Le grandiose Preludes, op. 28.
930835
This album of the Op. 28 is among the very best of this set of Preludes I have ever heard.
There is simply no such thing as 'mannerisms' in Pollini's playing. Absolutely no nonsense but music.
Chopin is a composer all too often 'abused' by interpretors because he is so lyrical and so 'fluid'. It is indeed comforting to find an interpretor in Chopin in the league of Maurizio Pollini. Since the time of Artur Rubinstein, whose Chopin is among the most humane ever heard, Pollini offers another version of Chopin in authenticity and heart-rending captivation in terms of human touches and sheer musicality.
The Preludes from Op. 28 are well-illuminated in this recording in multi-facted colours and emotional range. The outstanding ones are too many, and personal favourites come in Nos. 15, 16, 19, and 24. Compared to Pollini, Argerich's similar numbers sound mannered, while newbie Blechacz's a bit too willowy and understated. None manages to reach the status of utter conviction as Pollini's here.
1034089
This is an excellent selection of some of Schoenberg's major works. It would serve as a convenient introduction to this composer.
11628
The two books (one with violin with fingering  and another with piano/violin) / a CD, were in perfect condition.
The pieces included are:

 Mazurka No. 5, op. 7-1
  Nocturne No. 2, op. 9-2
 Valse No. 1 Grande Valse Brillante, op. 18
 Pre'lude No. 4, op. 28-4
 Pre'lude No. 7, op. 28-7
 Pre'lude No. 15, op. 28-15
 Polonaise No. 6, op. 53
 Valse No. 6, op. 64-1
 Valse No. 7, op. 64-2
 Etude No. 12, op. 10-12
 Fantai'si'e-Impromptu, op.posth. 66
 Valse No. 9, op. 69-1
 Valse No. 10, op. 69-2
 Nocturne No. 20 Lento con gran espressione, op.posth.
 Etude No. 3, op. 10-3

Loved the book.  Yet very dissapointed with the lack of violin performance in CD -- piano accompaniment only.
4585374
One of the most prolific composers of symphonies during the Classical era, Viennese born Karl Ditters von Dittersdorf (1739-1799) was famous as a violin virtuoso, playing 1st violin in the legendary quartet that included Haydn, Mozart and Jan Vanhal. Known as Haydns drinking buddy, the genial Dittersdorf left behind approximately 120 symphonies that can definitely be credited to him, with another 90 possible.

Written in 1766, the Symphony in C Major opens with a charmingly direct Allegro moderato. Dominated by the string based melodies, the 1st movement employs just the barest of horn accompaniment for orchestral color. Touching and sorrowful, a brief minor keyed Andante follows. The horns return for the somewhat plodding Minuet, while the closing Presto flourishes with a restrained urgency and clipped precision.

Tympani and winds herald a more confident and accomplished handling of orchestral elements in the D Major symphony, penned several years later. Still relying more on melodic turns rather than motivic development, the Allegro e vivace does spin some engaging tunes. Long winded melodic phrases populate the gentle Andantino, which features an enchanting flute solo while the 3rd movement Minuetto is solid if not memorable. After a stately beginning, the violins of the Rondo Allegro pick up the pace and the interest with the sprightly first episode while the 3rd one in minor may be the best. Surprisingly, the work ends with a rousing brass fanfare.

A striking primary theme and adept use of countermelody characterize the 1st movement Vivace of the symphony in A Minor. Particularly impressive is the ease with which Dittersdorf shifts focus from the lower strings to the winds and then to the violins. Long sustained notes from the horns support the ensuing Larghetto. Structured like a cello concerto, complete with a trill to mark the conclusion of the solo cadenza, it features the warm expressive tone and heavy vibrato of the cellist, Gheorghe Crisan. After a pair of sharply contrasting minuets, one lumbering and ponderous, the other light and supple, the work ends with a triple metered Prestissimo. The galloping finale contains extended unison passages, hunting horn calls and wide dynamic shifts.

Composed in F Major, the closing work is a 5 part serenade. Driven by lively violins and supported by horns, a bright and cheerful Allegro is followed by the first of two Menuettos. Regal and deliberately paced, the 2nd movement features flowing triplets and brief dips into minor. With softly pulsing accompaniment in the lower strings and brimming with flowing triplets, the gorgeous Adagio is one of the highpoints of the disc. The 2nd Minuetto contains a marvelous contrasting trio. Skittering violins over softly plucked lower strings create an unusual and appealing combination. A disarming rhythmic hesitation characterizes the melody of the final Andante.

Ably led by Romeo Rimbu, the Romanian based Oradea Philharmonic Orchestra presents a sympathetic reading of these orchestral works. The recording by Olympia is fine, although a bit colorless. Among the numerous symphonic compositions by Karl Ditters von Dittersdorf, these 4 serve as a reasonable introduction.
1987163
It includes the two first two sonatas (k279 and 280), one of Mozart's two greatest sonatas (k457), two dark Fantasies (k 397 in D Minor and 475 C Minor-the keys are usually Mozartean SOS's), and a blithe Rondo (485 from perhaps his most inspired periods (k481-505) of composition ( the other is K447-459). K279 is pleasant, but K280 is more substantive especially because of the second movement dominated by a theme developed further in the second movement of Mozart's piano concerto #23. The Fantasies are two of Mozart's greatest short works- ( and k475 sometimes introduces k457. The outer movements of k457 contain fury parallel to that in its neighbor, the D Minor concerto k466, while
the second movement is tragic-loaded with bass notes highlighted by Larrocha. ( She has stated that Mozart's A Minor sonata is his greatest-fair enough, but I oscillate
between it and the k457 sonata)

Larrocha imbues the greatest works her with the most feeling. She also displays a
customary trademark- an ability to enliven any music even hinting of dance or dance
rhythm (try k280/3, 279/3, and 485 here). I value these performances highly, but
they face formidable competition, especially from Ingrid Haebler in every work here,
Arrau in k457,475,and 397; Peter Serkin in k485; Brendel in k 397, 457, 475; Haskil
in k280; Kempff in k397.
4879248
I agree with virtually everything Giordano Bruno (another reviewer here) wrote about this piece (very eloquently reflecting much musicial erudition). One does not get a feel for the overall structure of the suites because they playing is rather too slow, focusing on each note instead of the work as a whole. The dance like nature of the suites is suffocated. The main attraction about this recording is the beautiful tone of Fournier's cello. The accoustics are very rich.
1074842
This is for the late intermediate - advanced player.  The arrangements are beautiful - the arrangement of La Vie En Rose is worth the price of the book alone.
4119124
The works:

These sonates represent the creation of the modern piano and violon sonata. They are miniatures of emotional elegance and deceptive complexity.

The interpretation:

A strange decision was made to use a tangeant-piano for this recording. This type of piano sounds half-way between a harpsichord and a piano-forte. Although intriguing sounding, it dilutes the piano partition quite a bit of an otherwise well played intepretation.

The audio:

Excellent example of additional clarity and natural instruments given by SACD. If you are in search of something really new, this is a good buy as the tangeant-piano is worth listening to. If you are looking for the best interpretation of these specific sonates, keep looking.
2332262
Mussorgsky's composition and orchestration of "Pictures at the Exhibition" for piano solo is stunning. The orchestration was inspired by the book of Berlioz "Treatise on Instrumentation" the pioneer of tone colors. This book was found on Mussorgsky's death bed.
"Pictures" score came to life by Richter's sensitivity and virtuosic piano playing, employing both multicolored tone  and dynamics. It's hard to believe that that "Pictures" is performed by a sole artist on a single musical instrument. Richter gives the impression as if every instrument of the symphonic orchestra participates in this performance; the result of which is a unique and different mood and sonority for each picture."Promenade" (tracks 1, 10) March pacing, a fanfare metallic sound as if played by trumpets and brass orchestra. "Gnomuns" (2) a clumsy fragmentary heavy pacing sound as if played by tuba." Tuileries Garden" (5) the piano sounds like woodwind instruments with here and there sprinkles of xylophone, convey a picture of children playing hide-and-seek."Chickens in their shells" (8) is very impressive, piano thrills seemingly flutes and xylophone sounds, depict chicks chirping and converse." Bydelo" (6) an impression of double bass depict a heavy oxcart , wheels hitting the road is emphasized as if played by drum; while gradual dynamics accentuates the approaching and receding of cart. "Samuel Goldberg and Schmuyle" (9) Richter depict two different personalities, the pompous authoritative and arrogant Goldenberg by a loud double bass staccato while Schmuyle the bagger a slimy sneaky man, is played by soft thrilling notes as if by flute. The sound achieved by Richter in this picture (9) and also in the (8) is richer than both performed by the whole National Symphony Orchestra of Ukraine conducted by T. Kuchar. "Catacombs (12) a mystic atmosphere as if played by a gamut of percussion instruments , a metallic sound similar to cymbals, vibrating gong , celesta and xylophone ;each play solo in its turn. "Hut" (13) a highly percussive piece, as if played by timpani and drum-roll played snare drums depicting humorous pacing and flying of a witch. The last picture "The Gate" (14) a majestic atmosphere played by Richter on a single piano sounds like a full well equipped philharmonic orchestra.
In contrast to "Pictures" (1-14), tracks (15-23) composed by Schubert , Chopin , Liszt and Rachmaninoff are lyrical and poignant ,the sound is the familiar recognizable piano voicing ; almost no timber change. Wrapping it all up demonstrates the great versatility of this artist.
I wouldn't let myself miss this outstanding piano performance of "Picture" (1958); despite the coughing interruption. The pleasure one gets in listening to this specific performance is tremendously rewarding. I just wonder, why those interruptions were not filtered out or at least diminished?
The CD's booklet is devoid of any info about the musical pieces played, a major disappointment.
4081602
of the first movement of #22, which at 11:51 is too quick for me, c.f. my other favorites:
  Brendel/Angerer/Vox/12:40
  Larrocha/Segal/Decca : 13:42
  Annie Fischer/Sawallisch: 13:53
  Anda/Silvestri  12:52
  Kempff/Klee  13:05
  Brendel/Marriner 13:20
  Larrocha/Davis  13:43
  Haebler/Rowicki  12:34

However, this was a great artistic partnership growing from a long term friendship. And Kubelik/BRSO also recorded great versions of four Mozart concerti (#s 21 + 24 and 23+27) with Clifford Curzon for Audite.  Barenboim and Kubelik sound inspired in both concerti. The Andante of #22 is duly
anguished, replete with three sorrowful cries near the end, leading to a pronounced largoesque
coda from Barenboim. They also capture the ambiguity of the Andante of #23 which is analogous to the light and shade of the Finale of #27.  And as in the ninth concerto, the sorrow in #22/2 recurs in the midst of the otherwise joyful Finale via the insertion of another slow interlude. I was pleasantly surprised by Barenboim's
 sensitivity to the tragic dimensions of this music.

In both concerti, the BRSO winds shine, e.g the clarinets.  Mozart used them  infrequently in the concerti, but they are crucial in #s 22-24. Best in #23 is the Andante which Barenboim plays slowly and perfectly //Rudolf Serkin/Schneider/Sony. I would like this first movement played ca 20 seconds more slowly, but it is less objectionable than the first movement of #22, and both Finales dance and sparkle
Total ranking is 4.5 stars

Peers in #23: Frager/Tchkarov/Vivace (my favorite); Curzon/Kubelik/Audite; Monique Haas/
Schmidt-Isserstedt/Tahra; Pollini/Bohm/DG; Larrocha/Davis/RCA; Haebler/Rowicki/Philips;
Moravec/Vlach/Supraphon; Serkin/Schneider/Sony
2553870
Cette album est un mlange de plusieurs sytles de musique assez complexes. Jonas Reingold exploite davantage sont talent de bassiste et le son "Fretless" de sa guitare basse contribue  donner,  l'occasion, une atmosphre Jazz alors que les passages de guitares de Stolt ramne le style The Flower Kings. Il y a aussi d'autres passages plus "heavy" qui ajoute une touche explosive  la musique. Le rsultat demeure quand trs cohrent et trs intressant.
Il s'agit d'un excellent album, un incontournable pour les amateurs des groupes progressifs rcents, surtout pour les fans des Flower Kings.
3490449
With the release of the relatively new Rachmaninoff Series by Santiago Rodriguez, I, as many other collectors I am sure, have decided to reach on the shelves and review performances by other artists whom we have long esteemed.  Naturally, for the performance of the Rachmaninoff Sonata No. 2, I had to hear Horowitz, Cliburn, Wild, and await Michael Ponti who sits on the desk. Wild is a prodigious pianist who recorded this album in 1993 at age 78. It is a testament to the virtuosity that allowed him to give his final Carnegie Hall Concert at the age of 90.

The disc contains the Sonata No. 2 and 18 Preludes. I find his playing of the Sonata technically secure and interpretively convincing. It draws you into that Romantic aura that one associates with Rachmaninoff. But I am disturbed that he dallies too long, expressing, meandering, and like the composer he was, focusing on the inner voices rather than on conceiving the work as a whole. What is lost is the sonata form. We have very little tempo contrast as he performs the work, and that, I feel, defeats Rachmaninoff's purpose. This may possibly be attributed to age. I must confess that as I aged, my tempos slowed, as did Sir Thomas Beecham's! But this adversely affects the performance.

As for the Preludes, the slower ones are played with great intimacy and sentiment. Some of the faster ones lack the fire of youth given them by younger pianists, especially the big Prelude in B Flat. My personal choice of pianists for the Preludes is Alexis Weissenberg. That said, you will not be disappointed with this disc as it is clearly the playing of a master,  just an aging one who I think is probably America's most distinguished of the 20th Century. We would not buy so many different performances of the same literature if we did not expect a different interpretive viewpoint from every performer.
3161906
I am glad they played these early works by the composers, it is interesting to hear as well as being up to their great performance level.
266065
Shostakovich himself approved the transcription of his 24 preludes for violin and piano. Many of them were completed in his lifetime, leaving only a few to complete the set. There was even a recording in the defunct Russia Revelation label with Shostakovich playing the piano part. All that is beside the question of the music. And the music is superb. What started as a set of character pieces from what I characterize as Shostakovich's "bad boy" period, turns into a virtuoso catalogue of violin technique. And AT NO TIME does it become flash for the sake of flash. There are plenty of recordings of the late sonata meriting vigorous debate on the piece and its interpretation. There are only two recordings of the complete preludes, and one (a more recent one by younger performers) isn't readily available. Expect this set to take its place on the concert stage in the next 50 or so years.
112985
A poor, lethargic overture from Previn - despite the fact that he is conducting the VPO, who must surely have known that they were being directed by a conductor who didn't really empathise with the idiom - provides an unpromising start to this (potentially) most vivacious and uplifting of operettas.

Matters improve greatly with the entry of Richard Leech's mellifluous, ringing tenor so it's a pity that Wolfgang Brendel shouts and blusters and even when he is singing straight his tone is gravelly; vocal elegance is restored by Olaf Br as Falke. For the most part, however, lightness and charm are sacrificed to too broad a manner. The joy and delight of this recording is Kiri Te Kanawa's Rosalinde; she is in complete command of the role both vocally and dramatically, so it is a pity that she is accompanied so lugubriously by Previn; if only we'd had a conductor of the calibre of Karajan, Kleiber, Krauss, Danon or Bhm at the helm. All of those conductors in their studio recordings inject the kind of lilt and swing into proceedings that for the most part elude Previn for long stretches.

Some critics and punters are very exercised by the decision of the production team to maintain background party noise throughout Act 2, suspended only during Te Kanawa's bewitching "Klnge der Heimat,". I can't say I find it that intrusive and it adds atmosphere, as intended. The highlight of this Act is Brigitte Fassbaender's turn as Orlofsky: her louche, masculine tones are ideal for portraying him - although of course you can also catch that performance in Boskovsky's studio recording and four more live versions, three of which are conducted by Kleiber. Gruberova is an accomplished if rather mature Adele with something of a beat in top notes - and I have never much cared for her squeezed and piping tones and Brendel does more barking.

In the end, despite its flaws this recording offers much pleasure but cannot compete for vivacity and sheer elan with the best in the catalogue.
2859987
Just for the sake of completeness, you may want to try the full set of  recorded Rachmaninoff preludes by Alexander Budyonny, a Russian pianist with the right "feel" and absolutely superb technique.  I agree with the previous reviewer that no one can compare to Sviatoslav Richter in this category, but the reviewer seems to overlook (other than Shelley, Weissenberg, etc.) other important artists who have contributed to this important ouevre by Rachmaninoff.
3157457
I like this piece which comes off very bright with variations in between nicely done by Parkening. It looks simple and the change of tones are great contrast making the music very interesting.  I like to know which Allemande this one is if they could specifiy at the label. I was looking for the Bach Allemande but I like this one after listening to it. I think I will search out the music.