title: Don't ever blink; this album must be in your collection!

text:
There are composers (Berlioz and Stravinsky among them) who through his creative process would seem take in mind the piano as subconscious model. So, when I acquired the LP  (Finnadar label) in 1979, I realized this detail through this transcription.

Idyl Biret (a talented pupil who studied with Cortot and Kempff) gave the world premiere recording of this transcription made by Liszt. And the outcome was more than a personal feat in her successful career as solist.

She doesn't exploit the instrument to boast about her talent, but rather  manages to involve the listener into that dream environment that permeates the whole Op and literally conveys us to the core of the piece.

On the other hand with Harold in Italy's transcription - recorded in 2011 - we find 32 years after a soloist more mature hence, the piece is performed with many clue insights, derivated from the original score.

The point is we have an outstanding musical document, recorded with ironclad solvency and artistic honesty as a few soloists can boast of doing in these times.

Since I purchased this CD, in 2008, I tend to listen it  at least six times a year, and I find it - like good wine- getting better and better.

That is why I would like to recommend it with special emphasis.


title: Marvelous transcription

text:
The main virtue of this LP is Nicanor Zabaleta playing the harp transcription from Joaquin Rodrigo. You will not find another version capable to surpass this one.

Waiting for its exumation on CD format!!!


title: One of my four superb choices of this notable Op!

text:
Malcuzynsky signed with golden letter shis name among the reduced Pantheon of pianists.Fire and mercurial drive all the way through. Inspired musicality among soloist and orchestra. A true landmark.

I realy wonder why this album has not been released in CD format.

The other three would be Serkin- Reiner Pittsburgh, Fleisher- Szell Cleveland and Kapell- Mitropoulos NYP (Live performance)


title: Mozart's cantabile line never was in best hands

text:
Horzowski was born to play Mozart in the great tradition of let's say Pau Casals. Him plus Ingrid Haebler and Lili Kraus make the perfect trilogy of pianists where you can extract Mozart's best around your desert island choice.

This recital is part of Hellsinski given in October 1969. Of transcendental relevance you can find the Third, Fourth and Sixth Piano Sonatas. But all the double album is pure gold.

Don't think it over and go for this invaluable musical treasure. be for sure!!!.


title: For the next musical generations to come!

text:
It was three years ago, I received this invaluable gift from one of my most beloved and admired friends I have. As soon as I heard it I thought to myself about the kaleidoscopic grandeur of Richter. he gives every Prelude and Fugue a thoughtful and expressive approach with marvelous results.

One of the supreme musical achievements ever made.

Purchase it and get it. Forget the prize. It's an irrelevant issue, given the historical importance of the recording.


title: For genuine collectors !!!

text:
I am still amazed why this historical album hadn't received more accolades. To put in simple word, this Prague (recorded in 1978) is (To my view) the most propulsive, expansive and mercurial Prague I've ever heard. sawallisch displays his accustomed skills in order to make a sumptuous and elegant reading of this marvelous Symphony.

The 39th is Ok, but Fricsay and Furtwangler versions are in the Olympus.


title: Both genius: Mozart and Vegh!!!

text:
In hands of the sublime master Sandor Vegh, Mozart sounds so clear, with an internal cohesion and deep vision that conveys us definitively to a superior level of expression.

The Prague, for instance is plenty of radiant fluidity, excel phrasing and that unmatched expression you hardly expect to find (as it uses to be in other versions). Majestic and refinement all the way through.

This Jupiter may be included among the five most idiomatic readings you'll ever hear (Fricsay, Vienna Symphony, Vegh again with Salburg Camerata from 1994 in Decca label, Walter NYP and Giulini Philharmonia). Vegh confers an aura, a suggestive panache product of a profound inner conviction; it's a like a journey to the very core of the Kv.

In a nutshell, go for this album. In my case, since  I got it in 2007 I listen this recording  at least four times every year and I can give faith of it. Be my guest and purchase this one!!! You'll be always rewarded, because to get this expression in these times is always impossible, because the genius is always inimitable.


title: Don't wait for it; purchase it in CD format as soon as possible!

text:
This album brings me many pleasant memories, due it was my first encounter with Daniel Shafran (1978). Since then, his Schubert's Arpeggione version has been by far, my desert island choice. And the same happens with Shos Op. 40.

Opulent musicianship, incandescent phrasing, febrile poetry and exciting handle of tempi have become it a referential cult album. He recorded it several times but never with such intepretive freshness and superb gusto.

PD. For the record, this Lp is among my top one favorites ever.


title: A collector item!

text:
Christian Ferras' dazzling personality became of him a true musical legend. At the time goes by, his legacy remains unbeatable, and this distinction is particularly remarkable as chamber soloist. You'll hear a Debussy Violin Sonata without mannerism. A formidable Lekeu Vion Sonata, a memeoarble Honneger work for violin solo, as well as a very captivating Franck's violin sonata.

You must get this album by all means. You've got my word. Don't miss it!!!


title: An unmissable set!!!

text:
This is the most astonishing compilation ever made about the great Robert Casadesus. Through its content, you'll undertake a kaleidoscopic journey and will enjoy treasures from the repertoire.

Casadesus at the front of the NYP and Concertgebouw (with Mitro and Rosbaud respectively) playing the Emperor. Casadesus with Francescati performing part of the corpus of Beethoven's Violin Sonatas; R.C. playing a remarkable Ravel and Debussy tour; Casadesus playing the renowned program of four-hands piano with Gaby. His Bach is eloquent as well as his Bartok. His Chopin is expressive too.

Three minor but not least important flaws: this compilation didn't include three fundamental recordings of this legendary artist:Ravel Piano Concerto for the left hand with Ormandy and the Philadelphia from 1962; and the extraordinary set of Chopin Ballads from 1947 (I think); that exceed in imaginative vigor and excel phrasing the set of 60's; and finally the most expressive and mercurial reading of Mozart's 21 with Charles Munch at the front of the NYP from 1947 . If not for it, I would give this set five stars. I really hope for a release of both performances, for the sake of the music and the silent expectation of so many hard-lovers music around the world.

PD The entire program is here:

The Art of Robert Casadesus
Recordings 1935-62 year (30CD)

 CD many is released from France SONY once, pianist of France, Robert Casadesus recording of [1899-1972] is now has gained popularity in Japan were. But many of them since the out of print now, it is where the appearance of the 30 pieces of the box from British Sukuribendamu label of this time is welcome.
In addition to the Piano Concerto No. 2 of Brahms with Schuricht command the French National Radio Orchestra that was not Demawara much, Mozart high reputation, Ravel, Debussy, Beethoven, from Saint-Saens, Bach, Faure, Frank Weber, Chopin in Japan, content that contains the sound source of a number up to the self-made Rameau, and Scarlatti, has become as it was very fulfilling. Clamshell box specification (HMV) [collecting information] Disc1 JS Bach . [7'52] 1 Toccata in E minor BWV.914 to Italian Concerto BWV.971 major . 2 I. (Without tempo indication) [3'35] 3. II. Andante [4'35] 4. III. Presto [3'25] BWV.826 Partita No.2 in C minor, 5. I. Sinfonia [4'17] 6. II. Allemande [3'16] 7 . III. Courante [2'13] 8. IV. Sarabande [3'10] 9. V. Rondeaux [1'21] 10. VI. Capriccio [3'32] BWV.817 sixth French Suite in E major 11 . Allemande [2'07] 12. Courante [1'25] 13. Sarabande [3'31] 14. Gavotte [1'00] 15. Polonaise [1'23] 16. Menuet [0'58] 17. Bouree [1'32] 18. Gigue [2'06] Violin Sonata No. 2 in A major for piano BWV.1015 19. I. (Without indication TEMPO) [2'32] 20. II. Allegro assai [3 ' 13] 21. III. Andante un Poco [2'46] 22. IV. Presto [4'20] Robert Casadesus (piano) Gino Francescatti (violin :19-22) Recording: (1-10) 9th May 1958 - (11-18) 21st March 1951 - (19-22) 7th May 1947 Disc2 Bartok: 2 Sonata for piano and percussion stand Sz.110 1. I. Lento Assai, Molto Allegro [12'49] 2. II. Lento, ma Non Troppo [6'48] 3. III. Allegro Non Troppo [6'48 ] Debussy: in black and white (for two pianos) . 4 I. Allegro vivo [4'09] .. 5 II Intermede fantasque Leger [6'00] ... 6 III Finale Tres anime [4'30 ] Debussy: Sonata in G minor for violin and piano . 7 Movement I [4'13] 8 Movement II [3'50]. 9 Movement III [3'41]. Debussy: Sonatani minor for Cello and Piano 10 . Prologue [4'17] 11 Serenade [2'53]. 12 Final [3'17]. Satie: Three Pieces that has the shape of a pear . Maniere 13 de Commencement [3'05] . 14 prolongation du Meme [0 '52] 15. I. [1'20] 16. II. [2'25] 17. III. [2'41] 18. En Plus [1'57] 19. Redite [1'30] Robert Casadesus (piano) Gaby Casadesus (piano: 1-6, 13-19) Jean-Claude Casadesus, Jean-Pierre Droz (percussion :1-3) Gino Francescatti (violin :7-9) Maurice Marechal (cello :10-12) Recording: (1-3) 4th to 6th June 1963 - (4-6) 5th & 6th June 1963 - (7-9) 26th April 1946 - (10-12) 1935 - (13 - 1959 19) 25th & 26th June Disc3 Frank: Sonata in A major for violin and piano . 1 I. Allegretto Ben Moderato [6'23] .. 2 II Allegro [7'49] .. 3 III Recitativo, Fantasia, Ben Moderato [7'01] 4 IV Poco Allegretto mosso [5'30].. Chausson: Op.21 Concerto . 5 Calme [13'48] . 6 Sicilienne [3'45] . 7 Grave [9'23] . 8 Anime [10'16] 9 Frank:. Symphonic Variations [13:39] (piano) Robert Casadesus Gino Francescatti (violin :1-8) Gillespie Quartet (5-8) Philadelphia Orchestra (9 ) Eugene Ormandy (conductor: 9) 1958 (9) 15th & 16th November - (1-4) 7th May 1947) - (5-8) 1st December 1954: Recording Disc4 : Brahms Sonata No. 3 for Violin and Piano D minor, Op.108 1. I. Allegro vivo [7'10] 2. II. Adagio [4'20] 3. III. Un Poco Presto con Sentimento [3'00] 4. IV. Presto Agitato [5 ' 32] Op.100 Sonata No. 2 A minor for violin and piano . 5 I. Allegro Amabile [7'29] 6 II Andante tranquillo -.. vivace [5'48] .. 7 III Allegretto grazioso, quasi Andante [5'26] Sonata No. 1 in G major for Violin and Piano Op.78 8. I. Vivace, ma Non Troppo [9'40] 9. II. Adagio [7'37] 10. III. Allegro Molto Moderato [8'32] Robert Casadesus (piano) Gino Francescatti (violin) Recording: (1-4) 8th January 1947 - (5-10) 4th January 1952 - Live at the Coolidge Auditorium of the Library of Congress Disc5 Beethoven: Op.15 Piano Concerto No. 1 in C major . 1 I. Allegro con Brio [14'20] .. 2 II Largo [8'40] .. 3 III Rondo (Allegro scherzando) [8'36] Piano Concerto No. 4 in G major, Op.58 4. I. Allegro Moderato [16'09] 5. II. Andante con Moto [4'23] 6. III. Rondo (vivace) [9'16] Robert Casadesus (piano) Amsterdam Concertgebouw Orchestra Eduard van Beinumu (conductor) Recording: 1st and 2nd March 1959 DISC6 Rameau: . 1 gavotte [6'43] . chirping of birds 2 [2'14] . 3 savage [1'51] fool of 4 Soronyu [5'26]. D. Scarlatti: . 5 Sonataho major K.380 [2'32] . 6 Sonata in A major K.533 [2'29] . 7 Sonatani major K.23 [2 ' 36] . 8 in G major Sonata K.14 [2'37] 9 Sonata in B minor, K.27 [3'43]. Sonatani 10 major K.430 [4'22]. Mozart: five for the woodwind and piano Quintet K.452 11. I. Allegro Moderato [7'51] 12. II. Larghetto [6'52] 13. III. Finale Allegretto [5'44] Robert Casadesus (piano) John de Lancy (oboe :11-13) Anthony Gigliotti (clarinet :11-13) Bernard Garfield (bassoon :11-13) Menson Jones (Horn :11-13) Recording: (1-10) 1st & 2nd May 1952 - (11 1960 -13) 15th December DISC 7 Ravel: . Pavane for a dead princess 1 [5'36] . 2 Chabrier wind [2'16] . 3 Borodin wind [1'35] Sonatine . 4 I. Modere [3 '52] 5. II. Mouvement de Menuet [2'38] 6. III. Anime [3'21] mirror 7. Noctuelles [4'19] 8. Oiseaux tristes [3'51] 9. Une Barque sur L ' Ocean [6'47] 10. Alborada del Gracioso [6'07] 11. La Vallee des Cloches [5'08] Ma-mail Roy 12. Pavane de la belle Au Bois DORMANT [1'13] 13. Petit Poucet [2'48] 14. Laideronette, Imperatrice des Pagodes [3'09] 15. Les Entretiens de la Belle et la Bete [3'31] 16. Le Jardin Feerique [2'53] 17. habanera [2'34] The play of 18. water [4'38] 19. Kyokui minor Prelude [1'23] The minuet in the name of 20. Haydn [1'42] The lullaby in the name of 21. Faure [2'12] Robert Casadesus ( piano) Gino Francescatti (violin: 21) Gaby Casadesus (piano :12-17) Recording: (1-16) 2nd to 7th October 1961 - (17-20) 3rd to 7th December 1951 - (21) 26th 1946 april Disc8 Ravel: Tomb of Couperin . 1 Prelude [2'49] . 2 Fugue [3'18] . 3 Forlane [4'53] . 4 Rigaudon [3'10] . 5 Menuet [4'22] 6. Toccata [3'58] 7. Koga sentimental waltz [12'56] a 8. old-fashioned minuet [5'29] night Gaspard 9. Ondine [5'55] 10. Le Gibet [5'05] 11 . Scarbo [9'19] Concerto for the left hand 12 [17'00]. Robert Casadesus (Piano) Philadelphia Orchestra (12) Eugene Ormandy (conductor: 12) Recording: (1-11) 3rd to 7th - december 1951 1947 (12) 22nd January Disc9 Mozart: K.467 No. 21 in C minor piano concerto . 1 I. Allegro maestoso [14'18] .. 2 II Andante [7'47] .. Allegro vivace 3 III assai [6'19] Piano Sonata No. 14 in C minor, K.457 4. I. Molto Allegro [3'59] 5. II. Adagio [7'07] 6. III. Allegro assai [4'52] Robert Casadesus (piano) (1-3) Cleveland Orchestra George Szell (conductor :1-3) 1955 (4-6) December 20th - (1-3) 5th November 1961: Recording Disc10 : Mozart No. 18 strange piano concerto B-flat major K.456 1. I. Allegro vivace [11'38] 2. II. Andante un Poco sostenuto [8'51] 3. III. Allegro vivace [6'21] No. 22 in E flat major Piano Concerto K. 482 . 4 I. Allegro [12'44] .. 5 II Andante [7'42] .. 6 III Allegro [9'54] Robert Casadesus (Piano) Columbia Symphony Orchestra George Szell (conductor) Recording (1 - - 3) 11th November 1956 1959 (4-6) 13th November Disc11 Mozart: "Coronation" No. 26 in D major, K.537 Piano Concerto . 1 I. Allegro [13'37] .. 2 II Larghetto [6'26 ] 3. III. Allegretto [9'08] Piano Concerto K.595 No. 27 in B flat major 4. I. Allegro [13'20] 5. II. Larghetto [8'50] 6. III. Allegro [8 ' 10] K.576 Piano Sonata No. 17 in D major 7. I. Allegro [3'22] 8. II. Adagio [4'27] 9. III. Allegretto [3'48] Robert Casadesus (piano) Columbia (1-6) Symphony Orchestra George Szell (conductor :1-6) (4-6) 4th November 1962 - - (7-9) 20th December 1955 Recording (1-3) 2nd & 3rd November 1962 Disc12 Beethoven: Violin Sonata No. 1 in D major, Op.12-1 1 I. Allegro con Brio [6'01]. 2 Tema con Variazioni II - Andante con Moto [6'39].. 3 III Rondo:.. Allegro [4 ' 33] Violin Sonata No. 2 in A major, Op.12-2 4. I. Allegro vivace [5'45] 5. II. Andante Piuttosto Allegretto [4'33] 6. III. piacevole Allegro [5'15] Violin Op.12-3 Sonata No. 3 in E flat major . 7 I. Allegro con Spirito [5'45] 8 II Adagio con Espressione Molta [5'19].. 9 III Rondo:.. Molto Allegro [3'58] Robert Casadesus (piano) Gino Francescatti (violin) Recording: (1-3) 12th to 14th May 1958 - (4-9) 2nd to 7th October 1961 Disc13 Beethoven: Violin Sonata No. 4 A minor Op. 23 1. I. Presto [4'52] 2. II. Scherzoso Andante, piu Allegretto [5'05] 3. III. Molto Allegro [5'32] Violin Sonata No. 6 in A major, Op.30-1 4. I. Allegro [5'41] 5. II. Molto Adagio espressivo [7'22] 6. III. Allegretto con Variazioni [7'19] Op.30-2 Violin Sonata No. 7 in C minor 7. I. Allegro con Brio [7'15] 8. II. Adagio Cantabile [8'40] 9. III. Scherzo. Allegro [3'03] 10. IV. Finale. Allegro [5'05] Violin Sonata No. 8 in G major, Op.30-3 11. I. Allegro assai [5'51] 12. II. Tempo di Minuetto, ma Molto Moderato e grazioso [6'57 ] .. Allegro vivace 13 III [3'25] Robert Casadesus (piano) Gino Francescatti (violin) Recording: 1961 2nd to 7th October Disc14 Beethoven: Violin Sonata to No. 5 major Op.24 "Spring" 1. I. Allegro [7'06] 2. II. Molto Adagio espressivo [4'56] 3. III. Scherzo. Molto Allegro [1'11] 4. IV. Rondo. Allegro, ma Non Troppo [6'25 ] Violin Sonata No. 9 in A major Op.47 "Kreutzer" 5. I. Adagio sostenuto, Presto, Adagio, Tempo 1 [10'46] 6. II. Andante con Variazioni 1-4 [14'16] 7. III . Finale. Presto [6'25] Violin Sonata No. 10 in G major, Op.96 8. I. Allegro Moderato [9'35] 9. II. Adagio espressivo [5'55] 10. III. Scherzo. Allegro [1 '51] .. 11 IV Poco Allegretto, Adagio, Allegro, Poco Adagio, Presto [7'49] Robert Casadesus (piano) Gino Francescatti (violin) Recording: (1-4) 2nd to 7th October 1961 - 1958 (5-11) 12th to 14th May Disc15 Chopin: Ballade Collection . 1 No. 1 in G minor Op.23 [7'51] . 2 No.2 in F major Op.38 [6'47] . 3 No .3 in A flat major Op.47 [6'14] 4 No.4 in A minor Op.52 [9'54]. Op.35 Piano Sonata No. 2 in B flat minor, 5 I. Grave:. doppio movimento [4'41] 6 II Scherzo:.. Presto, ma Non Troppo [4'34] 7 III Marcia Funebre:.. Lento [8'02] 8 IV Finale:.. Presto [1'22] Robert Casadesus ( piano) Recording: Sound quality on tracks 7 and 8 IS Due to poor matrix damage - (1-4) 1960 - 1946 (5-8) 21st May Disc16 : Beethoven Op.27-2 Piano Sonata in C-sharp minor, 14 "Moonlight" 1. I. Adagio sostenuto [5'12] 2. II. Allegretto [2'10] 3. III. Presto Agitato [5'47] Piano Sonata No. 2 in A major, Op.2-2 4. I . Allegro vivace [4'54] 5 II Largo appassionato [5'51].. 6 III Scherzo:.. Allegretto [2'53] 7 IV Rondo:.. Grazioso [6'00] Piano Sonata No. 31 strange A major Op.110 . I. Moderato Cantabile 8, Molto espressivo [5'56] 9 II Molto Allegro [2'02].. 10 III Adagio, ma Non Troppo - Fuga:.. Allegro, ma Non Troppo [9'04 ] Robert Casadesus (piano) Recording: (1-3) January 1957 - 1950 (8-10) 10th April - (4-7) 1st & 2nd May 1952 Disc17 : Beethoven minor Op.57 to Piano Sonata No. 23 "Appassionata" . I. Allegro assai 1 [9'05] 2 II Andante con Moto [5'54].. 3 III Allegro, ma Non Troppo -.. Presto [5'00] to Piano Sonata No. 24嬰major, Op.78 "Therese" 4 I. Adagio Cantabile -. Allegro, ma Non Troppo [4'26] .. Allegro vivace 5 II [2'46] Piano Sonata No. 26 in E flat major Op.81a "farewell" . 6 I. Adagio - Allegro (Les Adieux) [6'32] .. 7 II Andante espressivo (L'Absence) [3'23] .. 8 Vivacissimamente III (Le Retour) [4'14] Robert Casadesus ( Piano) (6-8) January 1957 (1-3) 1st & 2nd May 1952 - - (4-5) January and September 1957: Recording Disc18 : Schumann interlude a "lyrical poetry (Heine Dichterliebe Op.48 from the song ") 1. Wunderschonen Im Monat Mai (Heine No. 1) [1'32] 2. Aus Meinen Tranen Spriesen (Heine No.2) [0'56] 3. Die Rose, Die Lilie, Die Taube, Die Sonne (Heine No.3) [0'33] 4. Wenn ICH in Deine Augen She '(Heine No.4) [1'47] 5. Ich Will Meine Seele Tauchen (Heine No.7) [0'44] 6. Im Rhein, im Heiligen Strome (Heine No. 11) [2'27] 7. Grolle Ich nicht (Heine No. 18) [1'51] 8. Und Die Blumen's Wusten, Die kleinen (Heine No. 22) [1'13] 9. Das ist Ein Floten und Geigen (Heine No. 20) [1'26] 10. Hor 'ICH das Liedchen Klingen (Heine No. 40) [1'48] 11. Ein Jungling liebt Ein Madchen (Heine No.39) [1'12] 12. Am Leuchtenden Sommermorgen (Heine No. 45) [2'26] 13. Ich HAB 'im Traum Geweinet (Heine No.55) [2'33] 14. Allnachtlich im She Traume 'ICH Dich (Heine No.56) [1'38] 15. Aus alten Marchen Winkt es (Heine No.43) [2'22] 16. Die alten, Bosen Lieder (Heine No.65) [4 ' 19] Fantasia in C major, Op.17 . [12'17] - 17 Durchaus Phantastisch und Leidenschaftlich Vorzutragen Im Legendenton 18 Massig Durchaus Energisch -.. Etwas Bewegter - Viel Bewegter [7'46] .. 19 Langsam Getragen Durchweg Leise zu Halten - Etwas Bewegter [9'20] 20 butterfly Op.2 [12'38]. Robert Casadesus (piano) Pierre Berunakku (baritone :1-16) Recording: (1-16) 21st & 22nd February 1952 - (17 1960 -20) 27th March Disc19 Schumann: Op.82 scene of forest . Eintritt 1 (Entry) [1'46] . 2 Jager auf der Lauer (Hunters on the Lookout) [1'18] . 3 Einsame Blumen (Lonely Flowers ) [1'38] 4. Verrufene Stelle (Haunted Place) [2'53] 5. freundliche Landschaft (Friendly Landscape) [0'57] 6. Herberge (Wayside Inn) [1'57] 7. Vogel als Prophet ( Bird as Prophet) [2'16] 8. Jagdlied (Hunting Song) [2'22] 9. Abschied (Farewell) [3'38] Op.9 Carnival 10. Preambule in A flat major, Quasi maestoso [2'09 ] 11. Pierrot in E flat major, Moderato [0'59] 12. Arlequin, in B flat major, Vivo [0'55] 13. Valse Noble in B flat major, Un Poco maestoso [1'07] 14. Eusebius in E flat major, Adagio [1'31] . Florestan 15 in G minor, Passionato [0'51] . Coquette 16 in B flat major, Vivo [0'56] . Replique 17 in G minor, L'Istesso TEMPO - Sphinx [0'24] 18 Papillons in B flat major, Prestissimo [0'44]. Dansantes 19 Lettres. (ASCH - SCHA) in E flat major, Presto [0'45] . Chiarina 20 in C minor, Passionato [0 '48] 21. Chopin in A flat major, Agitato [1'04] 22. Estrella in F minor, Con Affetto [0'26] 23. Reconnaissance in A flat major, Animato [1'33] 24. Pantalon et Colombine in F minor, Presto [0'55] 25. Valse Allemande in A flat major, Molto vivace [0'45] 26. Paganini in F minor, Intermezzo, Presto [1'07] 27. Aveu in F minor, Passionato [ 0'55] 28. Promenade in D flat major, Con Moto [1'41] 29. Pause, in A flat major, Vivo, Precipitandosi [0'17] 30. Marche des Davidsbundler Contre les Philistins [3'28] Symphony Etudes 31. Theme, Andante [1'31] 32. Etude I, Un Poco piu vivo [1'08] 33. Etude II, Andante [3'06] 34. Etude III, Vivace [1'09] 35 . Etude IV, MARCATO Allegro [0'58] 36. Etude V, Scherzando [1'05] 37. Etude VI, Agitato [1'02] 38. Etude VII, Molto Allegro [0'47] 39. Etude VIII, Sempre Marcatissimo [1'32] 40. Etude IX, Presto possibile [0'39] 41. Etude X, Allegro con energia [1'18] 42. Etude XI, Andante espressivo [1'45] 43. Etude XII, Allegro brillante (based on Marschner's theme) [5'29] major [3'29] Op.28 ~ to the second song嬰romance of two 44.3 Robert Casadesus (piano) Recording: (1-9, 31-44) 11th april 1950 - (10-30) 20th December 1955 Disc20 Beethoven: "Emperor" Piano Concerto No. 5 in E flat major, Op.73 . 1 I. Allegro [18'56] .. 2 II Adagio, un Poco mosso [6 ' 40] 3 III Rondo:.. ma Non Troppo [10'05] Allegro, Falla: "Night of the garden of Spain" Symphonic impression . 4 I. En el Generalife (Allegro tranquillo e Misterioso) [9'42] 5. . Danza II Lejana (Allegretto giusto) [4'48] .. 6 III En los Jardines de la Sierra de Cordoba Vivo) [8'26] Robert Casadesus (Piano) New York Philharmonic Dimitri Mitropoulos (conductor) Recording: - (1-3) 19th September 1955, Theatre des Champs-Elysees, Paris 1957 (4-6) 6th June Disc21 Mozart: K.466 No. 20 in D minor Piano Concerto . 1 I. Allegro [13'02] 2. . Romanza II [7'53] .. 3 III Rondo: Allegro assai [6'25] Piano Concerto K.491 No. 24 in C minor . 4 I. Allegro (Kadenzen by Camille Saint-Saens) [12'59] 5 . II. Larghetto [7'52] 6. III. Allegretto [8'43] Piano Sonata No. 13 in B-flat major, Linz at the end of 1783 7. I. Allegro [4'45] 8. II. Andante Cantabile [5 ' 11] .. 9 III Allegretto grazioso [5'58] Robert Casadesus (Piano) Columbia Symphony Orchestra (1-3) Cleveland Orchestra (4-6) George Szell (conductor :1-6) Recording: (1 - 3) 10th December 1956 - - (4-6) 3rd & 4th November 1961 1955 (7-9) 20th December Disc22 Mozart: No. 12 in A major Piano Concerto K.414 . 1 I. Allegro [9'50] . 2 II . Andante [8'28] 3 III Allegretto [5'44].. (piano) Robert Casadesus Columbia Symphony Orchestra George Szell (conductor) 20th December 1955: Recording Disc23 Mozart: Concerto for 2 Pianos (10th turn K.365) in E flat major . 1 I. Allegro [10'13] 2 II Andante [6'34].. .. 3 III Rondo: Allegro [6'29] Concerto for three pianos (seventh to turn) K.242 major 4 I. Allegro [8'45]. 5 II Adagio [9'12].. 6 III Rondo:.. TEMPO di Menuetto [5'54] Concerto for two pianos (first No. K.365 10) in E flat major . 7 I. Allegro [10'05] 8 II Andante [6'42].. 9 III Rondo:.. Allegro [6'26] Robert Casadesus (piano) Gaby Casadesus (second piano :1-9) Jean Casadesus (third piano :4-6) Columbia Symphony Orchestra (7-9) George Szell (conductor :7-9) Philadelphia Orchestra (1-6) Eugene Ormandy (conductor :1-6) 1955 (7-9) 19th to 21st December - (1-3) 15th December 1960 - (4-6) 9th December 1962: Recording (or 1961?) Disc24 .: Piano Concerto 1 list No. 2 in A major [19'12] 2 Weber:. Stuck to Concerto Op.79 [15'36] minor Op.44 Saint-Saens Piano Concerto No. 4 in C minor . 3 I. Allegro moderato - Andante [11 ' 36] .. Allegro vivace 4 II - Andante - Allegro [13'42] . 5 Faure: Ballade Op.19 for Piano and Orchestra [12'29] (piano) Robert Casadesus Cleveland Orchestra (1-2) George Szell (conductor :1-2) New York Philharmonic (3-5) Leonard Bernstein (conductor :3-5) Recording: (1-2) 20th January 1952 - (3-5) 30th October 1961 Disc25 : Schubert D.940 [16'59] to minor Fantasy for 1 piano 4 hands. D.823 Divertimento on a Theme of 2 French. Op.84-1 [3 7'27 and Variations Andantino. ] Mozart: Sonatani major K.448 for two pianos (K.375A) . 3 I. Allegro con Spirito [5'29] .. 4 II Andante [6'26] .. 5 III Molto Allegro [5 '26] Variations in G major, K.501 Andante and for four hands 6. Andante [1'09] 7. Variation 1 [1'01] 8. Variation 2 [1'00] 9. Variation 3 [0'58 ] . 10 Variation 4 [1'15] 11 Variation 5 [2'00]. Faure: Dolly Suite Op.56 (for piano 4 hands) . Berceuse 12, Allegretto Moderato [2'27] . Mi-13 a -ou, Allegro vivo [1'46] 14. Jardin de Dolly, Andantino [2'14] 15. Kitty Valse, Tempo di valse [2'24] 16. tendresse, Andante [3'19] 17. Pas Espagnol, Allegro [1'59] Robert Casadesus (piano) Recording: (1) 21st January 1954 - (2, 6-11) 9th December 1954 - (3-5) August 4th 1953 - (12-17) 26th March 1951 Disc26 Debussy: . 1 Kamen [4'27] . island of joy 2 [5'13] video first collector . Reflets dans l'3 Eau [Reflections in the Water] [4'36] . 4 Hommage a Rameau [Hommage to Rameau] [6'44] 5. Mouvement [Movement] [3'17] second current video 6. Cloches a Travers les Feuilles (Bells through the Leaves) [4'01] 7. Et la Lune descend sur le Temple Qui fut (And the Moon Descends on the Ruins of the Temple) [4'52] 8. Poissons d'or (Goldfish) [3'57] Arabesque 9. I. Andantino con Moto [3'16] 10. II. Allegretto scherzando [2'51] prints 11. Pagodes [4'41] 12. La soiree dans Grenade [5'23] 13. Jardins sous la pluie [3'12] children of the province 14. Doctor Gradus ad Parnassum [1'50 ] 15. Jimbo's Lullaby [2'53] 16. Serenade for the Doll [2'06] 17. The Snow Is Dancing [1'56] 18. The Little Shepherd [2'11] 19. Golliwog's Cake-Walk [2 '42] Robert Casadesus (piano) Recording: (1-2, 9-10) 21st January 1954 - (3-8) August 4th 1954 - (11-13) 3rd August 1954 - 14-19) 11th April 1950 Disc27 Debussy: Volume 1 Preludes . 1 Danseuses de Delphes [2'35] . 2 Voiles [3'38] . 3 Le Vent dans la Plaine [1'56] . 4 Les Sons et les Parfums Tournent dans l'Air du Soir [3'12] 5. Les Collines d'Anacapri [2'57] 6. Des Pas sur la Neige [3'22] 7. Ce Qu'a vu le Vent d'Ouest [3'08] 8. la Fille aux cheveux de Lin [2'10] 9. Interrompue La Serenade [2'23] 10. La Cathedrale Engloutie [5'18] 11. La Danse de Puck [2'22] 12. Minstrels [2'05] Volume 2 Preludes 13. Brouillards [2'30] 14. Feuilles mortes [2'34] 15. La Puerta del Vino [3'09] 16. Les Fees sont d'Exquises Danseuses [2'27] 17. Bruyeres [1'57] 18. general Lavine - eccentric [2'19] . La Terrasse des 19 Audiences du Clair de Lune [3'17] . Ondine 20 [2'34] .. 21 Hommage a S.Pickwick, Esq, PPMPC [2'12] 22 . Canope [2'36] 23. Les Tierces Alternees [2'18] 24. Feux d'artifice [3'27] (for piano 4 hands) small suite 25. En bateau [3'12] 26. Cortege [3'00] 27 Menuet [2'37]. Ballet 28 [2'50]. Robert Casadesus (piano) Gaby Casadesus (piano :25-28) Recording: (1-12) June 1st or 4th August 1953 - (13-24) January 1st or 18th April 1954 - 1959 (25-28) 25th and 26th June Disc28 Faure: Piano Quartet Op.15 No.1 in C minor . 1 Allegro Molto Moderato [9'04] . 2 Scherzo : Allegro vivo [5'37] . 3 Adagio [7'26] . 4 Allegro Molto [7'31] Violin Sonata No. 1 A minor Op.13 . 5 Allegretto Molto [6'50] . 6 Andante [7 '10] 7. Allegro vivo [3'50] 8. Allegro, quasi Presto [4'45] Violin Sonata Op.108 the second in E minor 9. Allegro Non Troppo [7'57] 10. Andante [7 ' 19] 11. Allegro Non Troppo [5'44] Preludes Op.103 12. No. 1 in D flat major [3'14] 13. No.2 in G minor [3'17] Robert Casadesus (piano ) Gino Francescatti (violin :5-11) Joseph Calvet (violin :1-4) Leon Pascal (viola :1-4) Paul trout (cello :1-4) Recording: (1-4) (12-13) 14th December 1961 7th May 1935 - - (5-11) September 1953 Disc29 : Casadesus 1 Toccata Op.40 [4'26]. Op.36 Mediterranean Dances of three for two pianos 2. Sardane [3'43] 3. Sarabande [4'36] 4. Tarantelle [3'04] Op.34 Violin Sonata No. 2 for Piano 5. Allegro vivo [4'06] 6. Allegretto e Capriccio [ 4'01] 7. Adagio [4'18] 8. Molto Allegro [3'41] Op.58 Wind Band and Sextet for Piano 9. Allegro con Brio [4'46] 10. Scherzo vivace [3 ' 28] . 11 Andante [5'31] 12 giocoso Non Troppo vivo [4'12]. Robert Casadesus (piano) Gaby Casadesus (piano: 2-4) Jean Casadesus (piano: 1) Gino Francescatti (Violin 5-8) Andre Sagnier (flute :9-12) Lucien Dobree (oboe :9-12) Marcel Jean (clarinet :9-12) Gerard Thant (bassoon :9-12) Recording: ( 1959 (9-12) 17th February - 1) 20th & 21st December 1954 - (2-4) 30th January 1950 - (5-8) 28th December 1949 DISC30 Op.83 No. 2 in B flat major Piano Concerto Brahms: 1. [17'05] I. Allegro Non Troppo [8'36] 2 II Allegro appassionato.. [10'53] 3 III Andante.. 4 IV Allegretto grazioso [9'23].. Mozart: Piano for the three Concerto in F major K.242 . 5 I. Allegro [8'27] 6 II Adagio [8'48].. 7 III Rondo:.. TEMPO di Menuetto [6'02] Robert Casadesus (piano) French National Radio Orchestra (1-4) Carl Schuricht (conductor :1-4) Gabby & Jean Casadesus (piano :5-7) RAI Torino Orchestra (5-7) Pre-Fernando Vitali (conductor :5-7) Recording : (1-4) 29th September 1956, live at the Festival de Montreux - (5-7) 4th April 1956, live in Turin


title: Majestic refinement!

text:
Haydn's Munch breathes a majestic refinement and remarkable musicality. These qualities are essential in Haydn's feature, and specially in his last corpus of Symphonies. the BSO as always owes the accuracy and exquisite phrasing that establishes the crucial difference specially in those times (Think about- for instance- Toscanini in Symphony No. 31 in which he sculpts the piece thinking in Beethoven).

Listening them one wonders why Munch didn't record more Haydn's Symphonies (The 99, Oxford, Surprise, The Echo, The Fareweel or Miracle).

Haendel is Ok but Haydn performances are the jewel of the crown.

Purchase these gems before it becomes out of print.


title: Acoustic treasure of first-rate importance!

text:
Lenny Bernstein was invited on Agust 16 1959 and decided to record two incandescent performances.

First. the vivid "Age of anxiety". Bernstein made a vibrant version of this Op. with Seymour Lipkin at the piano. The NYP played the work with such visceral conveyance that hardly you will hear another reading like this one.

Second Shostakovich Fifth: Bernstein recorded in studio two other versions but none of them reached the flaming expresiveness and mercurial muscle. Loaded of the tragic spirit, Lenny depicts the inner voices, the somber atmosphere with the used phrasing of this superb Orchestra. I think Bernstein made his major achievement with this one.

So think it over: these are two amazing Symphonies. It would be a pity you missed this opportunity.

And there's still more: the pressing and sound quality are unbelievable. What superb remastering process!!! Hats off.

Go for this one and enjoy it for a long long time!!!


title: Contemplative rapture!

text:
Peter Serkin's Chopin is nothing but distinctive. he stands aloof respect let's say, the heartiness typical of Rubinstein, the exuberance of Cortot or the flaming phrasing of Horowitz. His pianism exudes an Apollonian bent.re exquisitely detailed performances.

The Ballade and fantasy are his most distinguished achievements. There's are dizzy modulations but frankly speaking serkin demonstrates an invigorating phrasing and poetic luminosity.

Recommended


title: Capturing the essence!

text:
Korngold's Piano Music manages to express with subtle playing, the minimum facets of this music.And keeps for you delightful findings. For instance the Suite Don Quixote, among other enjoyable pieces.

Recommendable!


title: A Sixth to remember!

text:
The Sixth Symphony is an aleph; one of the most nightmarish and ethereal of Mahler's Symphonies.Leinsdorf makes a terrific achievement, proving his solvent craft.

Leinsdorf manages to capture the tragic fate inmersed around all the work. The First Movement is performed with the right balance between somber and hope. Nothing is left aside. These little accents, the subtle changes of character, the tempi and the increasing tension which preannounces the arrival of the fatality.

The last movement is superb. The ambiance of despair becomes more and more unbreathing. The struggle between life and death appears before us like a big frame, without romantic poses. The Orchestra displays once again, its accustomed opulence.

An emblematic sixth that should be part of your colllection. Don't ignore it.


title: Karel Ancerl: an overlooked conductor!

text:
Karel Ancerl proves why he is a very interesting conductor. Bartok's Concerto for Orchestra is remarkable. there are some details of orchestration along the score that illuminates the score. But in this sense, nobody else has reached the status of Reiner at the front of his performance with the Pittsburgh Symphony.

On the other hand Janacek's Sinfonietta is the main attractive of this album. Distinction and freshness hover the recording.

Recommended!!!


title: Kajanus or King-Janus?

text:
Robert Kajanus was a giant as conductor. His impressive incisiveness gives Sibelius' Second a phrasing like you will never hear again. His architectural vision may be perceived while the work goes on. Nevertheless, I feel the last movement lacked the portentous fire Collins gives it. Kajanus' approach gives a more restrained gaze.

Karelia Suite is fabulous. Kajanus never incurs in bombastic sounds. He manages to combine that coveted Pastoral freshness and majesty at the same time.

A historical document that well deserves be brought. Don't leave it aside.


title: Collection pieces!

text:
This set of Mendelssohn's String Quartets find in this ensemble the perfect match. They exhibit a majestic phrasing as well as an adequate balance between lyricism and enraptured youth ardour so typical of a very ypung composer by then.

It's not easy to find such emblematic recordings of both String Quintets. My sincere advise. Go for it. You'll fall in love inmediately with both performances.

Be my guest!


title: The supreme reading of DS' Ninth!

text:
These fabolous live performances became - since its inmediate release- a true collector item. The Ninth is by far the jewel of the crown. It has all what you may request from it. The Fifth and Seventh are sumptuous and receive from conductor and Orchestra electricty and galvanic approach.

I really recommend it. Don't miss it!!!


title: A memorable compilation!

text:
In the previous review, I talked about the fact that just a few teams of chamber music have established such chemical rapport like Barilly and Demus. Phrasing clarity, subtle musicality and unequalled level of expressiveness.

The Quartet Op. 25 is -for instance- admirably performed but (a minor complaint) it doesn't reach the wild punch established by Gilels and the Amadeus Quartet (see my review about it). The rest of the other two are by themselves, collector item pieces. The dazzling cantabile line, the admirable transitions, radiant musicality and the level of artistic commitment have no paragon.

Demus exhibits here the reason of his fame throught the world: admirable phrasing and imaginative display of the tonal balance. The dynamic range and sound quality are first-order.

Don't hesitate and go for this album.


title: Admirable Schumann!

text:
The special chemistry established between The Barylli Quartet and Demus has always been a matter of broad discussion between hard lover music.

In this sense, it would be unfair not to include to Rudolf Serkin and the Budapest for instance. But the fact I would like to underline is the admirable musicality that breathes a hard to find dignity in what concerns the level of interpretation. You'll never listen a single bar out of context.This aspect adresses it an irresistible charm at thge moment to listen it. That's why the Op. 47 is my desert island choice ever.

Go for these admirable document. You won't regret it!!!


title: An overwhelming artist!

text:
Among the generation of British pianist, Peter Donohoe occupies a place of remarkable importance. His fingering and colosal technique are at service of the score. He needs no play fireworks to shine at the stage all over the world. On the contrary , he has always maintained a low profile. But everytime he releases a new album arouses major expectations between the conosseurs.

In this sense I dare to affirm his Liszt' s Sonata in B minor's performance owns that coveted sacred fire, mercurial drive and first-rate expressiveness. Balance of the pathos, permeated of that aura that covers from start to finish.

His Bartok is flaming and efervescent. His Berg will capture you too.

Since its release in 1989, I preserve this album as a genuine rarity as well a cult album. So, in case you got the chance of acquiring, please don't think it over. You'll be amazed all the way through.


title: Emblematic singularity!

text:
Dominique Fillon: a singular artist. His playing is splling as well as his arrangements and musicality. This kaleidsocopic album will give different portraits of the world.

Emblematic tracks are Americas, Lucky, Maine to Maine, Rain and sereine, Didier Road, Apres Tokio. I still wonder why this CD has not received any accolade. But I think it well deserves a try from you. Be my guest and go for it. You'll never be dissapointed.


title: As time goes by...

text:
After four years I returned to re-listen this emblematic album. And I revisited some interpretive aspects. Badura Skoda is in the top of the game with these inner voices, bass line and subtle cantabile.

What a wonderful results. The clear transparency of the Partita No. 1, for instance is played with majestic approach without leaving aside the cosmical breadth. Partita No. 2 is played with detailed phrasing as well as the third does.

Badura Skoda was 25 by then and believe me: this recording well deserves a re-edition. Enchantment and refinement are its major virtues.


title: Dame Moura : chapeaux!

text:
Along 2015 (Debussy's pass centenary) there have been many remarkable pianists playing the best of his repertoire: Paul Crossley, Francois, Jacobs, Richter, Ciani, Gieseking, Casadesus, Tirimo, and obviously Dame Moura Lympany. Her refined and poolished style is probably the main aspect of the French pianism, where playing is made with the wrists and not by the arms.

Both Arabesques deserve special attention, her reading of La plus que lente -hovered by that spectral mystery-  as well as Serenade for the doll make of this album a real and essential collector item.

You should include this marvelous album among your most distinguished gems of your collection.


title: Paul Baumgartner: one the most sublime poets of the piano in an unforgettable live recital !!!

text:
The only reference I had about this artist was the fact he was teacher of Alfred Brendel. But when I decided to purchase this record (in the late nineties) my surprise was majuscule. Why is this notable pianist so underrated? I asked to myself during my last listening yesterday evening.

His Beethoven is extremely restrained, very thoughtful and played keeping into account the sense of color and a sense of organical flow. his Brahms Intermezzi were recorded with a touch of majestic radiance; Baumgartner leaves aside the romantic element and focuses around the melodic line until the very core.

His Debussy was a great discover. Nuance, grace and tune depicted with an admirable nocturnal poetry. Images and Masques find him in total domain of the Impresionistic repertoire

And here we come: I found Chopin's Ballade No. 4 and kept my expectations with certain prudence. the result was simply admirable. I think this is -if not the best- one of the most pyramidal readings of this Op. Introspection and expressiveness paves the way to the admirable fortissimos in the last two minutes. Baumgartner gives us no wrong note; his laser performance reveals us a deep knowledge of the work. And Chopin sounds with majestic classicism, far from the Romantic approach given by most of pianists.

My gentle reader: Go for this one as soon as you can. Under the circumstances you were not able to get it, you should find this recording in an old music store in Europe or USA, do yourself a favour and go for it.

A notable and priceless recital. the quality sound 8Keeping in mind we are in 1964) is extremely good.

Totally recommended.  .


title: Wenders the magician!

text:
Music that express the existential chaos stated by Win Wenders. Throught this marcvelous CD. you will find another chance to meet again with this admirable director and his fundamental filmography. You will find desperation, loneliness, anguish and dark poetry.

Go for this album -that since it was released- became a cult recording.


title: Of collection!

text:
Verklärte Nacht Other's execution meant for Mitropoulos another jewel of the crown through his career; one of the most pyramidal performances ever recorded in the marvelous artistic trajectory of the NYP. March 3 1958 meant for these musicians an apex by itself. believe me. if you haven't listened this version yet, you are missing part of the pristine sound of this majestic Orchestra. Mitro imbues the ensemble in this journey remarking the hopeless, solitude and redemption through the handle of tempi as few conductors have been able to capture.

The Tallis Fantasy preseves the sublime dignity and patrician character you expect.

A colossal artistic triumph of this distinguished conductor.


title: A collector item waiting to be re-released!

text:
Since his first compositions, RVW inclines for the elegiac tone,refined harmonies outlined with rapidity according the formulas of the British folklore, imbued  if you may - by a sort of philologic scruple of the most authentic expert.

Let's say it clear: With Ralph Vaughan Williams was a decisive prop for William Walton or Benjamin Britten. His marked insular inspiration tinges almost all his works.

Like Hindemith, Vaughan Williams supports on the national tradition and the classic character of the piece nurtured by an harmonic search via Ravel which makes of him an inseparable of the cultural English coordinates.

In this sense, we shouldn't be surprised Stokowski adressed his efforts for presenting his Sixth Symphony in 1947 with the New York Philharmonic (one of his best highest artistic achievements during his succesful career); Stokowski managed to express the dramatic and dark tones remarked of virile intensity and galvanic muscle. To my mind this Sixth is a referential parameter since then until this date: an unsurpassed version.

Mitropulos conducted the Fourth with relentless energy and mercurial vigor, deciphering the minimum facets of it and showing us the power of his craft.Another desert island choice for the records.

The Tallis Fantasy with enviable self-possesion, free of sentimental excess.

I mean: this album just may be labeled as anthological. Its purchase must be for you an imperative duty. Once you get it, please let me know.

Not to be missed. A gem of thousand carats...


title: Revealing Beethoven!

text:
Bruno Walter at the front of the NYP achieved during the first years of the Fifties, a notable conductorial shift. His Brahms Second ( my desert island choice of this Opus) and Fourth symphonies are crucial evidences or the historical Mozart cycle (available in Sony France) talk by themselves about his galvanic intensity and powerful expressiveness.

The Second finds him in good shape. Vibrating and lyrical; despite it has not the ferociousness of Toscanini with the NBC or the authoritarian reading of Reiner with the Pittsburgh, B.W. gets to manage the balance between the Dyonisian breadth and the Apollinean flow.

The Fourth, is specially interesting. Walter depicts with admirable eloquence the inner tension of the beginning of the first movement. The rest of the work is displayed with sumptuous grandness and flamboyant atmosphere.

P.D. I'd like to remark with emphasis this fact because I don't buy his approach about the Fifth, Seventh and Eighth Symphonies. I think his best reading of the Sixth was made with the Philadelphia during the late forties and respect the Ninth he achieved a special peak with the notorious live perfomance from 1947 with the LPO.


title: Go for this acoustic pearl!

text:
There have been many historical recitals but this is specially superb among all of them. Sofronitzky's approach respect Scriabin runs parallel to Schnabel with Beethoven (obviously, keeping distance).

Once you listen it, you will agree. Sofro had enraptured lyrical flight, melodic inventive, first -rate technique and amazing musicianship.

In a nutshell, a priceless musical gem!!!


title: Amazing

text:
Nelson Rangell's versatility is simply amazing. In this opportunity he plays the flute with admirable results. He dared to perform two pieces of Ravel's repertoire: Pavane for a dead princess and La Tomb de Couperin. The transcriptions are admirable all the way through. But there's still more: Dizzy is a fabulous piece as well as the rest of the CD. Give yourself a try with this one and I swear you : you won't get dissapointed.

Excellent purchase. Get it and make an original gift.


title: Gods have envy of the genius!

text:
It was during 1948 that Neveu significantly wrote: "I am aware of a new evolution taking place within me. May it lift me higher in my art."

Ginette Neveu: Her very name evokes the genius at its highest peak. Her sound, vibrato, musicality and sense of commitment has no paragon in the annals of music.

Nevertheless and despite her brief existence, she gave us supreme performances. These performances capture and provide us part of her illustrious legacy.

Her Beethoven is to my view unique and -one of its kind-. many others musicians considered her interpretation to be her supreme achievement recorded in 1949 with SWF orchestra under Hans Rosbaud in Baden Baden. Watch for the timings: 1. 23:59; 2. 9:52 y 10:39.

The rest of the album is the superbly expressive Ernest Chausson's Poeme for violin & orchestra under Charles Munch and the NYP (who accompanies her in both works) and the incandescent and unique Maurice Ravel's Tzigane for violin.

P.D. I still remember her photograph signed by her to a beloved musical collector  -who is no longer with us- in July 27, 1981, when she was in Caracas in 1947.

I can find no other words to express what her tragical death meant to me (in similar conditions four years before the fatal accident in which William Kapell's star would turn off) but to cite the fact she received posthumously the Cross of the Legion of the Honour. Casals wrote "her playing was one of the greatest revelations, both instrumental and musical." Jacques Thibaud described her as an high priestess of an art which she bore triumphantly to the ends of the earth."

Her majesty!!!


title: Scherchen's baton: unextinguishable in this Harold

text:
Hermann Scherchen has never been among my favorite conductors.Nevertheless, this version (together with Toscanini and Munch's readings) is the trio per excellence among the supreme versions I've ever heard. This overlooked 1953 recording by Hermann Scherchen and the Royal Philharmonic (Westminster LP, briefly available in a 4-CD Tahra box). Scherchen's rhytmic at the coda of the first movement will leave you open-mouthed. His style carves in releief with a slowest second movement on record.

Frederick Riddle (soloist) exhibits a musculature and total comiitment with this work. The middle movements are distinctive, tinged with heroic noblesse  - the second evolves into a profoundly introspective rapture,the third evokes the well known lyrical flight of Berlioz. But it's in the finale that Scherchen breaks all the rules and violently displays the sweet moments of repose with wild breakneck  tempos, fully conveying the imaginative roughnesss of the composer's style, torn between the stability of the rules of game and his fevered delirium. Scherchen provides us a ferocious finish. Of all the performances on record, Scherchen's comes closest to conjuring for modern listeners the sheer shock and wonderment Berlioz's audiences must have felt when first encountering his music.

When you listen it you'll never believe the force of this memorable recording.


title: A cult recording

text:
Anatoly Vedernikov is part of the poker of aces of distinguished Soviet pianists ( the others would be to my view, Sviatoslav Richter, Tatiana Nikolayeva and Vladimir Sofronitzky.)

In this opportunity Vedernikov gives us a stunning reading of the Four Temperaments; his remarkable style makes of this recording an absolute revelation.

On the other hand, his performance of Hindemith's Sonata 1 is absolutely amazing and remains (with Glenn Gould and Paul Badura Skoda)as one of the most brilliant versions I remind.

Finally, Vedernikov and Natalie Gutman play an irresistible and -one of its kind-version of the Cello Sonata.

I wouldn't hesitate to qualify as one of the most extraordinary releases of this prestigious label.

Don't miss it...


title: Unmissable!

text:
I had the chance to download (a week ago) this curious performance and I remained speechless after listening it. Ormandy's elan for Bruckner is plenty of that enraptured cosmical vision Bruckner demands. The Philadelphians as always, playing with amazing results. Subtle phrasing and superb crescendos, expressive musicality and fierceness in the most expresive moments.

I still wonder why this recording dated from 1969 has not been exhumated from the vaults to make the next step: digital format.

I really hope in the next two years someone proceeds to make this dream come true. For the sake of the great music.

Kudos!!!


title: Historical performances!

text:
The renowned French conductor Jean Martinon (1910-1976) studied with Charles Munch and Albert Roussel and was also a distinguished composer. His performances, in the words of one of his biographers, "were distinguished by a concern for translucent orchestral textures, and sustained by a subtle sense of rhythm and phrasing." In 1963 he was appointed to succeed the legendary Fritz Reiner at the helm of the Chicago Symphony Orchestra. As one critic recently put it: "Reiner was a tough act to follow, and Martinon's preferences for contemporary music couldn't have been more different. Yet there's no question that he maintained the orchestra's exalted performance standards (improving them, in my opinion)."

During Martinon's five-year tenure in Chicago he made nine critically lauded recordings for RCA Victor. Now for the first time ever, they are being issued together in a single Sony Classical box set of 10 partly re-mastered CDs. The repertoire includes suites from Martinon's teacher Roussel's Bacchus et Ariane and Bizet's L'Arlésienne, Bizet's Symphony, his own Fourth Symphony (Altitudes) - commissioned to mark the CSO's 75th anniversary - and the Seventh Symphony of American composer Peter Mennin, as well as reference recordings of Ravel's Rapsodie espagnole, Alborada del gracioso, Ma Mere l'oye and Daphnis et Chloé Suites and Introduction and Allegro. Reviewing a reissue, BBC Music Magazine praised these "wonderfully detailed, expansive and vital performances," observing that Martinon's "characteristic combination of precision, intensity, breadth and rhythmic alert-ness particularly suits Ravel's wide-spanning forms and sensual sound-palette."

Yet Martinon's tastes were wide-ranging, as even these relatively few Chicago albums amply demonstrate. For example, he re-corded the two Weber Clarinet Concertos with soloist Benny Goodman, a coupling (Grand Prix du Disque, 1967) of Frank Mar-tin's Concerto for 7 Wind Instruments and Varèse's Arcana ("... the galvanic intensity of a live performance plus a degree of vi-sionary poetry that subsequent accounts have lacked - Chicago Tribune), Hindemith's Nobilissima Visione, Bartók's Miraculous Mandarin Suite and a reading of Nielsen's Fourth Symphony still regarded by many critics as a benchmark.

To my view, there are first-rate versions to take into account: The impressive Nielsen's Fourth, Bizet's Symphony in C major (one step ahead the celebrated version of Thomas Beecham), Varesse's Arcana has never been so well played, Hindemith's Nobilisima Visione is second to none and his Ravel plenty of luxurious spelling that constitute lofty recordings that you must not do without.

The orchestra's audiences and some of its musicians, reared on an Austro-German musical diet, were unfortunately perplexed by Martinon's innovative programming, though his resignation in 1968 to return to Europe was probably triggered by a personal vendetta against him by Chicago's powerful leading music critic. We are fortunate to have this collection to remember his unassailable achievements with the CSO, which also includes a bonus of previously unpublished recordings from the archives and Robert Casadesus playing his own Piano Concerto, with Martinon conducting the French National Radio orchestra in 1969.

Every recording in this new set comes from the best source, some newly remastered from the original tapes. The discs are presented in facsimiles of the original LP artwork. An enclosed booklet offers vintage photographs, complete discographical information, plus a new essay.

Leave it aside this special compilation would be a mistaken decision. Be my guest!


title: Superb musical document!

text:
The talented baton of Dmitri Mitropulos recreates with admirable intensity and mesmerizing pulse Rachmaninov's Second Symphony. from start to finish is a real treat.

If you ever have the chance to search it, don't think it twice and catch it before someone else does it.

Absolutely recommended.


title: Expecting for its release...

text:
Morton Gould's majuscle talent as conductor, composer and soloist is ut of discussion. This album presents the serious Gershwin, a compilation of the best Gershwin the money can buy.

And Morton Gould makes it possible. A fabulous album of thousand carats value.

The appeal of this double LP are Concerto in F. I find it the best version and most idomatic reading I've ever heard it. Perhaps List (Mercury records) with the Rochester Orchestra approaches it. And the other jewel of the crown is Rapsody in Blue, played with many details of orchestration that makes of it a genuine and unique reading.

Meanwhile, try to get the LP or intend to find it transfered from a very good fellow.

Unmissable!!!


title: Dorati, again

text:
I still wonder who will take the challenge to release on CD format this cult album. Dorati is second of none with this album (I'm talking about De Sabata or Toscanini). He makes one the most idiomatic and exciting performances you have ever heard about these works.

If you have the luck to have it, preserve it and proceed to make a transfer in CD, while we expect for this dream-project.

Don't miss it...


title: One of the one hundred recordings of the Century!

text:
The historical transcendence of this recital (Salzburg, 1965) makes of this entry a true collector item.

Needless to say the artistic level of this prodigious tenor, the quality of sound is reasonably well and the chosen program will be a feast for your senses.

A thousand carats document.


title: A treasure that now is just a winter sleep!

text:
This is one of the most vibrant, epic and expressive Eroica, in the market, whose historical trace is still taken into account by critics and great audiences.

We really hope its release on CD format becomes reality.


title: From the beginning!

text:
This album dates from 1969 and shows us the first steps of this colorist pianist from Brazil, Nelson Freire who has earned absolute acknowledgement around the world.

The program is about Schumann's Carnival, played with the acccurate blend of sensitivity, mystery and dark poetry.

Schubert's Impromptus Op. 90 are scented of vivid imagination and autumnal lyricism.

Until this date, it has not been released on CD format. And I still wonder why.

Unsolved misteries, no doubt it.


title: Hats off, ladies and gentlemen...

text:
Antal Dorati made -until this date- the most memorable performance you can hear about this singular piece (Graduation ball) . Forget about any other recording you have. This is the one.

The Gaite Parisienne finds in Fiedler and the Boston Pops a serious contender. Both recordings are worthy to collect. I like just a bit more Fiedler's reading.

I mean: this album is worthy to have because of this Graduation reading. Nobody has been able to surpass it.

A legendary treasure.


title: An admirable album is sleeping into EMI's vaults!

text:
This legenday archive is a fabulous compilation of part of the supremacy of great pianists playing Chopin.

You'll find Rubinstein in his best years (decade of the thirties), Alfred Cortot, Geza Anda playing and admirable Etude, Scherkassky,Malcuzynski playing a memorable Polonaise and the legendary Horowitz, gathered for first time in this admirable in Chopin's memory.

I bought in LP forty years ago and I still regard it one of my golden treasures. It would be a marvelous idea to exhumate this gem in CD format.

Please, if some people is reading this review and is close to the Top Management of EMI, please, give them the new. They have a diamond and it seems they have forgotten it.

Admirable and historical album all the way through. Meanwhile I really hope some blog proceeds to download it.


title: A forgotten gem!

text:
Believe or not, Mozart's music was one the major interpretive virtues around Kubelik's repertoire. These performances have been hailed for years since its release and certainly became cult recordings since then.

These are top-notch performances and should be included among the cream of the cream at the moment to make a careful selection of the greatest recordings of both Kv.

I hope for the release of this album. I know Mozart's Prague was released with Pictures at in a recording by Mercury but the 34th, I think it has not been exhumated yet.

A treasure to collect. Don't miss it.


title: One of the top readings of this Op.

text:
Garaguly was for Nielsen what Kajanus meant for Sibelius: an essential driving force at the podium. Incandescent and powerful,filled of epic breadth and vital expression. Since its release on LP years this was a cult recording.

Garaguly at the front of the Tivoli gives a brilliant and incandescent performance, bringing to this Op. the mercurial essence.

While we expect for Vox Top Management on order to proceed its exhumation, try to get it. It well deserves the effort.


title: The man of the golden flute!

text:
Jean Pierre Rampal's virtuosism as well as his charisma, returned the instrument a new breadth and at the meantime allowed the literature of the flute came to life again.

His countless contributions around unknwon flute works, as well as his prodigious sound and extraordinary transcriptions (Kachaturian's violin concerto and Cesar Franck's violin Sonata)created a wide audience and further development of new chamber ensembles.

This album captures the master in the middle fifties accompanied by Karl Ristenpart, a devoted conductor in the genre.

It will be hard for you to find a substitute performer for these interpretations. Don't leave aside this album.

Magnificent restoration sound process.


title: A vanished talent

text:
The wondrous as well as strange case of Patricia Travers (1927-2010) deserves careful attention. Raised as a child prodigy, she concertized actively until the age of 23, when she decided to give it all up, shortly after making this recording:

Ives: Violin Sonata No. 2* and
Sessions: Duo for Violin and Piano**
Patricia Travers, violin; Otto Herz, piano
Recorded *April 17 and **September 19, 1950

Despite her personal reasons to announce her retirement from public life, for classical music lovers was an incalculable loss to this art. And this recording proves it.

If you have the chance to get this priceless musical treasure, you will understand why the violin literature still regrets her vanishment.

A thousand carats record. No doubt it. I really hope someday Sonny files proceed to exhumate this jewel. It well deserves it.

Patricia Travers did make one more recording, in 1952, when she teamed with Norman Dello Joio, accompanying her at the piano for his "Variations and Capriccio."


title: Admirable recording!

text:
Gervase de Peyer - widely admired through several decades among the hard chamber music lovers - decided to record these fabulous Strauss' works with overwhelming results. Supported by the London Symphony Wind Ensemble, they achieved a real archive for the ages to come. Fresh and vividly performed, they became referential parameters against any other version.

And it seems it has prevailed, surmounting the test of time. If you have any chance toget the LP., go for it. Meanwhile, let's expect for its release on CD format.


title: A cult recording since its release!

text:
Stanislav Bunin is one of the major forces among the firmament of new exponents of the piano. Born in 1966 and winner of the 11th Chopin Festival in 1985, Bunin plays with accurate phrasing, vivid expression, giving his performances a personal distinction.

This CD captures him live in Bach in 1990 (He has chosen to live in Tokyo)and gives us part of the supreme legacy of J.S.B.

The italian Concerto, English Suite No. 3, Partita 1 are top-notch performances.

An album for your collection. Be for sure!!!


title: To say goodbye with a smile!

text:
This recording was made on June and 17, 1978 for the celebration of the Fiedler / Pops Fiftieth anniversary Season and was indeed, the last for Fiedler overtaken by the illness that overtook him.

Nevertheless, the program was inspirational. Fiedler knew the edn was near and so returned to those youthful resplendent years with total communicative zest.

You will feel this flowing energy from the very beginning of the album to the last track. For every Fiedler fan, this performance has its own place of honor of any Gershwinian library.

Don't miss it. It's part of the legend.


title: Priceless document

text:
All of us are well aware about the initial stage of Kubelik at the early Fifties with CSO. But Kubelik made a bunch of admirable and unequalled recordings with this prestigious Orchestra.

This album confirms it: Ravel's Couperin find in Kubelik an idiomatic lexicon; Britten's Sinfonia da Requiem is performed with drive and tension; Dvorak's Eighth is another admirable testimony. Superbly phrased and better played; kudos for Walton's Belshazzar feast; Wagner is memorable too.

If you're a devoted fan of this Orchestra (as I do) you should not leave aside from your collection this undeniable musical gem. Magnificent sound quality, taking into account these are live recordings.

Be my guest!


title: A collector item!

text:
For hard Philadelphians, and for all who love the great music with admirable intensity, this album should be a reference to have.

A pack consistent of twelve musical documents; mostly of them are live recordings and includes eighty years of a long journey, through the baton of Stoky (Beethoven's Fifth, Sibelius'Second, Wagner's Inmolation scene, Sibelius violin concerto with Heifetz as soloistTchaikovsky's Romeo and Juliet).

Eugene Ormandy conducting Richter in Mozart 17, another exquisite CD in which you'll  find and enjoy the art of Joseph Hoffman (an exuberant Beethoven's Fourth Piano Concerto as well a true jewel Brahms 1 with Kapell from 1938) ; you''ll hear Kogan in a memorable performance in Alban Berg violin Concerto, a ravishing performance of Verklart Nacht from 1950, among other treasures.

Wolfgang Sawallish in an unforgettable reading of Brahms Haydn Variations and his singular reading of Beethoven's fantasy Op. 80; Ricardo Muti performing an incandescent Roman Carnival; Barenboim conducting Dupree in Saint Saens Cello Concerto.

Scherchen conducting a memorable Mahler's fifth from 1964.

There's an admirable set with guest conductors and another one dedicated to singers.

Needless to say we are in front of one of the most golden recordings in the annals of music. No one should miss this album; it picks up part of the inmense legacy Philadelphia Orchestra meant and still means for the lovers of the music.
No matter how much time and effort you've to spend. Go for this extraordinary and historical recopilation.

One of my most beloved treasures, indeed. Absolutely recommended.


title: Treasures of the past!

text:
Merry Overtures is a vintage 1957 recording, featured by six widely known overtures. The highlights are - in strict order - The Bartered bride, The Roman Carnival, The marriage of Figaro, Fra Diavolo and The Fledermaus.

Szell and the Cleveland are inspired all the way through. This album well deserves its exhumation to CD format. These works are amazingly performed.

A must-have, indeed.


title: Bravo!

text:
To play this enormously difficult Piano Concerto with such vitality, virile passion, giving an overwhelming exhibition of flaming and thunderous performance, well deserves to be part of the history.

Despite my desert island choice belongs to William Kapell in a live performance in 1953, this version is one of the ten top performances. Sgouros displays the devilish cadenza with accuracy and cold-blooded domain of the score.

Memorable version, indeed. Don't let it outside your hard versions ever.


title: Astonishing maturity and overwhelming virtuosism!

text:
Dimitri Sgouros and Eugenne Kissin were the two "wunderkid" of the piano during the last quarter of the XX Century.

What it really swayed me from Sgouros was his fluency, astonishing musicianship and first-order management of the performed material.

None of these works are easy to play; demand from the soloist admirable technique feathered lyricism, absolute domain of the inner voices and winged imagination.

Sgouros made it possible without any effort. Conviction and commitment all the way through. Try to get it in the format you get it. I could get an old vynil in the middle eighties.

Don't miss it this collector item...


title: Memorable album!

text:
It was 1977 when I purchased this double LP in a missing but well reminded music store in Caracas (Don Disco).

This was my first contact with these works and besides I was curious for enjoying the sound of the Rotterdam Philharmonic under David Zinman.

Needless to say, this album engaged me from the very moment I listened it. The phrasing and genuine musicianship of these musicians is out of this world. Sibelius'Pelleas, filled of nocturnal poetry and marvelous moments. On the other hand, Faure's Pelleas tinged of incorporeal lyricism. And finally Schoenberg's Pelleas, loaded of febrile expressiveness.

I write about this LP, because (at least as I know) this album has not been exhumated from the vaults. I really hope this project comes true, for the music's sake.

Meanwhile, try to get it in LP format, as I do.

Absolutely recommended.


title: Mesmerizing recital!

text:
Once again, Richter gave another fantastic tour de force recital. Miakovsky Sonata reminds us to the middle age Scriabin, elusive lyricism and dark poetry all the way through.

Shostakovich's Preludes selection finds Richter in top form. Tensile organization and first order command prevail since the very beginning.

And finally, another battlehorse from Richter's repertoire: Prokoviev's Eighth. He plays this work with such domain that makes it sound organical and fluid, revealing us the minimum facets of it.

Unforgettable recital that dates from 1973. Even if you're not a hard fan of Richter, you should try with this one. It will surprise due its mercurial power and reward you from start to finish.


title: Extraordinary album!

text:
Witold Malcuzynski makes an admirable work of buildup around Haendel Variations. He shows us the contrapuntal strands that emerge with organical fluidity and magisterial phrasing.

On the other hand Chaconna's Bach-Busoni marvel us due its warm sobriety. Franck's Prelude Choral and Fugue ranks with the other two classic versions: Richter and Demus.

You should not do without this album. It's overwhelming.


title: Unsurpassed recording!

text:
Morton Gould displays and re-creates the naive innocence with subtle dexterity these cheerful dances from the Norwegian folklore.

Inspired album all the way through. Don't miss it. A true reward waits for you.


title: My desert island choice of "My life" ever...

text:
Endres Quartet recorded two of the most well known string quartets of the second half of XIX Century.

Since the days of vynil, this album was hailed for the international critic as genuine treasured musical files. Conviction, musicianship and wide range of Slavic sentiment (not schmaltz) can be found here.

Smetana's emblematic string quartet My life has never been played with such tensile organization and vigorous emphasis.

For some dark reason this album has not been transfered yet to CD format. Meanwhile themusicparlour has released it.

A record for the ages.


title: One of the five best versions of the Fifth ever!

text:
Concise articulation, incisive attacks and a superb approach, loaded of that magisterial vision of this talented conductor, makes of this performance a transcendental and remarkable version dated from 1942, released in 78 R.P.M. and then re-released into LP format in 1948.

The question remains: Why this album hasn't been released into CD format?. Be my guest and meanwhile take a look around Shellakophile.

Don't forget to purchase it in case someday be exhumated by Sonny records.


title: Anthological album: Kudos for Sonny!!!

text:
Shostakovich's Ninth by Efrem Kurtz is one of the most incandescent performances you'll ever heard. To my mind there are just two major readings: Bernstein's Chicago and the unsurpassable version of Karel Ancerl at the front of the Czech Philharmonic.

DSCH's 10 is to my view the best version ever made; despite the distance between this one and the version of Ormandy is very short.

Finally Shos' Fifth has remained as one of the most powerful and mercurial you'll ever heard.

In sum, an album that picks up part of the history of Shostakovich's performances.

Don't miss this one...


title: Unforgettable recital!

text:
Sofronitzky was a master pianist. Indeed, his legend hovered him since he was alive.

You will listen a majestic Liszt's Sonata, far from the well known schmaltz flavour most of pianists tend to give us.

Schubert's Sonata D. 960 is another brilliant gem. Expressive and marvelously well phrased.

Vier Geistliche Lieder, S 562 and Schwanengesang S. 560 no.3 were another artistic feat.

This was one of the most reminded given in Moscow.

A legendary recital that captures part of the impresive pianism of this masterful artist.

Don't even miss it.

01 - Liszt- Sonata In B Minor
02-05 - Schubert. Sonata D960
Schubert-Liszt
06 - Vier Geistliche Lieder, S 562 - Litanei Auf Das Fest Aller, Seelen
07 - Schwanengesang S. 560 no.3 - Aufenthalt

Recorded 14.10.1960, Moscow


title: Roberto Szidon: a year after...

text:
I bought this album in 1977. And it was a true finding to discover these hidden treasures. I still wonder the reason for overlooking the Brazilian master composer. Leyenda du Caboclo, for instance or Rudepoem are fine gems for the piano. And Szidon plays them with enraptured conviction and unequalled commitment.

While we expect for its imminent release on CD format, I return to listen in its original format.

I really expect the next year we can surprise ourselves for this new. But meanwhile, try to get it in LP format.

Absolutely recommended.


title: A genuine musical pearl !

text:
I still wonder this album has not captured the attention it well deserves. Dorati at the front of the LSO, made an idiomatic tour de force performing pieces of the Surrealism repertoire (1917-1938)

Le boeuf sor le toit just has an unique contender Charles Munch. But even so, I'd rather choose this version. Dorati knows how to maintain the Latin flavour throught the work without mannerism of special effects.

In Françaix's Concertino for piano and Orchestra, Dorati throws his hat to ring with this sympathetic Op. Dorati adds the required spice ad the result is stupendous.

Auric's Overture, played with grace and elegance.

With Satie's Parade Dorati climbs a peak and equals the celebrated version of Efrem Kurtz at the front of the Houston Symphony. Nevertheless, there are moments of mesmerizing flavour that tend to overcome Kurtz's version.

I found this album in the middle seventies (1976) in one of these unexpected street stores in Caracas and since then, I tend to return for this album to enjoy it over and over.

I really don't think this album be exhumated on CD format. If you take into account that widely known treasures such Stravinsky's Le sacre in mono, Bartok's Concerto for orchestra, Copland's Third Symphony haven't been released yet, then try to get the LP.

You've got my word: this recording will never let you down.

PD. These works date from 1965 with the London Symphony Orchestra


title: Sublime Bach

text:
Anatoly Vedernikov in another astounding performance. His Bach sounds expressive and dense without losing organical fluidity and sublime phrasing.

Enghlish Suite No.6, 7 Chorale preludes and the Italian Concerto make the rest of this formidable album.

You must not be leave it aside from your collection. It is a marvelous recital of one of the giants of the Russian pianism.


title: Supreme musical achievement!

text:
Ferenc Frcisay at the front of the Hesse Symphony Orchestra, recorded this quintessential live performance on November 11, 1955.

What a pleasant and towering version. The overwhelming phrasing (specially in the Second Movement) is something unique. Fricsay got to obtain from the Orchestra the fresh vitality and accurate articulation of this superb Symphony, as just a few conductors throught the history of the music have been able to make it.(Toscanini- Philadelphia, Furtwangler-Berlin, Vegh-Salzburg Cameratta and Walter-New York).

He highlights the grandeur, the verve and sense of autumnal atmosphere with genuine mastery.

If you have not listened this album, it's better you get it by all your means. It's a genuine musical jewel that definitively may not be absent from your collection.

Referential and unmissable. Don't leave it aside.


title: Treasures to be rescued!

text:
Chamber Concerto

composed in 1963 for cello and 10 players

Fred Sherry - cello

The Group for Contemporary Music:

Harvey Sollberger - flute
Josef Marx - oboe and English horn
Jack Kreiselman - clarinet and bass clarinet
Donald MacCourt - bassoon
Jeanne Benjamin - violin
John Graham - viola
Alvin Brehm - double-bass
Robert Miller - piano
Raymond DesRoches, Richard Fitz, Claire Heldrich - percussion

Charles Wuorinen - conductor
The Cello Concerto was composed over the first six months of 1963 for the Group for Contemporary Music, which Harvey Sollberger and the composer had founded the previous spring. Premiered in January of 1964 by the Group at Columbia University, with Robert Martin as soloist and Arthur Bloom conducting.

The external design of the work divides it into five connected movements, each of which casts the soloist in a different light. In the first, his role is conventionally bravura, and this is what separates him from his accompaniment. In the second (barring short interludes in which he does not participate), he plays the lead voice in a four-part canon; the other three voices are divided between the two groups of accompanying instruments, so that each group has only six pitch-classes in its vocabulary. The cello here is unique in its ability to utter all twelve. In the third movement, the soloist asserts himself by initiating events, which are then reflected elsewhere in the ensemble ... The fourth movement sees the cello as leader of a concertante group drawn from the larger ensemble, which varies in instrumentation at each appearance. Behind the relatively fast music of the soloist and his immediate friends is a slow-moving background ... The final movement offers a summary of all these solo-ensemble relations, for along with other transformations, it is a retrograde of the entire work, first at four times the original speed, then twice, then undiminished, and finally, for the very last notes, augmented.

The cello is accompanied by a divided ensemble, and occasionally you can hear the music localized in one group or the other; there is, however, no overt or consistent antiphony between the two. To the right as we face the cello are flute, oboe, clarinet, bassoon, violin, and viola; to the left are piano, contrabass, and percussion (in this recording divided among three players, rather than the two called for in the score).

Ringing Changes

composed in 1969-1970 for percussion ensemble

The New Jersey Percussion Ensemble:

Raymond Des Roches - director

Joseph Passaro - vibraphone and timpani
Marty Martini, Louis Oddo - vibraphone
Dean Poulsen, Eugene McBride - piano
Ken Hosley, Donald Mari - drums
Matthew Patuto - brakedrums
Doreen Holmes - almglocken
Michael Moscariello - cymbals
Vincent Potuto, Jr. - tamtams
James Pugliese - string drum and chimes

Charles Wuorinen - conductor

Ringing Changes was composed in 1969 and '70 for the excellent ensemble of student percussionists founded and directed by Raymond DesRoches, the group that performs it here. The work is in a single long movement, and is - somewhat like the Concerto - based on a continuous polyphonic skeleton which lies beneath the sonic surface of the work, and which generates the moment-to-moment continuity. Here the music is divided between pitched and non-pitched voices, and a basic four-voice polyphony is disposed with two voices given to pitched instruments - mainly piano four-hands and vibraphones - and two ("noise" or relative-pitch) given with various alternations and duplications to sets of 12 metal instruments, 12 drums, 6 cymbals, and 4 tamtams. An occasional inflectional role is performed by a string drum, and at the end chimes and timpani appear.

An album that it would deserve to be released on CD format.


title: Vedernikov: an overlooked artist!

text:
The colossal dimension of this pianist runs together with its absolute acknowledgement from the most of audiences.

This Debussy is filled of nuance and that incorporeal atmosphere requested. The performance of Bergamasque Suite is one the best available ever.

Make the attempt and purchase this album. You'll never be dissapointed. You've got my word.


title: A memorable album!

text:
Since its inmediate release, this album became a cult recording, due the sheer musicality and peerless lyricism. Neeedless to say, the quality of each one of these performers, their absolute sense of integration and artistic honesty.

Both performances are top notch. Thanks to the kindness of a musical colleague, I knew about these treasures; overlooked and almost missing. Try to get, no matter where. Go for this album. It well deserves it.

A winner recording.


title: Fantastic Pictures!

text:
Wilhelm Schuechter, at the front of the NDR Orchestra has made a very well phrased Pictures. Schuechter pays attention respect every picture and focuses on it with all detail. For instance, "Samuel" Goldenberg und "Schmuÿle" makes it so expressive, funny as I've never heard it.

Another feature of these pictures liesin the absence of tension. W.S. doesn't pretend to exhibit virtuosisitic display or athletic musculature. He leaves the Orchestra breath and sing.

I liked his proposal and I really liked it. I hope this version comes to life again on CD format.

I really hope so.


title: Notable and superb performances!

text:
After having revisited my LP collection, I found myself with this forgotten recording (I use to listen Lp two months at year February and September)and the impression was more than rewarding. Rignold underlines details of orchestration in Mussorsgki's Night and reveals until its minimum facets the kaleidsocopic Suite of Rimski. Of course, with an Orchestra of the carats of the L.P.O. by those years and the passion of the conductor, you have one of the most expressive and excitaing performances of both Op.

You will wonder yourself why this album has not been exhumated from the vaults. To me it keeps being an enigma.

But meanwhile, try with some blog or some old store of curiosities. Maybe you are lucky and find it.

If that's the case, please let me know.


title: Casadesus forever (March 7 -1899/ September 19 -1972)

text:
Today we remind the figure of this genius of the keyboard, specially when he left us on September 19, 1972.

I think  Mozart's 21 supported by Charles Munch and the N.Y.P. is the most pyramidal of this Kv. ever recorded. I affirtm without hesitation. Disticntion, aristocratic refinement and inspired lyricism make of this performance the most idiomatic I know.

Mozart's Kv. 595 under Barbirolli conduction is - together with the memorable reading of Curzon-Britten - the two most extraordinary versions ever recorded.

The last one has been released on CD format, but - beieve or not- Mozart's 21 keeps waiting for (a technological miracle?) and the high management of Sony Records proceeds to order the exhumation.


title: Supreme distinction!

text:
Bizet's Symphony in C minor is like a fresh summer breeze. It's amusing and entertaining. It demands joie de vivre spirit and a first-rate Orchestra.

Martinon said Farewell to CSO in 1968 with both performances: this Symphony and The Suite L' Arlesienne, and the whole result was more than rewarding.

With the very exception of Beecham's performance, this version is among the three choices of my repertory. Vitality and drive are its main features.

Go for this album. You will enjoy them.


title: An achievement of majuscle stature!

text:
March-04-1961. Stokowski, Birgitt Nilson, Franco Corelli and Anna Moffo in the main roles. The NYP and Carnegie Hall.

Convincing, superb and unforgettable stage.

An event for the ages that will survive us...

Don't leave aside this historical concert under no pretext.


title: Vibrant and energetic Dvorak's Eighth!

text:
The well reminded Sir Charles MacKerras recorded a robust, visceral and exquistely phrased performance of this beloved Symphony.

I never heard this ensemble so inspired. Phrasing, musicality and that Pastoral lyricims, obliggate us to include among the five top`versions of this work. while we expect for its release on CD format.

I hope some day this desire becomes reality...


title: Cult recording!

text:
This album meant to me the first contact with Jean Pierre Rampal and at the same time Giovanni Batista Pergolesi, during the middle seventies.

Needless to say this album captured my whole attention and gratitude. These performances have all you can request: superb tonal balance, inspired musicality and sheer lyricism.

Rampal is outstanding in Pergolesi. He had recorded both Flute Concertos with Karl Ristenpart during the middle Fifties.

Bach Suite No. 2 is well rounded performance, with the baton of the unforgettable Karl Muchinger at the front of the Chamber Sttugart Orchestra.

I maintain my optimism for its release on CD format.


title: Legendary Peer

text:
Grieg's Peer Gynt - to my view - has never received such enigmatic, propulsive and dynamic treatment. Gibson provides the orchetra of that requested descriptive palette,incisive and detailed, with color, dramatic sense and sumptuous lyricism. I haven't heard any other performance that can match with this one.

It's a miracle - to say at least - this magisterial reading has not been transferred to CD format.

The patience is a virtue; don't miss it in case you get it!


title: A true musical document for the ages to come!

text:
Vedernikov exhibits and shows his potential interpretive, fervent imagination and unyielding commitment about the meaning of these last three Beethoven's piano sonatas

Perhaps, for many of you it may sound exaggerated, but I think that Vedernikov and Nikolayeva are the best Soviet pianists who have played Beethoven.

Be sure to acquire this acoustic treasure.


title: The most legendary Antar ever recorded!

text:
During the fifties, the most of great audiences had to live with two honest readings of this work: Paul Paray and Hermann Scherchen.

But when this version came to life, it became instantaneously a cult recording. Gould developed a true master performance with this score, making it so vivid, so fantastic, so idiomatic that five decades later no other reading has been able to match with this one.

Phenomenal performance and I include it among the one hundred recordings of the past century. No doubt it!


title: Prodigious technique amazing fingering!

text:
Around the Pictures at an exhibition as well as other pages of the repertoire (such as Scheherezade, 1812, Mozart 40 or Aranjuez Concerto) tends to exist a natural fatigue, due these pieces have - indeed - have exhausted our musical memory.

Nevertheless, in this case Lorin Hollander emerges as an exception, due his out of discussion intellect and unquestionable musicality. And I say this with absolute certainty that this an area in which they live are genuine monsters keyboard. (Richter, Kapell, Graffman, Ponti and more recently Ivo Pogorelich).

But Hollander recreates the work with tremendous imagination and "superb mystery aura."

While waiting for its imminent release on CD format, go to youtube and listen it to have the accurate idea about I mean. This is one of the ten hard versions ever.

You've got my word!!!


title: On the wings of doom!

text:
Dino Ciani's sudden death meant - with the premature death of Bruce Hungerford - the two awful tragedies the music had to bear during the seventies. To leave this world just at the early thirties when the world began to be aware his flaming pianism was something similar respect the tragedy of William Kapell's fatal event.

The material contained in this album are relevant evidences of his talent.
Balakirev:
Islamey - Oriental Fantasy
Bartók:
Improvisations on Hungarian Peasant Songs, Sz. 74, Op. 20
Piano Suite, BB 70, Sz. 62, Op. 14
Beethoven:
Diabelli Variations, Op. 120
Eroica Variations, Op. 35
Chopin:
Études (12), Op. 25
Études (12), Op. 10
Nocturne No. 17 in B major, Op. 62 No. 1
Haydn:
Piano Sonata No. 52 in G major, Hob.XVI:39
Liszt:
Transcendental Study, S139 No. 11 'Harmonies du soir'
Transcendental Study, S139 No. 12 'Chasse-neige'
Mozart:
Piano Sonata No. 14 in C minor, K457
Schumann:
Fantasie in C major, Op. 17
Piano Sonata No. 1 in F sharp minor, Op. 11
Scriabin:
Preludes, Op. 74 (5)
Étude Op. 8 No. 11 in B flat minor
Weber:
Piano Sonatas Nos. 1-4

In loving memory!!!


title: High caliber pianism!

text:
Youri Boukoff (Bulgary, May 1, 1923 / France January 7, 2006) has not been blessed with deserved fairness in order to having the luck to be preserved on CD format many of his notable and oustanding performances. This set of Polonaises (Of course without never leaving aside Shura Cherkkasky and Artur Rubinstein)has all what you request from them. Inspiration, interpretive honesty and that fervent ardor that carves in relief the well known Schumann statement. "Chopin's Polonaises are cannons hidden between flowers."

But while we expect for its CD release of both sets, try to get it or download it


title: A Brahms for the ages!

text:
Until this date I had been accounted just three memorable versions of this very difficult Brahms' Piano Sonata No. 3 Op. 5. The first of these belongs to Erik Heidsieck (A live recording from Montevideo and my desert island choice), the second comes from the legendary Julius Katchen andf the third one of the list came from Paul Badura Skoda from the middle Fifties (Westmister label, not available on CD format).

But my dear reader: Here we have another majuscle surprise comes the Russian files. Anatoly Vedernikov displays the best a musician may give: his entire musicianship and commited expression to give us probably the second best version you can get in the market. He preserves drama, unfaltering energy and sublime lyricism in perfect balance.

His Weber's readings are played with panache and good taste too.

In sum, a collector album: No doubt it!


title: A marvelous finding!

text: Anatoly Vedernikov plays a superb Beethoven. The Op.1 is performed with that young freshness. But the Hammerklavier is perhaps the jewel of the crown. Incisive and profound, Vedernikov draws the inner voices and underlines the Final fugue with remarkable results.


title: First-order pianism!

text:
Anatoly Vedernikov is dazzling with these works. First at all, Schubert's Wanderer is accurately played, revealing these insights of the Sturm Und Drang as a few pianists have been capable to make it. Mystery, delirious emotion and lyricism permeate the work from start to finish.

Schumann Symphonic Etudes is memorable too.Vedernikov creates the perfect atmosphere to express the perpectives of one of the cornerstones of the Romantic literature.

Finally Brahms' Paganini Variations is filled with imagination, good taste and superb fingering.

Vedernikov is a true mosnter of the Russian pianism.Don't even miss this album. You'll be always rewarded.


title: Interpretive solvence!

text:
The magisterial pianism of Anatoly Vedernikov doesn't cease of surprising me, and it wonders me why the reason of not being more widely known. Vedernikov never went out from the extinct URSS, but think of the fact this prestigious Japanese label has invested an awesome of resources for making us know the art of this artist.

These performances find Vedernikov owner of a steeled conviction and original command of the German composer. I would dare to say that among the Russian pianists of his generation no other can match him in Brahms. Colossal fingering and virile tune without mannerisms. Absolute control, perfect articulation and limpid sound make of this album a true landmark.

I got it yesterday evening and I can give my word about it. Don't miss it!!!


title: A true legend of the keyboard!

text:
For the most of the great audiences, the names of Sviatoslav Richter, Emil Gilels and Sofronitzky are reminded as the most piramidal pianists along the first half of the century.

Pitifully, the name of Vedernikov has not yet been known enough. His authoritative reading of Chopin make him one of my favorite interpreters around. His thoughtful reading of Chopin's Second Sonata is a true landmark.

The Russian pianist, Anatoly (Tolia, 1920)) Vedernikov, was a pupil of Nehaus and became a great friend of Sviatoslav Richter when he arrived in Moscow in 1937. They played together too much: Bach's Concerto, Rondo of Chopin, Concerto pathétique of Liszt, En blanc et noir of Debussy, the 2° Suite of Sergei Rachmaninov and Béla Bartók's Sonata. His career did not develop outstide the Soviet Unions, but he is considered a great performer of Bach, Chopin, Debussy and music of the 20th Century.

Your personal collection won't be entirely complete if not by this album. Purchase it. It's a must-have, indeed.


title: The sense of color and enraptured nostalgic lyricism!

text:
Halina Czerny Stefanska is - to my view - the best female Chopin's performer ever. Her evanescent lyricism, enraptured musicianship and sense of the color give that touch of class that make it stand above the rest of their female colleagues.

This way of playing Chopin, unfortunately, has been lost in these times of globalization and frivolity where interpretive technique stands out as the main virtue of a performer. Therefore it has been canceled meaning as personal expression and results so difficult to distinguish the sound of a pianist over another. This is a real tragedy for the music.

That's why we must return and turn around our attention toward these performers of the past, whose main virtue was the total commitemnt in getting a personal sound in order to comuniccate their vision around a composer.

In memoriam!


title: Rene Gianoli deserves major attention!

text:
Until this date, it has been absolutely incomprehensible to me, to understand why this talented pianist has been so long underrated. Having listened today this album with careful attention, it makes me wonder he is not more widely known.

Needless to say nobody has played Chacona's Bach with such vehemence like Ferrucio Busoni, but  Gianoli makes an honest reading. Gianoli also recorded the French Suites for Westminster Records.

I hope some day this album be released on CD format.


title: Unerring performances!

text:
Paul Whiteman was an untamed admirer of Gershwin. He adressed a notable contributionduring more than two decades.

These readings contain not only a sinewy domain of Gershwin's lexicon. Whiteman adds interpretive fantasy, tempi and dazzling outburst of "joie de vivre".

Pennario was in his 27 and make a remarkable labour as accompanist. Still, despite six decades, the freshness and vitality are present.

Don't miss these performances in case you can find it. Meanwhile we'll expect some label May be Brilliant Classics) releases on CD format.


title: Formidable musicianship!

text:
Edith Farnadi was by far, the most notable female performer of Liszt who ever lived. Her drive, fevered lyricism and subtle fingering make it unique in its kind.

To my view, no other pianist has been capable to surmount these performances.

I really hope someday this memorable artistic project be released.


title: Anthological Carmen Suite by Collins!

text:
This album gathers two brilliant conductors: Van Beinum conducting an honest version of the Arlessienne, and Anthony Collins making a fabulous performance of Bizet's Carmen Suite.

But in honor of the truth Anthony Colllins steals the show with his amazing, cogent and well rounded interetation of carmen Suite recorded in on February 4.

As a matter of fact, Collins builts the tragedy with such red-blooded fervour, thrusting energy and sense of drama as no other conductor has been capable to equal him it until this moment.

Why has not this memorable version released on CD format? That's a real mysetry. But meanwhile, try to get it via blog. Because it well deserves to be more widely known.


title: Treasured recordings of the file!

text:
These violin Sonatas find in this team, a very remarkable success. As all of us are aware, the version recorded by Grumiaux has become reference parameter. But if you have this album, you may consider yourself very fortunate.

I have both albums and certainly, this one has this spelling charm that makes it unique in its kind.

A must-have. Don't miss it!!!


title: Fantastic voyage!

text:
Morton Gould is much more respected as conductor rather than composer. But many perhaps have overlooked these fabulous recordings conducted by Milton Katims at front of the Seattle Symphony.

Venice gallery is by far, much more interesting than Vivaldi gallery. A work that rivalizes with Respighi in what concerns memories of the landscapes.

I fortunately have a copy from LP to CD downloaded from a blog. But I expect that sooner or later this album be released on CD format.

A superb album. No mistake.


title: Superlative performance!

text:
The members of the Chamber Symphony of Philadelphia under Anshel Brusilow, gave a superb knock out performance of this well known Brahmsian Op.

Until this date I just found a very wothy reading that gets very close, which is the historical reading of Mr. Munch at the front of the BSO members in a very vivid live performance.

In this sense I'm absolutely agree with the previous reviewer: When will this invaluable treasure will be released from the vaults of Sony?


title: A true collector item!

text:
This Lp - fortunately - has ben released on CD format in Japan,as part of a huge collection of 54 CD's.

You will find two admirable musical treasures performed by the unforgettable clarinetist Leopold Wlach (1902-1956)supported by the Konzerthaus Ensemble.

Both works are played with sublime lyricism and amazing musicianship. You should have this memorable album in your invaluable collection.

It's useless to say the magnificency of this album; I listen this recording at least six times by year. Don't let to purchase it.

Absolutely recommended.


title: One of the most anthological versions of this superb Op!

text:
Leopold Wlach (1902-1956)as soloist acompanied by the Konzerthaus of Vienna makes a first-order performance.

Magnificent sonority, exceptional phrasing and overwhelming musicianship will blow you away from start to finish. This version and the other by Gervase de Peyer are my two desert island choices.

Don't miss it. Released in Japan in Cd format with Mozart's Clarinet quintet.


title: Your Majesty!

text:
It was not but three days ago I could get a fabulous transfer of this amazing album via blog.

And so I could listen - at last - this marvelous pianist. A true icon in her own. Sound, expresiveness, peerless musicianship and eloquent lyricism confer this album a radiant splendor.

I really hope some day (not so long)this album be exhumated from the ashes of the oblivion and rescued for being edited on CD format.

It would be an act of justice for this legend of the keyboard. Madame Kathleen Long (1896-1968).


title: Waiting for its release on CD format!

text:
This album dates from 1978. I acquired it that same year in the most important store in Caracas by those times Don Disco. My whole interest turned around the attitude of the Hungarian composer respect the chamber music for violin and piano.

But my surprise really exceded my expectations. on one hand the mature exhibited by Liszt by composing these works between 1832 and 1835, when his musical personality was already formed.

Jean Jacques Kantorow (Cannes,1945) elicited my admiration since the moment I listened him. Winner of Carl Flesh Festival in London, The Queen Elizabeth Festival in Belgium, the Sibelius Prize in Helzinki. His musical partner is Henri Barda, a respectable pianist.

He displays not only an amazing technique, but an enviable intonation and first-rate musicality.

Thirty four years later, I still listen this album and I really enjoy it from start to finish. Don't miss it in case you get it.