| 1. W.E. Chant |
| 2. Misery |
| 3. I Can't Even Cry |
| 4. All I Need |
| 5. Prayer |
Editorial Reviews
About the Artist
These five guys met while working nine to five jobs in the Bay Area. After realizing they all had a passion for music they joine their bi-coastal influences & styles and W.E. was born. Their influences range from The Temptations to today's great groups.They are songwriters and musicians with a unique sound and smooth harmonies.W.E. is ready to bring back romance and maturity to R&B music. With ballads like: "AllI Need " and I Can't Even Cry" these men give their hearts. Merging the old and new school ,get readty Here W.E. come
Product Description
Diversity Records is an independent label that only deals with original material and diverse groups, but primarily deals with R&B,Jazz,Hip hop genres.
A truely great gift for new parents, or if you have a sleepless little one at home. Turn on the cd, turn down the lights and let it sooth them to sleep.
The selections on this CD are all excellent and represent a nice range of Mozart's compostions, emphasising those that are ideal for creating a pleasant backdrop for leisure, dining and social occasions ("divertimentos"). The recordings are from the creme of musicians famous for their Mozart. Few works are as elegant and soaring as the Serenade #10 for winds - an astonishingly beautiful tune made famous from the early scenes of the movie, "Amadeus." Mozart supreme gifts of music are even seen in such humble "background music" as these pieces. And such continuity of warm, leisurely tones as these over 70 minutes is ideal for inspiring the baby to-be if that is why you are considering this CD. Better to expose a baby to the gentile, lyrical music of Mozart than to the dissonant, loud and disturbing tones of some classical music written well after Mozart.
As the reviewer below rightfully notes, compilation CD's of various unrelated works like this one is not quite how classical music is best meant to be heard. But in a way it is better for many to start with such collections like this - especially for those who just want the more quiet selections that are unintrusive. In that respect, this collection can be satisfying for most anyone (not just moms or babies). I have a huge classical music collection, but still really enjoy listening to one full CD of similar-temperament music like this one that flows easily and smoothly that doesn't demand my attention but only seeks to delight. And, in the end, that was the simple and primary goal of many of Mozart's compositions - to be purely enjoyed and delighted.
The other pieces on this CD, recorded for RCA ca. the late '70s,
have an unpleasant piano sound. Franz Mohr, piano tuner for
Horowitz/Steinway during this period, discusses this issue in his
book, "My Life with the Great Pianists." Superb recordings of
these pieces are available: Piano Sonata No. 2, recording
Horowitz made for Columbia Records in the late '60s; Prelude in
G, Op. 32, Horowitz in Moscow, 1986; and Moment Musical in E flat
minor and Polka de V. R., Sergei Rachmaninoff, Great Pianists of
the 20th Century, Philips/Polygram (compiled in 1998).
If one dwells on it for a second the physical act of playing the piano boils down to brain finger coordination. The brain sends a message to the finger what to do next - where to move, how soft to touch the key, etc. It is extremely hard to reach a very high level of coordination. For example, if someone had 100 percent brain hand coordination in basketball they would never miss a shot.
Horowitz brain-finger coordination is just phenomenal (there are many examples of this and a classic one in my opinion is his playing of Etincelles). Imagine telling a pianist to play a 20 minute piece ONLY in pianissimo but still continaing crescendos and decrescendos within the pianissimo. For 99.9 percent of pianists, and even the great ones, this would be impossible. At some stage during this hypothetical piece they will accidentally stray into mezzo forte (or some other level). TO BE ABLE to play with such softness for a prolonged period of time is unbelievably hard because you need complete control of the fingerwork.
Critics often miss the mark when talking about Horowitz. They look at isolated concerts or recordings during his very long career that are flawed ( and admittedly Horowitz did have ups and downs). The crux of the pianist's talent lies in what he could do at the piano when he reaches the summit of his ability. If one looks at Horowitz' output within a larger context things look different.
Let me conclude with comments of the famous pianist, William Kappell:
"I'm so weak from tears and shouting, that I can hardly write.... I just heard Horowitz here in Pasadena, playing the 3rd Concerto of Rachmaninoff. The man is such a genius of the piano that it seems inhuman to play like that.... He is not a pianist, he is a magician."
Eloquent and Succinct.
The celebrated Non allegro: Lento expresses this sad melodic flight where the meditation and farewell sense seems to shake hands. What it seduces me from this version is its maidenly approach; Horowitz understands the core of the work as anyone else, given this similar condition of exiled Soviet citizen and explores with acuteness and refined eloquence the inner folds, those enigmatic pianissimos and sudden outbursts of fevered poetry make of this performance the most genuine and best achieved versions that I have ever listened never before.
The Third Piano Concerto despite the fact is not my first choice is incandescent and superbly phrased. In addition we have Reiner making a sharp collaboration and showing the Russian mood underlined beneath the score. Horowitz unexplainable does not play the Diabolic Cadenza and that 's probably one the disillusioned aspects that I dislike; this Cadenza is a true firewall that stigmatizes and accents still more the febrile passion and enraptured flame of this monumental score.
In this sense no other pianist in the history has been able to reach the level of the unsurpassed, resplendent and delirious performance that William Kapell did it in 1952 in a live Concert pitifully non available in CD, due it was a live register, that I could get it thanks to a friend of mine who got a copy in Washington of a hard fan of William in 1988. Since I listened this version, became automatically in the parameter per excellence at the moment to compare some other recording.
There are then a few smaller but still delightful pieces. One of the Musical Moments that Rachmaninoff was apparently particularly proud of. It is done in the Horowitz style, but the piece is dissonant and swirling, even for Rachmaninoff, creating a nice contrast. It's delightful to hear Horowitz's interpretation with his melodic and bell-like tone.
The prelude is peaceful and more complementary (rather than contrasting) to Horowitz's style. Melodic, relaxed, and dreamy.
The Polka is actually based on something Rachmaninoff's father used to play. A folk melody arranged in the virtuoso Rachmaninoff style. Fascinating.
Finally we come to the Third Rachmaninoff Piano Concerto. The Rach 3 as it is known. Respected and feared by pianists the world over. It won Olga Kern the International Cliburn Competition. There are apparently a few mistakes in the piece due to nerves, but I can only hear two spots where they MIGHT be. Horowitz's interpretation emphasizes speed and lightness rather than size and weight (which Ashkenazy tends to emphasize). Horowitz plays the "light and quicksilver" cadenza rather than the heavier chordal one which is more "typical" of Rachmaninoff. I would like to hear Horowitz play the other cadenza, as well. Sometimes when Ashkenazy or other pianists play this piece, you can hear when they are no longer considering interpretation or artistry. They are merely trying to survive the piece intact. Horowitz never struggles with the piece, even though it is the hardest in the repertoire, he is always thinking, feeling, and interpreting the piece. I'm often gasping for breath, but Horowitz is always effortlessly skimming along. A marvelous playing of my favorite Rachmaninoff and my favorite piece. This is marvelous, but it is fascinating to hear other interpretations of this piece. For a more purposeful (but equally speedy) interpretation, I recommend Byron Janis. For a more ponderous weighty interpretation, I recommend Ashkenazy. Olga Kern also does well playing this piece in the Cliburn DVD. It's amazing to see it played.
First thing I noticed about some of these recordings is a few arrangements sound a bit shallow and thin. Upon reading the liner notes, my observations were confirmed when I read that Glenn modifies his piano to play more responsively. He does this by "fixing the action - so that it is a shallower and more responsive action than the standard".
For the faster ones, this lends itself in some cases, and in others, you would expect more feeling in the music. "Partita IV - Gigue" is one of my favorite Bach arrangements...but it sounds almost like a completely different song to me when Gould plays it....so fast and mechanical, void of human emotion or feeling. I was a little let down by that aspect. Respectively though, he does play them flawlessly...and amazingly fast!
Something else that I've noticed, is that in many, if not all, of the recordings, you can hear someone humming along with the music. Sometimes it's faint, sometimes it's obvious. I don't know if it's Glenn, or a conductor, or the producer, or what...but it can be distracting. But ala 1950's recording I suppose.
Regarding the recording, most songs have a nice stereo spread...but some are monophonic, so when listening in headphones, you notice the inconsistency.
Sorry if I'm offending any Gould fans out there, but this review would have been helpful for me, if such a review existed and I do hope this review will be helpful to someone out there looking for recordings of their favorite Partitas.
This is one of the first recordings GG made for Columbia--immediately after the Goldberg Variations in 1955, and made the same year.
Bach's "toccatas" contained three to five episodes generally following this formula: i) the toccata, proper; ii) an adagio or arietta section; iii) a fugue.
Bach's toccata in e consists of i) toccata, introduction; ii) fugue/aria; iii) toccata, conclusion.
GG was an odd bird: at heart, an ardent Romanticist; on the surface, a sleek Modernist. He does something remarkable with this piece: he infuses an ardently subjective Romanticism with an hard-edged Modernism, turning this antiquated Baroque piece inside out: he makes the upward rushing thrust of the toccata into a pain-filled cry, and the fugue into a studied glacier. With his uncanny timing, GG stretches the piece out to nearly 10 mins: the ending, when the aria theme returns to conjoin the toccata recapitulation--with Gould's exquisite timing and incredible manual dexterity--is absolutely breathtaking. This is incredible art.
So give these performances a chance, because this disc is bursting with life and musicianship: The King's Noyse play like a group of old friends together; Andrew Lawrence-King's harp playing is enchanting, and Ellen Hargis produces richly nuanced, beautifully coloured and poignant performances of the laments. The whole mixture is delighful.
It's also superbly engineered: the sound is detailed, rich, vibrant and delicate. (It's set in a fairly warm acoustic, which may partly account for vvic's feeling of 'churchiness'.) A pity there are no sound samples here on Amazon.
I presume this is a re-release of an earlier disc. The budget savings come from corners cut in packaging - the booklet is fairly perfunctory, but as my Dad says, 'you pays your money. you takes your choice'!
ps. I'm a really terrible dancer!
I Still own the 8 track I use to blast on my Craig Power Play.
The powerful fingering of Vladimir Horowitz was his greatest personal landmark, well apart of other lavish gifts and skills. The artistic closeness with Arturo Toscanini, Fritz Reiner, Anal Dorati or Dmitri Mitropulos (or Paul van Kempen and De Sabata on the other side of the ocean), for instance based on a sharp way to conceive, feel and interpret the music, literally shocked and even molded an approach featured by grasping expansiveness of sound, a rough timber, rediscovering the sonorous possibilities supported by a basic instinct around the music gained them nay praised comments around the world.
Somehow this was not only a robust reply to a decaying Impressionism, but somhow it was the reverse of the romantic side of the coin.
This musical mainstream permeated the musical thought of many performers (from William Kapell to Leon Fleisher) and it was a perfect match respect the composers by then (Bartok, Nielsen, Hindemith, Busoni) where the music meant too a symbol of epic resistance.
This attitude maintained until the early seventies, when the elegance of the sound and the absence of fortissimos in the most Symphonies of Beethoven, were substituted by sonorous ellipsis and tonal brightness, leaving side a mercurial energy so essential in Beethoven, Bruckner or bartok, but extremely important in Mahler, Henze or Stravinsky.
However Vlada knew to maintain that kindred closeness with Scriabin and Chopin, making of him a true revelation in what the resonance of every bar, giving a feverous state of spiritual effervescence and renowned lyricism.
With the arrival of the new musical generations from diverse latitudes, behind the iron curtain the musical tradition literally had held in a sort of transition state due the isolation, the existential anguish and uncertainness respect the future.
That's why the Horowitz sound has deserved a place in the history of music, beloved by many, and hated for others, but keeping a faithful attitude of honesty and conviction about the material they were playing.
With these performances in the winter of his life, Horowitz was said goodbye to the century of fear and the horror when motivated by the call of his birthland, he decided to return to Moscow, to be known by a new generation, who knew about him and his circumstance. But that never were exception witnesses.
This recording of the live performance of Horowitz is superb. You will sit with your body rigid, with your hands cold and clenched, and with a smile of anticipation glued on your face, and will wait for the great maestro to play. Here you are, imagining that you are in Moscow, right there and then, and you are moved to tears by the music. What is it about the great performers that they make you breathless with the anticipation of the next note, although you know all these timeless favorites so well? In the search for an answer, I have gone so far even to read the books and articles about the biological foundation of music. I did find information about the neuronal connections and developments of various areas in the brains of the musicians. However, I did not find an explanation as to why is it that the average listener gets uplifted and enriched so much by the music when it is played by the great performers, but may be completely uninvolved when the lesser musicians play the same music. Do we have some sort of music receptors that can be triggered only by the selected few? In the absence of a scientific explanation, I have temporarily accepted that there is some sort of magic, which flows through the performer, and every soul in the concert hall. The great performers know how to make this magical connection with the average listeners. Somehow, I believe, the performer and the audience feed on each other.
I remember reading somewhere how Horowitz loved to perform. He said that he could make people in the audience hold their breath while his hand is up, in the great anticipation of his hand coming down to the keyboard. Yes, it is true; I was literally dying in the anticipation of the next note in many passages. Mr. Horowitz is a great master of passion. Just when you think that you cannot take any more passion, he tones it down, but he never lets the momentum of passion be lost.
You will love to death Horowitz's selection, each a real gem: Sonatas by Scarlatti and Mozart, Preludes by Rachmaninov, Etudes by Scriabin, Chopin Mazurkas, and much more.
You will love this recording!
The concert was held during Horowitz's first return to Moscow, and the emotion of both artist and audience seem audible. Anyhow, the playing is inspired.
Well, reader you must forgive me for my stupidity, because for some time I realize the greatness of Maestro Horowitz, and the importance of his playing in Moscow, his hometown and homeland after 60 years.
I bought this album because I remember the hoopla in 1986. I was not dissapointed. The playing is emotional and incredible. Horowitz really was an amazing piano player - the ability to hold rapture over the audience is captured here. Those fingers -connected to a difficult, sole-eating, slight, Russian man - were magic. Wow. Those beautiful notes he plays hold in the air like ripe fruit. A master at work!
This was an inspired performance by a magician on the ivories. If your wondering what the fuss was about, or you want a CD that expresses how classical music can move the soul - then I recommend this CD very highly. Along with the Three Tenors IN Concert, it just has some inherent quality to move you.
Horowitz may have made better studio recordings, and better live recordings, but I am convinced this is just a good. I join along with the gentleman who can be heard yelling "BRAVO" at the conclusion of several pieces. BRAVO!
The great performances of Bach's French Suites remain those of long ago - Helmut Wacha on the harpsichord, but those are not currently available in America.
I particularly like that her technique never becomes showy in itself; even the difficult final Gigue of Suite 5 is purely about dance and joy.
Her ornaments are always tasteful. Not easy to do with Bach, when you consider that ornamenting is a form of composition.. and to ornament well, one is essentially adding to Bach's composition.
Her interpretation of Bach on the piano (as opposed to the harpsichord, for which is was written) is absolutely convincing.
This is my first CD purchase of Angela's Bach, and I plan to get them all.
Every generation has its one or two Bach legends, and for the 'boomer generation,' one of them is certainly Angela Hewitt. Her poised playing finds its natural home here and wonderfully matches the spirit of this elegant, gentle and noble music. Her decorative touches are pure artistry and always delightfully enhance the atmosphere of the music without detracting or distracting. Penguin Guide gave this set their "Recommended Recording" of all the available recordings of the French Suites. It all just sounds "right" for this type of music. Addtionally, the sound quality is clear and without extraneous noise and has a somewhat-spacious but pleasant ambiance.
The so-called "Little Preludes" were exercises for Bach's son or pupils but really are not so "little" in terms of style or substance. Most are light and delightful - with some pure charm (BWV933). Notably Hewitt makes them all sound - not as mere exercises - but as viable performances in themselves. On a more virtuostic scale are the "filler works" on this CD: the Sonata in D minor and the Prelude/Fugue in A minor - the former being transcribed from the solo violin sonata in A minor (BWV 1003) and the latter being a work Bach later encorporated into the "Triple Concerto (BWV 1044, on Hewitt's Bach Concertos Vol. I). The closing allegro of the Sonata is a highlight and is played by Hewitt with an effortless radiance. Her galloping triplets and ever-so delicate and deft shifts in dynamics and touch here create the famous Bach "echo" that gives a facinating and larger-than-life quality to the movement. All-in-all, a most pleasant, accessible and artistic recording from one of the most talented pianists playing Bach today.
If you are trying to sort out Bach's great solo keyboard music, you can characterize them like this in general: the FRENCH SUITES are overall the most refined, elegant and 'restrained' musically (French courtly style) as compared to the more dynamic preludes and dances in the ENGLISH SUITES (but also having haughtingly-beautiful sarabandes to contrast). Along with the great showpieces, CHROMATIC FANTASY & FUGUE in C minor, the PARTITAS and the TOCCATAS are certainly the most outright virtuostic of the sets - with the latter being the most free of form and the most extemporaneous sounding. The two books of Bach's "WELL-TEMPERED CLAVIER" are in a class of their own from the often-charming preludes in Book I to the most complex musical-intelligence contained in the fugues of Book II. Bach's WTC is both systematic and pedogogic but also delightfully lyrical and often deeply meditative and is essential music in any piano-loving human being. This wide range of contrasting emotional qualities (movements) is really characteristic of nearly all of Bach's keyboard music and is most marvelously showcased in the legenday 30 GOLDBERG VARIATIONS. All of Angela Hewitt's Bach recordings are excellent (no 'dogs') and are consistently rated among the top 2 or 3 choices in the field. Hard to go wrong with any really.
These five guys met while working nine to five jobs in the Bay Area. After realizing they all had a passion for music they joine their bi-coastal influences & styles and W.E. was born. Their influences range from The Temptations to today's great groups.They are songwriters and musicians with a unique sound and smooth harmonies.W.E. is ready to bring back romance and maturity to R&B music. With ballads like: "AllI Need " and I Can't Even Cry" these men give their hearts. Merging the old and new school ,get readty Here W.E. come
Product Description
Diversity Records is an independent label that only deals with original material and diverse groups, but primarily deals with R&B,Jazz,Hip hop genres.
W.E.,W.E.
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Mozart for Mothers-To-Be: Tender Lullabies for Mother and Child
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ASIN: B0000041EV Release Date: 1996-04-09 |
Tracks:
- Divertimento In B-Flat (Adagio)
- Cassation (Final-Musik) In G - Adgio
- Divertimento In G Minor (Andante)
- String Quartet No. 12 In B-Flat - Adagio
- Divertimento In D, KV 131 - Adagio
- 'Eine Kleine Nachtmusik' - Romance (Andante)
- Divertimento In D, KV 136 - Andante
- Serenade In B-Flat 'Gran Partita' - Adagio
- Prelude No. 3 In F
- String Quartet No. 1 In B-Flat - Adagio
- Violin Concerto In D - Andante cantabile
- Divertimento In B-Flat - Adagio
Customer Reviews:
Wonderful.......2007-06-26
Great for putting kids to sleep!.......2007-06-08
Very Relaxing.......2007-04-10
A Must Have for all Parents of Little Children !!!.......2006-11-25
A truely great gift for new parents, or if you have a sleepless little one at home. Turn on the cd, turn down the lights and let it sooth them to sleep.
Inspire the baby-within.......2005-12-13
The selections on this CD are all excellent and represent a nice range of Mozart's compostions, emphasising those that are ideal for creating a pleasant backdrop for leisure, dining and social occasions ("divertimentos"). The recordings are from the creme of musicians famous for their Mozart. Few works are as elegant and soaring as the Serenade #10 for winds - an astonishingly beautiful tune made famous from the early scenes of the movie, "Amadeus." Mozart supreme gifts of music are even seen in such humble "background music" as these pieces. And such continuity of warm, leisurely tones as these over 70 minutes is ideal for inspiring the baby to-be if that is why you are considering this CD. Better to expose a baby to the gentile, lyrical music of Mozart than to the dissonant, loud and disturbing tones of some classical music written well after Mozart.
As the reviewer below rightfully notes, compilation CD's of various unrelated works like this one is not quite how classical music is best meant to be heard. But in a way it is better for many to start with such collections like this - especially for those who just want the more quiet selections that are unintrusive. In that respect, this collection can be satisfying for most anyone (not just moms or babies). I have a huge classical music collection, but still really enjoy listening to one full CD of similar-temperament music like this one that flows easily and smoothly that doesn't demand my attention but only seeks to delight. And, in the end, that was the simple and primary goal of many of Mozart's compositions - to be purely enjoyed and delighted.
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N.E.W.S
Prince Manufacturer: Npg (Big Daddy) ProductGroup: Music Binding: Audio CD General
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ASIN: B0000A5BY9 Release Date: 2003-07-29 |
Tracks:
- North
- East
- South
- West
Amazon.com
Recorded in a single day at Paisley Park, Prince has confounded audiences yet again by recording a progressive jazz album with only four cuts--each named for a point on a compass--and clocking in at 14:00 minutes. If that wasn't enough, there isn't a single lyric on the almost hour-long disc. Like many before him, the musical savant has decided to let the music do the talking. But in Prince's case it does so, brilliantly. He has fashioned a musical lattice of fascinating conversations that are both compelling and eccentric--veering from the anxious and menacing to the soothing and deeply rhythmic--at times conjuring the specters of Sun Ra, at others, strangely Metallica. Begun as a mere jam session among the latest members of NPG, Prince has made his most collaborative record ever as he mostly plays guitar and leads his deft-handed band from the One Nite Alone tour into uncharted territory. They make seamless swings from "North's" ambient cohesiveness--led masterfully by Rhonda Smith's liquid bass--to the almost head-banging lumbering beast of "East," into the smooth elegant jazz of "West," which freefalls from a sinuous rhythmic R&B groove into a majestic and almost funereal slice of brainy pomp rock, before scaling the slippery slope of space rock on "South." It would be tempting to say that this is Prince's homage to his recently-deceased parents' stint in the Prince Rogers Trio, but it is far too forward sounding to only be a tribute. This is a brave step and it sounds remarkably like the future. --Jaan UhelszkiAlbum Description
The master releases a full length instrumental jam known as N.E.W.S. North, East, West, South - music that rips in every direction! Previously available only through the NPG record club. NPG.Album Details
Prince Delivers Four Instrumental Tracks, Each One 14 Minutes Long. Unbelieveable Packaging that is Designed to Mimic a Compass Opening Up to the Four Points. The Concept is that Information is Moving in all Directions Going to all Parts of the World. All Written, Produced and Directed by Prince and Recorded at Paisley Park Studios February 6, 2003.Customer Reviews:
Good Prince Instramentals.......2007-05-31
Better than the rest!.......2006-08-31
Smooth Experimentation.......2006-05-07
Awesome Directions in Music.......2006-04-02
POWER FANTASTIC.......2006-03-31
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R.E.O. Speedwagon/R.E.O./T.W.O.
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ASIN: B000QXDE7C Release Date: 2007-07-23 |
Tracks:
- Gypsy Woman's Passion
- 157 Riverside Avenue
- Anti-Establishment Man
- Lay Me Down
- Sophisticated Lady
- Five Men Were Killed Today
- Prison Women
- Dead At Last
- Let Me Ride
- How The Story Goes
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- Being Kind (Can Hurt Someone Sometimes)
- Music Man
- Like You Do
- Flash Tan Queen
- Golden Country
Album Description
Digitally remastered two-fer from the AOR rockers featuring their first two albums for Epic Records on one CD. These albums date from 1971 and 1972 respectively and show the band at their hard rockin' best just a few years before they became staples on FM radio. BGO.Album Details
2007 Digitally Remastered Edition that Presents the First Two Album Releases by the Midwestern Melodic Aor Rockers Released on the Epic Label Together on a Single Compact Disc. They were Originally Released in 1971 and 1972 Respectively. Includes New Slipcase and Newly Penned Liner Notes.
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Horowitz Plays Rachmaninoff/Concerto for Piano in Dm; Sonata for Piano No2/Vladimir Horowitz, Pianist
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ASIN: B000003ER1 Release Date: 1989-08-10 |
Tracks:
- Sonata No. 2, Op. 36 In B Flat Minor: Allegro agitato
- Sonata No. 2, Op. 36 In B Flat Minor: Non allegro; lento
- Sonata No. 2, Op. 36 In B Flat Minor: L'istesso tempo; Allegro molto
- Moment musicale, Op. 16, No. 2 In E Flat Minor
- Prelude, Op. 32, No. 5 In G
- Polka V.R.
- Concerto No. 3, Op.30 In D Minor: Allegro ma non tanto
- Concerto No. 3, Op.30 In D Minor: Intermezzo: Adagio
- Concerto No. 3, Op.30 In D Minor: Finale: Alla breve
Amazon.com
Yes, Virginia, Rach 3 existed before David Helfgott and Shine. Vladimir Horowitz made a recording in 1951 that continues to be the delight and despair of every pianist, notwithstanding standard cuts and minor, nerve-induced inaccuracies. The 1980 Second Sonata is looser but no less intense than Horowitz's storied 1968 CBS version, while the short pieces ooze with sex: even the Polka! --Jed DistlerCustomer Reviews:
Buy it ! (for the concerto).......2006-02-01
The other pieces on this CD, recorded for RCA ca. the late '70s,
have an unpleasant piano sound. Franz Mohr, piano tuner for
Horowitz/Steinway during this period, discusses this issue in his
book, "My Life with the Great Pianists." Superb recordings of
these pieces are available: Piano Sonata No. 2, recording
Horowitz made for Columbia Records in the late '60s; Prelude in
G, Op. 32, Horowitz in Moscow, 1986; and Moment Musical in E flat
minor and Polka de V. R., Sergei Rachmaninoff, Great Pianists of
the 20th Century, Philips/Polygram (compiled in 1998).
The majesty of Horowitz.......2006-01-15
If one dwells on it for a second the physical act of playing the piano boils down to brain finger coordination. The brain sends a message to the finger what to do next - where to move, how soft to touch the key, etc. It is extremely hard to reach a very high level of coordination. For example, if someone had 100 percent brain hand coordination in basketball they would never miss a shot.
Horowitz brain-finger coordination is just phenomenal (there are many examples of this and a classic one in my opinion is his playing of Etincelles). Imagine telling a pianist to play a 20 minute piece ONLY in pianissimo but still continaing crescendos and decrescendos within the pianissimo. For 99.9 percent of pianists, and even the great ones, this would be impossible. At some stage during this hypothetical piece they will accidentally stray into mezzo forte (or some other level). TO BE ABLE to play with such softness for a prolonged period of time is unbelievably hard because you need complete control of the fingerwork.
Critics often miss the mark when talking about Horowitz. They look at isolated concerts or recordings during his very long career that are flawed ( and admittedly Horowitz did have ups and downs). The crux of the pianist's talent lies in what he could do at the piano when he reaches the summit of his ability. If one looks at Horowitz' output within a larger context things look different.
Let me conclude with comments of the famous pianist, William Kappell:
"I'm so weak from tears and shouting, that I can hardly write.... I just heard Horowitz here in Pasadena, playing the 3rd Concerto of Rachmaninoff. The man is such a genius of the piano that it seems inhuman to play like that.... He is not a pianist, he is a magician."
Eloquent and Succinct.
Exultant pianism; Faustian inspiration!.......2005-10-22
The celebrated Non allegro: Lento expresses this sad melodic flight where the meditation and farewell sense seems to shake hands. What it seduces me from this version is its maidenly approach; Horowitz understands the core of the work as anyone else, given this similar condition of exiled Soviet citizen and explores with acuteness and refined eloquence the inner folds, those enigmatic pianissimos and sudden outbursts of fevered poetry make of this performance the most genuine and best achieved versions that I have ever listened never before.
The Third Piano Concerto despite the fact is not my first choice is incandescent and superbly phrased. In addition we have Reiner making a sharp collaboration and showing the Russian mood underlined beneath the score. Horowitz unexplainable does not play the Diabolic Cadenza and that 's probably one the disillusioned aspects that I dislike; this Cadenza is a true firewall that stigmatizes and accents still more the febrile passion and enraptured flame of this monumental score.
In this sense no other pianist in the history has been able to reach the level of the unsurpassed, resplendent and delirious performance that William Kapell did it in 1952 in a live Concert pitifully non available in CD, due it was a live register, that I could get it thanks to a friend of mine who got a copy in Washington of a hard fan of William in 1988. Since I listened this version, became automatically in the parameter per excellence at the moment to compare some other recording.
It's Horowitz. It's the best........2005-08-25
There are then a few smaller but still delightful pieces. One of the Musical Moments that Rachmaninoff was apparently particularly proud of. It is done in the Horowitz style, but the piece is dissonant and swirling, even for Rachmaninoff, creating a nice contrast. It's delightful to hear Horowitz's interpretation with his melodic and bell-like tone.
The prelude is peaceful and more complementary (rather than contrasting) to Horowitz's style. Melodic, relaxed, and dreamy.
The Polka is actually based on something Rachmaninoff's father used to play. A folk melody arranged in the virtuoso Rachmaninoff style. Fascinating.
Finally we come to the Third Rachmaninoff Piano Concerto. The Rach 3 as it is known. Respected and feared by pianists the world over. It won Olga Kern the International Cliburn Competition. There are apparently a few mistakes in the piece due to nerves, but I can only hear two spots where they MIGHT be. Horowitz's interpretation emphasizes speed and lightness rather than size and weight (which Ashkenazy tends to emphasize). Horowitz plays the "light and quicksilver" cadenza rather than the heavier chordal one which is more "typical" of Rachmaninoff. I would like to hear Horowitz play the other cadenza, as well. Sometimes when Ashkenazy or other pianists play this piece, you can hear when they are no longer considering interpretation or artistry. They are merely trying to survive the piece intact. Horowitz never struggles with the piece, even though it is the hardest in the repertoire, he is always thinking, feeling, and interpreting the piece. I'm often gasping for breath, but Horowitz is always effortlessly skimming along. A marvelous playing of my favorite Rachmaninoff and my favorite piece. This is marvelous, but it is fascinating to hear other interpretations of this piece. For a more purposeful (but equally speedy) interpretation, I recommend Byron Janis. For a more ponderous weighty interpretation, I recommend Ashkenazy. Olga Kern also does well playing this piece in the Cliburn DVD. It's amazing to see it played.
Absolutely sick!.......2005-08-24
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Partitas 4 5 & 6 - 70th Anniversary Edition
Glenn Gould , and Bach Manufacturer: Sony ProductGroup: Music Binding: Audio CD Chamber Music
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ASIN: B00006FIAR Release Date: 2002-09-03 |
Customer Reviews:
Glen Gould at his best.......2007-03-09
Shallow and mechanical.......2006-09-14
First thing I noticed about some of these recordings is a few arrangements sound a bit shallow and thin. Upon reading the liner notes, my observations were confirmed when I read that Glenn modifies his piano to play more responsively. He does this by "fixing the action - so that it is a shallower and more responsive action than the standard".
For the faster ones, this lends itself in some cases, and in others, you would expect more feeling in the music. "Partita IV - Gigue" is one of my favorite Bach arrangements...but it sounds almost like a completely different song to me when Gould plays it....so fast and mechanical, void of human emotion or feeling. I was a little let down by that aspect. Respectively though, he does play them flawlessly...and amazingly fast!
Something else that I've noticed, is that in many, if not all, of the recordings, you can hear someone humming along with the music. Sometimes it's faint, sometimes it's obvious. I don't know if it's Glenn, or a conductor, or the producer, or what...but it can be distracting. But ala 1950's recording I suppose.
Regarding the recording, most songs have a nice stereo spread...but some are monophonic, so when listening in headphones, you notice the inconsistency.
Sorry if I'm offending any Gould fans out there, but this review would have been helpful for me, if such a review existed and I do hope this review will be helpful to someone out there looking for recordings of their favorite Partitas.
ABSOLUTELY BREATHTAKING!!.......2006-05-16
This is one of the first recordings GG made for Columbia--immediately after the Goldberg Variations in 1955, and made the same year.
Bach's "toccatas" contained three to five episodes generally following this formula: i) the toccata, proper; ii) an adagio or arietta section; iii) a fugue.
Bach's toccata in e consists of i) toccata, introduction; ii) fugue/aria; iii) toccata, conclusion.
GG was an odd bird: at heart, an ardent Romanticist; on the surface, a sleek Modernist. He does something remarkable with this piece: he infuses an ardently subjective Romanticism with an hard-edged Modernism, turning this antiquated Baroque piece inside out: he makes the upward rushing thrust of the toccata into a pain-filled cry, and the fugue into a studied glacier. With his uncanny timing, GG stretches the piece out to nearly 10 mins: the ending, when the aria theme returns to conjoin the toccata recapitulation--with Gould's exquisite timing and incredible manual dexterity--is absolutely breathtaking. This is incredible art.
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Italian Renaissance Dances
Manufacturer: Hmf Classical Exp. ProductGroup: Music Binding: Audio CD Baroque Dance Suites
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ASIN: B000059WLF Release Date: 2001-05-08 |
Tracks:
- Galliard III Based on "La Mantoana"
- Galliard
- Non Ha'l Ciel Cotanti Lumi - David Douglass, Ellen Hargis, Andrew Lawrence-King
- Qual Cadavero Spirante - David Douglass, Ellen Hargis, Andrew Lawrence-King
- Pavane II
- Se Pur Ver
- Dances from il Scolaro:Aria del Gran Duca
- Dances from il Scolaro:Gagliarda Di Santino Detto la Muzza
- Dances from il Scolaro:la Bergamesca
- Dances from il Scolaro: Basso Delle Ninfe
- Dances from il Scolaro: Bassa Gioiosa
- Dances from il Scolaro: Il Ceferino
- Gagliarda Falsa
- Lagrime d'Erminia - David Douglass, Ellen Hargis, Andrew Lawrence-King
- Sonatae Concertate, Book 2:Sonata XVI a 4
- O Durezza Di Ferro - David Douglass, Ellen Hargis, Andrew Lawrence-King
- Galliard
- DSoletto
- Galliard I, Known as "The Gallant One"
- Consonanze Stravaganti
Customer Reviews:
Thoroughly enjoyable.......2005-01-28
So give these performances a chance, because this disc is bursting with life and musicianship: The King's Noyse play like a group of old friends together; Andrew Lawrence-King's harp playing is enchanting, and Ellen Hargis produces richly nuanced, beautifully coloured and poignant performances of the laments. The whole mixture is delighful.
It's also superbly engineered: the sound is detailed, rich, vibrant and delicate. (It's set in a fairly warm acoustic, which may partly account for vvic's feeling of 'churchiness'.) A pity there are no sound samples here on Amazon.
I presume this is a re-release of an earlier disc. The budget savings come from corners cut in packaging - the booklet is fairly perfunctory, but as my Dad says, 'you pays your money. you takes your choice'!
ps. I'm a really terrible dancer!
Disappointed.......2003-05-04
Gratzi for the Italian Renaissance.......2002-03-24
I don't know if I should feel guilty for having spent so little on this CD or irritated that more CDs of this quality are not available at this price. The other releases I have heard from the Classical Express label have been as good. (e.g. Mozart Horn Concertos, French Love Songs)
refreshing, sprightly and fun.......2001-07-12
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R.E.O./T.W.O.
REO Speedwagon Manufacturer: Sony ProductGroup: Music Binding: Audio CD General
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ASIN: B0000024ZF Release Date: 1989-12-19 |
Tracks:
- Let Me Ride
- How The Story Goes
- Little Queenie
- Being Kind (Can Hurt Sometimes)
- Music Man
- Like You Do
- Flash Tan Queen
- Golden Country
Customer Reviews:
Best REO.......2007-03-23
R.E.O. /T.W.O........2007-01-11
I Still own the 8 track I use to blast on my Craig Power Play.
One of my all-time faves - back when R.E.O. actually rocked.......2006-06-30
Rock and Roll Roots!.......2005-04-13
Reo Two, the first album with Kevin.......2004-09-05
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Partitas 1 2 & 3 - 70th Anniversary Edition
Glenn Gould , and Bach Manufacturer: Sony ProductGroup: Music Binding: Audio CD Chamber Music
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ASIN: B00006FIAO Release Date: 2002-09-03 |
Customer Reviews:
A pleasure to listen to.......2007-07-28
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Horowitz in Moscow
Manufacturer: Deutsche Grammophon ProductGroup: Music Binding: Audio CD Mazurkas
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ASIN: B000001G7Y Release Date: 1990-10-25 |
Tracks:
- Sonata In E Major, K.380 (L.23): Andante Comodo
- Piano Sonata In C Major, K.330 (300 h): Allegro Moderato
- Piano Sonata In C Major, K.330 (300 h): Andante Cantabile
- Piano Sonata In C Major, K.330 (300 h): Allegretto
- Prelude In G Major, Op.32, No.5: Moderato
- Prelude In G Sharp Minor, Op.32, No.12: Allegro
- Etude In C Sharp Minor, Op.2, No.1: Andante
- Etude In D Sharp Minor, Op.8, No.12: Patetico
- Soirees De Vienne: Valse-Caprice No.6: Allegro Con Spirito
- Sonetto 104 Del Petrarca: Agitato Assai - Adagio
- Mazurka In C Sharp Minor, Op.30, No.4: Allegretto
- Mazurka In F Minor, Op.7, No.3: Allegretto
- Kinderszenen: Traumerei
- Etincelles, Morceau Caracteristique Op.36, No. 6: Allegro Scherzando
- Polka de W. R.: Allegretto
Amazon.com essential recording
Along with the extramusical significance of the aged Horowitz's return to his erstwhile homeland, there's plenty here for seekers of the essential Horowitz. Perhaps his finest Mozart recording, the C-major Sonata, gets a forward-moving reading distinguished by an Andante Cantabile movement that sings the music with the tonal splendor and command of line characteristic of the beloved bel canto singers of the past whom Horowitz looked to as musical models. The program's remainder is as formidable, and only a curmudgeon could fail to smile with delight at a favorite Horowitz encore, Rachmaninoff's Polka de W.R. --Dan DavisCustomer Reviews:
The master returns to his birthplace!.......2007-07-28
The powerful fingering of Vladimir Horowitz was his greatest personal landmark, well apart of other lavish gifts and skills. The artistic closeness with Arturo Toscanini, Fritz Reiner, Anal Dorati or Dmitri Mitropulos (or Paul van Kempen and De Sabata on the other side of the ocean), for instance based on a sharp way to conceive, feel and interpret the music, literally shocked and even molded an approach featured by grasping expansiveness of sound, a rough timber, rediscovering the sonorous possibilities supported by a basic instinct around the music gained them nay praised comments around the world.
Somehow this was not only a robust reply to a decaying Impressionism, but somhow it was the reverse of the romantic side of the coin.
This musical mainstream permeated the musical thought of many performers (from William Kapell to Leon Fleisher) and it was a perfect match respect the composers by then (Bartok, Nielsen, Hindemith, Busoni) where the music meant too a symbol of epic resistance.
This attitude maintained until the early seventies, when the elegance of the sound and the absence of fortissimos in the most Symphonies of Beethoven, were substituted by sonorous ellipsis and tonal brightness, leaving side a mercurial energy so essential in Beethoven, Bruckner or bartok, but extremely important in Mahler, Henze or Stravinsky.
However Vlada knew to maintain that kindred closeness with Scriabin and Chopin, making of him a true revelation in what the resonance of every bar, giving a feverous state of spiritual effervescence and renowned lyricism.
With the arrival of the new musical generations from diverse latitudes, behind the iron curtain the musical tradition literally had held in a sort of transition state due the isolation, the existential anguish and uncertainness respect the future.
That's why the Horowitz sound has deserved a place in the history of music, beloved by many, and hated for others, but keeping a faithful attitude of honesty and conviction about the material they were playing.
With these performances in the winter of his life, Horowitz was said goodbye to the century of fear and the horror when motivated by the call of his birthland, he decided to return to Moscow, to be known by a new generation, who knew about him and his circumstance. But that never were exception witnesses.
Horowitz Returns to Moscow at the Age of 82.......2007-05-06
This recording of the live performance of Horowitz is superb. You will sit with your body rigid, with your hands cold and clenched, and with a smile of anticipation glued on your face, and will wait for the great maestro to play. Here you are, imagining that you are in Moscow, right there and then, and you are moved to tears by the music. What is it about the great performers that they make you breathless with the anticipation of the next note, although you know all these timeless favorites so well? In the search for an answer, I have gone so far even to read the books and articles about the biological foundation of music. I did find information about the neuronal connections and developments of various areas in the brains of the musicians. However, I did not find an explanation as to why is it that the average listener gets uplifted and enriched so much by the music when it is played by the great performers, but may be completely uninvolved when the lesser musicians play the same music. Do we have some sort of music receptors that can be triggered only by the selected few? In the absence of a scientific explanation, I have temporarily accepted that there is some sort of magic, which flows through the performer, and every soul in the concert hall. The great performers know how to make this magical connection with the average listeners. Somehow, I believe, the performer and the audience feed on each other.
I remember reading somewhere how Horowitz loved to perform. He said that he could make people in the audience hold their breath while his hand is up, in the great anticipation of his hand coming down to the keyboard. Yes, it is true; I was literally dying in the anticipation of the next note in many passages. Mr. Horowitz is a great master of passion. Just when you think that you cannot take any more passion, he tones it down, but he never lets the momentum of passion be lost.
You will love to death Horowitz's selection, each a real gem: Sonatas by Scarlatti and Mozart, Preludes by Rachmaninov, Etudes by Scriabin, Chopin Mazurkas, and much more.
You will love this recording!
My favorite classical recording of all time........2007-03-19
The concert was held during Horowitz's first return to Moscow, and the emotion of both artist and audience seem audible. Anyhow, the playing is inspired.
Oh, God...5 stars would be simply unfair..........2006-06-07
Magnificent!!! Bravo Horowitz!!.......2006-01-07
Well, reader you must forgive me for my stupidity, because for some time I realize the greatness of Maestro Horowitz, and the importance of his playing in Moscow, his hometown and homeland after 60 years.
I bought this album because I remember the hoopla in 1986. I was not dissapointed. The playing is emotional and incredible. Horowitz really was an amazing piano player - the ability to hold rapture over the audience is captured here. Those fingers -connected to a difficult, sole-eating, slight, Russian man - were magic. Wow. Those beautiful notes he plays hold in the air like ripe fruit. A master at work!
This was an inspired performance by a magician on the ivories. If your wondering what the fuss was about, or you want a CD that expresses how classical music can move the soul - then I recommend this CD very highly. Along with the Three Tenors IN Concert, it just has some inherent quality to move you.
Horowitz may have made better studio recordings, and better live recordings, but I am convinced this is just a good. I join along with the gentleman who can be heard yelling "BRAVO" at the conclusion of several pieces. BRAVO!
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Bach: French Suites / Angela Hewitt
Johann Sebastian Bach , and Angela Hewitt Manufacturer: Hyperion UK ProductGroup: Music Binding: Audio CD All Works by J.S. Bach
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ASIN: B00000300T Release Date: 1995-11-21 |
Tracks:
- Sonata In D Minor, BWV964: Adagio
- Sonata In D Minor, BWV964: Fuga: Allegro
- Sonata In D Minor, BWV964: Andante
- Sonata In D Minor, BWV964: Allegro
- French Suite No. 1 In D Minor, BWV812: Allemande
- French Suite No 1 In D Minor, BWV812: Courante
- French Suite No. 1 In D Minor, BWV812: Sarabande
- French Suite No. 1 In D Minor, BWV812: Menuet I And II
- French Suite No. 1 In D Minor, BWV812: Gigue
- French Suite No. 2 In C Minor, BWV813: Allemande
- French Suite No. 2 In C Minor, BWV813: Courante
- French Suite No. 2 In C Minor, BWV813: Sarabande
- French Suite No. 2 In C Minor, BWV813: Air
- French Suite No. 2 In C Minor, BWV813: Menuet I And II
- French Suite No. 2 In C Minor, BWV813: Gigue
- French Suite No. 3 In B Minor, BWV814: Allemande
- French Suite No. 3 In B Minor, BWV814: Courante
- French Suite No. 3 In B Minor, BWV814: Sarabande
- French Suite No. 3 In B Minor, BWV814: Anglaise
- French Suite No. 3 In B Minor, BWV814: Menuet And Trio
- French Suite No. 3 In B Minor, BWV814: Gigue
- Six Little Preludes: Prelude In C Major, BWV924
- Six Little Preludes: Prelude In G Minor, BWV 930
- Six Little Preludes: Prelude In D Major, BWV 925
- Six Little Preludes: Prelude In D Minor, BWV 926
- Six Little Preludes: Prelude In F Major, BWV 927
- Six Little Preludes: Prelude In F Major, BWV 928
Tracks:
- Six Little Preludes: Prelude In C Major, BWV 933
- Six Little Preludes: Prelude In C Minor, BWV 934
- Six Little Preludes: Prelude In D Minor, BWV 935
- Six Little Preludes: Prelude In D Major, BWV 936
- Six Little Preludes: Prelude In E Major, BWV 937
- Six Little Preludes: Prelude In E Minor, BWV 938
- Six Little Preludes: Prelude In C Major, BWV 939
- Six Little Preludes: Prelude In D Minor, BWV 940
- Six Little Preludes: Prelude In E Minor, BWV 941
- Six Little Preludes: Prelude In A Minor, BWV 942
- Six Little Preludes: Prelude In C Major, BWV 943
- Six Little Preludes: Prelude In C Minor, BWV 999
- French Suite No. 4 In E Flat Major, BWV815: Praeludium
- French Suite No. 4 In E Flat Major, BWV815: Allemande
- French Suite No. 4 In E Flat Majoe, BWV815: Courante
- French Suite No. 4 In E Flat Major, BWV815: Sarabande
- French Suite No. 4 In E Flat Major, BWV815: Gavotte I
- French Suite No. 4 In E Flat Major, BWV815: Gavotte II
- French Suite No. 4 In E Flat Major, BWV815: Menuet
- French Suite No. 4 In E Flat Major, BWV815: Air
- French Suite No. 4 In E Flat Major, BWV815: Gigue
- French Suite No. 5 In G Major, BWV816: Allemande
- French Suite No. 5 In G Major, BWV816: Courante
- French Suite No. 5 In G Major, BWV816: Sarabande
- French Suite No. 5 In G Major, BWV816: Gavotte
- French Suite No. 5 In G Major, BWV816: Bourree
- French Suite No. 5 In G Major, BWV816: Loure
- French Suite No. 5 In G Major, BWV816: Gigue
- French Suite No. 6 In E Major, BWV817: Allemande
- French Suite No. 6 In E Major, BWV817: Courante
- French Suite No. 6 In E Major, BWV817: Sarabande
- French Suite No. 6 In E Major, BWV817: Gavotte
- French Suite No. 6 In E Major, BWV817: Polonaise
- French Suite No. 6 In E Major, BWV817: Bourree
- French Suite No. 6 In E Major, BWV817: Menuet
- French Suite No. 6 In E Major, BWV817: Gigue
- Prelude And Fugue In A Minor, BWV894: Prelude
- Prelude And Fugue In A Minor, BWV894: Fugue
Customer Reviews:
Very Refined Yet Not Uncharming - One of Her Best Performances.......2007-03-27
The great performances of Bach's French Suites remain those of long ago - Helmut Wacha on the harpsichord, but those are not currently available in America.
Lovely, heartfelt Bach.......2005-11-07
I particularly like that her technique never becomes showy in itself; even the difficult final Gigue of Suite 5 is purely about dance and joy.
Her ornaments are always tasteful. Not easy to do with Bach, when you consider that ornamenting is a form of composition.. and to ornament well, one is essentially adding to Bach's composition.
Her interpretation of Bach on the piano (as opposed to the harpsichord, for which is was written) is absolutely convincing.
This is my first CD purchase of Angela's Bach, and I plan to get them all.
It's perfect........2005-09-10
Elegant Artistry .......2005-08-14
Every generation has its one or two Bach legends, and for the 'boomer generation,' one of them is certainly Angela Hewitt. Her poised playing finds its natural home here and wonderfully matches the spirit of this elegant, gentle and noble music. Her decorative touches are pure artistry and always delightfully enhance the atmosphere of the music without detracting or distracting. Penguin Guide gave this set their "Recommended Recording" of all the available recordings of the French Suites. It all just sounds "right" for this type of music. Addtionally, the sound quality is clear and without extraneous noise and has a somewhat-spacious but pleasant ambiance.
The so-called "Little Preludes" were exercises for Bach's son or pupils but really are not so "little" in terms of style or substance. Most are light and delightful - with some pure charm (BWV933). Notably Hewitt makes them all sound - not as mere exercises - but as viable performances in themselves. On a more virtuostic scale are the "filler works" on this CD: the Sonata in D minor and the Prelude/Fugue in A minor - the former being transcribed from the solo violin sonata in A minor (BWV 1003) and the latter being a work Bach later encorporated into the "Triple Concerto (BWV 1044, on Hewitt's Bach Concertos Vol. I). The closing allegro of the Sonata is a highlight and is played by Hewitt with an effortless radiance. Her galloping triplets and ever-so delicate and deft shifts in dynamics and touch here create the famous Bach "echo" that gives a facinating and larger-than-life quality to the movement. All-in-all, a most pleasant, accessible and artistic recording from one of the most talented pianists playing Bach today.
If you are trying to sort out Bach's great solo keyboard music, you can characterize them like this in general: the FRENCH SUITES are overall the most refined, elegant and 'restrained' musically (French courtly style) as compared to the more dynamic preludes and dances in the ENGLISH SUITES (but also having haughtingly-beautiful sarabandes to contrast). Along with the great showpieces, CHROMATIC FANTASY & FUGUE in C minor, the PARTITAS and the TOCCATAS are certainly the most outright virtuostic of the sets - with the latter being the most free of form and the most extemporaneous sounding. The two books of Bach's "WELL-TEMPERED CLAVIER" are in a class of their own from the often-charming preludes in Book I to the most complex musical-intelligence contained in the fugues of Book II. Bach's WTC is both systematic and pedogogic but also delightfully lyrical and often deeply meditative and is essential music in any piano-loving human being. This wide range of contrasting emotional qualities (movements) is really characteristic of nearly all of Bach's keyboard music and is most marvelously showcased in the legenday 30 GOLDBERG VARIATIONS. All of Angela Hewitt's Bach recordings are excellent (no 'dogs') and are consistently rated among the top 2 or 3 choices in the field. Hard to go wrong with any really.
Hewitt or Gould.......2004-09-29
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