Maurizio

Product Description
The classic Maurizio / M-Series CD, originally released in 1997 and out of print for quite a while, is finally available again, remastered and reissued in a digipak.

Maurizio,Maurizio,Efa (Caroline),Ambient Dub,Ambient Techno,Dance Music,Electronica,Experimental Dub,Experimental Techno,Minimal Techno,Pop,Popular Music,Techno

Average customer rating: fanatastic! the very best Katerina- an inspiration for the last 11 years WONDERFUL!! Very well done

Vivaldi's Ring Of Mystery Manufacturer: Children's Group ProductGroup: Music Binding: Audio CD General | Children's Music | Styles | Music General | Classical | Styles | Music Similar Items: Beethoven Lives Upstairs Mr. Bach Comes To Call Mozart's Magnificent Voyage Tchaikovsky Discovers America Mozart's Magic Fantasy: A Journey Through 'The Magic Flute' ASIN: B00000212N Release Date: 1991-09-24

Tracks:

1. Spring, I, RV.269
2. Piccolo Concerto, II, RV.443
3. Medley: Arriving At the Pieta/Autum, I, RV.293/Guitar/Flute Sonata, I, RV.52
4. Violin Concerto In A Minor, I, RV 356
5. Winter, II, RV 297
6. Medley: Guitar Concerto, II, RV.93/Alma Del Core
7. Medley: Venice By Day/Guitar Concerto, III, RV.93/Autumn, III, RV.293/Il Gardellino, RV.90/Double Trumpet Concerto, III, RV.537/Piccolo Concerto, III, RV.443/Concerto For Two Oboes, Two Clarinets, III, RV.559
8. Medley: Sonata For Two Violins, II, RV.50/'Farnace', RV.711
9. Violin Concerto in A Minor, II, RV.356
10. Medley: Island Of The Dead/Autumn, II, RV.293/Summer, III, RV.315
11. Medley: Island Of the Dead/Autumn, II, RV.293/Summer, III, RV.315
12. Medley: Il Gardellino, RV.90/Beatus Vir, RV.597/Alma Del Core/Violin Sonata In F Major, I, RV.20
13. Medley: Concert Preparations/Piccolo Concerto, I, RV 443/Guitar Concerto, III, RV 93/Double Trumpet Concerto, I, RV.537
14. Medley: Conclusion: Double Orchestra Concerto, II, RV.585/Guitar Concerto, II, RV.93

Product Description

THE STORY: A young violinist, Katarina, arrives at the orphanage where Vivaldi was music director. Aided by Giovanni the gondolier, she searches throughout Venice for clues to her mysterious past. THE MUSIC: Over two dozen excerpts, including Vivaldi's well-loved Four Seasons (with real sound effects), and guitar, piccolo, and trumpet concertos. Also featured are many of the violin pieces played by young violinists today.

Customer Reviews:

fanatastic!.......2006-06-17

This story is great! I'm a Suzuki violin player and this tape has great recordings of many of the songs. Not only are there wonderful recordings, but the story is full of suspense and is very enjoyable to listen to. Ever since i was a toddler, I listened to it and now that I am in my early teens i still find it a really good story. I find myself listening over and over to it. After listening to it dozens of times it still is just as good and never gets tiring to listen to. If you are thinking of buying a story on cd this is definatly the one to get! Both you and your child will love it! I know that my mom and I do!

the very best.......2006-05-01

I started listening to this story since before I can remember, when it was just a tape. I am 20 years old, and Vivaldi's Four Seasons is still my favorite classical work. I had other classical tapes as a kid, but this is the one I remember most and remember well. The story is just amazing of Katerina, and it is an easy way for young kids to sit and listen to classical works, while still being entertained by an audio book. I recommend this to all parents out there for their children.

Katerina- an inspiration for the last 11 years.......2005-12-29

My daughter first listened to this tape at age 3. We listened to this tape (and when it wore out, a CD) constantly. As a young Suzuki violin student, the character Katarina inspired my daughter's desire to be able to play the A Minor Concerto that Katarina plays upon her introduction to the girls in the orchestra of the School of the Pieta. When she was five, she arranged all of her Barbies into an Orchestra, and put a red-headed stuffed animal as the conductor, Vivaldi. Similar to children mentioned in other reviews, by the time she was six, having listened to this series (and other classical music) frequently, she could identify the orchestral work of most of the major composers, and place the work of obscure composers in the appropriate time period.

We never tired of this CD, and I will now puchase it for a young niece. If you want to purchase something you and your family will treasure, this is the one.

WONDERFUL!!.......2005-10-27

I am now 17 years old and listened to this when it wasn't even a CD it was a tape. Yet the music on this CD still haunts me. Vivaldi is one of my favorite composers and I think this is the CD that started it all. The story is enchanting (though perhaps a little cliche at times) and I must admit that I have listened to it again and again. In fact the last time I listened to it was driving around last sunday. I would reccomend this to anyone and unlike barney I think the parents can really enjoy it too.

Nora via. her fathers account

Very well done.......2004-08-30

My daughter is 3 and loves this CD. She goes to sleep many nights listening to it and love the characters in the story. I think it is a great way to humanize the composers, by letting them listen to wonderful music and a very entertaining story as well.

In our home, we don't place much value on television, computer games etc..., but we LOVE books and stories. If I can't be there reading to my child, this is DEFINITELY the next best thing.

Average customer rating: Perfection Not even a single misstep Simply Majestic Simply Majestic Excellent ....but sample Pollini's earlier recording.

Brahms: Piano Concerto in Bf No2, Op83 Johannes Brahms , Berlin Philharmonic Orchestra , and Maurizio Pollini Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD All Works by Brahms | Brahms, Johannes | ( B ) | Featured Composers, A-Z | Classical | Styles | Music General | Concertos | Forms & Genres | Classical | Styles | Music Piano | Keyboard | Instruments | Classical | Styles | Music General | Classical | Styles | Music Deutsche Grammophon: Music | Specialty Stores | Music Similar Items: Brahms: Klavierkonzert No. 1 Chopin: 4 Ballades; Fantaisie, Op. 49; Prelude, Op. 45 Beethoven: Diabelli Variations Beethoven: Piano Sonatas Nos. 13, 14, 17, 21 Brahms: Piano Concerto no 1 / Curzon, Szell ASIN: B000001GZ2 Release Date: 1997-10-14

Tracks:

1. Concerto For Piano And Orchestra No. 2 In B Flat Major, op. 83: 1. Allegro non troppo
2. Concerto For Piano And Orchestra No. 2 In B Flat Major, op. 83: 2. Allegro appassionato
3. Concerto For Piano And Orchestra No. 2 In B Flat Major, op. 83: 3. Andante
4. Concerto For Piano And Orchestra No. 2 In B Flat Major, op. 83: 4. Allegretto grazioso

Customer Reviews:

Perfection.......2006-01-05

Even with the older Pollini/Abbado recording on the shelf and after the truly disturbingly bad version that the Italian master produced live on tv in a PBS season opening concert a few years ago, I could not withstand a recent sale to pick this version up.

Let's face it. Although Pollini does not quite have the dexterity of a Hamelin, his amazing analytical skills, understanding of the score and experience still afford him the status of "greatest living pianist". Even with the steadily increasing quality of audio recordings it takes Pollini's live performances of Debussy preludes, Chopin's Funeral march or Beethoven's Hammerklavier to truly appreciate what can be done on 88 keys.

In this live recording, which nowadays means live with later edits/re-recordings where necessary, Pollini even surpasses his previous standard setting of this work. While the previous version may have had a little more fire here and there, this second recording is a clear first choice.

Throughout the work there is an amazing balance between the details and the big picture. Never before had I heard such a clear realization of Brahms' process of variation throughout the first movement. Without going overboard in a Rachmaninov type fashion the second movement exactly fulfils the appassoniato counterbalance that the composer intended by adding it to the already assembled three other parts.
Some may object to the emotional restrain of the third movement and may prefer Gilel's version, but to me this fits better into the big picture.
The final movement is playful, yet never trivial.

The piano playing and Abbado's accompaniment are both standard setting. The recording is superb.

I must object, though, to the brevity of this cd. DG could easily have added Brahms Opus 116, which Pollini should be more than ready to record.

Not even a single misstep.......2003-01-13

It's hard to imagine a more perfect balance of soloist/conductor temperaments than Pollini and Abbado manage here. There's really nothing that goes even momentarily wrong in this live recording. Unfortunately, if you buy the companion CD of Pollini, Abbado and the BPO performing Brahms' **First** Piano Concerto, you'll find it's a real letdown compared to this.

Simply Majestic.......2001-05-21

Maurizio Pollini shines in this majestic recording of the concerto. I consider this work to be one of Brahms finest and own many recordings of it. However, I have found that the sound and quality of this recording beats ALL of them. This recording is highly recommended to all music lovers. This recording should be one of the cornerstones of anybody's music collection.

Simply Majestic.......2001-05-21

Maurizio Pollini shines in this majestic recording of the concerto. I consider this work to be one of Brahms finest and own many recordings of it. However, I have found that the sound and quality of this recording beats ALL of them. This recording is highly recommended to all music lovers. This recording should be one of the cornerstones of anybody's music collection.

Excellent ....but sample Pollini's earlier recording........2001-04-26

Pollini has been playing this work for many years, and this live recording is excellent. Wonderful playing by soloist and orchestra alike, and the recording is well balanced. The piano is perhaps slightly more forward than one might hear in the concert hall, but make no mistake, the BPO come through wonderfully. The slow movement is especially beautiful. Abado is as ever a wonderful accompanist.

Pollini and Abbado made mid-1970s versions of both concertos on DG (but with the Vienna Philharmonic rather than the Berlin Philharmonic), and those recordings are now available on a DG twofer. I slightly prefer the earlier version of No. 2, apart from perhaps in the slow movement.

That earlier performance has more youthful drive and is more exciting, especially in the first two movements. On the other hand this later one has perhaps greater authority and depth of tone, and the recording is fuller, although the earlier analogue recording still sounds well. The only snag is that the earlier performance of No. 1 is not so good.

My advice is to sample both before buying.

Average customer rating: An excellent performance as usual. String Quintets, Boccherini/ Biondi/ Europa Galante 10 / 10 from Classics Today Liberation of "Haydn's Wife" A lesser-known delight

Boccherini: String Quintets; Minuet in A /Europa Galante * Biondi Luigi Boccherini , Fabio Biondi , Enrico Casazza , Europa Galante , Ernesto Braucher , Maurizio Naddeo , and Antonio Fantinuoli Manufacturer: EMI Classics ProductGroup: Music Binding: Audio CD Quintets | Chamber Music | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music All Works by Boccherini | Boccherini, Luigi | ( B ) | Featured Composers, A-Z | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music General | Classical | Styles | Music $9.99 and Under | Classical Music Blowout | Stores | Music All Classical Music Blowout | Classical Music Blowout | Stores | Music Boccherini, Luigi | ( B ) | Composers, A-Z | Classical Music Blowout | Stores | Music Instrumental | Classical Music Blowout | Stores | Music Similar Items: Boccherini: Fandango, Sinfonie & La Musica Notturna di Madrid Corelli: 12 Concerti grossi, op. 6 The Best of Boccherini Vivaldi: Concerti per mandolini Boccherini: Quintets For Guitar And Strings ASIN: B000059GRG Release Date: 2001-05-08

Tracks:

1. Quintet Op. 25 No. 6
2. Quintet Op. 25 No. 6
3. Quintet Op. 25 No. 6
4. Quintet Op. 25 No. 6
5. Quintet Op. 25 No. 4
6. Quintet Op. 25 No. 4
7. Quintet Op. 25 No. 4
8. Quintet Op. 25 No. 4
9. Quintet Op. 25 No. 1
10. Quintet Op. 25 No. 1
11. Quintet Op. 25 No. 1
12. Quintet Op. 25 No. 1
13. Quintet Op. 11 No. 5

Amazon.com's Best of 2001

Boccherini wrote about 100 string quintets, and if the three on this disc are anything to go by, they're a treasure trove of inventive music, melodically rich, full of surprising twists and turns, and with moments of great depth (as in the austerely beautiful Larghetto that opens the D minor Quintet). Written during Boccherini's stint as court composer in Madrid, these are "can't-miss" pieces, as is the encore track, the delicious Minuet from the Quintet Opus 11 No. 5, beloved by film fans for its use as a plot device in Alec Guinness's 1955 British comedy, The Ladykillers. The sympathetic playing of these musicians, drawn from the outstanding period performance band Europa Galante, makes this a major addition to the catalogue. The group's leader and first violinist on this disc is Fabio Bondi, whose solo recordings establish him as perhaps the finest of period practitioners. He shines in his solo turns, his colleagues play with spirited abandon, and the result is as delightful an hour of listening as you're likely to find on disc. --Dan Davis

Customer Reviews:

An excellent performance as usual........2007-06-10

Europa Galante does not disappoint with this performance and their refreshingly vital interpretation is a joy to listen to.
I only wish they would record on DVD audio or simillar wide bandwidth medium to reproduce more faithfully the full dynamic range of the music.

String Quintets, Boccherini/ Biondi/ Europa Galante.......2007-05-13

The Boccherini quintets are a rare example of the string quintet format that allowed the composer to play his cello with the resident string quartet. In this recording Biondi brings his spirit to the music and brings it to life with the skill and sentitivity to line and phrasing that the players of Europa Galante bring. The recording is clean well balanced. One does not get the feeling of being inside the instruments favored so much by so many contemprary producers yet it still retains a feeling of intimacy really essential to chamber music. This is a fine recording of works rarely found together with such quality. In some ways the final minuet in A is such a cliche that it spoils the feeling from the quintets.

10 / 10 from Classics Today.......2006-09-08

10 out of 10 for performance and 10 out of 10 for sound

Liberation of "Haydn's Wife".......2005-05-28

It's a too bad that Boccherini's two-cello quintet configuration didn't catch on the way the standard quartet did; it's such a rich sonority. (Haydn-Mozart-Vanhal should have invited another cello-playing friend to join them.) I haven't heard many recordings of the quintets, but have liked all that I have heard, and these performances especially. Biondi and four members of Europa Galante really bring these pieces to life. If they would just continue recording more Boccherini, maybe he would rise in current opinion to the place he deserves. This recording alone should destroy the old "wife of Haydn" slur.
From these players' imaginative interpretations, to the composer's playful experiments with form, this disc is a delight throughout.
In the opening Allegro of the A minor work the development ends with a dancing theme, which is played straight the first time, but on the repeat it is transformed into startlingly furious guitar-strumming and stamping of heels; then, the trio of the following movement is like a reminiscence of this vivid dance.
The C major Quintet should be given some nickname like "Nights in the Taverns of Spain" -- you can almost smell the wine on the players' breath as they drunkenly laugh, argue, and try to tell sentimental stories in the woozy first movement.
The D minor Quintet opens with a deep slow movement then builds to a real flywheel of a Rondo fourth movement finale.
The Minuet tacked onto the end of the disc is a bit of a letdown after the previous, but hear it as an encore and it's just fine. Who could argue about a few more minutes of such wonderful string sound?

A lesser-known delight.......2005-04-30

"Boccherini who?" you ask. While not anywhere near as widely known as peer composers like Haydn or Mozart, the Italian Boccherini wrote a plethera of chamber music during his years serving under the Spanish court palace - an appointment not unlike Haydn's at Esterhaza - with some of it approaching these other masters. Notably, a lot of it focused on the cello - to the delight of celloist throught the centuries. You can hear the likeness of Haydn's tricks and Mozart's wit in these works, composed around 1778. Yet, Boccherini's twin-cello quintets (and especially in the guitar quintets on other discs) are quite different and have a most captivating "Spanish flavor" to them that bursts forth with a spring-like freshness and life.

Readers of "The Rough Guide to Clasical Music" will have seen this CD featured. And deservingly so as it is a really wonderful, full-of-life recording of some unique music of the classical era. And who more to bring them to life than Fabio Biondi and The Europa Galante. It is pretty much a given that Fabio Biondi will bring a dynamic and vibrant quality to whatever music he is playing and these quartets are no exception to that rule. It is not quiet chamber music to play in the background, but chamber music that jumps out of the speakers and captivates your senses. This is due in part to the wider dynamic range (pp to ff) that the Galante uses to create more drama, especially in the lively outer movements. For those shopping for the "Minuet in A," look no further - this one is a gem, full of charm and whimsy. I have many recordings by Biondi and placed this among my absoulte favorites. Thankfully too these quartets are recorded in very good sound on Veritas with a presence that is not too upfront or overly "spacious" - allowing clear definition of textures especially in the quiet passages which Biondi plays equistely. The Europa Galante bring just the right flair and "sunny Spanish flavor" to Boccherini's cello-rich music that make this CD an enthusiastic recommendation. 5 stars.

Average customer rating: One of Pollini's greatest early recordings The standard Chopin: 24 Preludes, Opus. 28 Wonderful An underappreciated classic

Chopin: Twenty Four Préludes Op.28 Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD All Works by Chopin | Chopin, Frédéric | ( C ) | Featured Composers, A-Z | Classical | Styles | Music Preludes | Forms & Genres | Classical | Styles | Music Pollini, Maurizio | ( P ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music Deutsche Grammophon: Music | Specialty Stores | Music Similar Items: Chopin: Etudes Mozart: Symphonies Nos. 35-41 Wagner without Words Chopin: Nocturnes Rossini: Overtures ASIN: B000001G5J Release Date: 1990-10-25

Tracks:

1. 24 Preludes Op. 28: No. 1 In C Major: Agitato
2. 24 Preludes Op. 28: No. 2 In A Minor: Lento
3. 24 Preludes Op. 28: No. 3 In G Major: Vivace
4. 24 Preludes Op. 28: No. 4 In E Minor: Largo
5. 24 Preludes Op. 28: No. 5 In D Major: Allegro molto
6. 24 Preludes Op. 28: No. 6 In B Minor: Lento assai
7. 24 Preludes Op. 28: No. 7 In A Major: Andantino
8. 24 Preludes Op. 28: No. 8 In F-Sharp Minor: Molto agitato
9. 24 Preludes Op. 28: No. 9 In E Major: Largo
10. 24 Preludes Op. 28: No. 10 In C-Sharp Minor: Allegro molto
11. 24 Preludes Op. 28: No. 11 In B Major: Vivace
12. 24 Preludes Op. 28: No. 12 In G-Sharp Minor: Presto
13. 24 Preludes Op. 28: No. In F-Shapr Major: Lento
14. 24 Preludes Op. 28: No. 14 In E-Flat Minor: Allegro
15. 24 Preludes Op. 28: No. 15 In D-Flat Major: Sostenuto
16. 24 Preludes Op. 28: No. 16 In B-Flat Minor: Presto con fuoco
17. 24 Preludes Op. 28: No. 17 In A-Flat Major: Allegretto
18. 24 Preludes Op. 28: No. 18 In F Minor: Allegro molto
19. 24 Preludes Op. 28: No. 19 In E-Flat Major: Vivace
20. 24 Preludes Op. 28: No. 20 In C Minor: Largo
21. 24 Preludes Op. 28: No. 21 In B-Flat Major: Cantabile
22. 24 Preludes Op. 28: No. 22 In G Minor: Molto agitato
23. 24 Preludes Op. 28: No. 23 In F Major: Moderato
24. 24 Preludes Op. 28: No. 24 In D Minor: Allegro apassionato

Customer Reviews:

One of Pollini's greatest early recordings.......2006-03-18

Pollini took time off after his spectacular early success to mature as a musician, and when he returned to concertizing around the time he made this classic recording of the 24 Preludes (1975), he had achieved a combinaiton of fire and ice, intelligence and passion, that has propelled his career ever since. These are eminently aristocratic readings, yet under the controlled surface one hears tantalizing hints of anger, melancholy, and ecstasy--Pollini's secret is to hold the entire Romantic arsenal at his command and then hide it from sight (making him the anti-Horowitz).

DG's sound is a bit wooden and boxy, which deprives us of the sensual quality of the piano. That's the only flaw to be found in this utterly mesmerizing recital. As other reviewers have pointed out, what sets this set of Preludes apart is that Pollini turns these miniatures into a single work that holds one's fascination from first to last.

The standard.......2005-09-22

I bought this recording in vinyl in the early 80s and am still astounded by Pollini's ability to make each prelude individual but still part of a complete opus. I later have bought recordings of this work by Argerich, Perahia, Lortie, Kissin, Ashkenazy, Alexeev, and Pires. All bring special qualities to this incredible work that stands as one of the peaks of piano compostition, but I have found no other recording that matches Pollini's intellectual control, his passion, or comprehensive technique. As a student of these works, I believe that this recording is the benchmark, a truly sublime reading of one of Chopin's most diverse and important works.

Chopin: 24 Preludes, Opus. 28.......2005-08-13

this is an excellent recording, I believe in l975, of Pollini.

Wonderful.......2005-03-17

Pollini is without a doubt one of the best pianists of the 20th century. Every performance on this CD is exemplary. You can really sense Pollini's emotions bursting out in the fifteenth and sixteenth preludes. Sound quality is very good. Highly recommended.

An underappreciated classic.......2004-03-24

Pollini's famous recordings of Chopin's 1st concerto and etudes are justly acclaimed, but this choice album is begging for reissue in the "Originals" series. Pollini masterfully plays these microcosmic works as a cycle with trademark technical assurance and in a warmer tone than the etudes album--there is no lack of delicacy in the F-sharp major and F major preludes, for instance. Riveting from the opening C major prelude to the cataclysmic D minor conclusion (a favorite encore of his), this remains my preferred version of this opus despite more-or-less competitive alternatives by Cortot, Argerich, Pogorelich, Moravec, Freire, Kissin, Sokolov, Arrau, Perahia, Rubinstein, and Ashkenazy.

Average customer rating: Impecable! Superb Playing Really extraordinary performance of the Preludes and Etudes! About the Etudes This Music Doesn't Need A Title

Chopin: Etudes/Preludes/Polonaises Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD Polonaises | Ballets & Dances | Classical | Styles | Music All Works by Chopin | Chopin, Frédéric | ( C ) | Featured Composers, A-Z | Classical | Styles | Music Etudes | Forms & Genres | Classical | Styles | Music Preludes | Forms & Genres | Classical | Styles | Music Piano | Keyboard | Instruments | Classical | Styles | Music Pollini, Maurizio | ( P ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music Deutsche Grammophon: Music | Specialty Stores | Music Similar Items: Chopin: Nocturnes Beethoven: Die Späten Klaviersonaten Chopin: 4 Ballades; Fantaisie, Op. 49; Prelude, Op. 45 Chopin: The Complete Nocturnes And Impromptus Martha Argerich Plays Chopin: The Legendary 1965 Recording ASIN: B000001GE5 Release Date: 1991-02-08

Tracks:

1. 12 Etudes Op. 10: No. 1 C-dur: Allegro
2. 12 Etudes Op. 10: No. 2 a-moll: Allegro
3. 12 Etudes Op. 10: No. 3 E-dur: Lento, ma non troppo
4. 12 Etudes Op. 10: No. 4 cis-moll: Presto
5. 12 Etudes Op. 10: No. 5 Ges-dur: Vivace
6. 12 Etudes Op. 10: No. 6 es-moll: Andante
7. 12 Etudes Op. 10: No. 7 C-dur: Vivace
8. 12 Etudes Op. 10: No. 8 F-dur: Allegro
9. 12 Etudes Op. 10: No. 9 f-moll: Allegro, molto agitato
10. Etudes Op. 10: No. 10 As-dur: Vivace assai
11. Etudes Op. 10: No. 11 Es-dur: Allegretto
12. Etudes Op. 10: No. 12 c-moll: Allegro con fuoco
13. 12 Etudes Op. 25: No. 1 As-dur: Allegro sostenuto
14. 12 Etudes Op. 25: No. 2 f-moll: Presto
15. 12 Etudes Op. 25: No. 3 F-dur: Allegro
16. 12 Etudes Op. 25: No. 4 a-moll: Agitato
17. 12 Etudes Op. 25: No. 5 e-moll: Vivace
18. 12 Etudes Op. 25: No. 6 gis-moll: Allegro
19. 12 Etudes Op. 25: No. 7 cis-moll: Lento
20. 12 Etudes Op. 25: No. 8 Des-dur: Vivace
21. 12 Etudes Op. 25: No. 9 Ges-dur: Allegro assai
22. 12 Etudes Op. 25: No. 10 h-moll: Allegro con fuoco
23. 12 Etudes Op. 25: No. 11 a-moll: Lento - Allegro con brio
24. 12 Etudes Op. 25: No. 12 c-moll: Molto allegro, con fuoco

Tracks:

1. 24 Preludes Op. 28: No. 1 C-Dur: Agitato
2. 24 Preludes Op. 28: No. 2 a-moll: Lento
3. 24 Preludes Op. 28: No. 3 G-Dur: Vivace
4. 24 Preludes Op. 28: No. 4 e-moll: Largo
5. 24 Preludes Op. 28: No. 5 D-Dur: Allegro molto
6. 24 Preludes Op. 28: No. 6 h-moll: Lento assai
7. 24 Preludes Op. 28: No. 7 A-Dur: Andantino
8. 24 Preludes Op. 28: No. 8 fis-moll: Molto agitato
9. 24 Preludes Op. 28: No. 9 E-Dur: Largo
10. 24 Preludes Op. 28: No. 10 cis-moll: Allegro molto
11. 24 Preludes Op. 28: No. 11 H-Dur: Vivace
12. 24 Preludes Op. 28: No. 12 gis-moll: Presto
13. 24 Preludes Op. 28: No. 13 Fis-Dur: Lento
14. 24 Preludes Op. 28: No. 14 es-moll: Allegro
15. 24 Preludes Op. 28: No. 15 Des-Dur: Sostenuto
16. 24 Preludes Op. 28: No. 16 b-moll: Presto con fuoco
17. 24 Preludes Op. 28: No. 17 As-Dur: Allegretto
18. 24 Preludes Op. 28: No. 18 f-moll: Allegro molto
19. 24 Preludes Op. 28: No. 19 Es-Dur: Vivace
20. 24 Preludes Op. 28: No. 20 c-moll: Largo
21. 24 Preludes Op. 28: No. 21 B-Dur: Cantabile
22. 24 Preludes Op. 28: No. 22 g-moll: Molto agitato
23. 24 Preludes Op. 28: Nr. 23 F-Dur: Moderato
24. 24 Preludes Op. 28: No. 24 d-moll: Allegro apassionato

Tracks:

1. Polonaise Op. 26: No. 1: Allegro appassionato
2. Polonaise Op. 26: No. 2: Maestoso
3. Polonaise Op. 40: No. 1: Allegro con brio
4. Polonaise Op. 40: No. 2: Allegro maestoso
5. Polonaise Op. 44
6. Polonaise Op. 53
7. Polonaise-Fantasie Op. 61

Amazon.com essential recording

Chopin may have distrusted romanticism, yet no other romantic composer has worn as well. His music both stings and sings with harmonic adventurousness, together with an uncanny instinct for the geography of the keyboard. The Op. 28 Préludes exemplify Chopin's genius for telegraphing big ideas into snug spaces, while his Études provide an index to his pianistic idiom. Pollini fares best in the Préludes, where his aristocratic pacing and cool control allow the music's mood swings to speak for themselves. The Études glitter with icy accuracy, but the Polonaises lack Rubinstein's rhythmic snap and generosity of spirit. Still, Pollini's unruffled pianism remains the envy of every conservatory student and competition aspirant. DG's analog sonics are fully competitive. --Jed Distler

Customer Reviews:

Impecable!.......2005-11-09

Pollini's interpretation and execution of the 24 etudes is superb, as are his polanaises. His preludes however, no.19 especially, I feel, have a touch of delicacy which it could do without. Where marked 'vivace' it is played closer to 'presto'. Apart from this however it is a first class performance, and fully worthy of the 5 stars I have given it.

Matt

Superb Playing.......2005-08-24

While sometimes a little faster than generally performed (as my teacher put it "because he can!") Pollini exeplifies near flawless technique with wonderful interpretation of Chopin. The only complaint I personally have, is that the playing seems a bit technical, and not as much emotion is put into the actual peices. Though Etudes are not generally known for their musicality, Pollini, I feel, could still be afford a little more push/pull in some of the selections.

Pollini does bring a new freshness to the set of preludes. Overplayed and sometimes butchered by the amateur pianist, Pollini peroforms these preludes masterfully and brings them to a level that I've rarely heard.

Other than my minor complaint, I feel that for any student or teacher willing to complete, add or update their library this is a great choice. Pollini delivers a crystal clear performance, worthy of any listener. Easily one of my favorite recordings in my collection!

Really extraordinary performance of the Preludes and Etudes!.......2005-02-25

It takes a very great artist to be able to play pieces which have been overperformed and overtaught, and bring something fresh to the table. Pollini does just that, especially in his performances of the Preludes and Etudes.

I would love to take a poll of the pianists and piano teachers here to see how many times they have taught the Chopin Preludes. From my own experience, I've taught these pieces so many times that I find myself dreading teaching #4 (e minor), #6 (b minor), #7 (A Major) or #20 (c minor) -- and I think we forget that these pieces are actual music and NOT "teaching pieces".

Pollini succeeds in taking these over-played pieces and transforming them back into "music". It's really nothing short of amazing. As I listened, I began noticing secondary melodies I'd never heard, particularly in #5 (D Major), #13 (F-Sharp Major), and #14 (e-flat minor). The F-Sharp Major Prelude is particularly gorgeous -- almost heart-rendingly so in the middle section. The g-sharp minor Prelude has exactly the right sense of fire and drive to bring this piece across; the A-Flat Major, E-Flat Major and F Major Preludes are nothing short of ravishing.

I bought this CD collection on suggestion of a friend of mine (also a pianist) who has experienced the same kind of burn-out I have with Chopin pieces which are over-taught and over-played, and/or over-interpreted to the point where the pieces become parodies of themselves. (I never heard so much bad, truly affected Chopin playing as I did at the school where I initially trained as a pianist!).

Pollini's Chopin is a real breath of fresh air -- restrained, elegantly timed rubatos; enough pedal to effect tonal coloring without the overpedalling so common in so many Chopin performances; a sense of drama in the playing combined with an edge of restraint so the pieces are never "over-played"; and he has an uncanny ability to convey a strong sense of structure to these pieces.

I can say quite honestly that the performances of the Preludes and Etudes on this CD have the force of a revelation. The proof of this is that after hearing the CD (many times), I have decided to learn all 24 Preludes (plus the C-Sharp Minor Prelude, op. 45) and play them all in a recital.

The Polonaises aren't quite as spellbinding as the Preludes and as riveting as the Etudes; but the Preludes and Etudes make this a compelling collection. I strongly and enthusiastically recommend this CD compilation!

About the Etudes.......2001-02-14

This album may be the best Chopin package on the market, especially given the bargain price. That said, an out-of-print CD featuring a young Vladimir Ashkenazy, recorded in Moscow in 1959/60, would be an even better choice (with respect to the Etudes) should it ever again become available. In that legendary recording, Ashkenazy's technique - especially in Op. 25, No. 6 - sends chills down the spine, and he infuses more life into the music than does Pollini. The Ashkenazy of that vintage should not be confused with his older ghost, currently available on the London/Decca label.

What Pollini offers here are whistle-clean performances of (some of) Chopin's major solo works. Pollini's approach, if somewhat clinical, is refreshing for its lack of affectation or excess. He does not belabor the music as many other Chopin performers are inclined to do, and he plays with solid technique throughout.

This Music Doesn't Need A Title.......2001-02-09

I really like this CD because (1) I am a big Chopin fan, and (2) I know these pieces well. Chopin's good point is his romanticism. The tracks on this CD are full of his deep, pasionate feeling for his native Poland, even though he was half French and lived outside Poland in such places as Majorca. He was the archetype of the romantic exile, and did his best to live up to this image by writing appropriately evocative music.

Average customer rating: Raw and Primal Power Only Pollini It's his style and it works. Pollini-Chopin, The Meeting of Two Immovable Objects A compelling performance almost ruined by shallow, glassy sound

Chopin: Etudes Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD All Works by Chopin | Chopin, Frédéric | ( C ) | Featured Composers, A-Z | Classical | Styles | Music Etudes | Forms & Genres | Classical | Styles | Music Pollini, Maurizio | ( P ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music Deutsche Grammophon: Music | Specialty Stores | Music Similar Items: Chopin: Twenty Four Préludes Op.28 Arthur Rubinstein - Chopin 19 Nocturnes (Vol. 49) Chopin Etudes Chopin: Polonaises / Maurizio Pollini Chopin: The Complete Nocturnes And Impromptus ASIN: B000001G5H Release Date: 1990-10-25

Tracks:

1. 12 Etudes Op.10: No. 1 C-dur: Allegro
2. 12 Etudes Op.10: No. 2 a-moll: Allegro
3. 12 Etudes Op.10: No. 3 E-dur: Lento, ma non troppo
4. 12 Etudes Op.10: No. 4 cis-moll: Presto
5. 12 Etudes Op.10: No. 5 Ges-dur: Vivace
6. 12 Etudes Op.10: No. 6 es-moll: Andante
7. 12 Etudes Op.10: No. 7 C-dur: Vivace
8. 12 Etudes Op.10: No. 8 F-dur: Allegro
9. 12 Etudes Op.10: No. 9 f-moll: Allegro, molto agitato
10. 12 Etudes Op.10: No. 10 As-dur: Vivace assai
11. 12 Etudes Op.10: No. 11 Es-dur: Allegretto
12. 12 Etudes Op.10: No. 12 c-moll: Allegro con fuoco
13. 12 Etudes Op.25: No. 1 As-dur: Allegro sostenuto
14. 12 Etudes Op.25: No. 2 f-moll: Presto
15. 12 Etudes Op.25: No. 3 F-dur: Allegro
16. 12 Etudes Op.25: No. 4 a-moll: Agitato
17. 12 Etudes Op.25: No. 5 e-moll: Vivace
18. 12 Etudes Op.25: No. 6 gis-moll: Allegro
19. 12 Etudes Op.25: No. 7 cis-moll: Lento
20. 12 Etudes Op.25: No. 8 Des-dur: Vivace
21. 12 Etudes Op.25: No. 9 Ges-dur: Allegro assai
22. 12 Etudes Op.25: No. 10 h-moll: Allegro con fuoco
23. 12 Etudes Op.25: No. 11 a-moll: Lento - Allegro con brio
24. 12 Etudes Op.25: No. 12 c-moll: Molto allegro, con fuoco

Customer Reviews:

Raw and Primal Power.......2007-03-09

I am not an expert but I must share my own personal thoughts about this disc before I fall over dead. Not much more can be said but I have heard the third of Chopin's etudes played by probably fifty some pianists.

Whenever I hear it I always felt it expressed a love for one to another. Like a sonic love poem. Love has different levels. There is eros, filias, and agape to name a few. In the past I have heard pianists play this with too much eros or with too much of a animal type love. After all we are humans. We have a higher side to us.

And that is where Pollini takes his pedestal. Sure his third etude is maybe a bit faster and a bit restrained, but in the end the love he expresses is transcendental. It is a raw, primal, masculine, powerful love bursting forth like I never heard before. Perhaps it is the depth of Chopin's soul properly expressed for the first time. And yes like any fine wine it takes time to acquire a taste for it (multiple listenings).

Thank you Herr Pollini, now I can die.

Only Pollini.......2006-09-06

Beautifully clear.....however I feel that Chopin would have played it with more passion....expression. I love it but I meant to order Chopin's Polonaises....oh well, next time....thank you Amazon. You did well as usual.

It's his style and it works........2006-05-08

Hello, I am a music graduate in classical piano from a university in hamilton ontario...

I read an earlier review that complains about Maurizio's 'lack of expression'

If he knew anything about this artist then he would know that THIS WAS HIS INTENT...(he recorded the etudes a second time later in his career)

This recording of the chopin etudes was intentionally performed with a cool and calculating style....

and yes it does not do justice to chopin's music, I don't think any performer should avoid the composer's original intent....

but he is forgetting that a lot of the hype that goes into classical music, is based on the performer manipulating the composers music to make something new out of music that has been recorded a million times over...

and although I do agree with the reviewer's judgement of the ocean etude...(since I've played it myself and know the score inside out) I still think that maurizio's format works for him, it makes an impact on the listener

Etude no. 3 in E major sounds dreadful and rushed... but again, I've heard lots of pianists ignore the composers written indications on the score to bring something 'new' to the piece of music.

I believe that this is all he is trying to do, classical artists try to create a distinguishable style by recording old music in a new way, yet it is frowned upon... because it's not JAZZ music (where a composition is an outline and not made to the letter) so, the complete score allows people to look at a classical composition critically and make arguments against a performers interpretation.

classical music shows more proof in the score when someone is doing something erroneous....or something merely prodigal..

Listen to Vladimir Ashkenazy's recordings of the Chopin Etudes if you would like a more sensitive interpretation, and (arguably) is closer to the composers intent/personality.

Just remember that if the music is old enough to exist before a composer could make his own recording of it....

then 'authentic interpretation' will always be in a grey area.

Pollini-Chopin, The Meeting of Two Immovable Objects.......2006-03-19

We will never hear Chopin's own critique of this performance, but I would imagine he would be just as stunned by Pollini's titanic virtuosity as I was the first time I heard this recording. Chopin dedicated his opus 10 (etudes 1-12) to none other than Franz Liszt. I mention this because Pollini plays this opus as though it was written by Liszt. Did Chopin intend opus 10 nos. 1-12 to be played in this Lisztian style? I would argue yes for the simple reason that this is a set of ETUDES, therefore the use of a mammoth technique is not out of place. Pollini's performance is captivating in it's accuray and power, as well as it's beauty (listen to opus 10 No.3).

I remember the first time I heard this album. I was 15 years old, sitting in my parents' minivan in the parking lot of the store at which I had just bought the CD. From the first BOOM of etude op10 No.1 to the last thunderous chord of op25 No.12 I sat transfixed, almost dazed by what I was hearing. It was a life altering experience for me. I was a mediocre piano student not too serious about my piano study. Hearing Pollini made me realize the possibilties of the piano and triggered an absolute resolve to master the instrument. Ten years later, I have mastered all of op.10 and some of opus 25. The reason I mention my background is I feel that I may offer some insight into what technical problems the pianist faces when tackling Chopin's etudes.

Opus 10 No.1 is comprised entirely of r.h. arpeggios with a chorale accompaniment. On the surface it doesn't sound extraordinarily difficult, but when we delve deeper we find the arpeggios are super wide with intervals of as much as a sixth between thumb and index finger and a fourth between the 4th and 5th fingers! At a tempo of 176! It's insane!!!

Opus 10 No.2 also doesn't sound particularly demanding until one realizes that the chromatic scales in the r.h. are played with mostly the 4th and 5th fingers! Try playing a chromatic scale in this way and you will instantly understand the difficulty.

Opus 10 No.3 is, by Chopin's own words, I paraphrase, "In all my life I have never heard a more beautiful melody." Apart from the tumultuous middle section and all of its chromatic tri-tones, the
piece is easy to play but maddeningly hard to play WELL.

Opus 10 No.4 sounds very demanding but is actually one of the easier etudes! There is lots of chromatic passagework along with quickly modulating descending diminished seventh chords. Proper phrasing and rhythmic control are the keys to mastering this etude.

Opus 10 No.5 is arguably the easiest etude. Its l.h. staccato chords are enveloped by a twirling r.h. accompaniment composed entirely of black keys. Proper r.h. arm rotation makes this etude totally effortless.

(I'll finish my analysis later.)

p.s. Garrick Ohlson's recording of the etudes is every bit as good, if not better, than Pollini's.

A compelling performance almost ruined by shallow, glassy sound.......2006-03-18

Pollini took pains as a young artist to mature to his fullest before giving concerts, and this 1972 recital of Chopin Etudes is a leap ahead of his debut disc on EMI. However, despite the alluring technique and aristocratic bearing, his pianism isn't fully fledged yet. Too much of the music is played for surface values without really searching deeper. By 1975, when he came to record the 24 Preludes, Pollini had grown considerably, and even now his artistry seems to gain in depth year by year--his recent Beethoven is quite miraculous.

I am not a piano fancier, so it satisfies me to own this recording of the Etudes and no other. Even so, the performance is badly hampered by glassy, harsh sound. One can't listen at loud volume to the sonority of the instrument thanks to the brittle edge of DG's inferior sonics. With remastering, Pollini's musicianship would certainly acquire another dimension of power and beauty.

Average customer rating: Sublime Stunning but ... A Visionary fperformance He's back! HOLY COW!

Chopin: Nocturnes Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD All Works by Chopin | Chopin, Frédéric | ( C ) | Featured Composers, A-Z | Classical | Styles | Music Nocturnes | Short Forms | Forms & Genres | Classical | Styles | Music Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Pollini, Maurizio | ( P ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Chamber Music | Classical | Styles | Music Deutsche Grammophon: Music | Specialty Stores | Music Similar Items: "Beethoven: Piano Sonatas Opp. 109, 110 & 111" Beethoven, Mozart & Brahms Piano Concertos Chopin: Etudes/Preludes/Polonaises Brahms: Piano Concerto No. 1 Intimate Voices ASIN: B000B8ISNM Release Date: 2006-04-11

Tracks:

1. No.1 In B Flat Minor: Larghetto
2. No.2 In E Flat Major: Andante
3. No.3 In B Major: Allegretto
4. No.1 In F Major: Andante Cantabile
5. No.2 In F Sharp Major: Larghetto
6. No.3 In G Minor: Lento
7. No.1 In C Sharp Minor: Larghetto
8. No.2 In D Flat Major: Lento Sostenuto
9. No.1 In B Major: Andante Sostenuto
10. No.2 In A Flat Major: Lento

Tracks:

1. No.1 In G Minor: Andante Sostenuto
2. No.2 In G Major: Andantino
3. No.1 In C Minor: Lento
4. No.2 In F Sharp Minor: Andantino
5. No.1 In F Minor: Andante
6. No.2 In E Flat Major: Lento Sostenuto
7. No.1 In B Major: Andante
8. No.2 In E Major: Lento
9. No.1 In E Minor: Andante

Amazon.com

Pollini's traversal of Chopin's 19 Nocturnes (he leaves out the pair of posthumous ones) is one of his finest recordings in years. His long-lined yet detailed performances are comparable to the very different ones that have long stood at the pinnacle of recorded sets. Not as serene as Artur Rubinstein's, not as philosophical as Claudio Arrau's, nor as warm as Ivan Moravec's, Pollini's interpretations have their own allure. One is the way he shapes the melodies with a natural flow enhanced by his tonal beauty, less lean and streamlined than his usual way with Romantic music. Another is his careful attention to dynamics, as in the subtle gradations of tone found in Op.9 No.1, Op. 15 No 2, and others in the set. Yet another is his detailed articulation that yields trills of feathery lightness and brings out inner details without unduly spotlighting them. His pianissimo playing is radiant, pearly runs are seamlessly strung together, and climaxes like that in Op. 37 No.1 ring out boldly. And this paragon of the objective modern style indulges in discreet rubatos that bring life to the musical line and make you feel the music behind the notes. --Dan Davis

Customer Reviews:

Sublime.......2007-05-13

I had previously owned Chopin's nocturnes, but Pollini blows everyone else away with his elegant and touching performance. I totally recommend this for anyone interested in classical music.

Stunning but ..........2007-03-24

Mr Pollini certainly has a way with Chopin. His earlier recordings of the etudes and polonaises could hardly be bettered. In the nocturnes, we find crystal clear fingerwork and clarity, a sense of romance and of drama. Perhaps, though, these performances are a little unsmiling. Listeners who, like me, have found great majesty and wonderment in Claudio Arrau's readings of the nocturnes may find Mr Pollini's performances technically stunning but a little cold and measured. Perhaps they are, but repeated playing proves that there is no one way to play the nocturnes. I have come to treasure both performances.

A Visionary fperformance.......2006-06-26

When I first purchased this recording, the rather austere interpretations disappointed me. I had been listening to the Pires earlier, and her much more traditional, romantic approach had made a deep impression(still a great accomplishment, better than almost all who precede her recording). However, after a few listenings, Pollini's incredible intellectual command and spiritual interpretation became evident. If someone has listened more romantic playing of these pieces such as Arrau's, then Pollini's may seem at first without any beauty or understanding of Chopin's intent because the doesn't linger of phrases, manipulate the tempo by rushing or slowing down in a dreamlike trance. Instead, Pollini finds the true essence in his perfect pianism and his visionary effort here. The sound of the recording is exemplary- I do wish they could have placed the microphones so as not to hear Pollini's occaisional and momentary gutteral utterances and breathing , but a small price to pay to hear Chopin's Nocturnes played with such insight, technique, and understanding. I rank this cd with his playing of the etudes, ballades, and preludes...all of the highest order.

He's back!.......2006-06-24

These recordings represent something of a return to form for Pollini, whose recordings in recent years have often sounded as if the score had been programmed into that hi-tech Yamaha player piano. Here one senses a sophisticated musical intelligence constantly making judgments and decisions. And, of course, his technique is still highly impressive. His articulation is a thing of wonder and his structural sense is a real asset in these pieces which can often seem diffuse. Still, the performances often seem defined by what is NOT done rather than any individual touches. Rubato is at a minimum and agogic hesitations nonexistent. They are very "come scritto" in what might be considered the Toscanini tradition. As such, they would be an excellent introduction to this music for new listeners.

A number of recent recordings could be considered more individual and detailed - Ciccolini, D'Ascoli, Ohlsson, even Hewitt. Not to mention the older recordings of Arrau, Francois and the wonderfully mannered Moravec.

A note on the recording: I found is surprisingly substandard for DG - shallow and muffled. Pollini deserves better.

HOLY COW!.......2006-06-19

According to the DG website, this set was supposed to be released in Novemeber of 2005 -- and it came out 7 months later! What an awful, miserable wait... I wish Pollini weren't on their back-burner, I think he's the best thing they have! This set is ridiculously good, amazing, excellent.

These pieces have always been special and important to me. As a result I've bought many complete performances (Arrau, Moravec, Rubinstein, Rev, Pires, Barenboim, Vasary, Francois) and quite a few partial performances...

I am mad that I had to wait so long to get these discs. But that's the greed in me speaking. I would pay anything for these discs, wait any amount of time. I am glad and grateful to have them.

As for the performances, I don't really know what to say... Pollini has evolved and developed SO much as an artist. He could always terrify and excite me, take my breath away, but he rarely made me cry. Here, me makes me cry again and again. These aren't necessarily the most sentimental pieces, and they're anything but "soft." It's just that his touch has become so delicate, so sensitive -- and his technique is all still there. So detailed, soaring, I'd go so far as to say visionary... I hope Pollini lives forever! I can't wait, can't want, must-force-myself-to-wait for his forthcoming Bach!

Average customer rating:

Rossini - La Donna del Lago Manufacturer: Opera Rara UK ProductGroup: Music Binding: Audio CD General | Opera & Vocal | Styles | Music Italian | Languages | Opera & Vocal | Styles | Music General | Classical | Styles | Music All Works by Rossini | Rossini, Gioacchino | ( R ) | Featured Composers, A-Z | Classical | Styles | Music Classical | Imports | Stores | Music Opera & Vocal | Imports | Stores | Music Similar Items: Donizetti: Dom Sebastien, roi de Portugal Mercadante: Maria Stuarda Rossini: Adelaide di Borgogna Donizetti: Il diluvio universale Handel: Floridante ASIN: B000OY6I2G Release Date: 2007-06-12

Tracks:

1. Sinfonia
2. 'Del Di La Messaggiera'
3. 'Oh Mattutini Albori!'
4. 'Qual Suon! Sull'alta Rocca'
5. 'Scendi Nel Piccol Legno'
6. 'Uberto! Ah! Dove T'ascondi?'
7. 'E In Questo Di?'
8. 'Sei Gia Nel Tetto Mio'
9. 'D'Inibaca'
10. 'Sei Gia Sposa? Ed E Rodrigo'
11. 'Quali Accenti!'
12. 'Ma Son Sorpreso'

Tracks:

1. 'Mura Felici, Ove Il Mio Ben Si Aggira!'
2. 'Elena! Oh Tu, Che Chiamo!'
3. 'Oh Quante Lagrime Finor Versai'
4. 'Signor, Giungi Opportuno'
5. 'Taci, Lo Voglio, E Basti'
6. 'E Nel Fatal Conflitto'
7. 'Vivere Io Non Sapro'
8. 'Qual Rapido Torrente'
9. 'Eccomi a Voi, Miei Prodi'
10. 'Ma Dov'e Colei'
11. 'Premio Di Dolci Ardori'
12. 'Alfin Mi E Dato'
13. 'Vieni, O Stella Che Lucida E Bella'
14. 'Quanto a Questa'alma Amante'
15. 'La Mia Spada'
16. 'Questo Amplesso a Te Fia Pegno'
17. 'Crudele Sospetto'
18. 'Sul Colle a Morve Opposto'
19. 'Gia Un Raggio Forier'
20. 'Su... Amici! Guerrieri!'

Tracks:

1. 'Oh Fiamma Soave'
2. 'Si, Per Te, Mio Tesoro'
3. 'Alla Ragion Deh Rieda'
4. 'Nume! Se a' Miei Sospiri'
5. 'Qual Pena In Me Gia Desta'
6. 'Parla... Chi Sei?'
7. 'Quante Sciagure In Un Sol Giorno Aduna'
8. 'Ah Si Pera'
9. 'Douglas! Douglas! Ti Salva'
10. 'E Tanto Osasti?'
11. 'Attendi: Il Re Fra Poco'
12. 'Che Sento!'
13. 'Stelle! Sembra Egli Stesso!'
14. 'Imponga Il Re'
15. 'Ah! Che Vedo! Qual Fasto!'
16. 'Tanti Affetti In Tal Momento'

Average customer rating: Surprisingly Good Excellent recording at reasonable price A Ring Cycle for everyone! An excellent complete Ring at a reasonable price.

Wagner: Der Ring des Nibelungen (Box Set) Manufacturer: Brilliant Classics ProductGroup: Music Binding: Audio CD All Works by Wagner | Wagner, Richard | ( W ) | Featured Composers, A-Z | Classical | Styles | Music General | Classical | Styles | Music General | Opera & Vocal | Styles | Music Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music German | Languages | Opera & Vocal | Styles | Music Brilliant Classics | Amazon.com Label Stores | Stores | Music ASIN: B00005YCS5 Release Date: 2001-06-12

Customer Reviews:

Surprisingly Good.......2004-11-20

I picked up a copy of this set very cheaply on Ebay [UK] with no big expectations about its quality, having been brought up on the old maxim that you get what you pay for. Boy, was I ever wrong. This edition surpasses my expectations big time and while my ultimate wish is to be wealthy enough to own a set of Solti's Ring Cycle I am beginning to enjoy this set more and more.

The vocals come through clearly and for a live performance the sound is very clean. My edition came with the lyrics in German only, so unless your German is reasonably good you will need to find an English translation somewhere to help you out, but this is a small quibble. If you know the storyline you'll be able to follow things reasonably well. Having caught the Wagner bug at age 15 I can once again feel the bug takingi ts effect:-)

Excellent recording at reasonable price.......2004-01-26

In my view this recording is under-rated by Wagnerians, perhaps because they are a bit snooty about a conductor who doesn't have the same international reputation as Karajan or Solti. Don't be fooled! This is an excellent recording, with crystal-clear sound quality and some great performances from the singers. Neuhold moves the action on at a good pace and the fact that it was recorded live adds excitement. There is very little audience noise throughout. At this price I recommend this recording highly, particularly for newcomers to the Ring cycle who can't afford the Solti. Even seasoned Wagnerians will enjoy it too, I think.

A Ring Cycle for everyone!.......2003-03-03

Such a bargain, this Ring cycle is. When I first wanted to listen to Wagner's magnum opus, I had to borrow from libraries and friends. While in college, I scraped up enough to by Furtwangler's old mono recording. Great performance but depressed sonics.

Now comes this excellent performance, live (all the better), with excellent sound! And at a price even poor students on a budget can afford. Better yet, have mom and dad spring for your copy. No family should be without one!

An excellent complete Ring at a reasonable price........2003-01-20

I got this ... fairly cheaply and was surprised by the quality of the recording and the performance. This is a live performance that was digitally recorded (DDD), so the sound is quite good with almost no audience noise. The conducting is thoughtful and lyrical, and the quality and accuracy of the playing is quite good. The singers are not particularly world-famous as in the Solti or Karajan recordings, but the singing is clear and crisp, so that you can easily understand and/or follow the lyrics in the libretto. The fact that it is a live performance lends an immediacy and excitement that is lacking in the glitzier studio-recorded performances. Those who enjoy the 1953 Bayreuth recording by Krauss will find much to enjoy here. I have listened to many renditions of the Ring cycle over the years, and I would place this recording close to the top (after Krauss, Solti, and Karajan). It's a delightful discovery at a bargain price for a complete Ring cycle. I would highly recommend it, even as a first introduction to the Ring. The version I got did not come with a libretto, but that was no problem since I have libretti from other sets of the Ring that I own. In addition, several websites carry the German libretto with an English translation.

Average customer rating: JUST ANOTHER INTERESTING VERSION(s) A must have set for any Beethoven fan Probably the most deeply satisfying interpretation of Beethoven's Late Sonatas Peak Performances A compelling and controversial classic

Beethoven: Die Späten Klaviersonaten Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD All Works by Beethoven | Beethoven, Ludwig van | ( B ) | Featured Composers, A-Z | Classical | Styles | Music Sonatinas | Sonatas | Forms & Genres | Classical | Styles | Music General | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music Chamber Music | Forms & Genres | Romantic (c.1820-1910) | Historical Periods | Classical | Styles | Music Pollini, Maurizio | ( P ) | Featured Performers, A-Z | Classical | Styles | Music General | Classical | Styles | Music Deutsche Grammophon: Music | Specialty Stores | Music Similar Items: Beethoven: piano sonatas op 54:57 Beethoven: Sonataen - Waldstein, Les Adieux, Appassionata Beethoven: Sonaten - Pathétique & Mondschein Beethoven: Diabelli Variations Stravinsky, Prokofiev, Webern, etc / Maurizio Pollini ASIN: B000001GXB Release Date: 1997-08-12

Tracks:

1. Sonate No. 28 A-dur, op. 101: Etwas lebhaft und mit der innigsten Empfindung. Allegretto, ma non troppo
2. Sonate No. 28 A-dur, op. 101: Lebhaft, marschmig. Vivace alla Marcia
3. Sonate No. 28 A-dur, op. 101: Langsam und sehnsuchtsvoll. Adagio, ma non troppo, con affetto - attacca:
4. Sonate No. 28 A-dur, op. 101: Geschwinde, doch nicht zu sehr und mit Entschlossenheit. Allegro
5. Sonate No. 29 B-dur, op. 106 - Grosse Sonate Fur Das Hammerklavier: 1. Allegro
6. Sonate No. 29 B-dur, op. 106 - Grosse Sonate Fur Das Hammerklavier: 2. Scherzo. Assai vivace
7. Sonate No. 29 B-dur, op. 106 - Grosse Sonate Fur Das Hammerklavier: 3. Adagio sostenuto. Appassionato e con molto sentimento
8. Sonate No. 29 B-dur, op. 106 - Grosse Sonate Fur Das Hammerklavier: 4. Largo - Allegro risoluto

Tracks:

1. Sonate No. 30 E-dur op.109: Vivace, ma non troppo
2. Sonate No. 30 E-dur op.109: Prestissimo
3. Sonate No. 30 E-dur op.109: Gesangvoll, mit innigster Empfindung (Andante molto cantabile ed espressivo)
4. Sonate No. 31 As-dur op.110: 1. Moderato cantabile molto espressivo
5. Sonate No. 31 As-dur op.110: 2. Allegro molto
6. Sonate No. 31 As-dur op.110: 3. Adagio ma non troppo - fuga, ma non troppo
7. Sonate No. 32 c-mol op.111: 1. Maestoso - Allegro con brio ed appassionato
8. Sonate No. 32 c-mol op.111: 2. Arietta. Adagio molto semplice e cantabile

Amazon.com essential recording

Pollini's performances of Beethoven's last five piano sonatas have assumed almost legendary status, and this reissue at midprice in improved sound ought to win them many new friends. Sometimes considered a cold interpreter, Pollini here pays scrupulous attention to Beethoven's instructions, an attention that never gets in the way of sincere expression. There's a lot to be said for approaching this music with a maximum of clarity and simplicity, and a minimum of Romantic panting and heaving. In fact, Beethoven's instructions are so detailed, and the music itself is often so elaborately developed, that it's all most pianists can do to play it as he wrote it. Pollini does that, and much more. --David Hurwitz

Customer Reviews:

JUST ANOTHER INTERESTING VERSION(s).......2007-07-18

There is no such thing as the 'Greatest' Beethoven recording(s), just as there is no 'Definative' performance or 'The Greatest meal I ever had'.

Pollini's Beethoven is very interesting. His Hammerklavier is clean, to the point, and I like it. But I don't think it's Great' nor do I prefer it to many others. To do so would mean that Beethoven's piano sonatas are not very profound and it's easy for one person to 'nail' them. They're not. What makes them 'Great' is that like Life itself, there are many ways of looking at them, feeling them, hearing them.

BTW These recordings are over 30 years old. I heard Pollini a couple of months ago at Carnegie Hall play the Hammerklavier. Now, in his old age, he just bangs it out as quickly as possible.

A must have set for any Beethoven fan.......2006-07-11

Giving a hearty recommendation to this recording would not do it justice. The sound is quite good and the performances are simply spectacular. I'm lucky enough to have complete works by Kempff, Claude Frank, Bernard Roberts, and Ashkenazy (excerpts). They are most worthy masters in their own right but for me, this set really speaks from the heart. There is incredible intensity in some passages combined with a poignancy that is difficult to ignore. I am rather puzzled that theses works are viewed by some as cold and overly technical. Though technically superb, I would not refer to this work as cold by any standard. Listen to to the Adagio Sustenuto on sonata 29 and decide for yourself. Possibly the finest recording I have yet heard of that piece. Upon an initial hearing I had to replay it two more times to believe my ears.

One of the most enjoyable features of this recording is the tempo of the pieces. The quicker passages have all the necessary flair and the slower movements are played with a deft touch. I have tried, desperately at times, to find renditions of the sonatas that capture the essence of the work. This set is a veritable gold mine and a purchase you can make without fear. You will be pleased with your decision for a long time.

Probably the most deeply satisfying interpretation of Beethoven's Late Sonatas .......2006-03-26

Forget about the debate on whether or not Pollini has the highest dynamic control and technical facility among all living pianists, as when it comes to this partcicular set of recordings (made in June 1975 for op. 109 and 110, Sept. 1976 for op.106, Jan. 1977 for op. 101 and 111) this debate is completely irrelevant.
What a sublime, intense and wondefully heart-warming interpretation of Beethoven's late sonatas. A sprititual experience. Please do listen to other greats like Brendel, Arrau, Kempff, Rubenstien, and then listen to Pollini's; in these particular works, Mr. Pollini will make you forget that you have ever heard these pieces before. The music flows as new and fresh as it must have sounded in the great composer's head.

What a delicious op. 101.
What an unforgetable performance of the Hammerklavier, with its slow movement so deeply medidative and its third movement almost rising to other-wordly dimensions. And for the first time, you will thoroughly enjoy the Fugue. You will never get enough of the elegance and beauty of op. 109, 110. As for op. 111, words do not rise to the occasion. Pollini's interpretation leaves one speachless: dramatic, deeply felt, highly noble, and yet spontaneous and flowing like un unstoppable stream. As another reviewer put it: Perfect...a fitting performance of Beethoven's last piano sonata.

Some may not know that Mr. Pollini is also a humble and approachable artist. If you hear his interviews or talk to him after a concert, he will tell you that he records pieces only after having played them extensively in public performances. What an impressive artist: the magical journey of discovery he produced in the 70's with this recording set is being produced again with new ones, such as the Apassionata recording released in March 2003.

Peak Performances.......2005-07-16

I understand the controversy that surrounds some of Pollini's recordings of 19th century music. He's known for being a bit clinical or emotionally aloof. It's been said that his interpretive approach is often at odds with works that demand a more direct emotional involvement and "heart-on-sleeve" style from the performer. If one compares some of his recordings of "Romantic" era piano literature with those done by much older (or earlier) artists, it's apparent that only people like Backhaus (sp?) seemed to share Pollini's affinity for Stravinsky's dictum: "just play what's in the score, and the rest will speak for itself."

Not surprising then, that this pianist excells so much in repertoire like Stravinsky, Prokofiev, and other 20th century composers, and even gives such music a powerful emotional pull that (arguably) exceeds what he's able to do with the Romantics. Perhaps he's more comfortable with works of a certain unique complexity, compositions that already give so much detail through the score, that there's little more for the artist to add? One of the few Romantics he's truly celebrated for playing has been Chopin, a composer who himself, was not a great lover of Romantic music (HIS heros were Bach and Mozart). Pollini addresses that Chopin when he plays, the enigmatic, reserved, "unknowable" side of Chopin, the one who never gives all his secrets. There too, Pollini hits his emotional stride, and merges well with works like the piano concertos, and other similar pieces.

So why Beethoven? Why particulary the late piano sonatas? How did one of the all-time interpreters of 20th century piano music come to record one of the most discussed and listened-to sets of these particular works in all recorded history? Perhaps much of the answer lies in the very nature of these pieces, the last of their kind that Beethoven would ever write. The old master by this time in his life had already written plenty of barnstormers like the sonata "Appassionata", the "Waldstein", the "Emperor Concerto", and other such works, as well as the quieter and more lyrical piano pieces like the "Pastoral" sonata and 4th concerto. These compositions, for all their differences, are bound together by a singular emotional directness, a sense of the composer speaking to the listener "with both feet planted firmly on the ground". This dialog between Beethoven and the listener was to change radically by the time the last 5 sonatas (and quartets, incidently) were being written. After a 5 year period of relatively little creative activity, and many turbulant personal changes, a very enigmatic, less earthbound creative voice emerges. Gone are the trappings of his earlier style, with the narrative forms, and the 'epic' battles between darkness and light. Even "melodies" and "main themes" are replaced a good deal of the time by improvisational-sounding sequences and shifting blocks of abstract line and harmony (particularly in the first movements of the E major and A flat sonatats, and in the transition between the 3rd and 4th movements of the "Hammerklavier"). Sonata form has been discarded in favor of fantasia, fugue, and theme-and-variation. Even the parameters between some of the sonata movements themselves, have been blurred beyond recognition. With all this, the dialog has ended, and we are now simply overhearing the composer's thoughts.

So who better to traverse this maze of musical thought than Pollini? Other pianists favored more by a couple of the other reviewers do indeed imbue their performances with a greater emotional directness, at least when the music grants the oppertunity. However, when the music decides to shift into the abstract, and the lyrical moments give way to the more jagged, expressionistic episodes, some of these same celebrated artists seem-well...a bit lost. Hearing Serkin, for instance, play the "Hammerklavier" makes me love his courage more than anything else. Perhaps Schnabel, out of all the older pianists (even with his weaker chops) has the most success with it all. But then again, Schnabel was also an atonalist composer who created some of the most fiendishly complex abstract music for piano of the early 20th century.

So again, who better to interpret this music than someone who has the sense of detail and insight (and grasp of the musically obtuse) of a Schnabel, but with the technique and command of phrase and color of...maybe Hofmann(?), and finally the emotional commitment of a Richter (another pianist who knew how to express with great intensity and reserve at the same time)? There is not a single page of this music that he has not found a way to get inside of, and the stickier the passage, the more he seems to rise to the occasion in every way, and makes you "get it". Far from being "dry", the interpretation, like the music itself speaks to the listener from beyond the realm of simple earthly passion, and even the pain in it seems as if filtered through a profound state of spiritual bliss.

Dry? Clinical? Not if Pollini is heard in just the right repertoire, and with completely open ears.

A compelling and controversial classic.......2004-11-21

I fondly remember the time I bought the distinctive green LP box set of these recordings in the late 1970s.

I was not very familiar with the Beethoven piano sonatas. I made many attempts to try them out by auditioning the local library copies by well known artists, or whatever there was in the scant record collection at the college radio station music library. All to no avail. The music just didn't click for me.

I read some of the rave reviews about these Pollini recordings for a few months, so one day I just decided to bite the bullet and buy the LP box set. I was determined that if I'd give all the works in it enough thorough and attentive listening, I would understand why the music is so loved by so many.

Well, it didn't take much determination. From the first beat of op. 101, I got hooked. Pollini's unusual combination of high energy and contrasting effective tenderness made the music come alive for me.

When I got to the famous op. 106 "Hammerklavier", I must have replayed it 4 times the first night.

The LPs were worn out quickly. Actually, I liked them so much I took even more care than I normally would, and I was pretty picky about LP care in those days. I was not about to see these LPs get thrashed!

Time has brought me around to appreciate the Beethoven 32 in ways that I never thought I could. I now treasure such notables as Kempff, Arrau, Brendel, and many more. Pollini seems somewhat excessive in comparison to most of the artists I now revere in this reportoire. But there is room for much interpretation in Beethoven, and I find myself returning to these Pollini recordings often just to remeber how much more there is to these pieces than is often rendered in more "classical" and accepted interpretations.

Severely disappointed was I when these recordings first appeared on CD in the 1980s. The first CD versions were dreadfully riddled with a resonant twang that marred virtually every movement in every sonata at some point. The LPs were OK, but this music, especially with the high dynamic contrast of Pollini's playing, demand hushed quiet to be appreciated. CDs psomised some that hushed quietness, being free from crakcles, hiss, and so on. But the timber of the piano was very unnatural. Listening to those CDs was very painful.

Once again, DG have redeemed themselves by remastering these spectacular analogue recordings in the late 1990s to give us what have before us now. The Originals series continually give us CDs that approach the warmth and naturalness of analogue LPs. Thanks Universal. Give us more.

After reviewing many releases in the Originals series though, it is time I do criticize DG about one aspect in their reissues that is not "Orgiinal". The liner notes. Like most of the other releases in the series, there are virtually no notes about the works themselves. The only notes are about the performer, in this case Pollini, and perhaps the performers' affinity for the music on the disk, or something special about the particular recording. In this case, the original LP box set had excellent essays about the late sonatas. I read them several times, and picked more insights with each reading. The lack of notes about the works on the disk make it difficult to recommend any items in the Originals series as first choices for collectors that are not going to buy multiple versions. But that is exactly what these should be. So get with it, Universal, and next time give us ALL of the Originals, inculding the notes.

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