Collection of Piano Music, Vol. 1

Disc: 1
1. Aria from Goldberg Variations BWV 988
2. Adagio Cantabile from Sonata No. 8 in C Minor Op 13 [Pathétique]
3. Impromptu No. 2 in a Flat Major Op. 142
4. Consolation No. 3 in D Flat Major
5. Andante Cantabile con Espressione from Sonata N a Minor KV 310
6. Intermezzo in a Minor from Fantasias Op. 116 - Idil Biret
7. Nuages Gris
8. Andante from Sonata No. 25 in G Major Op. 79
9. Die Friedeker Muttergottes from on the Overgrown Path
10. Lob Der Tränen
See all 15 tracks on this disc
Disc: 2
1. Andante Cantabile from Pome No. 1 Op. 32
2. Pajaro Triste from Impresiones Intimas
3. In Tränen Fron on the Overgrown Path
4. Clair de Lune from Suite Bergamasque
5. Sospiro from Etude de Concert No. 3 in D Flat Major
6. Nocturne in C Minor Op. 48 No. 1
7. Larmes from Fsantasie Tableau Suite No. 1 Op. 5 - Ilona Prunyi
8. Pagodes from Estampes
9. Prélude in C Sharp Minor from Morceaux de Fantasie Op. 3 - Idil Biret
10. Adagio from Sonata for Piano [From the Street]
See all 16 tracks on this disc

Collection of Piano Music, Vol. 1,Various Artists,Celestial Harmonies,Contemporary Instrumental,New Age,New Age / Meditation,Pop

Average customer rating:

Simply Gorgeous !

Adagio: A Windham Hill Collection

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Ambient | Dance & DJ | Styles | Music

General | Contemporary Folk | Folk | Styles | Music

General | International | Styles | Music

General | Jazz | Styles | Music

Jazz Fusion | Jazz | Styles | Music

Vocal Jazz General | Vocal Jazz | Jazz | Styles | Music

Smooth Jazz | Jazz | Styles | Music

General | New Age | Styles | Music

Meditation | New Age | Styles | Music

General | Compilations | New Age | Styles | Music

Relaxation | New Age | Styles | Music

Solo Instrumental | New Age | Styles | Music

Electronic | Progressive | Rock | Styles | Music
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Prayer: A Windham Hill Collection
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The Bach Variations: A Windham Hill Sampler
Touch-Windham Hill 25 Years of Guitar
Windows: Windham Hill 25 Years of Piano

ASIN: B000089YAX
Release Date: 2003-03-04

Tracks:

Air 'On The String' - Philippe Saisse
Ave Maria - Paul McCandless
Arioso - Tracy Silverman
Nocturne - Steve Erquiaga
Sarabande - Paul Schwartz
Intermezzo No.6 - David Benoit
Adagio - Brian Dunning
Adagio - Patrick O'Hearn
Prelude In C-Sharp Minor - Edgar Meyer
Adagio - Richard Schonherz
Adagio For Strings - Philip Aaberg
Largo - Tim Story

Amazon.com

Adagio follows in the rosin-dusted footsteps of The Impressionists, A Different Mozart, and A Different Prelude. As with those releases, it was produced by Dawn Atkinson and features many of the same artists. The results are as varied as the musicians. Violinist Tracy Silverman cuts one of his patented echo-delayed pizzicato violin arrangements of a Bach arioso, while Patrick O'Hearn drapes a somber keyboard shroud around the Adagio from Rodrigo's Fantasy for a Gentleman. Jeff Johnson and Brian Dunning find the Celtic air in the Adagio from Handel's Sonata in G, while Philip Aaberg discovers infinity between the notes of Barber's ubiquitous Adagio for Strings. He stretches the melody across his piano in finely drawn lines, subtlety filled out with synthesizer undertones. Subtlety is a casualty on Philipe Saisse's bongos, bells, and synth arrangement of Bach's Air on a G String. It's also sacrificed in a corny confection of Handel's Sarabande by Paul Schwartz. His ham-fisted electronic keyboards would've sounded dated even before Switched-On Bach. But Adagio features plenty of musicians who are willing to surrender themselves to their elegiac themes, including guitarist Steve Erquiaga, Mike Marshall, and Edgar Meyers. --John Diliberto

Customer Reviews:

Simply Gorgeous !.......2003-10-05

This is the first Windham Hill compilation I've purchased in a long, long time, and I am thrilled with the music.
The artistry is stunning, the artists bring themselves to the music while at the same time maintaining the integrity of the original piece.
My favorite is Grieg's Nocturne, arranged and performed by Steve Erquiaga. I have been in love with his music from the moment
I heard his CD "Cafe Paradiso" (Imaginary road Records). It is absolutely stunning!
When I saw that he was on "Adagio" I went for it. I'm so happy that I did ...
Other hightlights for me are Philip Aaberg's "Adagio for Strings", Tracy Silverman's "Arioso" ..... they're all beautiful.
Thank You for this wonderful music.

The Rubinstein Collection Vol 47 - Chopin: Waltzes, Impromptus, Bolero

Average customer rating:

The engaging poetry!
Still beautiful to me
barcode piano for barcode lovers everywhere!
Artur Rubinstein great recording of Chopinýs Bolero, Waltzes
The Great Chopin Master

The Rubinstein Collection Vol 47 - Chopin: Waltzes, Impromptus, Bolero

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Waltzes | Ballets & Dances | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
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Arthur Rubinstein - Chopin 19 Nocturnes (Vol. 49)
Rubinstein Collection, Vol. 46
Rubinstein Collection, Vol. 45
Rubinstein Collection, Vol. 48
Rubinstein Collection, Vol. 50

ASIN: B000031WBU
Release Date: 2001-01-09

Tracks:

Waltz in E flat, Op.18: Grande Valse Brillante
Waltz in A flat, Op.34 No.I: Valse Brillante
Waltz in a, Op.34 No.2: Valse Brillante
Waltz in F, Op.34 No.3: Valse Brillante
Waltz in A flat, Op.34 No.3: Valse Brillante
Waltz in D flat, Op.64 No.I: Minute
Waltz in c#, Op.64 No.2
Waltz in A flat, Op.64 No.3
Waltz in A flat, Op.69 No.I: L'Adieu
Waltz in b, Op.69 No.I
Waltz in G flat, Op.70 No.I
Waltz in f, Op.70 No.2
Waltz in D flat, Op.70 No.3
Waltz in e, Op.posth.
Impromptu No.I in A flat, Op.29
Impromptu No.2 in F#, Op.36
Impromptu No.3 in G flat
Fant-Impromptu in c#, Op.66
Bolero in A, Op.19

Customer Reviews:

The engaging poetry!.......2006-12-19

One of the maxim exponents of Chopin in the first decades of the Century was undeniably Arthur Rubinstein. He knew to create - if I may - the perfect link between image and the Polish sentiment ; although the pioneer in this sense was Ignaz Jan Paderewski. Lodz was his birthplace and if Chopin was a self exiled in his historical moment., Rubinstein must have taken into account in September 1 1939.

He nourished the last traces of a dying romanticism - as well as Rachmaninov did it - after his forced exile from URSS. His golden sound was far from the tragic approach given by of Alfred Cortot, for instance. He played the piano according the canons of the artist of the Century XIX, expression and sentimentality, hovered by an ardent nationalism that still inflamed the poetic imagination in some corners of the world, specially in the enormous immigrant wave who chose different places in America in order to search a promised land.

His direct phrasing without intellectual or philosophical approaches deserved to him a special name in the Western hemisphere.

He is now part of the keyboard's legend as well as one of the Chopin`s champions.

Still beautiful to me.......2005-11-04

As a piano student during the 1950s and early 1960s, I remember that there were "knock down drag out" arguments between the "pro-Rubinstein" factions and the "anti-Rubinstein" factions of the classical piano performing world. I was made keenly aware of the aforesaid because my piano instructor was a "dye-hard" member of the "anti-Rubinstein" faction. Rebelliously, I purchased all of the Rubinstein recordings that I could get my little untalented hands on including this recording of Chopin's Waltzes. I remember loving them at the time as I still do now that I've restored this recording on CD to my collection.
Rubinstein's performance in this recording really touches my very soul. Upon hearing this recording again, I'm reminded of how much I loved them almost 50 years ago. Whatever one may call his playing (eccentric, sentimental, syrupy, etc.) it certainly has retained its appeal to me--as a young person or now as an older person. (Note: Rubinstein particularly plays the "sad little" waltzes in minor keys exquisitely!)
If you want to hear a master (at least to me) of Chopin playing some wonderful works, buy this disc.

barcode piano for barcode lovers everywhere!.......2005-04-23

i must repeat myself over and over again.STAY AWAY FROM RUBINSTEIN.his playing is just too eccentric its as if he was abducted by aliens and had chopins works downloaded into his brain.what you get is a sort of robotic chemistry with a dire attempt to sound artistic.
these high reviews do baffle me to oblivion.

Artur Rubinstein great recording of Chopinýs Bolero, Waltzes.......2004-01-05

Artur Rubinstein great recording of Chopin's Bolero and 14 Waltzes
By Peter Dietrich, president, Chopin Society of New England

Artur Rubinstein's performance of the fourteen waltzes seems to be among the definitive versions. This stereo recording from a one day session in June of 1963, issued on BMG in the Rubinstein collection volume 47, and the earlier version first issued on LP RCA Victor LM-1892 recorded in December, 1953 and issued on BMG Rubinstein collection volume 29, equals in sound and profound understanding the two great versions by Alexander Brailowsky (1896-1976) recorded in the early fifties on LP for RCA Victor LM-1082 as well as the stereo recording from the early sixties issued on Sony Music SBK 46346 in 1990.

The four recordings are milestones of the classical waltzes. Their interpretations have achieved expert fluidity with grace and elegance of nobility. As Robert Schumann remarked "should be danced at least by countesses." To the above recordings I will add Dinu Lipatti's recording issued by EMI in the Great Recordings of the Century series. My opinion is based on hearing a great number of outstanding as well as good performances through more than fifty years. I will just list several additional names from my collection who have recorded fourteen waltzes: 1) Robert Lortat (1930), 2) Alfred Cortot (1934 and 1943), 3) Edward Kilenyi (1952), 4) Moura Lympany (1959), 5) Witold Malcuzynski (1959), 6) Regina Smendzianka (1959 and 1961), 7) Samson Francois (1964), 8) Stefan Askenase (1964), 9) Adam Harasiewicz (1965), 10) Tamas Vassary (1966); pianists who have recorded nineteen waltzes: 1) Augustin Anievas (1970), 2) Geoges Cziffra (1979), 3) Claudio Arrau (1980 - several of the waltzes are played too slow), 4) Vladimir Ashkenazy (1984), 5) Lidia Grychtolowna (1989), 6) Istvan Szekely (1992), 7) Garrick Ohlsson (1996 - 20 waltzes in this recording) 8) Jerzy Sterczynski (1996 - 23 waltzes, which will be discussed in the future).

The famous Polish poet Kazimierz Wierzynski author of the "Life and Death of Chopin" (1949) makes the following observation. "Chopin's Waltzes have little or nothing in common with the atmosphere of the ballroom. Niecks calls them Tanzdichtungen (dance poems). How does Rubinstein play the Chopin Waltzes? Surely, their worldliness and elegance are particularly suited to this worldly and elegant pianist whose incomparable virtuosity goes hand in hand with his unique feeling for Chopin. Without in the least sentimentalizing Chopin, Rubinstein fully renders his warmth: he is the ideal interpreter of the waltzes in which tenderness is so subtly blended with sparkle, playfulness and deep emotion."

Other Chopin works included in this compilation are the four impromptus recorded in 1964 and the Bolero recorded in 1962. Harvey Sachs, author of Rubinstein's biography published by Grove Press, New York, 1995, wrote the following notes for this compilation: "The 1964 version of the Impromptus, heard here is typical of the beautifully poised, yet deeply poetic Chopin recordings that Rubinstein made in his seventies as a sort of summa of his interpretations of the music of his great compatriot." However, the glory of this compilation is the Bolero in A Major, Op. 19. Until the Rubinstein recording in 1962 when he was almost 75 years old, this work was "obscure" Chopin, almost completely forgotten and recorded very seldom as well as terribly underrated. Despite the obscurity of the work for such a long time, there are several recordings of it in existence. I will list the notable recordings from my collection according to their release:
1) Adam Harasiewicz, Philips (1972); 2) Arnaldo Cohen, Dischi Ricordi, LP (1978); 3) Nikita Magaloff, Philips (1979); 4) Vladimir Ashkenazy, London/Decca (1987); 5) Georges Cziffra, EMI (1987); 6) Nelly Ben-Or, Meridian Records (1989); 7) Idil Biret, Naxos (1993); 8) Garrick Ohlsson, Arabesque, vol. 8 (1997); 9) Emil von Saur (recorded 1940) Arbiter (1998); 10) Anatol Ugorski, Chopin Complete Edition DG, vol. 7 (1999).

All the above recordings, although inspired performances and technically excellent, do not reveal the hidden beauty of the dance, as does Artur Rubinstein in his performance. Mr. Rubinstein unhurried tempos and magical play with the pedal plus his affinity for Spanish music brings this work to interpretative splendid heights unknown until his recording and since. These five star performances are highly recommended for every music lover.

The Great Chopin Master.......2003-07-26

This CD is superb. It shows the best of Rubinstein's Chopin.He did this CD with so much clearness and feeling. Rubinstein ends the CD with the little known Bolero. I reccomend it a lot.

Average customer rating:

Chopin's mature Polonaises by Artur Rubinstein
Aristocratic Polonaises from Rubinstein

Rubinstein Collection, Vol. 48

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Polonaises | Ballets & Dances | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
Similar Items:

The Rubinstein Collection Vol 47 - Chopin: Waltzes, Impromptus, Bolero
Rubinstein Collection, Vol. 50
Rubinstein Collection, Vol. 46
Arthur Rubinstein - Chopin 19 Nocturnes (Vol. 49)
Rubinstein Collection, Vol. 45

ASIN: B00004ZD5D
Release Date: 2001-05-15

Tracks:

Polonaises No.1 in c#, Op.26 No.1
Polonaises No.2 in e flat, Op.26 No.2
Polonaises No.3 in A, Op.40 No.1 'Military'
Polonaises No.4 in c, Op.40 No.2
Polonaises No.5 in f#, Op.44
Polonaises No.66 in A flat, Op.53 'Heroic'
Polonaises Fants in A flat, Op.61
Andante Spianato in E flat, Op.22
Grande Polonaise in E flat, Op.22

Customer Reviews:

Chopin's mature Polonaises by Artur Rubinstein.......2004-05-20

Chopin's mature Polonaises by Artur Rubinstein
By Peter Dietrich, President of the Chopin Society of New England, Inc.

Three great and famous recordings of Chopin's mature Polonaises by Artur Rubinstein. It all started in June 1952. I was walking on Washington Street in Boston, Massachusetts and while looking at a display window of a music store I noticed an LP record, LM 1205 (which I still have in my library) of Chopin Polonaises, vol. 1. I entered the store and purchased that record for the price of $5.95 not realizing at all that I was holding in my hands not only one of the best and most convincing recordings that Rubinstein had ever made together with vol. 2 LMI 52 Polonaises, but unquestionably the greatest recording of the Chopin Polonaises by any other pianist of the 20th century.
This recording of the polonaises from the 1950-1951 season was the second set recorded by Artur Rubinstein when he was in his absolute prime (aged 63-64) capable of the most convincing interpretations of these heroic works. His unhurried tempos, his magical use of the pedal has achieved musical clarity undreamed of by any other pianist before and since. He was very fortunate to get an excellent sound from RCA engineers despite being recorded in mono only and the two records despite their fifty-two years in use still sound beautiful.
The present reissue I am reviewing of all three different recordings is from the complete Rubinstein 94 disc set edition which I purchased in 1999 and the digitally remastered edition of vol. 28 sounds even better than the LP edition of 1952.
The earlier set of the 8 polonaises recorded in December of 1934 and January-February of 1935(first issued on 78-RPM records) is in the present edition reissued in vol. 4. These are already mature performances, particularly Polonaises 5 and 6, which are intense and beautiful and have many qualities of the later recordings. We have to remember that the 78-RPM era was very challenging to every artist because of the rather primitive recording equipment of the time and a limited time for each side of a record. Despite all of the difficulties the achievement is outstanding and it is a joy to listen to Rubinstein's earlier recordings and compare them with the later and perhaps more mature performances and be able to notice the changes in growth of Rubinstein's artistry.
The 3rd and final set, vol. 48 of the 8 mature polonaises was recorded in Carnegie Hall, New York City, in March of 1964 in stereophonic sound, when Rubinstein was 77 years old. These are also great performances, more mellow and a shade less robust and dramatic than his 1950-51 renditions. They also lack the tremendous intensity and urgency when compared with his 1951 crowning achievement. Almost all the repeats are omitted in the A Major Polonaise, Op. 40, No. 1 while in the C-minor Polonaise, Op. 40, No. 2 all repeats are restored. Personally, I like when all the repeats are included because it makes the work more complete, particularly in the polonaises, because it makes them sound more intense and monumental. All of Chopin's markings are very clear and they should be respected.
The only regret one may have is why Rubinstein, who was so great and successful in performing Chopin's music, never recorded the earlier Polonaises and the rest of Chopin's known works? Some Chopin scholars have made various statements that outside of the etudes; Chopin's other less known works were not worthy of performing. Completely false! All of Chopin's music is worthy of performance, which has been proven by the younger generation of pianists who have recorded his complete works.
Rubinstein performed in Boston, Massachusetts at least sixteen times between the mid fifties until his retirement in 1976, not counting his performances with the Boston Symphony Orchestra. I was fortunate and privileged to have attended almost every performance and relished the opportunity of having spoken to the artist on several occasions. In 1965, after his last recording of the polonaises, I asked him if he had recorded all of the polonaises? His answer was "yes." I replied "all?" To this he responded: "From my early years, I loved to play the piano but I hated the practicing. If I had been more willing to work hard, I could have played 100 more pieces of music." Then I asked him about the etudes? "Oh, no! I am not ready, yet. I am still working on polishing them. Probably, I will die sooner than record them," was his reply. Unfortunately, he never recorded them. It is a pity because several of the etudes he programmed in his recitals in Boston, playing them every time very beautifully. He was a great pianist, a master musician and demanded the impossible from himself.
Summarizing the monumental achievement by one of the greatest artists of the 20th century it makes one feel as if the world is a better place, where all problems disappear and only love an beauty reign. Are there any further recommendations necessary?

Aristocratic Polonaises from Rubinstein.......2001-05-17

Volume 48 of RCA's Complete Arthur Rubinstein collection features the pianist in his final authorized recordings of works he was born to play. Chopin's Polonaises were based upon the aristocratic dance of his beloved Poland--although these works are not, in the strictest sense, meant to be danced to.

Rubinstein made three complete sets of Polonaises. The first version, recorded on 78RPM discs in the 1930s, is indescribable in its elan and brio, but occasionally veers out of control. The second set--in my opinion the best of the three--was recorded in the 1950s and demonstrated Rubinstein to be in far better control, both musically and technically, with most of the vigor of the earlier version. This third version, recorded in Carnegie Hall in 1964, is more autumnal and aristocratic in approach. Rubinstein can certainly turn up the heat when he so desires, but on the whole these performances are far more mellow than in the earlier recordings. In concert, he would become fired-up by the audience's presence, and his playing live more closely resembled the earlier recordings. To hear what Rubinstein was like during "battle-conditions," check out Rubinstein in Moscow (Volume 62) which includes two of Chopin's Polonaises.

The 1964 stereo recording sounded pretty good in its day, and sounds even better now thanks to RCA's splendid remastering. Rubinstein's famous tone is recreated faithfully, with even more dynamic impact than on the earlier issues.

Rubinstein Collection, Vol. 50
Average customer rating:

piano for the suburbanite

This would be the greatest exce[pt....

Who Better than to Record the Mazurkas?

Arthur Rubinstein: Chopin's 51 Mazurkas

The unsurpassable Rubinstein

Rubinstein Collection, Vol. 50

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Mazurkas | Ballets & Dances | Classical | Styles | Music
All Works by Chopin | Chopin, Frédéric | ( C ) | Featured Composers, A-Z | Classical | Styles | Music
General Modern | Modern, 20th, & 21st Century | Historical Periods | Classical | Styles | Music
General | Symphonies | Classical | Styles | Music
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Rubinstein Collection, Vol. 48

Arthur Rubinstein - Chopin 19 Nocturnes (Vol. 49)

Rubinstein Collection, Vol. 46

The Rubinstein Collection Vol 47 - Chopin: Waltzes, Impromptus, Bolero

Rubinstein Collection, Vol. 45

ASIN: B00004ZD5E
Release Date: 2001-03-06

Tracks:

Mazurka No.1 in f#, Op.6
Mazurka No.2 in c#, Op.6
Mazurka No.3 in E, Op.6
Mazurka No.4 in e flat, Op.6
Mazurka No.1 in B flat, Op.7
Mazurka No.2 in a, Op.7
Mazurka No.3 in f, Op.7
Mazurka No.4 in A flat, Op.7
Mazurka No.5 in C, Op.7
Mazurka No.1 in B flat, Op.17
Mazurka No.2 in e, Op.17
Mazurka No.3 in A flat, Op.17
Mazurka No.4 in a, Op.17
Mazurka No.1 in g, Op.24
Mazurka No.2 in C, Op.24
Mazurka No.3 in A flat, Op.24
Mazurka No.4 in b flat, Op.24
Mazurka No.1 in c, Op.30
Mazurka No.2 in b, Op.30
Mazurka No.3 in D flat, Op.30
Mazurka No.4 in C#, Op.30
Mazurka No.1 in G#, Op.33
Mazurka No.2 in D, Op.33
Mazurka No.3 in C, Op.33
Mazurka No.4 in b, Op.33

Tracks:

Mazurka No.1 in c#, Op.41
Mazurka No.2 in e, Op.41
Mazurka No.3 in B, Op.41
Mazurka No.4 in A flat, Op.41
Mazurka No.1 in G, Op.50
Mazurka No.2 in A flat, Op.50
Mazurka No.3 in C#, Op.50
Mazurka No.1 in B, Op.56
Mazurka No.2 in C, Op.56
Mazurka No.3 in c, Op.56
Mazurka No.1 in a, Op.59
Mazurka No.2 in A flat, Op.59
Mazurka No.3 in f#, Op.59
Mazurka No.1 in B, Op.63
Mazurka No.2 in f, Op.63
Mazurka No.3 in C#, Op.63
Mazurka No.1 in G, Op.67
Mazurka No.2 in g, Op.67
Mazurka No.3 in C, Op.67
Mazurka No.4 in a, Op.67
Mazurka No.1 in C, Op.68
Mazurka No.2 in a, Op.68
Mazurka No.3 in F, Op.68
Mazurka No.4 in f, Op.68
Mazurka 'A'Emile Gaillard' in a
Mazurka 'Notre Temps' in a

Amazon.com

Chopin wrote mazurkas throughout his all-too-brief life, using this Polish dance as the basis for short pieces that encompass a world of harmonic explorations and varied emotions, from the subtly comic to the intensely sad. Rubinstein plays the 51 in the standard canon, skipping the unpublished youthful ones. Of his three recordings of the set, connoisseurs tend to prefer his first, from 1938-1939 (available on RCA, EMI, and Naxos) for their spontaneity. But these 1965-1966 stereo recordings in refreshingly alive transfers can't fail to please most listeners. They're a bit weightier than the early ones, but the added depth and Rubinstein's characterization of each piece yield big dividends. In the great C sharp minor Mazurka, Op. 50, No. 3, for example, he plays the beautiful opening theme with disarming simplicity that invests it with mournful regret, manages the transitions to bolder statements flawlessly, and turns a charming dance into a dramatic tone poem that says in five minutes what some composers need a full symphony to say. That miracle is repeated often in this set, as Rubinstein appears at first to be underplaying a piece until you realize the sophistication of his carefully modulated dynamics, gentle rubato, and varied tone. His was an outward simplicity that hid complex art. Throughout, he plays with a wonderful, singing tone, rhythmic life, and an aristocratic authority few have matched. --Dan Davis

Customer Reviews:

piano for the suburbanite.......2005-04-23

nothing artistic here.
plays like a student.
pass it up...

This would be the greatest exce[pt...........2002-01-08

This would be the greatest of all Rubinstein Chopin recordings except...there are the Polonaises (Volumte 28!), and the Nocturnes (Volume 46!). Count this one tied for 3rd, with the Ballades, the Waltzes, the.... Hey, wait -- you might as well get them all.

My only problem with this recording is that the repeat button on my CD player isn't working. I listen to one and say, "That's gotta be the best Rubinstein/Chopin Mazurka there could possibly be," but no sooner than I think that, that another one comes on, EVEN BETTER.

Okay, I have my fav. The great B Minor Opus 33 Number 4. This is mid-period Chopin at his finest, and Rubinstein at his finest, and we are privileged to be alive so that we can rehear it.

Who Better than to Record the Mazurkas?.......2001-12-01

Chopin. Rubinstein. Mazurkas. Perfection. The impeccable Rubinstein rubato shines most when he plays the works which invite overindulgence, like the dance forms, or the easily sentimentalized nocturnes. Especially in these mazurkas where his rhythmic restraint is admirable. These recordings are quirky yet authoritative enough to make me wonder whether only a fellow Pole can play Chopin with such multifariousness (16 letters!) of movement within the staff. I've heard other recordings of the mazurkas, mainly Ashkenazy (boring... where's the life?) and individual performance pieces in compiliations, but none sparkle like the way Rubinstein makes them sparkle. Sublime.

Arthur Rubinstein: Chopin's 51 Mazurkas.......2001-04-07

Fabulous! Polish music at its best!

The unsurpassable Rubinstein.......2001-03-29

While his recordings of other composers is somewhat uneven, Rubinstein is the absolute master of Chopin. Noone else captures the beauty, nuance, depth, poetry, and feel of his music in quite the same way, and the Mazurkas (which by the way sound wonderful in their new remastering) are no exception. Even the very familiar ones sound fresh in Rubinstein's hands, and whether you listen to these a few at a time (as I usually do) or straight through, I highly recommend this recording as well as the other reissues in this series.

Average customer rating:

What can you expect.
nevermind the flying dutchman reviewer...
A testament to Rubinstein's greatness, and Chopin's
Definitive Chopin? I think not
10 stars !

Rubinstein Collection, Vol. 45

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Ballads | Forms & Genres | Classical | Styles | Music

Scherzo | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Box Sets | Stores | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
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Rubinstein Collection, Vol. 48

ASIN: B00004ZD5B
Release Date: 2001-03-06

Tracks:

Ballade No.1 in g, Op.23
Ballade No.2 in F, Op.38
Ballade No.3 in A flat, Op.47
Ballade No.4 in f, Op.52
Scherzo No.1 in b, Op.20
Scherzo No.2 in b flat, Op.31
Scherzo No.3 in c#, Op.39
Scherzo No.4 in E, Op.54
Tarentelle in A flat, Op.43

Amazon.com

Rubinstein's is not the only way to play Chopin. Ignaz Friedman, Cortot, Horowitz, Wild, Cherkassky, and others have given us Chopin performances of incredible artistry and individuality, but Rubinstein's more objective interpretive stance set the model for succeeding generations of Chopin players. This welcome reissue from RCA's monster set of the pianist's complete recordings helps explain why his Chopin is still revered. The 1959 version of the Ballades is memorable thanks to his big, bronze tone, subtle rubato, and ability to make the keyboard sing like a great operatic diva. The great G minor Ballade illustrates Rubinstein's way with the music--the pregnant pauses in the introduction never overdone, the tenuous theme sung with quiet exactitude, the bold passages played with waves of sound that are never harsh or disproportionate, the whole coming off like a story told by a master narrator. The directness of Rubinstein's playing also suits the Scherzos, bravura pieces that the pianist recorded three times in his career. This 1959 stereo recording may miss some of the impetuosity of the earlier versions, but its stronger structural sense and subtlety make it compelling. Sonics are much improved over previous releases. --Dan Davis

Customer Reviews:

What can you expect........2007-07-05

I bought this CD with the full knowledge of Rubinstein's ability to mesmerize worlds of people with his Chopin. His Ballades and Scherzi are no exception. Some pieces are not to my exact tastes but are very mature interpretations which one should expect from such a maestro of the piano. Great composer, great performer, great music.

nevermind the flying dutchman reviewer..........2006-05-06

...in his words:"This is by far the most transcendental recording of the chopin ballades ever created. Don't pay attention to karan jamal, he's obviously just an ignorant anti-semitic, arrogant idiot. Anyone who would give this recording 1 star knows nothing about music, which is apparent from the way the lone 1 star review was written.">>>>Now thats comedy.That made me laugh my a$$ off...........the only thing transcendental is the cheap air this recording gives off,not to mention the dutchman's transcendental stupidity.I've played classical music all my life from cello&violin to piano.If i know nothing about music it should be strange that within a month of learning piano i started work on liszt's transcendental etudes and am now up to the 5th etude after a year of hard work;and i stand by my 1 star review of this incorrigible recording.And my consolences to the poor chap who believes these are fine recordings;some of us after all are cursed with bad genes.

A testament to Rubinstein's greatness, and Chopin's.......2006-01-24

If someone wished to make a case for Rubinstein's genius not only as a Chopin interpreter, but as a pianist of the first rank, they'd need do little more than offer this one recording as evidence. The control of melodic line, lift, chordal technique, brilliance in ornamentation and fioriture - all of them are at the service of Chopin's conception, but come together with a sound that can only have been made by Rubinstein. Perhaps most moving is the first ballade; the grandeur of the main E major theme has never been brought out so compellingly, and the closing Gm section is nothing short of demonic. I've listened to this recording well over a thousand times, and have explored every other commercially-available recording of the ballades. Nothing quite compares. If I had only one piano record, perhaps even only one record of any kind, to choose for the proverbial desert island, this one would be it.

Definitive Chopin? I think not.......2006-01-03

Initially, I was suckered into buying this CD from a classical music guide that touted this CD as one of Rubinstein's greatest. Fortunately, His Ballade in G minor lives up to the hype. I love how Rubinstein is able to perfectly and naturally balance his phrasings and rubatos without resorting to cheap sentimentality. Unfortunately, its the scherzi that Rubinstein goes downhill. To me, this rendition sounds much too bland and labored. In addition, the third and fourth scherzo has lost much of the impetuosity from his earlier recordings. I know for certain that he was holding back, considering his 1964 chopin recital was much more volatile and exciting than this lethargic recording. If you really want definitive scherzi's, try Richters or Yundi Li's recordings. For the Ballades, try Moravec's or Zimerman's. And by the way, RCA's sonics don't sound that great compared to the Digital CD's of today. Get the improved (and cheaper) SACD version.

10 stars !.......2005-12-25

Chopin's Ballades, Scherzoes and 19 Nocturnes are the pinnacle of classical piano. Rubinstein Collection Vol. 45 and 49 are the reference recordings for these pieces. His interpretation of Ballades is muscular. In contrast, he is as soft as feather in the dreamy Nocturnes.

Brahms: Piano Quartets Op. 25 & Op. 60, Rubinstein Collection, Vol. 65

Average customer rating:

A sage performance
Brahms and Rubinstein At Their Best...

Brahms: Piano Quartets Op. 25 & Op. 60, Rubinstein Collection, Vol. 65

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005427M
Release Date: 2001-08-07

Tracks:

Pno Qt No.1 in g, Op.25: Allegro
Pno Qt No.1 in g, Op.25: Intermezzo: Allegro Ma Non Troppo - Trio: Animato
Pno Qt No.1 in g, Op.25: Andante Con Moto - Animato
Pno Qt No.1 in g, Op.25: Rondo Alla Zingarese: Presto - Meno Presto - Molto Presto
Pno Qt No.3 in c, Op.60: Allegro Ma NonTroppo
Pno Qt No.3 in c, Op.60: Scherzo: Allegro
Pno Qt No.3 in c, Op.60: Andante
Pno Qt No.3 in c, Op.60: Allegro

Customer Reviews:

A sage performance.......2004-09-17

There are few pianists as universally admired and as venerable as Artur Rubinstein, and with good reason. Rubinstein wins over audiences with his charm and his assiduous determination to produce interpretations as close as possible to the heart of the music he happens to be playing at any given time. True, Rubinstein doesn't always provide the flashiest or the most pyrotechnically brilliant performances, but his integrity and his strength of purpose, permeating everything he touches, is nearly always beyond even the slightest reprehension.
This recording is no different. The performances of the piano quartets presented here demonstrate every such trait, with added touches of brilliance most discernable in the final movement of the Op. 25....and to play so at such an age! With the redoubtable Guarneris as his partners, Rubinstein produces deeply satisfying accounts of this wonderful repertoire. Indeed the works are a good match for Rubinstein, for Brahms was another man who valued character and quality of craft over ephemera. This disc is magnificent. In every way here is a match made in heaven.

Brahms and Rubinstein At Their Best..........2002-08-18

This is one of the wonderful fruits of the Rubinstein-Guarneri collaboration. It is bewildering that Rubinstein had to arrive nearly to the age of eighty before he could find "his" string quartet, after seventy-five or so years of extensive music making. Rubinstein is, as always, revealed as a suberp Brahms interpreter, and the Guarneris just as exciting. The performers show a deep grasp of Brahms's emotionality, harmonic complexity, and, most of all, finely articulated structure. The tempos are just right, unlike the second piano quartet (appearing on a seperate volume), where the first movement is rather slow (go for the Beaux Arts Trio). Together with the devine piano quintet OP. 34 (also on a seperate volume), these three performances are flawless executions of chamber masterworks. A must for every fan of romantic chamber music!

Jean-Yves Thibaudet ~ Debussy - complete piano works, vol. 1

Average customer rating:

mixed feelings, 3 stars.
Jean-Yves Fan
Superior recordings and performances
Another installment of great by Thibaudet

Jean-Yves Thibaudet ~ Debussy - complete piano works, vol. 1

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

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ASIN: B000004294
Release Date: 1996-08-13

Tracks:

Preludes - livre I.: I. Danseuses de Delphes - C. Debussy
Preludes - livre I.: II. Voiles - C. Debussy
Preludes - livre I.: III. Le vent dans la plaine - C. Debussy
Preludes - livre I.: IV. 'Les sons et les parfums tornent dans l'air du soir' - C. Debussy
Preludes - livre I.: V. Les collines d'Anacapri - C. Debussy
Preludes - livre I.: VI. Des pas sur la neige - C. Debussy
Preludes - livre I.: VII. Ce qu'a vu le vent d'ouest - C. Debussy
Preludes - livre I.: VIII. La fille aux cheveux de lin - C. Debussy
Preludes - livre I.: IX. La serenade interrompue - C. Debussy
Preludes - livre I.: X. La catedrale engloutie - C. Debussy
Preludes - livre I.: XI. La danse de Puck - C. Debussy
Preludes - livre I.: XII. Minstrels - C. Debussy
Estampes: Pagodes - C. Debussy
Estampes: La soiree dans Grenade - C. Debussy
Estampes: Jardins sous la pluie - C. Debussy
Deux Arabesques: I. Andante con moto - C. Debussy
Deux Arabesques: II. Allegretto scherzando - C. Debussy
Reverie - C. Debussy
Masques - C. Debussy
L'isle joyeuse - C. Debussy

Tracks:

Preludes - livre II.: I. Brouillards - C. Debussy
Preludes - livre II.: II. Feuiles mortes - C. Debussy
Preludes - livre II.: III. La puerta del Vino - C. Debussy
Preludes - livre II.: IV. 'Les fees sont d'exquises danseuses' - C. Debussy
Preludes - livre II.: V. Bruyeres - C. Debussy
Preludes - livre II.: VI. 'General Lavine' - excentric - C. Debussy
Preludes - livre II.: VII. La terrasse des audiences du clair de lune - C. Debussy
Preludes - livre II.: VIII. Ondine - C. Debussy
Preludes - livre II.: IX. Hommage a Sanuel Pickwick Esq. P.P.M.P.C. - C. Debussy
Preludes - livre II.: X. Canope - C. Debussy
Preludes - livre II.: XI. Les tierces alternees - C. Debussy
Preludes - livre II.: XII. Feux d'artifice - C. Debussy
D'un cahier d'esquisses - C. Debussy
Morceau de concours - C. Debussy
Danse bohemienne - C. Debussy
Nocturne - C. Debussy
Images: Lent - C. Debussy
Images: Tres vite - C. Debussy
Pour le piano: Prelude - C. Debussy
Pour le piano: Sarabande - C. Debussy
Pour le piano: Toccata - C. Debussy

Tracks:

Preludes -- Livre I - Jean-Yves Thibaudet
Preludes -- Livre I - Jean-Yves Thibaudet
Preludes -- Livre I - Jean-Yves Thibaudet
Preludes -- Livre I - Jean-Yves Thibaudet
Preludes -- Livre I - Jean-Yves Thibaudet
Preludes -- Livre I - Jean-Yves Thibaudet
Preludes -- Livre I - Jean-Yves Thibaudet
Preludes -- Livre I - Jean-Yves Thibaudet
Preludes -- Livre I - Jean-Yves Thibaudet
Preludes -- Livre I - Jean-Yves Thibaudet
Preludes -- Livre I - Jean-Yves Thibaudet
Preludes -- Livre I - Jean-Yves Thibaudet
Estampes - Jean-Yves Thibaudet
Estampes - Jean-Yves Thibaudet
Estampes - Jean-Yves Thibaudet
Deux Arabesques - Jean-Yves Thibaudet
Deux Arabesques - Jean-Yves Thibaudet
Reverie - Jean-Yves Thibaudet
Masques - Jean-Yves Thibaudet
L'isle Joyeuse - Jean-Yves Thibaudet

Customer Reviews:

mixed feelings, 3 stars........2007-07-05

There are quite a few of Debussy's piano pieces that immediately ring a bell in the mind - Clair de Lune, Gollowog's Cake Walk, La Petite Negre, En Bateau, La Fille aux Cheveux de Lin, La Catedrale Engloutie, etc. These pieces are not, in my opinion, where Thibaudet shines, and make me wish I had a different set (but who's?) The Sunken Cathedral is quite nice, I admit. I will also say that he is quite listenable, whereas Geiseking (sp?) made me so angry I had spent $60 that I stopped buying classical cds for about 10 years.

On the other hand, Thibaudet does have technical mastery - the pieces with which I am less familiar, etudes especially (referring to vol. 2 of the set) are played, to my ears at least, very well, and in fact bring a smile to the face. There is no 'bad' playing anywhere, but the pieces in which I would have liked more musicality lead me to think that the others which I haven't developed an opinion on will sound better in other sets as well. The search continues. At least this set is a good bar.

Jean-Yves Fan.......2007-03-21

I am a big fan of Jean-Yves playing(and a Debussy fan) so I enjoyed this recording. Piano style is a personal preference. (as a musician and pianist I know what I like and what I don't like and it is often not the same as what others prefer) If you enjoyed any other recordings by Jean-Yves or have seen him and concert and loved him you will enjoy this recording.

Superior recordings and performances.......2005-09-18

The Penguin Guide to CDs and DVDs has Thibaudet's sets of the complete Debussy solo piano music at the top of the digital recordings, and this is certainly high quality.

We have several recordings of the Preludes and some other works, but there is nothing to come close to Thibaudet for great performances and superior recording quality.

The liner notes are very helpful, and in the first set you get different articles in English, French, German and Italian. Great if you are multilingual, but only of marginal interest to me. The second set has one article and translations, not separate articles.

Well worth purchasing.

Another installment of great by Thibaudet.......2000-06-13

Thibaudet certainly has a great knack for playing French music. Perhaps it is because he is French himself, or perhaps it is because he has been blessed with a wonderful insight to piano music in general. I say this, because he brings such great musicianship to whatever he puts to record or performance. This two CD set of Debussy's Preludes exudes the personalities of both the composer and the pianist. Debussy, known as the great impressionist composer, delicately has painted numerous portraits in his preludes and this recording certainly does well at bringing them out. Technically, these pieces are played with virtuosity and clear attention to precision, clarity, and musicality. One of the best parts of this set is the a bonus CD of short interviews with Thibaudet in various languages where he himself explains what he has brought to the table in playing these pieces and what insights he had in mind when approaching these pieces.

Average customer rating:

one of Rubinstein's great recordings
Bold and Poetic Schumann

Rubinstein Collection, Vol. 51

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005427I
Release Date: 2001-03-06

Tracks:

Carnaval, Op.9: Preambule
Carnaval, Op.9: Pierrot
Carnaval, Op.9: Arlequin
Carnaval, Op.9: Valse Noble
Carnaval, Op.9: Eusebius
Carnaval, Op.9: Florestan
Carnaval, Op.9: Coquette
Carnaval, Op.9: Replique
Carnaval, Op.9: Papillons
Carnaval, Op.9: A.S.H.C.H.-S.C.H.A.
Carnaval, Op.9: Chiarana
Carnaval, Op.9: Chopin
Carnaval, Op.9: Estrella
Carnaval, Op.9: Reconnaissance
Carnaval, Op.9: Pantalon Et Colombine
Carnaval, Op.9: Valse Allemande
Carnaval, Op.9: Paganini (Intermezzo)
Carnaval, Op.9: Aveu
Carnaval, Op.9: Promenade
Carnaval, Op.9: Pause
Carnaval, Op.9: Marche Des 'Davidsbundler' Contre Les Philistins
Fantasiestucke, Op.12: Des Abends
Fantasiestucke, Op.12: Aufschwung
Fantasiestucke, Op.12: Warum?
Fantasiestucke, Op.12: Grillen
Fantasiestucke, Op.12: In Der Nacht
Fantasiestucke, Op.12: Fabel
Fantasiestucke, Op.12: Traumeswirren
Fantasiestucke, Op.12: Ende Vom Lied
Romance in F#, Op.28 No.2
Vogel Als Prophet (Waldszenen, Op.82 No.7)
Novellette in F, Op.21 No.1
Novellette in D, Op.21 No.2

Customer Reviews:

one of Rubinstein's great recordings.......2007-07-18

I heard Artur Rubinstein in recital only once - 1970 in San Diego - and recall that he played Bach, Schubert & Chopin. I was a teenager then & my exposure to serious music was limited, & even though Rubinstein played the famous "Heroic" polonaise of Chopin (which even I knew at the time) what I remember most vividly was his performance of Schumann's Fantasiestucke. Clearly this was music that he was very close to. Later, when I acquired my first Rubinstein album, it was these recordings of Carnaval & Fantasiestucke, & not Chopin, for which he was most famous, that I bought. I have heard many other Carnavals since, including Claudio Arrau's famous 1939 recording (as well as his disappointing stereo remake), but none have quite the same cohesiveness & sparkle as Rubinstein's. The technical challenges, which are considerable, are dispatched with consummate ease & the recorded sound is warm & rich. This is a recording that has stood the test of time very well. The same goes for Fantasiestucke, which is a completely magical recording. There is a stateliness combined with flights of fancy that are inimitable here - listeners would be hard pressed to find another interpretor with Rubinstein's insight & golden tone. As for the balance of the material on the disc, consider it a bonus; buy it for Carnaval & Fantasiestucke.

Very highly recommended!

Bold and Poetic Schumann.......2001-04-17

Arthur Rubinstein was more at home with Schumann than with any other German composer. This is understandable, especially when one considers that Rubinstein's mentor, Joseph Joachim, was a close associate of Johannes Brahms, who was in turn a close friend of both Robert and Clara Schumann.

Carnaval, Op. 9 was particularly close to Rubinstein's heart. It was a mainstay of his concert programs throughout his career, including at his very last concert in 1976. Rubinstein avoids the temptation to overly sectionalize the work--this is a remarkably direct performance. True, there is plenty of contrast between the extroverted Florestan and meditative Eusebius aspects of Schumann's musical nature, but Rubinstein never exaggerates these for pianistic effect. Incidentally, Rubinstein does not play the Sphinxes section midway through the piece. Schumann left it to the interpreter's discretion as to whether to play this part, which is notated unconventionally. Some have chosen to play it (Rachmaninoff {whose recording was considered by Rubinstein the greatest ever made, and which is mandatory for any serious piano collector}, Horowitz, and Uchida, among others); some have opted out (Rubinstein, Cherkassky, and Clara Schumann, to name a few).

The Fantasiestucke, Op. 12 featured on some of Rubinstein's earliest programs, including from his first American tour in 1906. He recorded it three times: in 1949; the stereo version featured here, from 1962; and in 1976 as part of his final solo recording. (There is an additional, live version from 1975 which Rubinstein did not authorize for release--it should be avoided at all costs.) The 1962 version is the finest of Rubinstein's recordings of the piece, and mainly for the same reasons which make the companion Carnaval work so well: the artful balance of detail with totality. This is balanced, as opposed to schizophrenic, Schumann playing.

The shorter pieces are effective makeweights to this collection. It is regrettable that Rubinstein never recorded a complete set of Novelettes or Waldszenen, but that was generally not Rubinstein's way.

Customer Reviews:

Fulfilling Overview of the Baroque Era in Music and Words.......2005-05-09

Yet another great bargain-priced package from Naxos effectively provides an overview of the rich Baroque period with two discs containing more than 2 ½ hours of music and a comprehensive, 140-page primer booklet. Compiled by music historian Clive Unger-Hamilton, the collection is well-chosen to represent the many different facets of the era without recycling the more obvious candidates like Vivaldi's "The Four Seasons". The quality of the playing and singing is top-notch throughout, and the program contains quite a smorgasbord of pieces from dramatic opera arias to harpsichord pieces (sometimes played on authentic instruments, other times on modern grands) to full-blown choruses. Standout tracks include Allegri's "Miserere mei" with an ethereal boy treble soloist; two arias sung by soprano Ingrid Kertesi, in particular, Almirena's lament, "Lascia ch'io pianga" from Handel's "Rinaldo"; and a lovely "When I am laid in earth" from Purcell's "Dido and Aeneas" performed by soprano Kym Amps. The choral pieces can be astounding from Bach's "St Matthew Passion (BWV 244)" performed by the large Hungarian Festival Chorus and full symphony orchestra to the eight voices that wrap themselves around "For unto us a child is born" from Handel's "Messiah".

The booklet itself provides great value as you listen to the selections. There is a well written 85-page essay by Unger-Hamilton, who manages to encapsulate an enormous amount of information about this period which leaves a novice like me with a more solid basis of understanding the music of the Baroque era. In fact, what is quite valuable is that Unger-Hamilton provides a specific historical reference for each piece on the recording in his essay. There is also a very helpful glossary and an intriguing timeline which covers musical milestones relative to similar milestones in history, arts and architecture and literature. Moreover, there is an alphabetical list of the key Baroque composers and an accompanying map of Europe with important music centers and the composers associated with these cities. The thoughtful presentation of this package really makes the $8.98 price tag one of the great bargains here.

An Excellent Introduction to the Music of the Baroque Era.......2005-04-04

This is one of a series of the 'Discover ...' 2 CD sets -- at super-budget price -- from Naxos that makes use of complete movements of music from the era in question. It is accompanied by an excellent booklet - a thick one! - with an explanatory essay that gives background on the music as well as blow-by-blow descriptions of the music being presented. All the selections (from such composers as Monteverdi, Handel, Bach, Scarlatti, Schütz, Purcell, Corelli, Pachelbel, Charpentier, et al.) are from Naxos's extensive library of recorded music and as far as I can tell all the performances are top-notch.

In addition there is a Timeline of the Baroque Era that includes material about the music, history, art, architecture and literature of the times. There is a map of Europe that shows where various composers lived and worked. There is a list of composers (more than just those whose music provides the audio examples) with their dates and locations. There is a glossary of common musical terms. There is also an extensive list of music suggested for further listening. I can easily imagine this set being the springboard for a newcomer to baroque music to begin a lifetime of enjoyment of these and similar works.

The presentation is thoughtfully done and the whole thing is in a slipcase that will preserve the CDs as well as the booklet for years to come.

Scott Morrison

Average customer rating:

Nothing but hits

Essential Hyperion, Vol. 2

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

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ASIN: B00004RITB
Release Date: 2001-01-09

Customer Reviews:

Nothing but hits.......2001-01-31

As with their first collection of label highlights, Hyperion's new two-disc collection provides a broad sampling of their exceptional catalogue and performers. Particularly rewarding are the selections from Beethoven (Scherzo from String Trio in C minor, op 9 no 3, performed by the Leopold Trio) and Thomas Tallis (Salvator mundi I, performed by the Winchester Cathedral Choir), but experienced and novice listeners alike will find much to enjoy on these discs. It's also a good value--more than 2 1/2 hours of music for less than $10.

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