Classica

Classica

Track Listings

1. Requiem for a Lily - Solar Quest

2. Icct Hedral [Philip Glass Orchestration] - Aphex Twin

3. Anticipation - John Beltran

4. Haunted Dancehall - In the Nursery, The Sabres of Paradise

5. Old Fun #1 - U-Ziq

6. Ay Triste!

7. Hip Hop Opera - DJ Cam

8. Stück Mit Streichern

9. Forever Failure - Paradise Lost

10. Son-Mun-Stars - Phallus Dei

11. Remembering an Old Acquaintance - Anchorage

Tracks:

Pno Con No.1 in b, Op.23: Allegro Non Troppo E Molto Maestoso
Pno Con No.1 in b, Op.23: Andantino Semplice
Pno Con No.1 in b, Op.23: Allegro Con Fuoco
Piano Concerto No.2 in B-flat, Op.83: Allegro Non Troppo
Piano Concerto No.2 in B-flat, Op.83: Allegro Appassionato
Piano Concerto No.2 in B-flat, Op.83: Andante
Piano Concerto No.2 in B-flat, Op.83: Allegretto Grazioso

Customer Reviews:

Horowitz and Toscanini.......2005-12-31

For interpretation, I prefer the live concert performance that Vladimir Horowitz and Arturo Toscanini gave of the Tchaikovsky first piano concerto in 1943. That performance has also been digitally remastered by RCA Victor and it is very exciting, even including the applause at the end of both the first and third movements. That event took place in Carnegie Hall, as did the 1941 recording session included on this CD.

For many music lovers the 1941 recording, long available on 78-rpm discs and later on vinyl LPs, was the benchmark for interpretation of the Tchaikovsky concerto. It has been digitally remastered and remains an exciting, dramatic performance. Yes, there is some surface noise from the original sources (presumably 78-rpm disks since relatively few of RCA Victor's metal masters still remain from that era), but the performance more than makes up for any scratches or blemishes. This is one of the very Romantic interpretations of the concerto and it is an absolute treasure. It certainly shows how well Toscanini and Horowitz worked together.

The Brahms second piano concerto was recorded in 1940, also in Carnegie Hall, and this, too, is the epitome of Romantic performances. This is another extremely difficult work for the soloist and Horowitz was more than equal to the tasks. It is a wonderful recording of one of the longer piano concertos from the Romantic Era, a virtual symphony since it is in four movements rather than the usual three.

These are performances to enjoy over and over from two exceptional musicians, working with the top-notch orchestra that David Sarnoff assembled in 1937 for Toscanini.

Get Set for an Amazing Ride!.......2003-08-16

I'm not sure that these recordings are what you would call the
"definitive" performances of these two giants of the piano
repetoire, but they are certainly the most exciting and galvanic
performances of them you will find anywhere. Okay, so the
recordings date from 1941 and the sound is somewhat scratchy and
flat. So what? This is Horowitz at his absolute peak as a performer and Toscanini, while placing his orchestra completely
at the service of his soloist, makes sure Horowitz never engages
in the eccentricities, neuroses or exhibitionism that marred some of his subsequent concerto recordings.
There may be a few minor mistakes in the orchestra here and there
but I can't hear them. Horowitz is flawless and and daring to a
degree that only he could pull off. Certainly, you will never hear anyone take these two concertoes at a faster clip, and yet,
for all their formidable technical difficulties, not a single
note is missed or out of place. Every phrase is articulated with
incredible precision, nuance and feeling. You can actually start chuckling at how IMPOSSIBLY good it all is! The Brahms
Concerto is particularly astounding. The story goes that Horowitz heard a performance of this piece once in Berlin, fell in love with it, but thought he could do it better and taught it
to himself in six weeks! I believe it! His playing here is that
masterful and that sensitive!
This is the Horowitz of legend. Thank God these performances
were recorded! Compared to these HEROIC interpretations of these
two great concertoes, everybody else (and I mean that) simply
WIMPS out!
There are a lot of great recordings of these two pieces out there
by some truly great pianists, and they may have better sound, but
nothing matches this for its combination of technical brilliance,
daring and emotional commitment. There is a FIRE to these
recordings that simply has no equal.

Glazunov, Khachaturian, Kabalevsky: Violin Concertos

Average customer rating:

Transcendent...
Excruciatingly Beautiful
Superb recordings by Oistrakh

Glazunov, Khachaturian, Kabalevsky: Violin Concertos
Aram Khachaturian , Dmitry Kabalevsky , A. Gauk , and Kiril Kondrashin
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
Similar Items:

Ysaÿe: Solo Violin Sonatas
The Devil's Trill: Showpieces for violin & piano
Meeting in Moscow - Glazunov/Kabalevsky: Violin Concertos
Vieuxtemps: Violin Concertos Nos. 1 and 4
Shostakovich: Cello Concerto No1, Op107; Violin Concerto No1 (revised), Op99

ASIN: B000062XA5
Release Date: 2002-03-05

Tracks:

Allegro Con Fermezza
Andante Sostenuto
Allegro Vivace
Moderato
Andante
Allegro
Allegro Molto E Con Brio
Andantino Cantabile
Vivace Giocoso

Customer Reviews:

Transcendent..........2006-03-29

An astounding performance of some exceptional music; this is one of those older recordings in which the somewhat limited fidelity is transcended completely and wonderfully by the music itself. Wow! ;-)

Excruciatingly Beautiful.......2004-04-28

I have a special affection for the excruciatingly beautiful Khachaturian Violin Concerto, and this is my choice for the best recording. Here is the spectacle of brilliant young David Oistrakh in 1940 during the depths of World War II, standing on stage in Moscow with a single violin engaging in mortal battle with the USSR State Orchestra -- a sublimely beautiful battle that cries out the overwhelming change and struggles of the 20th century. Oistrakh caught up in the maelstrom of history, and emerging. On the surface the score has an ethnic "oriental" Armenian romanticism, timeless, beautiful and moving, yet at it's core it is modern, gritty, frantic, gigantic, and this conflict reinforces the feeling of the collision between the past and future ages. Or of the lone individual caught in the forces of history, fate and society enlarged beyond human scale. As for the performance, Oistrakh is able to bend the tones, dig for the raw textures and build the tension to wring intense passion that literally flies off the recording. In the Allegro, at times the strange harmonies and rhythms flood forth so rapidly they are almost too fast to hear. The force of Oistrakh's playing makes me wonder if he will break his violin. In the dark Andante his soul overflows with sadness and regret. The word virtuoso barely begins to describe the dexterity and soul of this amazing performance. What art! The orchestra under conductor Alexander Gauk captures a certain older native tonal quality of Russian music that seems to belong to some eastern tone system, slightly different than our ears are used to. Khachaturian asked Oistrakh to premier the piece, and I believe this is the first recording of it. It is interesting to compare this version with Oistrakh's 1960s recording with the composer conducting, also very beautiful, but in the extreme moments a more careful performance, and so less passionate.

Superb recordings by Oistrakh.......2002-07-15

Soviet recordings in the 1940's cannot possibly compare to the engineering of today, so allowances must be made for the sound quality in these archived performances. That being said, there is little to diminish superb performances by Oistrakh. Only two recordings compare with this Khachaturian - Kogan's phenomenal contribution and Oistrakh's second recording with the composer conducting. Like the Kabalevsky, it is thrilling in pace and the evocation of its folksy soundscape. The Glazunov is beautifully played, offering a lyrical, poised alternative to Heifetz's dazzling panache, though the latter remains this reviewer's favorite.

Wilhelm Furtwangler: Beethoven Symphonies 5 & 7

Average customer rating:

Most Glorious Beethoven 5th I've Heard
Furtwangler = definitive performances = reference
Magnificent playing, dismal recording

Wilhelm Furtwangler: Beethoven Symphonies 5 & 7

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

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Great Recordings Of The Century - Beethoven: Symphony no 9 / Furtwangler, Schwarzkopf
Beethoven: Symphonies Nos. 5 & 7

ASIN: B000059LWX
Release Date: 2001-04-17

Tracks:

Beethoven-Sym No.5 in c, Op.67: Allegro Con Brio
Beethoven-Sym No.5 in c, Op.67: Andante Con Moto
Beethoven-Sym No.5 in c, Op.67: Allegro
Beethoven-Sym No.5 in c, Op.67: Allegro
Beethoven-Sym No.7 in A, Op.92: Poco Sostenuto-Vivace
Beethoven-Sym No.7 in A, Op.92: Allegretto
Beethoven-Sym No.7 in A, Op.92: Presto
Beethoven-Sym No.7 in A, Op.92: Allegro Con Brio

Customer Reviews:

Most Glorious Beethoven 5th I've Heard.......2006-11-11

I just listen to the lived 1943 recordings of Beethoven 5th and 7th and I thought I have heard enough 5th in my life...This performance by Furtwangler and BPO during the WWII is absolutely the best 5th I've come to know after so pretty much listening to all of mono, steoro, and digital recording available. Although I still prefer Sir Thomas Beecham and RPO's 7th, but the 5th alone is worth it. This is the most glorious Beethoven.

Furtwangler = definitive performances = reference.......2003-08-05

These performances, offered by Allegro in their 'Classica d'Oro' series, were formerly released thru a few other labels (notably Deutsche Grammophon and Music And Arts). Of course there are different bootlegs out there (some emerging possibly from Russia and Korea) but sound quality is not always a priority. I've had the chance to grab a (German-made) Deutsche Grammophon cd recently : It sounds "cleaner" than the Allegro -- a bit "more defined" could be a good description, but the difference is not huge. However, those original mono recordings are rather limited in their range, even though i've heard far worse. Nevertheless, the D G edition sounds good -- if you can't locate it or the excellent Music And Arts, you can safely acquire the Allegro which sound's ok. Concerning the Fifth, I 100% agree with the other reviewer that "nothing comes close to this one [...] for sheer power and awesome beauty." Furtwangler's genius can be witnessed in these heroic interpretations. His powerful Fifth will even manage to surpass the great Klemperer in specific areas. The war time worry is discernible as is the somber temper of these 1943 recordings. The singular atmosphere thus contributed the phenomenal result that goes beyond mere live music production. There were political and, above all, historical connections -- a crossfire of various predispositions and meanings that, in the end, have written a new chapter in the chronicles of Beethovenian music. The Seventh Symphony is just monumental as it should be. Probably -- and perhaps certainly -- the greatest performance from the archives (one of the greatest, for sure). Even the excellent Reiner (with C.S.O.) does not come close. I won't go into myriads of details about the performance, but i will just add that the fascination grows deeper with every new listening. There's a lot goin' on here. Furtwangler and the very strong Berlin Philharmonic play sometimes at frenzied levels and speeds, overlapping some wonderful soft passages -- almost unequaled for freshness and lyrical grandeur : This is Beethoven's territory! And what about the fact that such splendid music was created in the middle of chaos? Nonsense. Beethoven's (and Furtwangler's) artistic vision and response to chaos. In spite of somewhat limited sonics (i.e., it's not the latest DDD with full impact), these live performances are amazingly solid, powerful, energized and full of splendor. More definitive performances : A reference. *****

Magnificent playing, dismal recording.......2003-04-15

This is one of the most powerful renditions of Beethoven's fifth I've heard. I have Beethoven symphonic cycles by almost all the major conductors, and nothing comes close to this one by Furtwangler for sheer power and awesome beauty. I gave it five stars just because of the musical interpretive genius apparent. The first ovement is explosive, and the opening fermatas are interpreted as type II's (with a short pause after them.) This creates a tremendous sense of expectation for the repetition of the motif. The effect is made even more pronounced with the slightly slower-than-norm tempo, creating a sense of unique monumentality to the opening. The rest of the movement incorporates quite a lot of rubato that might be a little strange for those assustomed to the Toscanini/Beecham/Harnoncourt technique, but then again, that is the beauty of Furtwangler's interpretation. He 'goes with what the music demands' and makes up in sheer expressive beauty what he might lack in historical accuracy. (By the way, how does anyone really know, except by inference and implication if Beethoven did or did not use or want rubato in his performances?) The second movement is extremely lyrical and the variations are executed preserving the sense of overall unity. The third movement is probably unrivalled in the history of performance for the sheerly sinister. The rubato, the expressive pauses and the startling dynamic range and the blend of instrumental colours creates a morbid tension, almost psychosis. That is followed by a deliciously long buildup to the triumphant finale.
The seventh symphony is...sheer poetry. I need not say more.
The recording, on the other hand, is dismal. The CD has a horrible pause, a PAUSE, at the end of the third movement and the beginning of the fourth in the fifth symphony...! It ruins the continuity, wrecks the train of thought, it is musical barbarity! The sound quality could have been cleaned up a little more. The program notes border on the puerile. The orchestra sometimes sounds as though their sound emanates from the bottom of a well. But...all this is outweighed by the sheer beauty of Furtwangler's performance. Hence the five-star review.
It makes an interesting comparison, though, with the Karajan cycle (1963, I believe) with the same orchestra. The sound has altered a little, but the playing changed almost beyond recognition in the interval. Both versions are brilliant, but personally, I prefer the warm, glowing, expressive and personal style of Furtwangler. He was able to evoke the soul of the music. The picture he paints is alive, ever-changing and subtly persuasive...
Overall, a magnificent CD to own. Also well-worth looking at is the Beethoven's ninth symphony (available on its own), sixth and eighth symponies (available as a set) by Furtwangler. Recording quality is mildly better in these works.

Rachmaninov: Piano Concertos 1-4 /Rachmaninov, Ormandy, et

Average customer rating:

rachmaninov at best!
Grasp

Rachmaninov: Piano Concertos 1-4 /Rachmaninov, Ormandy, et

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

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Horowitz Plays Rachmaninoff/Concerto for Piano in Dm; Sonata for Piano No2/Vladimir Horowitz, Pianist
Rachmaninov: The Symphonies
Infidel
The Queen

ASIN: B000059LWP
Release Date: 2001-03-06

Tracks:

Pno Con No.1 in f#, Op.1: Vivace
Pno Con No.1 in f#, Op.1: Andante
Pno Con No.1 in f#, Op.1: Allegro Vivace
Pno Con No.3 in d, Op.30: Allegro Ma Non Tanto
Pno Con No.3 in d, Op.30: Intermezzo: Adagio
Pno Con No.3 in d, Op.30: Finale: Alla Breve

Tracks:

Pno Con No.2 in c, Op.18: Moderato - Allegro
Pno Con No.2 in c, Op.18: Adagio Sostenuto
Pno Con No.2 in c, Op.18: Allegro Scherzando
Pno Con No.4 in g, Op.40: Allegro Vivace
Pno Con No.4 in g, Op.40: Largo
Pno Con No.4 in g, Op.40: Allegro Vivace

Customer Reviews:

rachmaninov at best!.......2003-10-11

this is the best recording of rachmaninov piano concertos ever! who can play or interpret rachmaninov better than the composer himself?

Grasp.......2001-05-02

All four concerts with excellent quality of recording. Noise was the only one complains for previous editions of Rachmaninov original performance - not any more. Rare published concerts No. 1 with rest of 3 are excellent examples of how much more music performance means then just note generation. Take a look for various recording of the concerts with different conductors - similar parts are conducted with minutes in difference. Isn't also an evidence of how much a performer could bring (or lose) to initial composer idea?

Beethoven: Complete Piano Sonatas (Box Set)

Average customer rating:

Recording Quality
A shocker

Beethoven: Complete Piano Sonatas (Box Set)

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

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical | Box Sets | Stores | Music
Similar Items:

Beethoven: Late Quartets, etc / Busch Quartet
A Sonata Recital by Joseph Szigeti & Béla Bartók
Pablo Casals: Festivals at Prades Vol. 1
Mozart: Don Giovanni
Brahms: Concertos for Piano No. 1 & 2, Fantasia Op. 116

ASIN: B00005REUP
Release Date: 2001-12-11

Tracks:

Piano Sonata No.1 In F Minor, Op.2 No.1: Allegro
Piano Sonata No.1 In F Minor, Op.2 No.1: Adagio
Piano Sonata No.1 In F Minor, Op.2 No.1: Menuetto
Piano Sonata No.1 In F Minor, Op.2 No.1: Prestissimo
Piano Sonata No.5 In C Minor, Op.10 No.1: Allegro Molto E Con Brio
Piano Sonata No.5 In C Minor, Op.10 No.1: Adagio Molto
Piano Sonata No.5 In C Minor, Op.10 No.1: Prestissimo
Piano Sonata No.6 In F, Op.10 No.2: Allegro
Piano Sonata No.6 In F, Op.10 No.2: Allegretto
Piano Sonata No.6 In F, Op.10 No.2: Presto
Piano Sonata No.7 In D, Op.10 No.3: Presto
Piano Sonata No.7 In D, Op.10 No.3: Largo E Mesto
Piano Sonata No.7 In D, Op.10 No.3: Menuetto: Allegro
Piano Sonata No.7 In D, Op.10 No.3: Allegro

Tracks:

Piano Sonata No.2 In A, Op.2 No.2: Allegro Vivace
Piano Sonata No.11 In B Flat, Op.22: Largo Appassionato
Piano Sonata No.11 In B Flat, Op.22: Scherzo: Allegretto
Piano Sonata No.11 In B Flat, Op.22: Rondo: Grazioso
Piano Sonata No.3 In C, Op.2 No.3: Allegro Con Brio
Piano Sonata No.3 In C, Op.2 No.3: Adagio
Piano Sonata No.3 In C, Op.2 No.3: Scherzo: Allegro
Piano Sonata No.3 In C, Op.2 No.3: Allegro Assai
Piano Sonata No.4 In E Flat, Op.7: Allegro Molto E Con Brio
Piano Sonata No.4 In E Flat, Op.7: Largo, Con Grande Espressione
Piano Sonata No.4 In E Flat, Op.7: ALlegro
Piano Sonata No.4 In E Flat, Op.7: Rondo: Poco Allegretto E Grazioso

Tracks:

Piano Sonata No.8 In C Minor, Op.13 'Pathetique': Grave-Allego Molto E Con Brio
Piano Sonata No.8 In C Minor, Op.13 'Pathetique': Adagio Cantabile
Piano Sonata No.8 In C Minor, Op.13 'Pathetique': Rondo: Allegro
Piano Sonata No.9 In E, Op.14 No.1: Allegro
Piano Sonata No.9 In E, Op.14 No.1: Allegretto
Piano Sonata No.9 In E, Op.14 No.1: Rondo: Allegro Comodo
Piano Sonata No.10 In G, Op.14 No.2: Allegro
Piano Sonata No.10 In G, Op.14 No.2: Andante
Piano Sonata No.10 In G, Op.14 No.2: Scherzo: Allegro Assai
Piano Sonata No.12 In A Flat, Op.26: Andante Con Variazioni
Piano Sonata No.12 In A Flat, Op.26: Scherzo: Allegro Molto
Piano Sonata No.12 In A Flat, Op.26: Marcia Funebre: Andante Maestoso
Piano Sonata No.12 In A Flat, Op.26: Allegro

Tracks:

Piano Sonata No.11 In B Flat, Op.22: Allegro Con Brio
Adagio Con Molta Espressione
Piano Sonata No.2 In A, Op.2 No.2: Rondo: Allegro
Piano Sonata No.9 In E, Op.14 No.1: Allegro
Piano Sonata No.13 In E Flat, Op.27 No.1 'Quasi Una Fantasia': Andante-Allegro-Andante
Piano Sonata No.13 In E Flat, Op.27 No.1 'Quasi Una Fantasia': Allegro Molto E Vivace
Piano Sonata No.13 In E Flat, Op.27 No.1 'Quasi Una Fantasia': Adagio Con Espressione
Piano Sonata No.13 In E Flat, Op.27 No.1 'Quasi Una Fantasia': Allegro Vivace
Piano Sonata No.14 In C Sharp Minor, Op.27 No.2 'Moonlight': Adagio Sostenuto
Piano Sonata No.14 In C Sharp Minor, Op.27 No.2 'Moonlight': Allegretto
Piano Sonata No.14 In C Sharp Minor, Op.27 No.2 'Moonlight': Presto Agitato
Piano Sonata No.15 In D, Op.28 'Pastorale': Allegro
Piano Sonata No.15 In D, Op.28 'Pastorale': Andante
Piano Sonata No.15 In D, Op.28 'Pastorale': Scherzo: Allegro Vivace
Piano Sonata No.15 In D, Op.28 'Pastorale': Rondo: Allegro Ma Non Troppo

Tracks:

Piano Sonata No.20 In G, Op.49 No.2: Allegro Ma Non Troppo
Piano Sonata No.20 In G, Op.49 No.2: Tempo Di Menuetto
Piano Sonata No.16 In G, Op.31 No.1: Allegro Vivace
Piano Sonata No.16 In G, Op.31 No.1: Adagio Grazioso
Piano Sonata No.16 In G, Op.31 No.1: Rondo: Allegretto
Piano Sonata No.17 In D Minor, Op.31 No.2 'The Tempest': Largo-Allegro
Piano Sonata No.17 In D Minor, Op.31 No.2 'The Tempest': Adagio
Piano Sonata No.17 In D Minor, Op.31 No.2 'The Tempest': Allegretto
Piano Sonata No.18 In E Flat, Op.31 No.3: Allegro
Piano Sonata No.18 In E Flat, Op.31 No.3: Scherzo: Allegretto Vivace
Piano Sonata No.18 In E Flat, Op.31 No.3: Menuetto: Moderato E Grazioso
Piano Sonata No.18 In E Flat, Op.31 No.3: Presto Con Fuoco

Tracks:

Piano Sonata No.19 In G Minor, Op.49 No.1: Andante
Piano Sonata No.19 In G Minor, Op.49 No.1: Rondo: Allegro
Piano Sonata No.21 In C, Op.53 'Waldstein': Allegro Con Brio
Piano Sonata No.21 In C, Op.53 'Waldstein': Adagio Molto
Piano Sonata No.21 In C, Op.53 'Waldstein': Rondo: Allegro Moderato
Piano Sonata No.22 In C, Op.53 'Waldstein': In Tempo D'Un Menuetto
Piano Sonata No.22 In C, Op.53 'Waldstein': Allegretto
Piano Sonata No.23 In F Minor, Op.57 'Appassionata': Allegro Assai
Piano Sonata No.23 In F Minor, Op.57 'Appassionata': Andante Con Moto
Piano Sonata No.23 In F Minor, Op.57 'Appassionata': Allegro Ma Non Troppo
Piano Sonata No.26 In E Flat, Op.81a 'Les Adieux': Adagio-Allegro
Piano Sonata No.26 In E Flat, Op.81a 'Les Adieux': Andante Espressivo
Piano Sonata No.26 In E Flat, Op.81a 'Les Adieux': Vivacissimamente

Tracks:

Piano Sonata No.24 In F Sharp, Op.78: Adagio Cantabile-Allegro Ma Non Troppo
Piano Sonata No.24 In F Sharp, Op.78: Allegro Vivace
Piano Sonata No.25 In G, Op.79: Presto Alla Tedesca
Piano Sonata No.25 In G, Op.79: Andante
Piano Sonata No.25 In G, Op.79: Vivace
Piano Sonata No.28 In A, Op.101: Etwas Lebhaft Und Mit Der Innigsten Empfindung
Piano Sonata No.28 In A, Op.101: Lebhaft, Marschmassig
Piano Sonata No.28 In A, Op.101: Lagsam Und Sehnsuchtsvoll
Piano Sonata No.28 In A, Op.101: Geschwind, Doch Nicht Zu Sehr Und Mit Entschlossenheit
Piano Sonata No.29 In B Flat, Op.106 'Hammerklavier': Allegro
Piano Sonata No.29 In B Flat, Op.106 'Hammerklavier': Scherzo: Allegro Vivace
Piano Sonata No.29 In B Flat, Op.106 'Hammerklavier': Adagio E Sostenuto
Piano Sonata No.29 In B Flat, Op.106 'Hammerklavier': Finale: Largo-Allegro Risoluto

Tracks:

Piano Sonata No.27 In E Minor, Op.90: Mit Lebhaftigkeit Und Durchaus Mit Empfindung Und Ausdruck
Piano Sonata No.27 In E Minor, Op.90: Nicht Zu Geschwind Und Sehr Singbar Vorgetragen
Piano Sonata No.30 In E, Op.109: Vivace Ma Non Troppo
Piano Sonata No.30 In E, Op.109: Prestissimo
Piano Sonata No.30 In E, Op.109: Gesangvoll, Mit Innigster Empfindung
Piano Sonata No.30 In E, Op.109: Moderato Cantabile, Molto Espressivo
Piano Sonata No.30 In E, Op.109: Allegro Molto
Piano Sonata No.30 In E, Op.109: Adagio Ma Non Troppo
Piano Sonata No.30 In E, Op.109: Fuga: Allegro Ma Non Troppo
Piano Sonata No.32 In C Minor, Op.111: Maestoso-Allegro Con BrioE Appassionato
Piano Sonata No.32 In C Minor, Op.111: Arietta: Adagio Molto, Semplice E Cantabile

Customer Reviews:

Recording Quality.......2004-08-05

The CD set is an excellent historical audio documentation of Schnabel's virtuosity. I was disapointed in the quality of the recording. I suppose I am spoiled with new technology but this is a great performance recorded on a CD with vinyl record technology in the 1930's, which it is. I have heard the Sonata cycle on the BBC Online archives by a Spanish pianist. The sound quality was much better via the web.

A shocker.......2004-07-03

This set actually came to me as a mistake, but at $50, there wasn't really any question as to whether I should keep it or not. I expected the sound quality to be horrible, the playing sloppy (characteristic to Schnabel), and the interpretations to be too rowdy for me.

These sonatas were recorded throughout the 1930's, but I will not lie, you can absolutely not tell at all. There is no hiss, only a rather beautifully played piano.

Schnabel keeps sonatas 1-27 crisp, clean and clear. The interpretations seem perfect, despite a few oddly chosen tempi. The late sonatas, I can not say the same. I am especially thrown over the edge by no. 28's fourth movement. The fantastic melody, one of my favorites, is ruined by Schnabel's playing. Also, in the Hammerklavier, the opening four bars are rubbish.

Other than those two mistakes (in my opinion), this set is one of the best money can buy, and worlds ahead of any other complete set for only $50. The beauty of his playing is astounding, and the remastering is a stroke of genius.

If you are looking desperately for the proper Beethoven piano sonata set, as I was for months, this is the one. I also looked into Wilhelm Kempff's, Alfred Brendel's, Richard Goode's, Daniel Barenboim's and Anton Kuerti's.

Tracks:

Endless Time
Air On A G String
Lover's Sonata
Jesu, Joy Of Man's Desire
Sonata For Beatrice
Nocturne In E Flat
Gymnopedie #1
Moonlight Sonata
Arioso
Mazurka

Customer Reviews:

Very soothing.......2002-07-02

I've listened to this CD hundreds of times. It is very soothing and has a great variety of instruments. Woodwinds are very cool in some songs. I would definetly reccomend this CD to interested people.

Average customer rating:

Cortot in what he does best

Chopin: Preludes & Ballades

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

Ballads | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

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
Similar Items:

Alfred Cortot: The Master Classes
Chopin: Sonata in B-flat minor, Berceuse, etc.
Mahler: Symphony No. 4
Chopin: Preludes, Impromtus, Barcarolle & Berceuse - Alfred Cortot
Exclusively for My Friends

ASIN: B00005QC5R
Release Date: 2001-11-06

Tracks:

24 Prlds, Op.28: No.1
24 Prlds, Op.28: No.2
24 Prlds, Op.28: No.3
24 Prlds, Op.28: No.4
24 Prlds, Op.28: No.5
24 Prlds, Op.28: No.6
24 Prlds, Op.28: No.7
24 Prlds, Op.28: No.8
24 Prlds, Op.28: No.9
24 Prlds, Op.28: No.10
24 Prlds, Op.28: No.11
24 Prlds, Op.28: No.12
24 Prlds, Op.28: No.13
24 Prlds, Op.28: No.14
24 Prlds, Op.28: No.15
24 Prlds, Op.28: No.16
24 Prlds, Op.28: No.17
24 Prlds, Op.28: No.18
24 Prlds, Op.28: No.19
24 Prlds, Op.28: No.20
24 Prlds, Op.28: No.21
24 Prlds, Op.28: No.22
24 Prlds, Op.28: No.23
24 Prlds, Op.28: No.24
4 Ballades: No.1 in g, Op.23
4 Ballades: No.2 in F, Op.38
4 Ballades: No.3 in A flat, Op.47
4 Ballades: No.4 in f, Op.52

Customer Reviews:

Cortot in what he does best.......2002-07-09

Cortot is one of the legendary pianists. This recording of the preludes and the ballades is better for him than the etudes. There are fewer technical demands and allow him to show of his poetic and interpretive gifts.

The engineers have done a credible job in making these recordings from the 1940s sound pretty good. I like the softer and less brilliant piano sound that was the norm back then. Today is just too bright and harsh for my tastes. But that is another story.

Tracks:

Sonata No.1 In G Minor, BWV 1001: Adagio
Sonata No.1 In G Minor, BWV 1001: Allegro
Sonata No.1 In G Minor, BWV 1001: Siciliano
Sonata No.1 In G Minor, BWV 1001: Presto
Partita No.1 In B Minor, BWV 1002: Allemande
Partita No.1 In B Minor, BWV 1002: Double
Partita No.1 In B Minor, BWV 1002: Courante
Partita No.1 In B Minor, BWV 1002: Double
Partita No.1 In B Minor, BWV 1002: Sarabande
Partita No.1 In B Minor, BWV 1002: Double
Partita No.1 In B Minor, BWV 1002: Bourree
Partita No.1 In B Minor, BWV 1002: Double
Sonata No.2 In A Minor, BWV 1003: Grave
Sonata No.2 In A Minor, BWV 1003: Fuga
Sonata No.2 In A Minor, BWV 1003: Andante
Sonata No.2 In A Minor, BWV 1003: Allegro

Tracks:

Partita No.2 In D Minor, BWV 1004: Allemande
Partita No.2 In D Minor, BWV 1004: Courante
Partita No.2 In D Minor, BWV 1004: Sarabande
Partita No.2 In D Minor, BWV 1004: Gigue
Partita No.2 In D Minor, BWV 1004: Chaconne
Sonata No.3 In C, BWV 1005: Adagio
Sonata No.3 In C, BWV 1005: Fuga
Sonata No.3 In C, BWV 1005: Largo
Sonata No.3 In C, BWV 1005: Allegro Assai
Partita No.3 In E, BWV 1006: Preludio
Partita No.3 In E, BWV 1006: Loure
Partita No.3 In E, BWV 1006: Gavotte En Rondeau
Partita No.3 In E, BWV 1006: Menuet I & II
Partita No.3 In E, BWV 1006: Bourree
Partita No.3 In E, BWV 1006: Gigue

Customer Reviews:

Enescu's Sublimely Communicative Solo Bach.......2005-06-21

This 2-disc set of Bach's Six Solo Violin Sonatas & Partitas deserves a 10-star rating. In some 40 years of collecting, I have never encountered anything that transcends what is heard here. This is quite simply some of the most supremely communicative solo playing of ANY composer's music by ANY instrumentalist.

Georges Enescu (1881-1955) was an extraordinary musician. One of the last century's most gifted composers, his works go far beyond the Two Romanian Rhapsodies for which he is most popular today. One of the greatest violinists of all time, Enescu was also a brilliant conductor: his Schumann 2nd Symphony on a Dutton CD (see my review) is one of the all-time great accounts, and there is also a phenomenal "live" Tchaikovsky 4th Symphony that was once available on a Dante LYS CD. The great pianist Alfred Cortot once admitted that Enescu's piano proficiency was superior to his own. Enescu was also blessed with a photographic memory (he knew most Western musical masterpieces, including some 150 Bach Cantatas, by heart).

The excellent essay by Lawrence Cosentino that accompanies this CD set relates that "Enescu's student Yehudi Menuhin called him 'the most extraordinary human being, the greatest musician and the most formative influence I have ever experienced.' Pablo Casals said he was the most phenomenal musical talent since Mozart.... The many tales of his boundless energy and facility simply boggle the mind. Once, as part of an impromptu lesson for an enthralled Amadeus Quartet, he sat down at a piano for several hours and played all of the Beethoven string quartets, with running commentary, off the top of his head."

These sublime Bach recordings were among the last Enescu ever made. Even in his late sixties and suffering from arthritis, Enescu retained a sovereign technique. Here and there is some imperfect intonation and a few signs of strain, but these are little more than tiny imperfections in a Grand Master painting. I have owned numerous sets of Bach's solo violin works over the years, but none of them (even Johanna Martzy's extremely secure readings on EMI) are a match for the profoundly musical insights of this one. Only the recordings left by Adolf Busch (incomplete) and Joseph Szigeti even approach the level set here by Enescu.

These recordings were made in 1949 for Don Gabor (proprietor of the fabled Remington LP label), and they were issued on an incredibly rare 3-LP set on the Continental LP label (also owned by Gabor). And when I say "incredibly rare," consider this: the 1995 edition of "Canfield's Guide to Classical Recordings" (the bible of rare LP collectors) lists the three Continental LPs as "the Holy Grail of all records!" The set is priced there at $4,000! So this well-transferred CD offering is a remarkable bargain.

Very highest recommendation.

Jeff Lipscomb

Revelatory!.......2004-12-11

A Cosmic Cycle of the Sonatas & Partitas.

One adjusts very easily to the mono sound and despite the flaws caused by his severe arthritis, what's more important is that the essence of the music still manages to shine (like a blaze of fire) through the technical aspect of his playing.

Thank God there was someone who understood (in the complete sense of the word) these Masterworks, and who gave humanity the oppertunity to hear the mysteries contained in them. We have been blessed with the genius and greatness of George Enescu!

Be ready to be transformed mentally, emotionally and spiritually!

Soulful and Utterly Convicted Playing.......2004-10-03

Enescu is simply incredible. Even now, over 50 years after this recording was made, he is still moving audiences with these magnificent performances. One of the greatest violinists of the past century, if not of all time, George Enescu had a deep devotion for the unaccompanied violin music of Bach. He was the revered teacher of Yehudi Menuhin, the violinist who, at 18 years of age, produced the first complete recording of the Sonatas and Partitas in history.
Enescu's 1949 recording of the S&P, reproduced here, is earthy, soulful, and spontaneous. Wracked with arthritis (that would eventually lead to his death) at the time of this recording, Enescu is clearly struggling, and his intonation in several places (most notably in the complicated arpeggio section in the G Minor Fugue) is considerably off. Technically, the recording can probably be bettered (certainly by the later set released by Grumiaux).
However, it is in the capturing of the sheer emotion - the sheer drama - of this the most incredible music ever conceived for anything, that Enescu triumphs over all others, even his youthful prodigy, Yehudi Menuhin. He plays with total conviction, with a love for this music that is almost palpable. There are times (such as the minuets from the E Major Partita) where the instrument seems to sing of its own accord, encouraged by the gentle bowing of the violinist - and there are times where the violin roars and declaims like a symphony orchestra (the final three variations from the D Major section of the Chaconne). Ravaged by arthritis, the physical act of rendering these pieces must have caused the violinist incredible pain, and even that comes through this music. One can sense the struggle between the artist, his instrument, and the music, especially in the great Chaconne and C Major Fugue. While the Grumiaux is a very fine set (and I enjoy it greatly) and is rightly considered a benchmark rendering, Enescu should not be passed over by any serious Bach enthusiast, and he should be considered indispensable for a collector of the Sonatas and Partitas. This is not the ideal way to meet the Six for the first time, but it is an incredible way to hear them after more exposure. Earthy, soulful, and totally convincing, George Enescu has left us with an enduring tribute, both to himself and to this monumental music.

Enescu re-creates the locus for Bach's Sonatas and Partitas.......2004-06-06

Having listened to so many renditions of Bach's Sonatas and Partitas, I found Enescu's the quintessential! As individual as Kuijken's, as lyrical as Oistrakh's, as intelligent as Milstein's, as elegant as Kogan's, and on and on. Sublimated (by) pathos and joy this interpretation comes as close as one can represent what the almighty might have made it sound in the imagination of Bach...

On a slightly different note, by learning anything about Enescu's life, as a teacher, player of several instruments, conductor, composer, and man, one can only add to one's image about art as life and life as art.

The inherent technical limitations become easy to overcome once the music comes on; only let there be this music!

A Seemless Robe.......2004-04-11

This is truth. After this all is trivial.
Enescu's bow weaves an amazing seemless robe of each movement, seeming to compress its time-span while expounding it depths and wonder.

Nowhere is this experienced to better effect than in the great Partita No 2, the mighty Chaconne is a revelation of glory because it is a revealtion of humility - deep insight, absolutely no attempt to draw attention from the music to the performer, not an grain of self-pity or self-regard.

A most wonderful and uplifting experience.
Take all but leave me this.

If Bach is played in heaven - and can we could doubt that he is - then this is how he is played!