 rather than take the trouble to find the depth *in* the music itself. Now, I'm not a pedant (at least I don't think so!) but these departures add no insights are just make a hash of Beethoven's own extremely powerful ideas. Pletnev plays piano where it is not written, freely adds sfumatos, ignores and adds accents at will, twists and turns the structure--to no advantage I can see other than to say "I'm here, pay attention to ME!" But most damningly of all, he doesn't hold the Arietta together to my ears, failing to find a common thread for the various variations that unify this enigmatic work. The second movement felt very long, and when, say, I listen to Schnabel (1933) in this music, I have no sense how much time has gone by. Lest anyone think I am too conservative, let me say that two of my favorite Op. 111s are Ernest Levy and Anatol Ugorski! The Chopin is just as bad, with too much fussiness in the ornamental details that has little to do with Chopin's piece and a lot to do with Pletnev's fingers. If you ever wondered what Chopin sounded like as played by Liszt on bipolar meds, this is it. The music's own shapes, momentums and moods are ignored so that Mikkey can plow through the notes as fast as humanly possible. (And that he can do.)

The encores don't excite me as much as they do some other reviewers. Want to hear really stunning Rachmaninoff Etudes-Tableauxes (if that's a word), listen to Sviatoslav Richter--he finds fireworks *inside* the score, not by juxtaposing his ideas over it. The reviewer below who said the better the music, the worse the performances, hit the nail right on the head. That's also how I've felt about his conducting, from what I've sampled: lots of sound and fury, signifying nothing. I'm perplexed that this was among Amazon's "Best of 2001." Maybe 2001 wasn't a good year.

Rachmaninov Plays Rachmaninov--Ampico Recordings (1919-29)

Average customer rating:

Rachmaninov plays Estonia piano
Beautiful CD
Love at First Listen
The way it should be played...
One of the best.

Rachmaninov Plays Rachmaninov--Ampico Recordings (1919-29)

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

Polkas | Ballets & Dances | Classical | Styles | Music

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ASIN: B0000041WS
Release Date: 1990-03-30

Tracks:

Cinq Morceaux de fantasie, op. 3: Elegie In E Flat Minor
Cinq Morceaux de fantasie, op. 3: Prelude In C Sharp Minor
Cinq Morceaux de fantasie, op. 3: Melodie In E Major
Cinq Morceaux de fantasie, op. 3: Polichinelle In F Sharp Minor
Cinq Morceaux de fantasie, op. 3: Serenade In B Flat Minor
Barcarolle In G Minor, Op. 10 No. 3
Humoresque in G Major, Op. 10 No. 5
Prde In G Minor, Op. 23 No. 5: Prelude In G Minor, Op. 23 No. 5
Etude-tableau In B Minor, Op. 39 No. 4
Etude-tableau In A Minor, Op. 39 No. 6
Lilacs, Op. 21 No. 5
Polka de V.R.
Hopak
Wohin?
The Flight of the Bumble Bee
The Star-Spangled Banner
Liebeslied
Liebesfreud

Customer Reviews:

Rachmaninov plays Estonia piano.......2007-05-17

This is one of two recordings featuring Rachmaninov's Ampico rolls recorded on a modern piano. This one features an Estonia concert grand circa 1976, and the other features a Bosendorfer. For pianists this is a unique opportunity to hear the same performance on two pianos. How much difference does the piano make? Does the Ampico roll really capture the soul of Rachmaninov's playing? You'll be able to decide for yourself, I would say the answer to both questions is yes. As an owner of a newer Estonia piano, and as someone who plays Rachmaninov on that piano, this recording was a fabulous find; for other pianists it might provide some insight into the love many of the great Russian pianists of the 20th century had for Estonia pianos.

Beautiful CD.......2004-11-10

I can't really weigh in on the "Is it Rachmaninov or is it Memorex?" controversy over piano rolls but I have to say that I enjoy this CD very much and find the music very beautiful. It's great to hear such virtuosity in such a clear, distinct manner. I also own the two Naxos historical recordings, and it's great to hear the "live" version of Rachmaninov, hiss and all, but it's also great to hear the "canned" version hiss-free.

Love at First Listen.......2002-01-20

No words can describe the feeling of hearing Rachmaninov play his own compositions. He was known for his piano performances as much as his writing. Even though the album is not the best quality sound or containing the best versions of his well known songs, I am relieved that he was able to be recorded in his time. The man may be gone, but his sound will live forever. The cuts in the musical score that he made, I see as Rachmaninov's own whim, his split-second decisions, or his doubts. What a wonder to see him as human... I think these recordings should be put in Earth's time capsule. Also, his rendition of "The Star Spangled Banner" is fascinating. He lends his Russian soul to it that gives new meaning to the anthem.

The way it should be played..........2001-12-19

Many people forget that Rachmaninov was a great pianist as well as a great composer... this album will serve as a reminder. This recording was made from a unique piano-roll system which provides amazing insight into his technical ability and musicality. Especially stunning are "Flight of the Bumblebee" and his own transcription of Kreisler's "Liebesfreud". A must-have for lovers of great piano music.

One of the best........2000-11-21

I'm not sure if this album is technically good, but I gotta tell ya, I love it! Definantly a must have for anyone interested in Classical Piano. Let's face it, Rach can play! So much emotion is built up in most of these works, he plays them the way they are meant to be played, pure and delicious.

The only song on here It could have done without is 'The Star Spangled Banner'. Other then that, A great album!

Highly recommended.

Berlioz: Benvenuto Cellini
Average customer rating:

complex, not complicated

Great recording of an underated masterpiece!

Excellent recording of an underperformed work

A Brilliant Achievment

Berlioz: Benvenuto Cellini
John Nelson , and Berlioz
Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B00030FJA8
Release Date: 2005-01-11

Tracks:

Ouverture
No. I. Introduction: Teresa! Mais Ou Peut-Elle Etre?
Air: Ne Regardez Jamais La Lune
No. 2. Choeur Des Masques: Enfin Il Est Sorti
No. 3a. Recit Et Romance: Les Belles Fleurs!
Romance: Ah! Que L'amour Une Fois Dans Le Coeur
Heureuse Celle A Qui Jamais L'amour
No. 4. Trio: Cellini!
O Mon Bonheur, Vous Que J'aime
Ah! Mourir, Chere Belle
No. 5. Recitatif: Ceil! Nous Sommes Perdus
No. 6. Final: A Nous, Voisines Et Servantes!
Ah, Maitre Drole!
No. 8. Scene Et Choeur: A Boire, A Boire!
Chant Des Ciseleurs: Si La Terre Aux Beaux Jours Se Couronne
Amis, Avant Qu'on Recommence
Air (Ascanio): Cette Somme T'est Due
Ecoutez, Tout A L'heure
No. 9. Recitatif: C'est Trop Fort!
No. 10. Air: Ah! Qui Pourrait Me Resister?
No. 11. Recitatif: Viens, Le Temps Passe

Tracks:

No. 12. Final: Vous Voyez, J'espere
Venez, Venez, Peuple De Rome
Ah! Ah! Bravo!
Pantomime Du Roi Midas: Voici Maitre Arlequin
Ariette D'Arlequin: Regardons Bien Maitre Arlequin
Cavatine De Pierrot: Il Plait Fort
Soyez Surpris
Viens, Pas A Pas
Assassiner Un Capucin
Ah! Cher Canon/Maudit Canon Du Fort Saint-Ange
No. 13. Entracte & Scene
Ah! Qu'est-il Devenu?
No. 14. Priere: Rosa Purpurea
No. 15. Recit: Teresa! Ma Dague En Main
No. 16. Duo: Ah! Le Ciel, Cher Epoux
Quand Des Sommets
No. 17. Recit: Ah! Maitre!
No. 18. Quintette: Ah! Je Te Trouve Enfin
No. 19. Sextuor: Le Pape Ici!
Justice A Nous, Seigneur Et Maitre!
Dieu! Sur Ma Tete En Ce Moment
Ah! Ca Demon!
No. 20. Final: Ah! Maintenant De Sa Folle Impudence

Tracks:

No. 21. Entracte
No. 22. Air: Mais, Qu'ai-je Donc?
No. 23. Recit Et Air: Seul Pour Lutter
Sur Les Monts Les Plus Sauvages
No. 24. Choeur: Bienheureux Les Matelots
No. 25. Scene: Vite, Au Travail, Sans Plus Attendre!
Quel Contretemps! Vite, Allons, Ma Rapiere!
No. 26. Choeur: Peuple Ouvrier
No. 27. Scene Et Choeur: Ah! Ciel! Il Est Mort!
No. 28. Choeur: A L'atelier!
No. 29. Recitatif: Ah! Le Calme Renait
No. 30. Scene: Teresa! Teresa Ici!
No. 31. Final: Du Metal! Il Nous Faut Du Metal!
Seigneur, Use De Ton Pouvoir
Allons! Vivat! Faites-moi Place
Entre L'amour Et Le Devoir
Quand J'aurai Votre Age
Une Heure Encore
La Gloire Etait Ma Seule Idole

Amazon.com

This recording presents--almost--Berlioz's original thoughts on this very complicated opera (which went through more than a dozen versions, with additions and subtractions, in the composer's lifetime), although conductor John Nelson also adds an aria or two Berlioz later added, making it somewhat different from the version recorded by Philips under Sir Colin Davis a little over 30 years ago. If I had to choose one of these two superb performances, it would be this: the opera's odd rhythms are more strongly underlined by Nelson, the whole work seems more lively, and the comic moments are genuinely funny. And the singing is superb, with Patrizia Ciofi a simply great, light-toned Teresa, Gregory Kunde tackling the title role and singing as impressively as Gedda did for Davis, and Joyce di Donato singing Ascanio's music as well as you'll ever hear it. The darker-voiced roles are equally well taken, with Laurent Naouri's Balducci particularly vivid. The orchestral playing, choral singing, and ensemble work and sonics are first rate. This is a superb recording, presenting Berlioz's odd masterwork brilliantly. --Robert Levine

Customer Reviews:

complex, not complicated.......2007-03-04

Hector Berlioz missed the memo on the KISS Rule (Keep It Simple, Stupid).

It's a good thing, that. Even better is the presence of conductors like the supremely attentive John Nelson, who give themselves and their formidable talents to works that might otherwise languish in abandonment, too far off the beat track for markets and beancounters to pay atttention.

Gratefully, attentiveness and attention have been lavished upon this 19th-century opera, evident not least in the 173-page booklet that accompanies the nicely boxed three disks.

This is opera made to enjoy without interruption. Take it on a long car ride.

But by all means, take it. Some beautiful wild flowers grow well-hidden off the beaten track.

Great recording of an underated masterpiece!.......2005-10-22

The subtleties and complexities of this score have worked against the performance of this opera from its very conception. As a consequence, there are several versions of this score. So it is fortunate that we now have Benvenuto Cellini more or less as Berlioz himself conceived it. I think it is a very beautiful score and only one other recording has been tried in the studio, that on Philips with Colin Davis. To him is due all credit and highest honors for his pioneering effort with this opera, Nelson is the second conductor to take on this work in the studio and does so without any apologies as this performance is stunning. There have been very mixed reviews on this recording. Gregory Kunde is just about Gedda's equal. His tone is sweet, strong, full and agile. I don't hear the strain or unpleasant tone quality that some have complained about. Joyce di Donato as Ascanio sings with glorious tone and interpretation. She makes her music greater than it might be in lesser hands. She is superior to Berbie on Davis' recording. All the other roles are very well sung and equal to their predecessors on the Davis release. On hearing the orchestration played at its intended tempo, one can understand how the singers of the premiere must have been overwhelmed by its demands. They were apparently inadequate to start with. But Berlioz's demands are surmountable as Davis convincingly proved and now Nelson proves beyond any doubt. The role of Teresa seems to be a difficult role to fill. I never much cared for Eda-Pierre in the 1st recording and although Ciofi is an improvement, I would prefer a soprano with a richer timber and steadier voice. In duets and ensembles she does hold her own rather well. The sound is excellent and this belongs on the shelf next to Colin Davis. Personal taste will dictate the order on that shelf. At least listen to it. It deserves the attention of all berlioz fans.

Excellent recording of an underperformed work.......2005-01-29

Berlioz' Benvennuto Cellini was a critical and commercial failure in its day, and even the later revision was not greated with much enthusiasm. It lay unperformed for decades, until 1972. This latest version uses the original Paris Opera version, restoring lots of great music to the revised version. This opera has wonderful orchestral music as well as great arias and marvelous choruses, and conductor John Nelson brings out the best in all his artists--particularly necessary here, as this opera requires an extremely high degree of technical expertise from singers, chorus and orchestra alike.
American tenor Gregory Kunde does a first-class job with the high and ardent title role, (although his French is not as good as Nicolai Gedda's, who recorded the role in 1972). The rest of the cast is excellent, (and being French, lend an authenticity to the performance that more than makes up for any linguistic lapses by the lead character.) My only minor complaint is that the sound mix emphasizes the orchestra a little too much at the expense of the singers--however, as this is an opera in which the orchestra is as much a partner as any of the singers, that's not too great a fault. It belongs in any opera-lovers collection.

A Brilliant Achievment.......2005-01-29

This recording is an important achievement in restoring the first edition of Hector Berlioz's Benvenuto Cellini as the composer envisioned it. Prior to this recording, the best version was by Colin Davis based upon the second version of the opera (to which Berlioz had made many cuts) and the Weimer edition (staged by Liszt that had made further cuts). The recording by Colin Davis has been my favorite of any opera for the casting and charm. The new version, conducted by John Nelson, will take its place at the side of the Davis version.

Remarkably, the original score and orchestra parts had been preserved by the Paris Opera since the first performance in 1838. What makes this new recording so special are several restorations: the original, longer overture, an aria (number 1) by Balducci in the first scene, a Romanza (number 3) by Teresa that was replaced by a Cavatina that is included as a supplementary number, a Romance composed for Cellini is also included in the appendix and several other large and small changes that adds about 30 minutes to the opera. An interesting change for me was scene 11, where Fieramosca and Pompeo plot to abduct Teresa in place of Cellini. In the Davis, version (following the Opera-Comique) this is spoken dialogue but in the new version it is sung. The Davis version (with Robert Massard) has more humor in the scene with the characterization of the bumbling Fieramosca coming off better. On the other hand, scene 25, where Fieramosca threatens Cellini works well with the music as it recalls earlier themes of Fieramosca's boasting. The Nelson version is nicely sung but the characters do not come off as quite as comic. I did miss some of the sound effects that had been included in the Davis recording, like the sound of swords in the duel between Pompeo and Cellini.

The casting is superb. Gregory Kunde is a wonderful Cellini; his voice is nicely suited to this role and he brings to the part all of the heroic character that Nicolai Gedda did. Balducci is beautifully sung by Laurent Naouri with a great feel for the comic aspects of the role, as excellent as Jules Bastin from the Davis cast. Patrizia Ciofi has a voice of great sweetness that makes her a good choice for Teresa. Joyce di Donato is a great Ascanio and Renaud Delaigue is a lofty presence as Pope Clement VII. Jean-Francois Lapointe makes a good bumbling Fieramosca, Cellini's rival for Teresa and always in the wrong place at the wrong time. The Chorus of Radio France could not be better. John Nelson guides the Orchestra of Radio France through this difficult score with assurance and great feeling for Berlioz's music. The full brilliance of Benvenuto Cellini with the composer's original intentions is now revealed. This set is a must for lovers of Berlioz.

Complete Masterworks Recordings, 1962-1973

Average customer rating:

Horowitz: good. Amazon: good. Sony Classical: BAD.
ARE YOU CRAZY RICH OR CRAZY STUPID?
merely spectacular!
I have never regretted buying this...
The greatest 20th Cent. pianist at his best!

Complete Masterworks Recordings, 1962-1973

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

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Complete Recordings on Deutsche Grammophon
Liszt: Piano Works
Chopin: The Piano Works
Martha Argerich Collection (Box) [Germany]
Horowitz Encores

ASIN: B000002909
Release Date: 1993-10-05

Tracks:

Sonata In E Major, K 531 (L430): Allegro
Sonata In A Major, K322 (L483): Allegro
Sonata In G Major K455 (L209): Allegro
Sonata No. 8 In C Minor, Op. 13 'Pathetique': I. Grave - Allegro di molto e con brio
Sonata No. 8 In C Minor, Op. 13 'Pathetique': II. Adagio cantabile
Sonata No. 8 In C Minor, Op. 13 'Pathetique': III. Rondo. Allegro
Impromptu In G-flat Major, Op. 90 (D899) No. 3: Andante
Etude in C minor, Op. 10 No. 12: Allegro con fuoco
Etude In C-sharp Minor, Op. 25 No. 7: Lento
Scherzo No. 1 In B Minor, Op. 20: Presto con fuoco
3 Preludes - From Book II: IV. Les fees sont d'exquises danseuses. Rapide et leger
3 Preludes - From Book II: V. Bruyeres. Calme
3 Preludes - From Book II: VI. General Lavine - eccentric.
Poeme In F-sharp Major, Op. 32 No. 1: Andante cantabile
Etude In C-Sharp Minor, Op. 2 No. 1: Andante
Etude In D-Sharp Minor, Op. 8 No. 12: Patetico

Tracks:

Piano Sonata No.2 In B- Flat, Op.35: I. Grave- Doppio movimento
Piano Sonata No.2 In B- Flat, Op.35: II. Scherzo
Piano Sonata No.2 In B- Flat, Op.35: III. Marche funebre. Lento
Piano Sonata No.2 In B- Flat, Op.35: IV. Finale. Presto
Etude-Tableau In C, Op.33 No.2: Allegro
Etude-Tableau In C, Op.33 No.2: Appassionato
Arabeske In C, Op.18: Leicht und zart
Kinderszenen, Op.15 - Scenes From Childhood: 1. Von fremden Landern und Menschen
KINDERSZENEN, OP.15: 2. Kuriose Geschichte
KINDERSZENEN, OP.15: 3. Hansche-Mann
KINDERSZENEN, OP.15: 4. Bittendes Kind
KINDERSZENEN, OP.15: 5. Gluckes genug
KINDERSZENEN, OP.15: 6. Wichtige Begbenheit
KINDERSZENEN, OP.15: 7. Traumerei
KINDERSZENEN, OP.15: 8. Am Kamin
KINDERSZENEN, OP.15: 9. Ritter vom Steckenpferd
KINDERSZENEN, OP.15: 10. Fast zu ernst
KINDERSZENEN, OP.15: 11. Furchtenmachen
KINDERSZENEN, OP.15: 12. Kind im Einschlummern
KINDERSZENEN, OP.15: 13. Der Dichter spricht
Toccata In C, Op.7: Allegro
Hungarian Rhapsody No.19 In D Minor: Lento patetico (Lassan)- Vivace (Friska)

Tracks:

Keyboard Sonatas: Allegro
Keyboard Sonatas: Allegro
Keyboard Sonatas: Allegro
Keyboard Sonatas: Andante moderato
Keyboard Sonatas: Allegretto
Keyboard Sonatas: Allegro
Keyboard Sonatas: Andante
Keyboard Sonatas: Andante e cantabile
Keyboard Sonatas: Allegro
Keyboard Sonatas: Allegro
Keyboard Sonatas: Andante e cantabile
Keyboard Sonatas: Allegro
Keyboard Sonatas: Allegro
Keyboard Sonatas: Andante
Keyboard Sonatas: Allegro
Keyboard Sonatas: Andante moderato
Keyboard Sonatas: Vivo
Keyboard Sonatas: Allegro

Tracks:

Toccata, Adagio And Fugue In C, BWV 564: I. Preludio, quasi improvvisando. Tempo moderato
Toccata, Adagio And Fugue In C, BWV 564: II. Intermezzo. Adagio
Toccata, Adagio And Fugue In C, BWV 564: III. Fuga. Moderamente sherzando, un poco umoristico
Fantasie In C, Op.17: I. Durchaus phantastisch und leidenschalflich vorzutragen
Fantasie In C, Op.17: II. Massig. Durchaus energisch
Fantasie In C, Op.17: III. Langsam getragen. Durchweg leise zu halten
Piano Sonata No.9, Op.68 'Black Mass': Moderato quasi andante-Molto meno vivo-Allegro-Piu vivo-Allegro...
Poeme In F-Sharp Major, Op.32 No.1: Andante cantibile

Tracks:

Mazurka In C-sharp Minor, Op. 30. No. 4: Allegretto
Etude In F major, Op. 10 No. 8: Allegro
Ballade No. 1 In G Minor, Op. 23: Largo - Moderato - Meno mosso - Presto con fuoco
Serenade For The Doll. Allegro ma non troppo
Etude In C-Sharp Minor, Op. 2 No. 1: Andante
Etude In A-Flat Major, Op. 72 No. 11: Presto e con leggierezza
Traumerei
Sonata No. 11 In A Major, K.331: I. Tema.Andante grazioso e variazioni
Sonata No. 11 In A Major, K. 331: II. Menuetto - Trio
Sonata No. 11 In A Major, K. 331: III. Rondo alla Turca
Polonaise-Fantaisie In A-Flat Major, Op. 61: Allegro maestoso

Tracks:

Mazurka In B minor, Op. 33 No. 4: Mesto
Nocturne In E Minor, Op. 72 No. 1: Andante
Piano Sonata No. 10, Op. 70: Moderato - Allegro - Puissant, radieux - Allegro - Piu vivo - Presto - Moderato
Piano Sonata In F Major, Hob. XVI: 23: I. Allegro
Piano Sonata In F Major, Hob. XVI: 23: II. Adagio
Piano Sonata In F Major, Hob. XVI: 23: III. Finale
Blumenstuck In D-Flat Major, Op. 19: Leise bewegt
L'ISLE JOYEUSE: Quasi una cadenza - Tempo.
Vallee d'Obermann: Lento assai - Piu lento - Un poco piu di moto ma sempre lento - Presto - Lento

Tracks:

Ballade No. 1 In G Minor, Op. 23: Largo - Moderato - Meno mosso - Presto con fuoco
Nocturne In F Minor, Op. 55 No. 1: Andante
Polonaise In F-Sharp Minor, Op. 44: Tempo di polacca - Doppio movimento, tempo di Mazurka - Tempo I
Sonata In E major, K 380 (L23): Andante commodo
Sonata In G major, K 55 (L335): Allegro
Arabeske In C Major, Op. 18: Leicht und zart
Etude In D-Sharp Minor, Op. 8 No. 12: Patetico
Traumerei
Variations On A Theme From Bizet's Opera 'Carmen'

Tracks:

Sonata In E-Flat Major, Op. 12 No. 2: III. Rondo
Adagio sostenuto In F Major
Sonata In B-Flat Major, Op. 25 No. 3: II. Rondo
Sonata In A Major, Op. 50 No. 1: II. Adagio
Corale Prelude 'Lch ruf zu dir, Herr Jesu Christ'
Sonata In F-Sharp Major, K 319 (L35): Allegro
Sonata In G Major, K 260 (L124): Allegro
Sonata In C Major, HOB. XVI: 48: I. Andante con espressione
Sonata In C major, Hob. XVI:48: II. Rondo
Sonata No. 28 In A Major, Op. 101: I. Allegretto ma non troppo
Sonata No. 28 In A Major, Op. 101: II. Vivace alla Marcia
Sonata No. 28 In A Major, Op. 101: III. Adagio ma non troppo, con affetto - Allegro

Tracks:

Piano Sonata No. 14 In C-Sharp Minor, Op. 27, No. 2 'Moonlight': I. Adagio sostenuto
II. Allegretto
Piano Sonata No. 14 In C-Sharp Minor, Op. 27, No. 2'Moonlight': III. Presto agitato
Piano Sonata No. 21 In C Major, Op. 53 , 'Waldstein-Sonata': I. Allegro con brio
Piano Sonata No. 21 In C Major, Op. 53 , 'Waldstein-Sonata': II. Introduzione. Adagio molto - attacca
Piano Sonata No. 21 In C Major, Op. 53 , 'Waldstein-Sonata': III. Rondo. Allegro moderato - Prestissimo
Piano Sonata No. 23 in F Minor, Op. 57, 'Appassionata': I. Allegro assai
Piano Sonata No. 23 in F Minor, Op. 57, 'Appassionata': II. Andante con moto -attacca
Piano Sonata No. 23 in F Minor, Op. 57, 'Appassionata': III. Allegro, ma non troppo - Presto

Tracks:

Mazurka in A minor, Op. 17 No. 4: Lento, ma non troppo
Etude in G-flat major, Op. 10 No. 5: Vivace
Introduction & Rondo In E-Flat Major, Op. 16: Introduzione. Andante - Rondo. Allegro vivace
Waltz in A minor, Op. 34 No. 2: Lento
Polonaise in A-flat Major, Op. 53: Maestoso
Mazurka in F-sharp minor, Op. 59 No. 3: Vivace
Mazurka in C-sharp minor, Op. 50 No. 3: Moderato
Mazurka in D-flat major, Op. 30 No. 3: Allegro non troppo
Mazurka in E minor, Op. 41 No. 2: Andantino
Mazurka in D major, Op. 33 No. 2: Vivace
Etude in C-sharp minor, Op. 10 No. 4: Presto
Etude in E major, Op. 10 No. 3: Lento, ma non troppo
Etude in C minor, Op. 10 No. 12: Allegro con fuoco
Prelidu In B Minor, Op. 28 No. 6: Lento assai

Tracks:

Posonaise in A major, Op. 40 No. 1: Allegro con brio
Prelude in D-flat major, Op. 28 No. 15: Sostenuto
Etude in E-flat minor, Op. 10 No. 6: Andante
Etude No. 2 in A-flat major from 'Trois Nouvelles Etudes': Allegretto
Mazurka In F Minor, Op. 7 No. 3
Waltz in C-sharp minor, Op. 64 No. 2: Tempo giusto
Variations On A Theme By Clara Wieck From Sonata No. 3 In F Minor,Op. 14: Andantino
Kreisleriana, Op. 16: I. Ausserst bewegt
Kreisleriana, Op. 16: II.Sehr innig
Kreisleriana, Op. 16: III. Sehr aufgeregt
Kreisleriana, Op. 16: IV. Sehr langsam
Kreisleriana, Op. 16: V. Sehr lebhaft
Kreisleriana, Op. 16: VI. Sehr langsam
Kreisleriana, Op. 16: VII. Sehr rasch
Kreisleriana, Op. 16: VIII. Schnell und spielend

Tracks:

Impromptu In A-Flat Major Op. 90 (D899) No. 4: Allegretto
Impromptu In F Minor Op. 142 (D935) No. 1: Allegro moderato
Impromptu In A-Flat Major Op. 142 (935) No. 2: Allegretto
Impromptu In E-Flat Major Op. 90 (D899) No. 2: Allegro
Consolation In E Major S. 172 (R.12) No. 2
Pour les arpeges composes: Dolce e lusingando
La terrasse des audiences du clair de lune: Lent
Etude In A Minor Op. 104b No. 3: Allegro vivace
Scherzo & March S. 177 (R.20)

Tracks:

Feuillet d'album In E-Flat Major Op. 45 No. 1: Andante piacevole
Etude In F-Sharp Minor Op. 8 No. 2: A capriccio, con forza
Etude In B-Flat Minor Op. 8 No. 11: Andante cantabile
Etude In D-Flat Major Op. 8 No. 10: Allegro
Etude In A-Flat Major Op. 8 No. 8: Lento (Tempo rubato)
Etude In F-Sharp Major Op. 42 No 3: Prestissimo
Etude In F-Sharp Major Op. 42 No. 4: Andante
Etude In C-Sharp Minor Op. 42 No. 5: Affannato
Etude Op. 65 No. 3: Molto vivace
No. 1: Allegretto
2 Poemes Op. 69: No. 2: Allegretto
Vers la flamme Op. 72: Allegro moderato
Feuillet d'album Op. 58
Fairy Tale In A Major Op. 51 No. 3
Sonata No. 2 In B-Flat Minor Op. 36: I. Allegro agitato
Sonata No. 2 In B-flat, Minor, Op. 36: II. Non allegro
Sonata No. 2 In B-Flat Minor, Op. 36: III. Allegro molto
Prelude In G-Sharp Minor Op. 32 No. 12: Allegro
Moment musical In B Minor Op. 16 No. 3: Andante cantabile
Etude-Tableau In E-Flat Minor Op. 33 No. 5: Non allegro - Presto
Etude-Tableau In C Major Op. 33 No. 2: Allegro
Etude-Tableau In D Major Op. 39 No. 9: Allegro moderato (Tempo di Marcia)

Amazon.com

It may surprise you to learn that, despite his untouchable reputation with the public, Vladimir Horowitz enjoyed a certain dubious reputation with the critics. For many, he was the epitome of the witless virtuoso, all technique and vulgar display, and no brains. There was some truth in this to the extent that he really could be variable on record, but by general consensus his Masterworks recordings show him at his absolute best. Aside from his famous Carnegie Hall concerts from 1965, you get stunning performances of music by Schumann, Haydn, Beethoven, Chopin, Scriabin, and above all, Scarlatti--the composer that Horowitz, more than anyone, put back on the map for pianists the world over. A great set. --David Hurwitz

Customer Reviews:

Horowitz: good. Amazon: good. Sony Classical: BAD........2004-05-24

I bought this set in December, and because I have so many classical CD's (more than 300), it took me 5 months to realize that the set contained TWO volume 8's and NO volume 9's. Worried that it might be too late, I e-mailed Amazon. Their first reply was that the replacement was already on its way (with return shipping paid for as well). Wow, that was a relief!

When I got the new set, I decided to study it closely and make sure that everything was good. It turns out that several of the discs (in both sets) had holes through the aluminum reflective layer -- which seemed to be because it was too thin to begin with. One disc was cracked, and another looked like the aluminum was "rotting out" on the edge. You would think that for $230, Sony Classical would put more quality into their discs. So what good is "Super Bit Mapping" and "High Definition Remastering" if the discs are so cheap that the player will misread the data? And I don't have much confidence that the discs will last many years, either.

Fortunately I got to pick the best discs from the 2 sets, so I won't need to replace this one for another. But I certainly lost respect for Sony Classical.

And kudos to you Amazon; you're really looking out for your customers!

ARE YOU CRAZY RICH OR CRAZY STUPID?.......2002-08-25

Why would any one in the right mind plunk down [money] for 13 CDS by the same pianist? Is it so you can brag about owning 11 years' worth of the same old thing? Or did you get it as a gift designed to impress but not really to listened to? Now you could probably get [money] for it whether you used it or not. Columbia Masterworks should have brought along new and younger talent. For my bet I can't think of many American pianists who are currently recording. Do we have to recycle Schumann, Rachmaninoff, Schubert, Beethoven, Liszt, Chopin, Scriabin, and others over and over? This is the Twenty-first Century. We should at least be thinking of Twentieth Century piano works. I can get 10 CDs by 10 pianists currently recording if I look to Europe.

merely spectacular!.......2001-03-10

I've only had this set about a week and have already indulged three complete listenings; it's a gold mine! - the power of preaching is persuasive in the Temple of Horowitz! I'm taken aback by the unity and continuity of sonics, an excellent and remarkable display of high engineering art. Everything important is here (almost! I wish some of the Scriabin Preludes had been included). There are sketches of incomparable pianism and supreme intelligence in these discs: Liszt's 'Vallee d'Obermann', and the Consolations; Debussy's 'L'isle joyeux' - so 'russian playing french'! - Scriabin's 'Vers le flamme' and the Black Mass sonata - one simply can't climb out of the volcano, it's terrifying and beautiful! - and the Scarlatti and Chopin. Only Gilels approaches Horowitz's indigenous understanding of Chopin. In the course of thirteen discs the glory can start to crash in around you, but at the last moment of endurance along comes 'Serenade of the Doll', or one of the Consolations. The Bach-Busoni is cerebral and fine. Horowitz gets rapped for the wrong romanticism - it's the romanticism of artistic intelligence that his art claims! I love that famous C clunker at the beginning of the Bach-Busoni in the Return to Carnegie Hall recital; more than that, I appreciate how Horowitz played his public pride in it, no retouches, etc. Shrewd, and very real, I think. He was a pianist of enormous humility on the inside, so completely knowing of his gifts - one of the reason his playing was something special. He possessed the often disregarded ability to stand completely outside his playing and admire it as one might a beautiful woman, with complete humility. It affords us the privilege of reaping joy after joy of a remarkable art the likes of which will surely stand true for a long time. 200 bucks is a lot of money, I probably would have thought it too much for the convenience of a collection; I'm glad someone else didn't feel that way, and gave me the set! - now I find it curiously too clever a package to be considered merely a consolidation of recordings into a 'set' - there is something indefinably congruent about these recordings. They fit together with harmonious intent, and shine and shadow the land with a marvelous music. Highest recommendation without reservation.

I have never regretted buying this..........2000-08-22

Considering that this set is devoted to a single instrument played by one artist in a 12-year period, the depth is mind-blowing. If variety is the spice of life, than this set is a very warming set indeed.

For the most part, Horowitz communicates a deep respect for the specific style of each composer: his Scarlatti is done articulately and without any smear with the pedal. His Liszt is demonic. His Rachmaninov is dazzling, with all of the "superfluous" notes (!) and Russian virtuosity in tact. Horowitz's Schumann is sensitive, passionate and Romantic.

And then there are his interpretations of Chopin. To me, Vladimir Horowitz is one of Chopin's best ambassadors. In particular, I draw attention to the Polonaise-Fantaisie in Vol. 3 and the mazurkas and etudes of Vol. 7.

For a good summary of this collection, listen to Vol. 4, "The Legendary 1968 TV Concert." Applause is omitted between selections, and the repertoire is tailored to Horowitz's pianistic gifts.

The first disc of Vol. 3 (Including the Bach-Busoni Toccata and the Schumann Fantasy) is not top-notch piano-playing... It's a little sloppy and inaccurate. I'm sure there are other minor slips elsewhere in this collection, but here they are most obviously seen.

Regardless, this collection is a MUST for Horowitz fans. Save up your money little by little and go and buy it. It is truly the most rewarding purchase of classical music I have ever made.

The greatest 20th Cent. pianist at his best!.......2000-04-15

If you were to take a set of piano music from only one performer to a desert island, this would be the set. Vladimir Horowitz was a pianist of incredible, almost unique, technical prowess capable of creating wonderful piano textures and tone colorings, and possessing his own dark, distinctive sound on a wonderful Steinway he had transported to each of his concerts or studio recording sessions. Of almost limitless ability, he suffered criticism from music critics because he severely limited his performing repertoire and stayed away from the concert stage for several prolonged periods because of his terrible insecurity and stagefright. He was especially criticized in his early years for bravura performances which were brilliant, but loud and not always tasteful. He was known for giving his enthralled audiences what they wanted, but it should be remembered that he championed Scarlatti and almost single-handedly brought him back into the performing world from near-oblivion, and it was Horowitz who premiered several important works by twentieth century composers such as Barber and Khatchaturian. He kept the works of the mysterious and exotic Alexander Scriabin from disappearing from piano benches in the conservatories, and he created some of the most imaginative and thrilling encore transcriptions ever heard in the concert hall. In later years, his repertoire expanded and he played some wonderful Mozart, Haydn, and Beethoven, much of which is featured in this set. The highlight of this disc collection from the early 60's through about 1973 is the historic return concert at Carnegie Hall in 1965. After a self-imposed exile from public performing for 12 years, he made this famous recital which is one of the most memorable in the history of recorded piano performance. Although he made several nerve-induced mistakes in the opening Bach piece, he settled down quickly and delivered a thrilling performance, highlighted, for me, at least, by the Chopin Ballade in G minor, which took away my breath and featured one of the most dazzling climaxes I have ever heard on a piano. His incredible performance possessed a youthful vitality which belied his 62 years. Throughout the other discs in this set one hears Horowitz at his best: still technically awesome yet more musically mature and capable of producing little miracles from pieces well-known, and less-known. No longer pandering to the expectations of the audience, he gave as his encore at the Carnegie Hall return concert, a precious, child-like Traumerei from Kinderszenen. The Schumann featured on these discs includes some of the most beautiful offerings available anywhere of this composer, including a wonderful Fantasy in C and perhaps the best performance ever on record of Kreisleriana. The Schubert impromptus are little miracles, and the Debussy that's thrown in makes us fantasize about the other French music he could have given us! His wonderful Chopin reminds us there are other views besides Rubinstein's to this most-important-of-all piano literature, and his Rachmaninoff is glorious. Performing into his eighties, he was a wonder of music and the 13 discs offered here give a personal record of a dazzling career from his very best years. It might be pointed out that several pieces are offered more than once in the set as they were recorded in several concerts and studio sessions and it is interesting to hear the differences in his performances. One might wish that his piano oeuvre had included more composers and a wider range of pieces, but this collection certainly highlights the work he was best known for, including as it does the various Chopin, Rachmaninoff, Liszt, Schumann, Scarlatti, Scriabin, Bach, Mozart, Haydn, Schubert, Clementi, and Beethoven gems he was noted for throughout his long career. Anyone loving the piano, or just beautiful music must hear these discs!

Adam: La Filleule des Fées (Complete Ballet)

Average customer rating:

Very good music by the composer of Giselle.

Adam: La Filleule des Fées (Complete Ballet)

Manufacturer: Marco Polo
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Operettas | Opera & Vocal | Styles | Music
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Overture & Ballet Music of the 19TH Century
Fete du Ballet: A Compendium of Ballet Rarities

ASIN: B00005U4VZ
Release Date: 2002-06-18

Tracks:

No. 1
No. 2
No. 3, 4 & 5
No. 6
No. 7
No. 8
No. 9
No. 10
No. 1
No. 2 Pas De Cinq
No. 3
No. 4
No. 5
No. 6
No. 7
No. 8
No. 9 Divertissement
No. 9a (No. 10) Pas De Cinq
No. 9b (No. 11)
No. 9c (No. 12) M. Petipa
No. 9d (No. 13)
No. 10 (No. 14) Apres Le Divertissement

Tracks:

No. 1 Marche Lointaine (Nos. 1, 2 & 3)
No. 2 (No. 4)
No. 3 (No. 5)
No. 4 (No. 6)
No. 5 (No. 7)
Entr'acte
No. 1
No. 2
No. 3
No. 4
No. 4a (No. 5)
No. 4b (No. 6)
No. 4c (No. 7)
No. 4d (No. 8)
No. 4e (No. 9)
No. 5
No. 1 Mouvement De Valse
No. 2
No. 3
No. 4

Customer Reviews:

Very good music by the composer of Giselle........2002-07-30

The second quarter of the 19th century is particularly interesting because it marked a blending of the Classical and Romantic periods. The vestiges of Classicism gave a special charm to the early Romanticism which dominated this period. It this period which produced the great bel canto operas of Donizetti and Bellini and the piano music of Chopin. In this special period Adam wrote a number of charming ballets, the greastest of which -- and, indeed, the first truly great ballet -- was Giselle. Although La Filleule des Fees is not the masterpiece that Giselle is (but then very few other ballets are on a par with Giselle) it is a very charming ballet, ably conducted by Andrew Mogrelia -- who appears to be have a particular affinity for Adam's music. If you like this type of music don't pass up this 2-CD set

Average customer rating:

The Most Unforgettable Vaughan Williams

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

Ballets | Ballets & Dances | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

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Vaughan Williams: Over hill, over dale
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Vaughan Williams: The Nine Symphonies
Vaughan Williams: Orchestral Works
Vaughan Williams: Fantasies; The Lark Ascending; Five Variants

ASIN: B000026C6F
Release Date: 1999-07-19

Tracks:

Fant On 'Greensleeves' - LSO/Sir Adrian Boult
The Lark Ascending - David Nolan
English Folk Song Ste: I. March (Seventeen Come Sunday)/II. Intermezzo (My Bonny Boy)/III. March... - LSO/Sir Adran Boult
Fant On A Theme By Thomas Tallis - Jonathan Small
The Wasps - Aristophanic Ste: Ballet And Final Tableau - LPO/Vernon Handley
Sinf Antartica, Landscape: III. Lento - Alison Hargan/Ian Tracey/Royal Liverpool Phil Choir
Job - A Masque For Dancing: Satan's Dance Of Triumph - The London Phil/Vernon Handley
Ser To Music (Shakespeare) - Royal Liverpool Phil Choir/Ian Tracey

Average customer rating:

excellent overview of contemporaneous classic music
For the price you can't lose

Discover Music of the 20th Century

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

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Hymns | Vocal Non-Opera | Opera & Vocal | Styles | Music

Movie Soundtracks | Soundtracks | Styles | Music

General | Soundtracks | Styles | Music

General | Instructional | Miscellaneous | Styles | Music

$7.99 and Under | Classical Music Blowout | Stores | Music

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Discover Music of the Classical Era
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A History of Musical Style

ASIN: B000B6N6B8
Release Date: 2005-11-01

Tracks:

Prelude A L'Apres-Midi D'un Faune - Alexander Rahbari
Walzer - Peter Hill
I. Andante-Scherzo - Rebecca Hirsch
Sehr Ruhig Und Zart - Ulster Orchestra
Lebhaft Und Zart Bewegt - Ulster Orchestra
Sehr Langsam Und Ausserst Zart - Ulster Orchestra
Fliessend, Ausserst Zart - Ulster Orchestra
Sehr Fliessend - Ulster Orchestra
Forlane: Allegretto - Klara Kormendi
First Tableau: The Shrove-Tide Fair - Philharmonia Orchestra
The Mountebank - Philharmonia Orchestra
Vivo - Bournemouth Sinfonietta
III. Moderato Pesante - Bournemouth Symphony Orchestra
Hymn To St. Cecilia - Choir Of St. John's College, Cambridge
IV. Allegretto - Ondrej Lenard
Introduzione: Andante Non Troppo-Allegro Vivace - Alexander Rahbari

Tracks:

Romance - Czecho-Slovak State Philharmonic Orchestra (Kosice)
II. Allegro - Ladislav Slovak
III. Allegro Agitato - Stephen Gunzenhauser
Main Theme From Schindler's List - Paul Bateman
The Unanswered Question - Northern Sinfonia
Second Electonic Interpolation (Conclusion) - Polish National Radio Symphony Orchestra
Third Electronic Interpolation (Beginning) - Polish National Radio Symphony Orchestra
I. Liturgie De Cristal - Amici Ensemble
IV. Commentaire - Idil Biret
Warming Up, Leading To Model 1, Bass - Gregory Rose
'Gott Nochmal' Sun God - Gregory Rose
'Vishnu' God Of Storms - Gregory Rose
God Of The Earth - Gregory Rose
First Interlude - Boris Berman
I. - Roger Heaton
Short Ride In A Fast Machine - Bournemouth Symphony Orchestra
The Lord's Prayer - Choir Of St. John's College, Cambridge
II. Lento E Largo-Tranquillissimo - Zofia Kilanowicz
Lullaby - Philharmonia Orchestra
Vision Of The Hunt I - Philharmonia Orchestra
Voice For Solo Flute - Robert Aitken

Customer Reviews:

excellent overview of contemporaneous classic music.......2007-03-22

excellent overview of contemporaneous classic music.

Should be continued, plenty more 20th-century composers to be discovered.

For the price you can't lose.......2007-02-21

This 2 cd set consists of, as the title indicates, various 20c pieces or movements from the Naxos catalog. Sound quality is uniformly high, although for some such as Stockhausen's it's not clear if that's good or bad. What is excellent is the variety of the collection--some familiar (Debussy), others not, some pretty, others intentionally weird. Few will find every piece to his or her taste, but many listeners who do not spend much time on 20c music will find something to like. Overall, a great introduction to a period of much off-putting, yes, but also much compelling music.

Music Track:

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