Execution

Execution

Track Listings

1. Execution

2. Forgotten Time

3. Attempt

4. Divine Disgrace

5. Absolution

6. Web of Life

7. Nature of Evil

8. Lake of Sins

9. Beast in the Light

10. Agressive

Editorial Reviews
Product Description
Execution is a sound experience. An album that mixes the best of Metal with strength, melody and the talent of the most respected musicians in the scene, playing nine songs written by Tribuzy and a cover ("Nature Of Evil", from the german band Sinner). The musical influence basically used by Tribuzy during the writing process was the greatness of classics such as Painkiller (Judas Priest), Keeper of the Seven Keys (Helloween) and other of the 80's heavy music with a little bit of New Metal and Brazilian rhythms. The production was done by Tribuzy, with the help of some of the most experienced music producers, such as Achim Koehler, Roy Z and Dennis Ward.

Execution,Tribuzy,Locomotive Music,Hard Rock,Heavy Metal,Pop,Rock

Execution of All Things
Average customer rating:

Under the Radar: pop rock at it's finest

Awesome

Best Album They Released HANDS DOWN!!!

Solid sophomore effort

I don't like when the guy sings

Execution of All Things
Rilo Kiley
Manufacturer: Saddle Creek
ProductGroup: Music
Binding: Audio CD

General | Alternative Rock | Styles | Music
General | Indie & Lo-Fi | Alternative Rock | Styles | Music
General | Rock | Styles | Music
Pop Rock | Pop | Styles | Music
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More Adventurous

Fox Confessor Brings the Flood

The Crane Wife

Let It Die

Furnace Room Lullaby

ASIN: B00006LLN5
Release Date: 2002-10-08

Tracks:

The Good That Won't Come Out
Paint's Peeling
The Execution of All Things
So Long
Capturing Moods
A Better Son/Daughter
Hail to Whatever You Found in the Sunlight
My Slumbering Heart
Three Hopeful Thoughts
With Arms Outstretched
Spectacular Views

Customer Reviews:

Under the Radar: pop rock at it's finest.......2007-07-25

reviewing music is a difficult task considering how subjective music is in nature. because of that everyone has his or her own particular tastes and most are especially keen to a certain genre. with that said, the one genre of music i find appealing or acceptable to say the least, to most people i've ever met would be pop rock. the "execution of all things" is a pop rock album with plenty of appeal but not much recognition. it's not the poppy-catchy chorus that catches your attention, it's in the beautiful lyrics and amazing singing on the part of Jennifer Lewis. if you've never heard her sing, trust me, treat yourself to some ear candy and play one of her tracks. if you're a fan of substance, this album has some of the best written songs lyrically put out that year. and if you're a fan of good music in a genre of music that almost everyone can enjoy, then give this album a listen. And if you're already a Rilo Kiley fan but don't own this album or any of the songs on it... you're missing out!

Awesome.......2007-07-13

I seriously couldn't live without this CD. Every track is good, but a personal favorite is A Better Son/Daughter. If you haven't heard Rilo Kiley, do yourself a favor and take a listen.

Best Album They Released HANDS DOWN!!!.......2007-07-06

In my opinion, this album is their best album. If you didnt know, Singer (Jenny lewis) was in the movie "The Wizard" and the guitar player (Blake Sennett) was in "Salute your shorts" and "Boy meets world". To me, thats just an added bonus to their amazing, catchy, indie, folky, rock music. Catchy Hooks, relaxing music, and soothing vocals from both sennett and lewis. Noted tracks "Paints Peeling" "The Execution of All Things" "With Arms Outstretched". Pick this CD up!

Solid sophomore effort.......2007-07-06

Someone should tell Blake Sennett to stop singing with Rilo Kiley. He has a serviceable voice to be sure (comparisons as a less-successful Elliott Smith type are apt), but Jenny Lewis is what rises Rilo above the ordinary members of the indie rock scene. It's not just a lovely voice, but the method of being "best-of-both-worlds" sweetly cynical--not too sugary, not too bitter.

But it's not Blake's fault that Execution can't stand as tall as the two albums that surround it. "So Long" should be called "Too Long," even if the added part at the end featuring Lewis is one of the highlights. "With Arms Outstretched" wastes a sweet melody by going on and on, adding back-up vocals and handclaps as it progresses. In truth, while it may be a slightly more consistent album than Take Offs, and one that, while near the same length, grows into the space better so it doesn't drag heavy as lead on occasion, it doesn't have the replay value one hopes for. Opener "The Good That Won't Come Out" and the angry and personal "A Better Son/Daughter" are both really good, but not many others are worth revisiting immediately.

Best cuts: "The Good That Won't Come Out," "A Better Son/Daughter," "The Execution of All Things," "Spectacular Views," "Paint's Peeling," "My Slumbering Heart," "Hail to Whatever You Found in the Sunlight That Surrounds You"

I don't like when the guy sings.......2007-02-05

I don't like when the guy sings, if it were just Jenny Lewis Singing it would be 5 stars, What were they thinking?

Average customer rating:

Is a Lisztian Étude a study?
THE ONE LISZT PIANO DISC TO OWN
Phenomenal technique, beautifully displayed
Pretty Good
My Best Liszt Etudes

Liszt: The Complete Etudes

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

Etudes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music
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Liszt: 10 Hungarian Rhapsodies
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Liszt: The Two Piano Concertos; The Piano Sonata
Chopin: Etudes
Franz Liszt: Complete Hungarian Rhapsodies

ASIN: B0000041NE
Release Date: 1997-11-11

Tracks:

12 Etudes d'execution transcendante, S. 139: Prelude. Presto
12 Etudes d'execution transcendante, S. 139: Molto vivace
12 Etudes d'execution transcendante, S. 139: Paysage. Poco adagio
12 Etudes d'execution transcendante, S. 139: Mazeppa. Allegro
12 Etudes d'execution transcendante, S. 139: Feux Follets. Allegretto
12 Etudes d'execution transcendante, S. 139: Vision. Lento
12 Etudes d'execution transcendante, S. 139: Eroica. Allegro
12 Etudes d'execution transcendante, S. 139: Wilde Jagd. Presto furioso
12 Etudes d'execution transcendante, S. 139: Ricordanza. Andantino
12 Etudes d'execution transcendante, S. 139: Allegro agitato molto
12 Etudes d'execution transcendante, S. 139: Harmonies du soir. Andantino
12 Etudes d'execution transcendante, S. 139: Chasse neige. Andante con moto

Tracks:

3 Etudes de concert, S. 144: 1. Il lamento. Acapriccio - Allegro cantabile
3 Etudes de concert, S. 144: 2. La leggierezza. A capriccio - Quasi allegretto
3 Etudes de concert, S. 144: 3. Un sospiro. Allegro affetuoso
2 Etudes de concert, S. 145: 1. Waldesrauschen
2 Etudes de concert, S. 145: 2. Gnomenreigen
6 Etudes d'execution transcendante d'apres Paganini, S. 140: 1. Il tremolo
6 Etudes d'execution transcendante d'apres Paganini, S. 140: 2. Andantino capriccioso
6 Etudes d'execution transcendante d'apres Paganini, S. 140: 3. La campanella
6 Etudes d'execution transcendante d'apres Paganini, S. 140: 4. Arpeggio
6 Etudes d'execution transcendante d'apres Paganini, S. 140: 5. La chasse
6 Etudes d'execution transcendante d'apres Paganini, S. 140: 6. Th et variations

Amazon.com

No, these aren't really the "complete" Liszt études. The centerpiece to this collection is Claudio Arrau's Transcendental Études, recorded when the pianist was in his early seventies. He brings out the music's breadth and poetry by way of ample rubatos, a rainbow of color, and total avoidance of anything mechanical for its own sake. Conversely, Nikita Magaloff's light-fingered proficiency in the Paganini Études seems rather dry and workaday in comparison. --Jed Distler

Customer Reviews:

Is a Lisztian Étude a study?.......2007-03-08

No, of course not. Far from being mere exercises designed to improve one's skills on the piano, Liszt's Études are music in and by themselves.

When they took their first form in 1838, the Paganini Études were pretty much devices for helping the pianist to exceed his own limits as a virtuoso and refine his technique. As Liszt matured as a composer and musician, however, he revised his Études aiming not only at making them sound more musical, but also at rendering them more economical in terms of expression. That's why they stood so well the test of time and sound to our modern/postmodern ears much more daring and original than most of what's been composed after his death. Arrau and Magaloff succeed in presenting the Études as complex, beautiful and exhilarating pieces of music - that's the main reason why this recording should be one of the first recommendations for those who are interested in Liszt's music as an art form rather than a series of pointless tricks and acrobatics on the piano.

One of the highlights is undoubtedly Magaloff's blistering performance of La Campanella. In his hands, the piece is not so much a spiritless exercise in virtuosity resembling the ringing of a bell as a desperate, wild and raging cry for help in a shattering world. As you listen to the music you can almost visualize the world being torn apart. Quite impressive. Pure romanticism, yes, but the most appropriate version of this piece for a 21th century listener.

THE ONE LISZT PIANO DISC TO OWN.......2006-12-21

If you have room in your collection for only one recording of Liszt's
solo piano works (and shame on you for that!), this should certainly be it. Arrau's work is simply magnificent -- a glittering, glistening display of brilliance, accompanied by a depth of feeling, an overwhelming heft, that makes it unique. And Magaloff (of whom, I am ashamed to say, I have not heard before)gives the Paganini transcriptions a crisp and technically superb reading, perhaps without the heft that Arrau is able to convey but still formidable. All in all, this is simply a disc for the ages.

Phenomenal technique, beautifully displayed.......2006-08-30

I just downloaded Kissin's Chasse-neige, the last of these twelve splendid Transcendental Etudes. Kissin, I must point out, is one of my idols, and gave a performance of old Chopin warhorses that left me speechless. I didn't even know these tired pieces could still sound so fresh and new in Kissin's hands. That said, I prefer Arrau's Chasse to Kissin's - somehow the anguish and beauty of this utterly unique etude come through more clearly than in Kissin's temperamental - but technically flawless - interpretation. This description extends to the entire collection of Arrau's Transcendentals. Particularly noteworthy are Mazeppa, Eroica, and the last three, Allegro agitato molto, Harmonies du soir, and of course Chasse-neige. Sure, Liszt wrote some hellaciously difficult stuff, and sure, many of us try to play it well. But in Arrau's hands, we see Liszt emerge as a phenomenal composer, and these technical Everests become works of art. I can't recommend this CD highly enough for those who want to get to know the work of a composer who changed the face of piano composition forever. Liszt is Romanticism taken to an extreme, I'll confess, but Arrau makes sure it's a daring and beautiful one.

And standing in the middle of a snowfall with Chasse-neige playing is an experience everyone should have sometime in his or her life. It makes perfect sense when you do it, but not until...

Pretty Good.......2005-03-18

As you can see from previous reviews, these CDs do not contain the definitive recordings for each and every etude, but its the best you can get for a complete set, which is hard to find anyway. Quite good if you would like all of the etudes, which is nice to have. Sound quality is decent.

My Best Liszt Etudes.......2005-02-02

My best Liszt Etudes so far. I have bought two of them, one as a gift to a friend. And years later, I have bought Arrau's Heritage album which consists also of these etudes.

Some people may find Arrau's Beethoven or even his Brahms authentic, others may find some of his Beethoven sonatas boring, however inspired they may be. But with his Liszt, there is no way that one will ever get bored: under Arrau's fingers, the etudes sound more like symphonies and tonal poems. They may not be stunning, but they are sublime and so thrilling that they actually reminds you, in different ways, of almost all Liszt's ups and downs.

I never like Bolet, let alone Kissin. For fascination, people may like to try Cziffra as well. But it is nothing like Arrau's Liszt at all. It is not clear if the inclusion of Magaloff is a coincidence. But he is well worth of our time, and we don't have a lot of his recordings anyway. Viewers might as well treat it as a bonus.

Average customer rating:

Ethereal LIszt in Superb Sound
A great collection of Liszt treasures
An excellent collection of Liszt interpretations.
Liszt for the ages.

Liszt: Piano Works

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

Galops | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Ballads | Forms & Genres | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical | Box Sets | Stores | Music

The Decca Records Store | Specialty Stores | Music
Similar Items:

Chopin: The Piano Works
Brahms: Works for Solo Piano
Works for Solo Piano
Schubert: The Piano Sonatas
Rachmaninov: The Piano Concertos

ASIN: B00005ND3L
Release Date: 2001-10-09

Tracks:

Hungarian Rhapsody No. 12 In C-Sharp Minor
Liebestraum No.3
Mephisto Waltz No.1
Funerailles (No.7 Of Harmonies Poetiques Et Religieuses)
Rigoletto: Conc Paraphrase
La Campanella

Tracks:

Die Forelle
Der Muller Und Der Bach
Wohin?
Lebe Wohl!
Das Wandern
Der Lindenbaum
Horch, Horch, Die Lerch
Auf Dem Wasser Zu Singen
Die Post
Aufenthalt
Lob Der Tranen
Erlkonig
I. Allegro Con Fuoco
II. Adagio
III. Presto
IV. Allegro

Tracks:

Lento Assai - Allegro Energico -
Andante Sostenuto
Allegro Energico - Andante Sostenuto - Lento Assai
Valse Impromptu
I. 'Hohe Liebe' In A flat
II. 'Selinger Tod' In E Flat
III. 'O Lieb' In A Flat
Grand Galop Chromatique

Tracks:

I. Sposalizio
II Penseroso
III. Canzonetta Del Salvator Rosa
IV. Sonetto 47 Del Petrarca
V. Sonetto 104 Del Patrarca
VI. Sonetto 123: Del Petrarca
VII. Apres Une Lecture De Dance (Fant Quasi Son)

Tracks:

I. La Chapelle De Guillaume Tell
II. Au Lac De Wallenstadt
III. Pastorale
IV. Au Bord D'une Source
V. Orage
VI. Vallee D'Obermann
VII. Eglogue (Hirtengesang)
VIII. Le Mal Du Pays
IX. Les Cloches De Geneve

Tracks:

I Gondoliera
II. Canzone
III. Tarantella
Les Jeux D'eau A La Villa D'Este (No.4 Of Annees De Pelerinage, Troisieme Annee)
Benediction De Dieu Dans La Solitude: (No.3 Of Harmonies Poetiques Et Religieuses)
Ballade No.2 In B

Tracks:

I. Preludio: Presto
II. Molto Vivace
III. Paysage: Poco Adagio
IV. Mazeppa: Allegro
V. Feux Follets: Allegretto
VI. Vision: Lento
VII. Eroica: Allegro
VIII. Wilde Jagd: Presto Furioso
IX. Ricordanza: Andantino
X. Allegro Agitato Molto
XI. Harmonies Du Soir: Andantino
XII. Chasse-Neige: Andante Con Moto

Tracks:

Zwei Konzertetuden: I. Waldesrauschen
Zwei Konzertetuden: II. Gnomenreigen
I. Il Lamento
II. La Leggierezza
III. Un Sospiro
I. Andante Con Moto
II. Un Poco Piu Mosso
III. Lento Placido
IV. Quasi Adagio
V. Andantino
VI. Allegretto Sempre Cantabile
Reminiscences De Don Juan

Tracks:

Reminiscences De Norma
Totentanz (Danse Macabre)
Malediction
Fant On Hungarian Folk Themes

Customer Reviews:

Ethereal LIszt in Superb Sound.......2006-09-29

Piano playing of extraordinary romantic depth and breadth. Bolet is inside Liszt's mind, as Liszt's romantic self unfolds on the keyboard. It is as if Bolet is the master himself. Superlative recordings to boot!

A great collection of Liszt treasures.......2004-01-12

The booklet of this set has an interesting explanation of why Jorge Bolet stayed out of the spotlights for so long before taking up his -glorious- career. It was his devotion to Liszt. By then, in the 1950s, Liszt was still regarded as a B-composer (There are still people who tend to think so: I read someone who called Liszt `the father of all bar pianists'. Now, if you know a worse offence...). Only after Liszt's reputation had increased, Bolet could enter his `Indian summer', which lasted from about 1975 until his passing away in 1990. During this period, he was finally able to perform his favourite music as much as possible. This fine 9-disc set may indeed be Bolet's most important testament. Additionally, it's one of the most important Liszt collections on the market. But beware: there's much more than just Bolet, considering Liszt's piano works. I can't say this is the perfect set or near it. Still five stars, for some astonishing piano playing that we don't come across very often nowadays.

Bolet won a Gramophone Award for his 1st book of Années de Pelerinage, which is not strange when listening to the recordings. This is a portrait of a man who's entirely on his own, looking for his soul while wandering trough the beautiful Switzerland - I can't say it better than B. Johnson already did. It's Romantic nonsense, of course, but in Liszt's days it was a common idea, and it can still sweep me away. Bolet's superior tonal colouring - beautiful, but not too far-driven, for the risk it would almost be too intimidating - and his peaceful nature lift this music to the greatest heights. My only complaint would be the `Orage' piece: Bolet's technique can't quite handle it, and its aggressive nature is much less overwhelming as a result. Nevertheless, the rest of the pieces show him at his very best. So does the second year of the Années (that is oddly placed in the set before the first year by Decca). The Dante Sonata, one of Liszt's greatest pieces, fares very well under Bolet's hands.

Equally excellent were the Schubert Song Transcriptions. The transcriptions aren't very different from the original songs, but they are definitely interesting. Especially when someone like Bolet takes them under his hands! All songs are terrifically played, with real standouts like `Auf dem Wasser zu singen', `Der Mueller und der Bach' and `Erlkoenig'. Bolet's romantic touch (he may have been the last of his kind) lets the music unendingly flow. Brilliant!

These comments also apply to Liszt's Consolations, which are placed on another disc. Liszt shows here how much he's in debt to Schubert, and wrote music of a disarmingly lyrical nature. Bolet gives almost naively innocent readings of these pieces. Talking about singing music, why not include the Liebesträume, `Venezia e Napoli' and many, many other pieces as well. Although some people still regard Liszt as a bombastic composer, he was in fact much more active on the spiritual and lyrical area. It is largely this nature of Liszt that is put into the spotlights by Bolet. He is really terrific whenever music ought to sound peaceful and meditative.

But Liszt was also a stunning virtuoso. People may eschew him for that, but that's often without any good ground. The B minor Sonata and the Transcendental Etudes, to give some names, are not only pianistically but also musically amazing works. It takes to be both a good technician and a musician to play them well, and this is where Bolet occasionally fails. He was over 65 when he made these recordings, and I can't help but say that his technique was not anymore what it used to be. In many pieces you can hear him struggle.

In what may be the most difficult music Liszt wrote, the Transcendental Etudes, Bolet takes tempi that are almost too easy (e.g. no.10 should be `Allegro molto agitato' but Bolet plays it very moderately), perhaps because his technique was by then too limited to give the pieces a really impressive treatment. Even then, I do feel a ertain nobility in Bolet's slow approach that gives every study a dignified stature (and that's something you won't find with Kissin or Cziffra!). The sonata is similarly noble and yet tremendously powerful in its scope, even though Bolet may lack some technial control at isolated spots.

Anoter treacherous piece is the `Reminiscences de Don Juan', which is a transcription of no less an opera than -of course- Don Giovanni! Bolet plays this 20-minute piece with a lot of humour and swing: it's a great way to clean up your mind! Also recommendable are the Etudes de Concert (e.g. Waldesrauschen), whose light spirit is very well captured.

A treasure trove set overall, I can recommend it without any limitations. There's no other composer that suited Bolet as well as Liszt, and the vice versa may be true as well. But the pianist also has his weaker points, particularly regarding his technique, that wasn't what it used to be. Oh, and the piano sound is not always equally convincing: the instrument sounds a little shrill at times. But there's an amazing amount of colour in the instrument, and it allows Bolet to reachfor the deepest, darkest sonorities you've heard. This collection is therefore not just THE best Liszt: there are many more pianists who made supreme recordings of him (e.g. Arrau, Brendel, Richter) and I definitely recommend searching them out as well. After you've heard this!

An excellent collection of Liszt interpretations........2003-12-03

I was very impressed with Bolet's playing. His rendition of La Campanella is the best I've ever heard.

Liszt for the ages........2001-12-05

Both for those that would like to find out for the first time what Liszt is all about, and for those few that are very familiar with the Paganini of the 88: LOOK NO FURTHER!

It doesn't get any better than this.

After I heard throughout the seventies about this "unknown" great of the romantic repertoire, I was fortunate enough to see him for the first time about a month after he recorded the first issue of this now legendary Liszt series. While his technique may not have exactly been what it used to be before (e.g. Orage in Suisse of Les Annees), all the performances benefit from the wisdom of many, many years. While all the performances are of a uniform Olympic level, two issue stand out in my mind.

First, there is the cd of Schubert Liszt transcriptions. Bolet really sets the standards for "singing" on the piano. His version of "Der Muller und der Bach" has to be believed to be heard.

Most importantly though, there is "Suisse" the first year of Liszt's years of pilgrimage. I own this disc from the day it appeared on the shelves and still listen to it every month. Surely, there are more technically brilliant versions. For the true "Liszt Nuts", I would certainly advise Leslie Howard's version of "L'Album d'un voyageur", that contains the first version of many of the "Suisse" pieces, and some additional pieces that Frenz (for reasons that escape me completely) excluded from the later Suisse. Yet, nobody, not even Brendel or Berman, have come close to Bolet on delivering on the central theme of Suisse, man finding himself back in an exploration of nature.

While they stem from the earlier days of digital recording the recordings are still more than respectable and benefit greatly from Bolet's attention for color, aided by his favorite Bechstein.

Tracks:

Omiya
Maya's Theme
Maya Takes Revenge
Aphrodisiac
Wedding Song
Jai's Flower
The Eternal Triangle - Mychael Danna/L. Subramaniam
Expulsion (Sajan Begha Ghar Aiye Ho)
All Pure Spirit
A Jewel Of The Gutter
Red Hibiscus On Skin
The Glory Of God Is In You - Ustad Vilayat H. Khan
Gold Dust Bacchanalia
Marriage Of The Flying Spirit
Examining, Examining
Biki Is Insulted
Come Paint My Breasts With Sandalwood - Indira Varma
Markings
A Cry From The Heart - Ustad Vilayat H. Khan
My Flower
The Execution - Mychael Danna/L. Subramaniam
The Toona Song - Shubha Mudgal
Off To New Horizons Of Love You Go (Ulfat Ki Nayi Manzil Ko Chala) - Iqbal Bano

Customer Reviews:

opening titles music?.......2006-02-08

Hi.

Does anyone know what is the music from the opening titles of the movie?It is before the song Omiya starts.It is not included in the CD and i'd like to know the title.

Great Indian Mystery, well-done.......2005-07-16

This is a very nice album for esoteric enthusiasts to add to their Indian mix.

I love Indian Music.......2005-07-05

I love the movie Kama Sutra: A Tale of Love. Indira Varhma and Sarita Chowdery are very, very beautiful women. And the music in the movie was hott! Especially the song at Princess Tara's wedding where everyone is dancing and Maya is serving the guests in her beautiful red sari. It had a cool beat and I felt like dancing, Indian style!

Kama Sutra = Beautiful Movie, Beautiful Music.......2005-06-27

Love the movie...cinematography is wonderful, a truely beautiful movie, everything is a feast for the eyes. The soundtrack is just as good, perfect blend of exotic music that can be enjoyed lounging around or even bellydanced to.

Captivating!!!!.......2003-09-05

The songs are sensual, calming, meditative and spiritual. If you appreciate different cultures, this album is for you. Whenever i play this album i turn all the lights out, and light candles, burn incense and meditate. I highly recommend this album with monsoon wedding soundtrack. Everyone i know loves this album. Get it.

Average customer rating:

Very convincing Liszt B Minor Sonata
A very young virtuoso with lyrical instincts
Boring showmen, all of them
Simply amazing
What a disappointment!

Yundi Li: Liszt
Yundi Li , and Liszt
Manufacturer: Umvd Labels
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music
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Chopin Recital
Vienna Recital
Chopin: Scherzi/Impromptus
Chopin, Liszt: Piano Concerto No. 1
Yundi Li: Live in Concert

ASIN: B00008GQTQ
Release Date: 2003-08-12

Tracks:

Klaviersonate H-Moll / Sonate Pour Piano En Si Mineur
Grandioso - Recitativo
Andante Sostenuto
Allegro Energico - Andante Sostenuto - Lento Assai
No.3 La Campanella - Allegretto
Liebeslied ('Widmung') S 566 ('Du Meine Seele, Du Mein Herz')
No.3 ('O Lieb, So Lang Du Lieben Kannst!') - Poco Allegro, Con Affetto
No.3 Tarantella - Presto - Piu Vivace - Canzona Napolitana - Prestissimo
Concert Paraphrase After Giuseppe Verdi's Opera - Preludio, Allegro - Andante - Presto

Customer Reviews:

Very convincing Liszt B Minor Sonata.......2007-05-31

Yundi Li played this piece to win the 1999 Utrecht International Liszt Competition. It is not surprising that he won.
The recording of the B Minor Sonata alone would have worth the money for this disc.
As the pianist himself said in the bonus VCD, Liszt is different from Chopin - the style is more open, more flamboyant. Li manages to play the piece with real character and impeccable technique, plus true expressiveness.
The rest of the album also showed the pianist's propensity for this composer's works, though it should be noted that special attention had indeed been paid to the B Minor Sonata. That said, since this legendary recording, Li's version of the La Campanella has already set the current standard for this beautiful piece. Not surprising, given the highly imaginative interpretation and impeccable technique employed by this young artist in playing this piece.
Heartily wish that Yundi Li would further expand his repertoire in the right direction in the years to come.

A very young virtuoso with lyrical instincts.......2006-08-31

Yundi Li made a splash with this recital three years ago when he was 22 and a fresh competition winner in Europe. DG signed him up to join their other Chinese star, Lang Lang, but it's not sheer musical politics (i.e., China's vast untapped market) that was the motivating factor. Yundi has a real personality in this demanding music, lyrical and sensitive, combined with an explosive technique that never turns into banging. He's as instinctive as Lang Lang, who is several years his senior.

Yundi's gifts come into their own in the music of Liszt, which has too often been cornered by barn-burners like Cziffra and Horowitz. It's a relief to hear the B minor Sonata played with sensitive respites in between the fireworks. In gentler pieces like the Widnung trasncription, the line is pure silk. I'm not sure I hear total maturity yet in the sonata, but Yundi Li is well on his way to making a lasting career at the highest international level.

Boring showmen, all of them.......2006-07-26

I was first acquainted with Yundi Li when he came for his Boston Debut at Jordan Hall. The program was a typically Chinese program: Chopin's Four Scherzi, and Liszt's B Minor Sonata, S.178. Having heard so much about his pianstic abilities and his victory at the Chopin Competition, I was ready for some good Chopin. Yet all four Scherzi lacked imagination, personality, and breadth. The first-half of the program was like a 40-minute exercise of arpeggios, virtuoso runs, etc...

The Liszt was fine. But everybody can play Liszt "fine". The B Minor Sonata was very well-controlled, a mature performance, but there was not much more than that. There was no inner fire, no brooding desire behind the notes, none of that magic we hear with Richter or Horowitz.

And the encores were La Campanella and Rigoletto, also represented here on this CD. La Campanella, being a mere showpiece and hence a "stupid" work consisting of all fingers and no brains, was not as scintillatingly brilliant as Cziffra's performance, just stale. Rigoletto was no longer an operatic transcription but an etude. First listen to Li, then compare his performance with Cortot's recording of the same piece. No comment, no comment at all.

In conclusion: the new crop of Chinese pianists should get brains. I suggest playing a little bit of new music, not Chopin, Liszt, then Chopin, Mozart, Chopin, Schumann, and Chopin again. Let the poor man's soul rest in peace.

Simply amazing.......2006-05-17

This CD is simply amazing. The level of musicianship is stunning to say the least (especially given the performer's age), and the technique is flawless nearly all of the time. As shown by his mastery of the Liszt Sonata, Li is definitely on the track to be on par with Horowitz and Rubinstein. Truely worth the money.

What a disappointment! .......2006-04-09

After having heard so much about this pianist, I decided to use the opportunity and go listen to him in a concert hall.
Although the program included Schumann's "Carnaval" and Liszt's b-minor Sonata, it was 2 hours of total bore. And not only for me. As I was observing the audience, everybody seemed to wonder - what are we here for? The overall atmosphere in the hall was far from electrified and the response after each piece was just polite. Yundi Li's performance was uninteresting and empty. His pianism also had very little to offer - no touch, no pianissimo, poor pedaling (dry or total blur), in cords he hears only tops and basses, no sense of musical time - he often breaks it without reason - and there was no vision of structure of the piece, otherwise the tempos in the score would have been respected (after all Liszt was not an idiot and knew what HE wanted to say). I don't even mention the dramaturgy of this masterpiece, it would be too much to ask...
I wish people stop react on names and trust more their own senses. This pianist's success is clearly all about marketing.

Liszt: Sonata in B minor/Funerailles/Transcendental Etudes

Average customer rating:

great music, great pianist, terrible recording
One of the last giant pianists in Liszt's repertoire!
ONE OF THE GREATEST PIANISTS: TECHNICALLY ASTOUNDING, EMOTIONALLY POWERFUL

Liszt: Sonata in B minor/Funerailles/Transcendental Etudes
Sviatoslav Richter
Manufacturer: Palexa Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B000AMPZQM
Release Date: 2005-09-13

Tracks:

Sonata In B Minor, S. 178
Funerailles
No. 1 'Prelude'
No. 2 (Molto Vivace)
No. 3 'Paysage'
No. 5 'Feux Follets'
No. 7 'Eroica'
No. 8 'Wilde Jagd'
No. 10 (Allegro Agitato Molto)
No. 11 'Harmonies Du Soir'

Album Description

Sviatoslav Richter (1915-1997) is numbered among the finest pianists of the 20th century. He exhibited all the best traits of the Russian school of playing: dynamism, lyrical expressiveness, and a wide range of tonal color. Combined with his typical thoughtfulness, subtlety, and attention to style, these qualities assured Richter of a distinguished international career. For many listeners, indeed, he was the paragon of balance among virtuosos, the pianist who exhibited the greatest equality among the elements across his musical palette. The West first became aware of Richter through recordings made in the 1950s. He was not allowed to tour the U.S. until 1960, and then created a sensation. Touring, however, was not Richter's forte. He preferred an intimate concert venue, and in later years took to playing in small, darkened halls, sometimes with only a small lamp lighting his piano. The centerpiece of this release, the B minor Sonata of Liszt, was recorded live in Carnegie Hall on May 18, 1965 when Richter was at the height of his powers, and only one week after Vladimir Horowitz had appeared on the same stage for his famous "Return Recital". Funérailles recorded Budapest, 1958; Etudes, Moscow, 1956.

Customer Reviews:

great music, great pianist, terrible recording.......2006-10-09

No one can deny Richter's brilliance, especially as applied to the notoriously difficult Liszt repetoire. Unfortunately, this monaural recording was made live in the '50's and the tape hiss is more audible than the upper piano register. Another reviewer (RBS) noted that the sound quality was not great (!); actually it is terrible. I don't know enough about sound engineering to know if remastering would save it; it sounds as if it were taped with one mike.

One of the last giant pianists in Liszt's repertoire!.......2006-08-21

To play Listz demands from you several fundamental aspects; a total domain of the breadth into the phrasing, plain conviction of the meaning of the thematic material beneath the score and additionally, an evilness technique, a sense of the organic flow of the piece. To be true just a few pianists may sustain for instance the overall attention of the listener playing a particular piece of The years of pilgrimage, for instance.

In this sense we might consider Richter as one of the most distinguished interpreters of Liszt during the sixties and one of the most important in the seventies, because fortunately several emblematic pianists emerged in the seventies: Bruno Rigutto, Lazar Berman, Mijail Rudy, apart of the expected reappear of Erwin Nyireghihazi in 1973.

Sviatoslav Richter was gifted of that ability to create atmospheres, aspect nothing to easy to achieve, because there are so many details to take into account at the meantime that it turns a very heavy burden to sustain.

Nevertheless he did it, and if he has not entirely included among the great Lisztian pianists, he has earned a significant place, since the last two decades.

One of the most difficult barriers to surpass in the case of Richter has to do with his ambitious repertoire that barely in four decades established by himself many achievements in which concerns privileged composers. From Tchaikovsky to Cesar Franck, on one hand; but his Schubert (Sonata D. 960)and his Schumann (Búnte blatter) literally renovated the soul of the flaming performer according the tradition established by Sigismund Thalberg, Anton Rubinstein or Adolf von Henselt. He was by far, much more introspective than his homologous Horowitz, but his repertoire was infinitely major, as well as his abstraction capacity.

So that's the reason why I don't even hesitate just a blink, at the moment to recommend you this special compilation of Liszt' s works. These performances possess vigor, audacious and mercurial expression.

ONE OF THE GREATEST PIANISTS: TECHNICALLY ASTOUNDING, EMOTIONALLY POWERFUL.......2006-02-13

Five Amazing Stars!! I would give it SIX but...(see my note). Sviatoslav Richter was simply in a class attained by few classical pianists. A contemporary of Vladimir Horowitz, he was one of the best there ever was!! And, as shown on this CD recorded between ages 40 and 50, he was a thorough-going perfectionist who was demanding: demanding of himself, of his instrument, and of his audiences. This CD captures him playing Liszt like his life depended on it. Technically astounding and emotionally powerful, he didn't let one extreme over take the other, but maintains a balance that simultaneously dazzles us and touches our sensibilities. Certainly not an easy task for any artist, but perfect for any pianist tackling the complexities of Liszt, who was arguably regarded by many as perhaps the world's best pianist himself. Imagine playing something he composed!

Recorded in three locations spanning the years 1956 to 1965, he was in his prime and playing his "A" game when these recordings were made. And, of course, Liszt is no easy task for any pianist. Indeed, I use Liszt as a guage of a pianist's degree of accomplishment, there is simply no place to hide. Mortals don't rush in to a Liszt performance without some pause. Richter is AWESOME throughout.

The Piece De Resistance is the 1965 Carnegie Hall recording of Liszt's B Minor Sonata and it is BREATHTAKINGLY beautiful. Beyond the beauty, some of the passages are absolutely jaw dropping, nearing the edge of physical fingering possibility, as Liszt probably intended. Of the Transcendental Etudes/S.139, my favorites are an absolutely scorching read of No 2 (Molto vivace), with some of the bass notes lost in the recordings shortcomings, and a wonderfully heroic read of No. 5 (Feux follets), and No 8 (Wilde Jagd) with it's searing arpeggio. Highly Recommended with a caution. Five Stars.

(Notes:
*The recording quality is good but not great, Indeed it cries out for remastering in the future. There is one jump from a vinyl disk imperfection in one place and some audible noise in other places, requiring equalizer adjustments. The bass notes are muddled at times. Also some pieces end abruptly. Some of the audience coughing makes it tough on the listener but, hang in there, Richter's power passages more than make up for the bad mike placement. These performances cry out to be heard. These days the mike is placed to nullify audience noise and enhance the music. No wonder Keith Jarrett is so hard on his audiences. LOL.
* UPDATE: in the 12 months of my ownership, this CD has never left it's rotation in my 5 CD changer and is played first each morning of every day. With Ahmad Jamal and Elis Regina getting similar special treatment, only two CD slots are available for new music.)

Liszt: Piano Sonata in B minor; Paganini Etudes; Hungarian Rhapsody No. 13; Transcendental Etude No. 10

Average customer rating:

Watts is the Man!
I AM NOT A LISZT PURIST
A big technique, but Watts is a low-key Liszt interpreter
Sad.
A well-tempered recording.

Liszt: Piano Sonata in B minor; Paganini Etudes; Hungarian Rhapsody No. 13; Transcendental Etude No. 10

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

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Tchaikovsky: Piano Concerto No.1/Saint-Saëns: Piano Concerto No.2
The Royal Edition - Brahms: Piano Concerto no 2
Beethoven: Piano Sonatas Nos. 13, 14 & 23 'Appassionata'
MacDowell: Piano Concerto No.2/Liszt: Piano Concertos No.1 & No.2
Chopin: Piano Concertos Nos. 1 & 2

ASIN: B00005NEZU
Release Date: 2001-08-14

Tracks:

No. 1 In G Minor
No.2 In E Flat Major
No.3 'La Campanella'
No. 4 In E Major
No.5 'La Chasse'
No. 6 In A Minor
Hungarian Rhapsody No. 13 In A Minor
En Reve - Nocturne
Transcendental Etude No.10
Lento Assai
Andante Sostenuto
Fugue - Coda

Customer Reviews:

Watts is the Man!.......2006-12-29

I highly recommend this cd. Mr. Watts does a excellent job of interperting the Paganini Etudes-especially La Campanalla, in my opinion Watts plays it better than Kissin. Even though Kissin plays it 13 sec. faster, but with less emotion. Rhapsody No. 13 is played with virtuosity and power. he plays the Transcendental Etude differetly than most people, but it is still nice. The Sonata was a little dissapointing, some parts weren't as exciting as Naida Cole's verison. For the Sonata get Cole's verison. But over all a very good buy! Nice job Mr. Watts!

I AM NOT A LISZT PURIST.......2006-11-05

AND THEREFORE AM PUZZLED WHY THE FIRST TWO REVIEWERS THINK A BUDGET RELEASE SHOULD HAVE TO 'DELIVER' "ABSOLUTE PERFECTION"! SPEND MORE $$$ AND CHECK OUT THE REVIEW BOOKS, FOR GODS SAKE!

CZIFFRA IS ONE THING YET I FIND THIS CD TO BE EXCITING, BEAUTIFUL, NEVER BORING, AND VERY WELL RECORDED. HIGHLY RECOMMENDED FOR THE PRICE!

A big technique, but Watts is a low-key Liszt interpreter.......2006-06-16

Mr Wilkinson has gotten his wrist slapped for writing such a blunt review, but even for a listener who is sympathetic to Andre Watts, still the most famous Afro-American classical pianist in the world after forty years, it's discouraging that his impressive technique didn't lead to musical growth. Many of his best recordings date from the beginning of his career. This flashy Liszt recital includes all the notes, but as Wilkinson says, it's all a bit muddled and aimless musically.

He's also right to point out that Watts displays none of the flashing brilliance and fire of a Volodos or Kissin, and La Campanella is indeed tinkly in his hands. The great B minor Sonata is given a flabby run-through, as is everything else here. I am giving three stars in sympathy with Watts' intentions, too guilty to award what he really deserves.

Sad........2005-09-25

I find it shocking that Mr. Watts chose to tackle a project like this. He is clearly and sadly out of his league. Why, oh why, when recordings of the great Cziffra (the master Liszt interpreter) survive to put this poor effort to shame and when a dazzling talent like Kissin can play "La Campanella" with so much power, grace, and precision, would Mr. Watts choose to embarrass himself with these tinkling, muddled, hesitant, and contrived interpretations? Mr. Watts, "You have been lied to!"
Oh, Volodos, where are you?

A well-tempered recording........2005-03-08

Andre Watts accomplishes the difficult task of giving elegant musicality to pieces which, to a great extent, are technically demanding for the sake of being technically demanding. With the Paganini Etudes in particular, it's easy for an interpreter to be distracted by the sheer technical difficulties(such as the relentless jumps in "La Campanella" ), and neglect to highlight the nuances of the piece's harmonics, rhythm, dynamics, etc.
The only reason I've decided to give this recording 4 stars is a glaring, repetetive error in Paganini Etude No. 3, in the section where the right hand plays the theme, which alternates with a mordent an octave higher. For some reason, Watts decided to play the mordent in sloppy, erroneous fashion. In a recording by a professional of his stature, such a distorted passage is puzzling. It is the only obstacle standing in the way of this being my favorite interpretation of La Campanella.
For a truly superior version, be sure to check out Jorge Bolet's Liszt recordings.

Average customer rating:

Nice performances, boring production quality
and the winner is Garaj Mahal

Blueberry Cave
Garaj Mahal
Manufacturer: Harmonized
ProductGroup: Music
Binding: Audio CD

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Mondo Garaj
Cosmic Hug
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ASIN: B000BI0WP4
Release Date: 2005-11-01

Tracks:

The Shadow
Alvin
Blueberry Cave
'Spect Rap
No 'Spect
Massive
Cosmic Elevator
Paladin
Bicycling In Bombay
Celtic Indian

Customer Reviews:

Nice performances, boring production quality.......2006-01-18

Great band- I've seen them a bunch of times. My only problem with this CD is the amateurish production. You can tell that it is basically homemade. It is a fine recording, I just wish that they would get into a top studio with a good producer to get a fuller, more polished sound. This is recorded pretty much straight, which is, I guess, a more jam band purist approach. I haven't heard the other CD's yet.

and the winner is Garaj Mahal .......2005-11-21

and the winner is: Garaj Mahal "Blueberry Cave"

Songs:
The Shadow (Eckhardt)
Alvin (Hertz)*
Blueberry Cave (Levy)
`Spect Rap (Eckhardt)
NO `Spect (Haque/Hertz)**
Massive (Hertz)
Cosmic Elevator (Eckhardt)***
Paladin (Levy)
Bicycling in Bombay (Garaj Mahal)*
Celtic Indian (Hertz)

Personnel:
Kai Eckhardt: Bass
Fareed Haque: Guitars
Eric Levy: Keyboards
Alan Hertz: Drums

Guests:
*DJ Fly Agaric: Turntables
**Tasha Levine: Vocals
***Shanan Edelheit: Vocals

Review:
Garaj Mahal, the Jazz Rock Jam Band Supergroup, has finally released its second studio recording to the delight of music lovers no matter their shape, size, or taste. There's just something about this recording that appeals to everyone. "A little bit of everything" is usually a recipe for disaster in the world of music. Most attempts leave the listener unsatisfied or the band isn't capable of delivering the goods. "Blueberry Cave" is a total success in every respect. Jam Band lovers will enjoy this recording because it has that cosmic groove so essential to a good Jam Band. Jazz Rock fans will love it because the compositions, performance, and soloing are top shelf, reminiscent of the Jazz Rock pioneer groups such as Mahavishnu Orchestra, Weather Report, and Return to Forever.

Garaj Mahal bridges the gap between Jazz Rock and Jam Band like no one else. The main reason is that with Jazz Rock fans, it's not enough to be a great musician, you have to be an amazing musician. That's no knock on the fantastic talent in the world of Jam Bands, just a proclamation of Garaj Mahal's incredible musical gifts. Individually, Kai Eckhardt and Fareed Haque have played with a virtual Who's Who of Jazz Rock musicians, while Eric Levy and Alan Hertz are equally capable of doing the same. As a group, they come together and speak in one voice as clearly and in most cases better than the best Jazz Rock or Jam Bands on the scene today.

Blueberry Cave certainly contains a little bit of everything from the cosmic groove, funky on the corner, Eastern flavor, children of Miles, to "a little Grateful Dead is always good for the soul". Consequently, I'm inclined to say "a little Garaj Mahal is good for the soul"!!! There's no getting around it, these guys have something special that feels good and brings a smile to your face and your day.

I've been listening to Garaj Mahal for some time now and downloaded dozens of their free concerts from The Archives. With all that exposure, I was expecting this studio recording to be a disappointment because of the band's obvious love for performing in front of an audience. To my surprise and delight, Blueberry Cave showed another side of the band that is usually reserved for professionals of only the highest caliber. This recording brings together all the individual and group gifts without a weak link anywhere. The compositions hold up after many listens and the performance is nothing short of spectacular.

No matter your musical tastes, Garaj Mahal's newest recording Blueberry Cave is a "must have" Cd for everyone's collection. It doesn't just feel good, it IS good. In the world of today's musical diversity, the winner is Garaj Mahal Blueberry Cave!

By,
Rick Calic
jazzrockworld dot com

An Anthology of Noise & Electronic Music, Vol. 3: 1952-2004

Average customer rating:

Legal Stuff Apart

An Anthology of Noise & Electronic Music, Vol. 3: 1952-2004

Manufacturer: Sub Rosa
ProductGroup: Music
Binding: Audio CD

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Columbia-Princeton Electronic Music Center 1961-1973

ASIN: B0002Y4PPU
Release Date: 2004-11-02

Tracks:

De Natura Sonorum: Matis Induites - Bernard Parmegiani
Short Presentation of the 1948 Sackbut: The Sackbut Blues/A ... - Hugh Le Caine
Stereo Music for Serge Modular Prototype - Keith Fullerton Whitman
Last Largo - Ilhan Mimaroglu
Room Pieces [Excerpt] - Michael J. Schumacher
Ovipool
Stone: Reciprocal
Flume
Execution of Intelligence - Zbigniew Karkowski
Birds and Warhorse
Requiem: Dies Irae - Michel Chion

Tracks:

Sttimen ni4 & #1 - Erkki Kurenniemi
Time...Dot
Early Work 6
Klangstudies II - Herbert Eimert
Eve
Teilmenge - Asmus Tietchens
Feuerland - Michael Rother
Contacte - To Rococo Rot
Till Zakynthos (Op. 205) - Rune Lindblad
Eternal Love #3

Customer Reviews:

Legal Stuff Apart.......2007-04-21

To understand this review, take a look at the reviews of the other volumes in this series...
Some of the music on this series is so weird and beautiful that the composers should be grateful that it is released here. They should think of this series as a sampler which might atract us, the general public, into further investigation of their work, which we most probably would have never had the chance to hear it or become aware of its existence or of the composers/artists. Don't be so greedy... for I believe you have been done a favor. The same goes for the other volumes of this series. TWO THUMBS UP!

Schumann: Fantasy, Op. 17; Liszt: Transcendental Etudes, Nos. 5,8,10,11,12

Average customer rating:

Powerful yet poetic interpretation
An achievement, though mainly negative
Greatness personified--a Kissin we may never hear again
Liszt is celebrating in his grave...
Fantastic piano

Schumann: Fantasy, Op. 17; Liszt: Transcendental Etudes, Nos. 5,8,10,11,12

Manufacturer: RCA Victor Red Seal
ProductGroup: Music
Binding: Audio CD

Etudes | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

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Chopin: The Four Ballades, Berceuse, Barcarolle, Scherzo No. 4
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Rachmaninoff: Concerto No. 2; Etudes-Tableaux
Evgeny Kissin: Beethoven, Franck, Brahms

ASIN: B000003FY4
Release Date: 1996-03-26

Tracks:

Fantasy, Op. 17 In C Major: Durchaus phantastisch und leidenschaftli
Fantasy, Op. 17 In C Major: Massig: Durchaus energisch
Fantasy, Op. 17 In C Major: Landsam getragen: Durchweg feise zu hatten
Etudes d'execution transcendante: 12. Chasse - neige
Etudes d'execution transcendante: 11. Harmonies du soir
Etudes d'execution transcendante: 5. In F Minor
Etudes d'execution transcendante: 5. Feux follets
Etudes d'execution transcendante: 8. Wilde Jagd

Amazon.com essential recording

These works present severe challenges even to the most accomplished virtuosi, and Kissin comes through with flying colors. He responds to the Schumann, which requires both tenderness and passion, with exquisite sensitivity and power. If Kissin doesn't quite match the excellent versions by Richter, Arrau, and Horowitz, he does convey the ardent passion and volatility of the score. Kissin's Liszt is on a similar level; what it occasionally may lack in moments of tranquility is more than made up for with spontaneity and daring--few pianists before the public today take so many risks and emerge unscathed. Above all, this disc illustrates Kissin's pianistic mastery, his affinity for drama and color, and his sheer delight of engagement with the instrument. An immensely enjoyable disc. --Dan Davis

Customer Reviews:

Powerful yet poetic interpretation.......2007-01-15

A highly recommended recording. I have played Schumann's Fantasy and Liszt's Transcendental etudes, and have listened to numerous recordings, yet Kissin's performance really caught my attention. Dazzling technique with inspiring, refreshing artistry!!! A collection not to miss!!

An achievement, though mainly negative.......2006-10-28

I can see how a person with no musical history in "classical" music would be impressed with Kissin; his technique is flawless and his playing arresting. However, I can find no understanding in how one singles out Claudio Arrau's masterful recording of the entire set of Transcendentals in his seventy-fifth year to attempt to compare with this sophomoric, ritalin-inspired perusal. Indeed, Kissin manages to zip through Feux Follets without bringing out a single musical nuance in the score; his shading is non-existent. Compared with Arrau's version, which actually makes one SMILE while imagining the little devilish will-o'-the-wisps gleefully misguiding their unfortunate victims, there simply is no comparison. Kissin's playing, on the other hand, actually sounds like a parody of itself; as if he were accompanying a 20s-era silent film starring himself running about frantically (and aimlessly) from place to place. While initially awe-inspiring, such playing is without genuine musical insight and thus, exists less to be enjoyed than endured.

Greatness personified--a Kissin we may never hear again.......2006-03-18

"Come back, Shane--I mean, Yvgeny." Apparently the great Kissin has ridden away from his role as the ideal virtuoso, a lion of the keyboard with a poet's touch. Now his recitals are drastic ups and downs--the moments of coarseness and grandstanding outnumber those of finesse and beauty. On this CD from 1996, however, his Schumann is perfection, an example of controlled abandon and inward feeling tied to supreme technique. I can't imagine a better C major Fantasy in the grand manner of Horowitz and Rachmaninov.

Even better are the breathless Liszt Transcendental Etudes. The piano is a supremely egotistical instrument, thanks in large part to Liszt's bombastic heroics. Kissin adds a touch of genuineness to his world-dominating technique. As a result, this is the most satisfying Liszt I've heard since Richter's great days. The Harmonies du soir alone would put Kissin in the pantheon. Indeed, only Richter surpasses him here, and that's only because Richter showed a more idiosyncratic personality, one large enough to overwhelm even Liszt's titanic ego. Will we ever hear Kissin in such form again? Time awaits with the answer.

Liszt is celebrating in his grave..........2006-01-06

Ok lets do a very quick simple excercise - blindfold yourself and think of Arrau as X. Listen to the fifth etude " Feux follets". Then listen to Kissin (Richter and Berezovsky if you wish). You will notice that Kissin plays it about 4 times faster and with more precision (and in my opinion also beautifully though this point is not necessary to get my message across).
Only in the most Orwellian of Orwellian worlds can you call Arrau's performance better than Kissin. The main point of these pieces by Liszt is to show command and virtuousity at the piano (and even an argument as to some type of emotion that Arrau has that is lacking in the Kissin would be real embellishment).
Now don't get me wrong... not all pianists have to have superb techniques. But when it is blatantly obvious that Y pianist has a superior technique to X pianist.... there are a number of implications as far as I am concerned:
1. a pianist with a noticeable lesser technique will most likely never be considered a mega pianist. I am sorry but there are just too many good pianists out there who have a combination of technique and other attributes.
2. Said pianist should avoid pieces such as Chopin and Liszt etudes and pieces that display virtuosity.
3. When running comparisons, in the framework of reviews or talk, discrepancies in technique must be pointed out and illuminated.
No different is done with gymnasts in the Olympics... no matter HOW elegant they are....if they make technical mistakes they lose out from the get go.

The crux of all this is that we have to set a clear standard. The first thing that is imperative for a pianist is:
1. mastering the technique of a piece
2. not making mistakes (wrong notes) within reason.

ONLY AFTER this can we start to delve into the complex world of interpretation, musical intelligence, etc.

Don't get me wrong I am at times dissatisfied with Kissin because of his lack of insight/intelligence/expression (sometimes he is too quick, intense and bangy even when playing the nocturnes for example). I am sorry but the technique in the etudes here are beyond any other rendition that I have heard. Although the Schumann falls short I challenge someone to present a more technically brilliant and explosive rendition of these etudes than Kissin. In addition I would reccommend Richters performance in the famous Sofia Recital. Also Busoni recorded this in the 1920s.

Fantastic piano.......2005-12-28

A fantastic recording. The pieces are difficult to play but by Kissin, he masters it. The CD came this afternoon and I've played it 4 times already.

Music Track: