Rediscovered [Import]

Track Listings

1. Mama Was Right

2. Show Me The Man

3. Organic Love (100% Natural)

4. Sorry Wrong Number

5. Either Side Of The Same Town

6. All I Know Is The Way I Feel

7. Dont Compromise Yourself

8. Dont Need No Monkey On My Back

9. She May Be White (But She Be Funky)

10. Kiss

11. Eternity

12. Get It While You Can

13. Are You Lonely For Me Baby? (Bonus Track)

14. Im A Man (Bonus Track Recorded In 1973)

Editorial Reviews
Product Description
UK edition of 2003 album includes new artwork & features 14 tracks including 2 bonus tracks, 'Are You Lonely For Me Baby?' & 'I'm The Man' (Recorded in 1973). Tate is described as 'the missing link' between Jackie Wilson & Al Green. BMG. 2004.

Rediscovered,Howard Tate,Soul/R & B

Tracks:

S' Wonderful
Our Love Is Here To Stay
Liza
The World Is Mine
They Can't Take That Away From Me
Isn't It A Pity?
Let's Call The Whole Thing Off
Embraceable You
What Causes That?
He Loves And She Loves/How Long Has This Been Going On
They All Laughed
The Girl I Love
Someone To Watch Over Me

Amazon.com

Pure Gershwin was Michael Feinstein's first album, and it remains one of his best. It may not have the production values of his later Gershwin tributes, Nice Work if You Can Get It (1996) and Michael & George (1998), but it simply and directly presents Feinstein in his piano-bar days, singing to his own tasteful accompaniments with occasional contributions from bass and drums and a second piano. Establishing the patterns for his later albums, he sings unjustly neglected verses to familiar songs, uncovers some never-before-recorded gems ("The World Is Mine," "What Causes That"), and provides song-by-song notes. Longtime friend Rosemary Clooney guests on "Isn't It a Pity?" --David Horiuchi

Customer Reviews:

you cant beat an Ira lyric........2007-01-05

this is good...and just to hear a REALLY GREAT "Isn't A Pity" duet with Rosie is well worth the price of admission. I REPEAT: just to hear a REALLY GREAT "Isn't A Pity" duet with Rosie is well worth the price of admission. listen & enjoy some great american music. you cant beat an Ira lyric.

A Wonderful CD.......2005-05-19

PURE GERSHWIN is just that, pure!. Feinstein interprets Gershwin the way it was meant to be performed. This is pure delight!

Quiet and elegant.......2003-04-20

Michael Feinstein's thin voice is compensated by his apparent enthusiasm for the material and a spare arrangement of piano, bass, and drum that gives this recording the ambiance of an intimate piano bar. Before hearing this disc, I knew only Gershwin's biggest hits, so many of the numbers here were new to me and increase my appreciation of that great American composer.

Disappointed.......2003-04-10

I bought this cd because I am a huge Gershwin enthusiast and am always on the lookout for versions of one of my favorite pieces, "Liza". I'd heard a lot of buzz about Feinstein and the supposed wonderfulness of his Gershwin interpretations, so I thought I would give this album a shot.

I was extremely disappointed. Feinstein seems to suck the life out of Gershwin's compositions, a feat I would have previously thought impossible. Though I concede that vocalists are free to reinterpret songs (many to a great success, as in Louis Armstrong's and Ella Fitzgerals's enjoyable versions of Gershwin), I think Feinstein's lazy tempos "loungy" voice make the tracks on this album boring and annoying.

I have loved to listen to and sing these songs my entire life. I just wanted to warn listeners who perhaps, like myself, enjoy George Gershwin's music for its beautiful clarity and energy (as easily experienced through Gershwin's own recordings, early interpretations by artists such as the Astaires, and even recent broadway "Crazy For You") that they will not experience any feeling of the sort from Michael Feinstein.

Amidst all the gushing that has recently been done over him, I found Michael Feinstein to have attempted to murder "Liza" and the other songs on this album. He merely displays a very unexceptional voice and poor interpretive taste. Fans beware, Feinstein proves that it is possible to make a bad cd of Gershwin songs. I'd recommend listening elsewhere.

they can't take that album away from me.......2002-05-09

they say the third time's a charm, but in this instance, it is the first time -- michael feinstein's first gershwin album -- that is the charm. this album is by far better and more listenable than the next two -- "feinstein sings gershwin" and "nice work if you can get it".

the listenability of this album may stem from the fact that it is a bare-bones arrangement, with two pianos, a bass and drums, a la a jazz trio, with no embellishment, so michael feinstein's then sincere and unsophisticated voice is the featured instrument.

i heartily recommend this album, as every song on it is a gem and feinstein's voice is more appealing than on the two later albums, when he jazzed it up with what sounds like an echo chamber and other electronic enhancements and he seems to be doing the songs by the numbers.

feinstein's version of "liza," slowed down to ballad form and plaintively phrased, is the best i have ever heard. the duet with rosemary clooney on "isn't it a pity," again brings out the best of feinstein's then-new voice and shows why george's (clooney) aunt is rightfully considered a jazz legend.

the combined "he loves and she loves/how long has this been going on" is another melodic/poignant highlight, while the album's finale, "someone to watch over me," is a stirring anthem to wanting and needing someone and is done with vocal and instrumental passion; it brings this collection of songs to a fitting crescendo.

for a lawyer's kid from columbus, ohio who started out cataloguing gershwin estate material for the reclusive ira and then began singing the songs for family and friends, michael feinstein has done all right for himself. he has become the recognized interpreter of the gershwin legacy, sort of the same way his pseudo-cousin, john, jr. feinstein, has become the recognized interpreter of the bob knight legacy... .

michael feinstein may have hit a home run his first time up with this album, and it may be his best, as it is the purest and most joyful celebration of gershwin tunes, while the others are fancier, more jazzed up and ponderous and less appealing.

Tracks:

Applause
Adelaide, Op. 46
Frulingsglaube, D686 (Op. 2 No. 2)
Die Forelle, D 550
Standchen, D957/Op. Posth. No. 4
Die Bose Farbe, D795/Op. 25 No. 17
Traum Durch Die Dammerung, Op. 29 No. 1
Cacilie, Op. 27 No. 2
Standchen, Op. 106 No. 1
Il Mio Tesoro
Amor Ti Vieta
Flower Song (From 'La Fleur Que Tu M'Avais Jetee')
Encore: The Dream 'Instant charmant; En Fermant Les Yeux'
The Swan, Op. 25 No. 2
The Dream, Op. 48 No. 6
Diamond On The March Snow, Op. 36 No. 6
Rushes, Whisper, Op. 36 No. 4
Black Roses, Op. 36 No. 1
Enocre: Visions
Addo Alla Madre
Encore: Ideale
E Lucevan Le Stelle
Encore: L'Alba Separa Della Luce Ombra
Encore: Jeanie With The Light Brown Hair
Encore: 'Come Un Bel Di Di Maggio'
Encore: 'Che Gelida Manina'

Amazon.com

Before there were the Three Tenors there was Jussi Björling, the great Swedish tenor who died in 1960 at the age of 49. His bright, sunny tone had a slight, emotion-laden tear in it that conveyed feeling as well as, or more than, any number of sobs and effects that other tenors use. His Carnegie Hall recital of September 24, 1955 has long been available; in addition, this CD features nine never-before released selections from that recital which either did not fit on the original LP or were omitted for some other reason. He can sing at any dynamic level, the voice is always secure, and his taste and musicianship, as always, are impeccable. I doubt we'll ever hear Tosti's Ideale sung more tenderly or "Che gelida manina" sung with such poetic abandon; the newly discovered Grieg, Sibelius, and Sjoberg songs are sung with an opera singer's--rather than a Lieder singer's--style, but it's doubtful anyone will complain. Björling fans should race to hear this; for those who came to opera after his heyday (or during the reign of other tenors), this will be a stunning ear-opener. A must have. --Robert Levine

Customer Reviews:

Magnificent.......2005-09-02

Some years ago I met an elderly gentleman who'd served as a co-pilot on a B-24 bomber during WWII. During a raid on a North German site their aircraft was badly damaged and they were forced to crash-land it in Sweden. The shaken but uninjured crew was picked up by the Swedish authorities and immediately interred (Sweden being a neutral country). They were sent to a dreadful and notorious Swedish internment camp--the largest and lushest hotel in Stockholm--and given something of an expense account. It just happened to be the same hotel where Jussi Bjorling had his digs.

Through a variety of happenings, the vet ended up befriending Bjorling, who he described to me as "one hell of a nice guy" and they became drinking buddies. He and his fellow aviators had front row seats at any and all recitals and apparently became society figures in cultured Stockholm. To my wonder and astonishment, this old Regular Joe fellow, no opera fan before Sweden, told me he was the guy who taught Jussi Bjorling the song "Pistol Packin' Mama." Now wouldn't we all pay good money to have heard him sing that!!

There's nothing more terrific than a great voice attached to a great guy who'd sit and drink with downed aviators and happily learn their favorite pop songs. This disc of music is as wonderful as the guy who recorded it.

"Bjorling".......2005-01-05

In a word - superb. This brings to mind the review of Bjorling's RCA LP "Bjorling in Opera" by Stereo Review's critic George Jellinek, shortly after it's release in 1959, which he ended by saying "highly recommended, especially for other tenors".

Frederick's Understatement........2004-12-22

It was 50 years ago that I met and fell in love with
the accompanist at the voice studio where I studied
for love of singing (i.e., mine was a modest voice).
She in turn introduced me to some of the great singers
then active, or who came through, Chicago. And also, her
own teachers and colleagues, including Dr. Rudolf Ganz and
Frederick Schauwecker. One day, when the topic of melody
came up, Dr Ganz suggested that all piano students should
hear Jussi Bjoerling deliver legato melody. And when Lynn
asked Mr. Shauwecker, who little praised anyone, even a client,
how Jussi did on the trip they were just back from, she was
astonished to hear him grudgingly admit that "Jussi is singing
like an angel. It can't possibly continue at such a level, even
for him." It didn't. As we found out a couple of weeks later
when we heard this recital live, it didn't "continue", it got
better. At the time I found it the greatest listening experience
of my life. Today, 50 years later, it still is. Whatever vocal
records you have by anyone, this is better. There are no equals.
"Like an angel" is one of Frederick's understatements.

Remastering is not perfect.......2004-07-20

This CD is a recording of one Carnegie Hall recital on September 24, 1955. Many composers are represented, including Beethoven, Mozart, Bizet, Grieg and Sibelius to name a few. There is even a Stephen Foster - Jeannie with the Light Brown Hair. The accompanying literature has all the lyrics.

Jussi Bjorling is obvious a tenor in top form, but this recording forty years later omits the higher overtones of his voice. Nevertheless, this is a recording of the highest caliber that does justice to this talented man who died too young.

THE ultimate singing voice.......2004-05-22

This live concert cd contains some of the most fantastic singing ever by a human being and that goes both for the lyric and the dramatic repertoire. Why RCA have denied us this fabulous sound for all these years really beats me. I have long cherished Bjoerlings Troubadour recording with RCA, but compared to the Bjoerling sound on this cd, his Manrico sounds like a light Wiener Sänger. The sound on this cd is simply the most ravishing sound I have ever heard.

Average customer rating:

Disappointing
Get It While You Can!
Saw him live first, CD 2nd, still impressed
By the way...
Voices like this are made in heaven.

Rediscovered
Howard Tate
Manufacturer: Private Music
ProductGroup: Music
Binding: Audio CD

General | R&B | Styles | Music

General | Soul | R&B | Styles | Music

Southern Soul | Soul | R&B | Styles | Music
Similar Items:

Howard Tate's Reaction
Howard Tate
Live
A Portrait Of Howard
A Man Needs a Woman

ASIN: B00009PY0J
Release Date: 2003-07-01

Tracks:

Mama Was Right
Show Me The Man
Organic Love (100% Natural)
Sorry Wrong Number
Either Side Of The Same Town
All I Know Is The Way I Feel
Don't Compromise Yourself
Don't Need No Monkey On My Back
She May Be White (But She Be Funky)
Kiss
Eternity
Get It While You Can

Amazon.com

Pop music has a virtual anti-pantheon of artists foiled by drugs, tragedy, and cruel fortunes. Indeed cult R&B star Howard Tate seems to have hit some sort of fateful trifecta in the mid-'70s, not only cutting short a promising career but leading to one of the most puzzling "whatever happened to?" stories in pop music. While Tate's vibrant 1960's hits lived on in covers by everyone from Janis Joplin ("Get It While You Can") and Jimi Hendrix ("Stop") to B.B. King ("Ain't Nobody Home"), the Philadelphia native abandoned the music business, sold securities, and wrestled with addiction until a mid-'90s religious experience led to his founding/pastoring a local church--and eventually to a fateful reunion with producer/writer Jerry Ragovoy, the original partner in Tate's abandoned musical legacy. Ragovoy calls Tate "the missing link between Jackie Wilson and Al Green," and the veteran team wastes no time showing it here, whether lighting up the bluesy "Mama Was Right" and "Sorry, Wrong Number" with a sinewy tenor that's miraculously persevered decades of neglect, bringing gospel fervor to the Elvis Costello co-written "Either Side of the Same Time" and "Get It While You Can," or playfully bobbing `n' weaving with the Uptown Horns on "She May Be White (But She Be Funky)." The album's classic Philly soul sound may break little new ground, but just hearing Howard Tate's taut, emotion-packed voice dart and soar like it's 1968 again is more than enough recommendation. --Jerry McCulley

Customer Reviews:

Disappointing.......2004-02-06

This is not Howard Tate at his best. The songs are average, the arrangements average...his voice is as strong as ever; nonetheless, pedestrian outing. Everything else in his catalogue is a better starting point for the uninitiated.

Get It While You Can!.......2003-11-07

I notice that his first album is going here starting at $199. Man, I bought that one once in a cut-out bin for 99 cents! Anyway, the best song on it is Get It While You Can, which is also on this one. So do.

Saw him live first, CD 2nd, still impressed.......2003-07-23

I first heard of Howard Tate only two weeks ago on the set of the Late Show with David Letterman, where he was the musical guest and I was an audience member. After being very taken by his "Get It While You Can," I went out to buy the new album. Every song captures the emotion and drive that makes people turn their heads and grin, a quality that today's 'cardboard music' is missing. I strongly reccommend this CD to anyone with an ear for talent.

By the way..........2003-07-13

..when I said "missing in action" in my last review, I meant missing in action in the music world, not a war or anything. Anyway, I'm glad he's back and this is one CD well worth having.

Voices like this are made in heaven........2003-07-13

I didn't know much about Howard Tate until a friend of mine who's very knowledgeable about all kinds of music told me about him a year or so ago, and I found out that this guy had been missing in action for many, many years. People thought he was dead, but thank goodness he wasn't dead, and what a resurrection he's made! With a voice that can open up the skies and a soulfulness that can bring you to your knees, this album is nothing short of blues perfection and all I can say is "Welcome back, Mr. Tate. You've been gone much too long."

Average customer rating:

Bloody amazing

Perlman Rediscovered

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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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Heifetz Rediscovered (Dlx)
Vieuxtemps: Violin Concertos Nos. 5, 6 & 7
Horowitz Rediscovered
Itzhak Perlman's Greatest Hits
Paganini: 24 Caprices

ASIN: B0002JUWZC
Release Date: 2004-08-10

Tracks:

No.1 In E
No.16 In G Minor
No.24 In A Minor
Berceuse Sfaradite
Navarra, Op.33
Adagio
Allegro
Adagio
Allegro
Frisch
Im Zeitmass Eines Langsamen, Feierlichen Tanzes
Adagio Molto Moderato
Allegro
Sarabande: Largo
Tambourin: Allegro Vivace
Nigun (Baal Shem No.2)
Spanish Dance No.1
La Ronde Des Lutins, Op.25

Amazon.com

While mining its archives, RCA has hit paydirt with this one: a full-length LP recital by Itzhak Perlman recorded in 1965 and--except for one item--never before released. Someone at RCA had decided that this wasn't the right program for the label to introduce a new violinist, and then, apparently, it just got forgotten. Well, it's a swell program with a fine variety of music, nearly all of it well played. The exception might be the opening set of three Paganini Caprices, which are too well played; Perlman rattles them off like machine-gun fire, without the expression he would eventually bring to the music. Both Baroque sonatas sound stylish, and the violinist even tosses in a bit of appropriate embellishment, highly unusual for the mid-sixties! The Hindemith Sonata, quite easy on the ears, is a particularly good feature for the excellent pianist David Garvey. Other highlights include the impassioned Bloch and the dazzling Bazzini, an incredible high-wire act to rival the famous Heifetz acoustic. Highly recommended to fans of the violinist and of virtuosity in general. The analog sound holds up very well. --Leslie Gerber

Customer Reviews:

Bloody amazing.......2004-10-29

I agree with the staff reviewer - technique superb, but lacking a bit of the soul he would find later. Still, a great find, and
an invaluable addition to this sterling musician's voluminous
discography.

Average customer rating:

John is my friend
This is the blues
A Great Talent

Rediscovered
Mississippi John Hurt
Manufacturer: Vanguard Records
ProductGroup: Music
Binding: Audio CD

General | Blues | Styles | Music

Traditional Blues | Blues | Styles | Music

Acoustic Blues | Blues | Styles | Music

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Avalon Blues : Complete 1928 Okeh Recordings
Last Sessions
The Complete Studio Recordings Mississippi John Hurt
Live
D.C. Blues: Library of Congress Recordings

ASIN: B000009NLR
Release Date: 1998-08-11

Tracks:

Coffee Blues
I'm Satisfied
Make Me A Pallet On Your Floor
Monday Morning Blues
Since I've Laid My Burden Down
Stocktime (Buck Dance)
Hot Time In The Old Town Tonight
Richland Women Blues
Keep On Knocking
Stagolee
Hop Joint
Funky Butt
It Ain't Nobody's Business
Salty Dog Blues
Candy Man
You Are My Sunshine
I've Got The Blues And I Can't Be Satisfied
Nearer My God To Thee
Shortnin' Bread
Avalon, My Home Town
First Shot Missed Him
Let The Mermaids Flirt With Me
Talking Casey
Goodnight Irene

Amazon.com

John Hurt's playful country blues was first heard in the late 1920s, when he recorded a handful of poorly selling sides for Okeh Records. It wasn't until his rediscovery during the 1960s folk revival that his remarkable talent was fully appreciated. Hurt's rediscovery only lasted a few years--he died in 1966--but his legacy, preserved on several albums recorded for Vanguard during that period, is indeed daunting. Hurt's intricate fingerpicking style--evidenced here on popular pieces like "Make Me a Pallet on Your Floor," "Richland Women Blues," "Salty Dog Blues," and "Candy Man"--went on to influence a generation of urban folk and blues artists. His music remains a sweet reminder of the pre-depression-era ragtime blues of which he was a humble and subtle master. --Billy Altman

Customer Reviews:

John is my friend.......2001-12-03

This is my favorite feel-good sing-along album. There is not a bad vibe in this guy's being, as far as I can tell. The songs are all great, John's voice is warm and rounded, his guitar picking is a treat, it's just goodness all around and I dig it. There's nobody else out there like this (if there is, please let me know!).

This is the blues.......2001-04-04

Mississippi John Hurt is raw blues. Only he and his guitar star in most of the songs on Rediscovered and the two of them make for an incredible listening experience. Each song has meat to it-- stories that will hold your attention, make you smile and make you relax. Put this CD on, grab some iced tea, go out on the porch with a book and take it easy.

A Great Talent.......2000-05-31

John Hurt is the only musician I know of who can, on one guitar, simultaneously play a bassline, chords, and a melody, and sing at the same time! You may think the best guitar player is Jimi Hendrix or Stevie Ray Vaughan, but I disagree. They were fast, but Hurt is a true guitar master. "Coffee Blues," "Pallet on Your Floor," "Monday Morning Blues," and "StaggoLee" are fantastic songs, great for summer driving and to sing along with.

Average customer rating:

The Rediscovery?
AMAZING
Rediscovering Leontyne Price
Masterful Recital Performance From Price at Her Peak
Love Leontyne But Stick To The Studio Gems.

Rediscovered (Dig)
Leontyne Price
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

General | Opera & Vocal | Styles | Music

General | Classical | Styles | Music

Opera & Vocal | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
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ASIN: B00006HCUX
Release Date: 2002-09-10

Tracks:

Applause
Care selve
Bel piacere
Avanti al tuo cospetto; Piangero la sorte mia
He, Zigeuner, greife
Hochgeturmte Rimaflut
Wisst ihr, wann mein Kindchen
Lieber Gott, du weisst
Brauner Bursche f - hrt zum Tanze
Roslein dreie in der Reihe
Kommt dir manchmal in den Sinn
Rote Abendwolken ziehn am Firmament
mamma morta
Tu vois le feu du soir
Main dominee par le coeur
C'est ainsi que tu es, Paganini
Je nommerai ton front
Nocturne, Op. 13 No. 4
The Daisies, Op. 2 No. 1
Sleep Now, Op. 10 No. 2
Winter Song
In the Wand of the Wind
His Name So Sweet
My Soul's Been Anchored in the Lord
Lord, I Just Can't Keep from Cryin'
He's Got the Whole World in His Hands
Chi il bel sogno di Doretta
Summertime
Ecco: respiro appena; Io son l'umile ancella
Vissi d'arte

Customer Reviews:

The Rediscovery?.......2007-05-17

Few sopranos in their prime have consistently
balanced vocal beauty and power as well as Price did.
I'm sure her smooth legatos were the envy of
her contemporaries, and those since. However,
I do not think this album is the best recording
of her live recitals.

Vocally, Price is in great form. I have no
complaints with the voice. My issue is with the
performance as a total package, in it's entirety.
The ambiance and general "feel" of this recording
is odd. To me, it sounds like Price was coaxed into
entertaining a groups of friends after a high society
dinner party; It's as if someone had suggested after dinner,
"Leontyne, why don't you regale us with a few classical
arias?"

Truthfully, this sounds like a completely impromptu performance.
The pianist is on autopilot, banging through each aria
in a fevered, sometimes overbearing bravura. Price
displays excellent musicianship by adjusting to
the volume and varying tempos without compromising
superb artistry. At times, it appears that Price and the
pianist are battling for artistic control. The
audience is obviously in love with her, as well they
should be. They are not reserved in their thunderous
applause and whistles. I personally prefer to hear Price
backed by full orchestra. The rendition of Spirituals
are well sung and sound more appropriate with the piano accompaniment.
"Vissi d'Arte" is regal and elegant, in grand fashion.
"Chi il bel sogno" from La Rondine is a richly
legato master work.

While Leontyne Price's vocal performance on this album is
top-notched, I would only recommend this "rediscovered" performance
as a collection keepsake. For some reason, I can't part
from the feeling that perhaps this recording was never
meant to be released. It's not bad, but by no means is it
definitive of Leontyne Price's remarkable contributions
as an operatic legend.

AMAZING.......2007-02-13

Leontyne Price. Do I need to say anything more. That astoundingly wonderful voice, tremendous dramatic range --- earthy, angelic, strong, tough, tender, playful, loving --- a performer that never grows stale, always fresh and new.

Rediscovering Leontyne Price.......2005-07-28

This magnificent recording is a collection of rare and beautiful arias sung by the gifted lyric-dramatic soprano Leontyne Price, the very first successful black opera diva, who reigned supreme in the 60's and 70's. While there are many full-length operas starring Price, this compilation album is quite refreshing because it's new and lovingly remastered from the original tapes/LPs. Among the arias are Bel Piacere- a Handel piece full of gorgeous ornamentation, Care Salve from Falla's Atlantida, very beautiful and majestic. Other songs include Summertime from Porgy and Bess and songs by Samuel Barber. Leontyne Price had versatility. While she was famous for her Aida, Leonora in Trovatore, Leonora in Forza Del Destino, as Tosca, and as many of the dramatic Verdi and Puccini roles, she sung roles that were modern and thrilling- Cleopatra in Antony and Cleopatra was one. She sang Lieder, she sang Gospel, she was a one-woman opera. This recording is a fitting tribute to her artistry. However there are many other fine compilation albums out there that far surpass even this new one - the best is The Prima Donna Collection, Leontyne Price in Concert, An Evening With Leontyne Price, The Best of Leontyne Price and The Ultimate Leontyne Price.

Masterful Recital Performance From Price at Her Peak.......2005-01-21

World-renowned soprano Leontyne Price can be an intimidating presence on any stage but not on this live concert recording. She lends a warm, lovely presence and of course, her unparalleled voice, to this eclectic program, which amazingly at the age of 38, represented her Carnegie Hall recital debut in 1965. It's hard to imagine her sounding any better than this at any point in her career, and just as importantly, the program reflects her heightened awareness of what serves her powerful voice best. It's a wonderful record of an obviously triumphant evening, and in what must be one of the recording industry's most monumental oversights, it languished in the RCA vault for thirty-seven years.

Price starts with three opera arias from Handel, all very clean in delivery and one especially noteworthy, "Piangerò la sorte mia" from "Giulio Cesare in Egritto". She is simultaneously opulent and regal while displaying a strong sense of pathos as Cleopatra contemplates her fate. The ten-minute Brahms "Zigeunerlieder, Op. 103" is stunning for the freshness she provides with her flexible quicksilver tones, all delivered in her very expressive German. The four Poulenc selections are delivered in a such a delicate manner that it can only be described as buttery, and as such, perfect for the Gallic verses. And her big opera moment comes with Giordano's "La mamma morta" from "Andrea Cénier" sung with her requisite passion. Regardless though, Price really soars with the American selections where her voice takes on an added dimension of humanity. She begins this portion with three stellar selections from Samuel Barber, all shimmering showcases for her voice: the haunting "Nocturne, Op. 13 No. 4", the light and airy "The Daisies, Op. 2 No. 1" and the near spiritual "Sleep Now, Op. 10 No. 2". These segue seamlessly into two lush pieces by the relatively unknown Lee Hoiby, who wrote specifically for Price. For me personally, the high points of the entire recording are the four spirituals, which she sings with an unearthly combination of roof-raising conviction and clarion tones. She concludes with classic arias from Puccini and Cilea and of course, her definitive version of George Gershwin's "Summertime". This is as fulfilling a recital as you could possibly hear from this wondrous singer. Essential listening.

Love Leontyne But Stick To The Studio Gems........2004-03-04

I have been an admirer of the great Price since I was a boy of 10 after discovering her tremendous recoding of "Carmen" with the greats Corelli, Freni, and von Karajan. In my humble opinion, the greatest period of her voice was the 50's-60's, where her incredible force and power were nicely balanced with a lyric openness and clarity. This live recording stems from that most golden period, before the more unattractive Price qualities came into play in the early-mid 70's - a major tendency to scoop and slide, a lack of crisp enunciation, and a cloudy timbre. Be that as it may, I was disappointed with this performance on a whole. Simply put, with the exception of the Spirituals, I find Ms. Price's performance uncommitted and almost like she is rushing through from one number to the next. This might be the "fault" of her accompanist, David Garvey. In every instance where a duplicate version exists in a studio recording by Ms. Price, I wholeheartedly prefer those over these live ones. Usually artists are even more committed and intense when performing before the public. I simply do not find that intensity here. My advice - stick to the great studio recordings or, at least, different live recordings, of which I know exist but have not as of yet purchased.

Average customer rating:

Jorge Bolet--Genius
Liszt in the grand manner
Just fantastic
One of the Best Liszt CDs out there
Bolet and Liszt

Bolet Rediscovered: Liszt Recital

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Galops | Ballets & Dances | Classical | Styles | Music

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ASIN: B00005AQ2F
Release Date: 2001-04-03

Tracks:

Liebestraum No.3
Gnomenreigen
Un Sospiro
Funerailles
La Campanella
Waldesrauschen
Grand Galop Chromatique
Rhapsodie Espagnole
Tannhauser Overture

Amazon.com

It shouldn't take more than a few seconds into the first track, the Liebesträum No. 3, for this disc to hook you. It exhibits masterly playing of the sort we rarely hear these days or even from Bolet's later recordings for Decca/London, when his playing was stolid and inhibited. But this Liebesträum is awash in poetic lyricism of the first order, with marvelous legato playing.

Bolet links every note seamlessly to the next, like a string of beads, an effect reinforced by a pearly, limpid tone. Bolet always refused to subordinate his lyric gifts to mere technical facility, so even pieces other virtuosos turn into barn-burners, like Funérailes and Rhapsodie espagnole, are more measured here, with each note given its full value and the flashier aspects present but secondary to the total picture. The final track, Liszt's dazzling piano arrangement of Wagner's Tannhäuser Overture, is breathtaking, not only because of Bolet's supreme mastery of this devilishly difficult piece, but also because it was recorded in one impromptu take after a formal recording session was over.

The entire contents of this disc, recorded in 1972 and 1973, were buried in RCA's vaults and never released until now. Their discovery and release are something to be grateful for, since they burnish Bolet's posthumous reputation and give enormous pleasure. --Dan Davis

Customer Reviews:

Jorge Bolet--Genius.......2006-07-06

I was amused by the harsh review by "The Music Fan." I knew Jorge Bolet. Jorge Bolet was a friend of mine. The Music Fan, you are NO Jorge Bolet.

Liszt in the grand manner .......2005-03-23

Jorge Bolet's repertoire was limited - roughly, Beethoven through Liszt, plus some Rachmaninov and Prokofiev; hardly any Bach (except for the Bach-Busoni Chaconne) or Mozart, no moderns - but within that range he was one of 20th century's greatest pianists. It's a real shame that his stature among the classical music-loving crowd is not up to his immense gifts. Here is a pianist who had it all: the technique of a Lazar Berman, the unfaltering good taste of an Artur Rubinstein and the portentous yet suave sonority of an Emil Gilels. And these qualities show wonderfully in this CD. Bolet was, in his time, one of the world's greatest Liszt players, and this release catches him at his best. A not-to-be-missed disc.

Just fantastic.......2004-07-10

The producer of this recording tells in the booklet notes that Jorge Bolet was at his absolute peak during these sessions - more than in his later London recordings which he calls stolid. I personally wouldn't be so negative about Bolet's later efforts, but on this disc from 1972-3 he certainly is in absolute top form. Here is one Liszt disc you'll want to listen to over and over because of its amazing richness in piano playing and the full exposure of Liszt's sound world. Bolet is a master of Romanticism and has an amazing feel for playing this type of music, Liszt in particular, `right'. He possesses a pearl-like tone that makes his legatos sound otherworldly, and has a thunderous strength as well - sometimes he can even be rough. But generally his playing shows a certain decent restraint that makes sure it doesn't become vulgar. Bolet's technique too was stellar, but at moments his fingers can be somewhat stiff and uncomfortable. His pros and cons and temperament do not completely suit a few included pieces, making them somewhat unsatisfactory. Other tracks however, are revelatory. I can only wonder how RCA managed to keep this disc abandoned for so long.

Bolet performs a Liebestraum that borders to the miraculous; I've seldom heard anyone play the piano with such an enchanting eloquence. Un Sospiro is also wonderful, although it doesn't touch the same extreme heights; it sounds as if he does not feel the same Dionysian inspiration as in the Liebestraum. La Campanella, another Liszt favorite, sparkles beautifully with a roaring climax - but it is obvious that Bolet's fingers are not really well-suited to this featherweight playing. The Gnomenreigen etude is too stiff and lacks contrast - but then, I don't give a damn about this piece (we could also have done without that nonsensical chromatic Galop and the Spanish rhapsody; where is Vallée d'Obermann anyway?).

Then we come to the two really great compositions on the disc (and, together with the Liebestraum, the main reason to get it immediately) namely Funérailles and the Tannhäuser Ouverture. Both are dazzling performances; without one hint of self-consciousness or sentimentality Bolet casts a thrilling spell over Funérailles. He handles the gripping sphere of the piece perfectly without sacrificing musicality to showmanship: the octave sections are certainly overwhelming (listen to this with speakers full on; you don't know what you're hearing!), but Bolet always applies that aforementioned restraint to keep things in proportion. Finally, there's the Tannhäuser Ouverture which is fantastic all the way through - as the booklet notes rightly remark, he starts decently and slowly but builds the intensity to a hair-rising pace in the last minutes. It gives me nothing but great joy to listen to such splendid piano playing, and I can forgive Bolet for his regularly overcharged fortissimos. Altogether, great cd and fantastic piano playing even though some tracks are less good (and certainly some pieces of choice). It settles Jorge Bolet among the greatest pianists of the 20th century.

One of the Best Liszt CDs out there.......2003-04-25

I was not a big Liszt fan, to me, Liszt always seemed too bombastic, and sometimes it seemed too void of any artistic quality in its music. Often, I find my peers working on vitrousic pieces of Liszt while I typically go for Chopin, Schubert or the other Romnatics.

Well this CD has proven me wrong! Wow! I remember first listening to this CD in a library while studying for some stupid AP exam (chemistry ) and 5 seconds into the first piece (Liebestraum Nr. 3) I was hooked and could NOT pay attendtion to the stupid book anymore. I sat there and listened all the way to the 5th track motionlessly before returning to read about acids and bases, and even so I was routinely interrupted by the beautiful music. In fact now days I listen to the CD EVERYDAY, especially the Tannhauser Overature at the very end.

Bolet plays beautifully. From the first Liebestraum Nr. 3, he gives us true meaning of the word "Libebestraum" (or "Dreams of Love" translated) with a very gentle touch but is nevertheless full of "passionato" and "expressivo". The second track (Gnomenreigen), the 7th (Grand Galop chromtaique) and especially the 5th (La campanella) are all "cute" pieces that are great for encores. Un sospiro (track 3) is probably my favourite: it has the qualities of a cantabile but is infused with a passion that is rarely expressed by other pianists. Bolet's techique is flawless and the meleody sings with a rare beauty.

Now onto the centerpiece of the CD, the Tannhauser. Legend has it that this was such a diffcult piece that even Liszt himself when performing had to stop in the middle to rest. It is littered with octives, double octives, diffcult chords and plenty of fast and trill like passages. For Mr. Bolet, he decided to record this in an impromptu after a day of recording. When listened to, it is definitely hair-raising (and he definitely did not stop in the middle either!). The sheer power archieved by Mr. Bolet is overwhelming, but he is never too rash and uncareful. The piece ends magnificantly, leaving with you with a definite "wow".

Overall, this is probably one of the best Liszt CDs and piano CDs out there. Bolet is genius, and here pianoism and Liszt is at its finest.

Bolet and Liszt.......2003-04-02

First of all, it is impossible to describe in words what you hear in music. The more profound the interpretation, the less likely you can explain it in words, but this is my attempt.

Although Bolet released several CDs of Liszt music; most prominently the double CD on Decca in the mid 1980's, I believe this one to be his finest. I am currently an undergraduate piano student, and I have become inspired to play the music of Liszt through hearing great pianists such as Bolet. I am currently playing and learning the Spanish Rhapsody, Tannhauser Overture, Liebestraum No. 3, and Un Sospiro; all of which are featured on this album.

The recordings on this CD are approximately ten years earlier than the one released on the Decca label, the mid 1970's. I believe that Bolet was technically as well as musically in his prime during this period of his life. This assessment is based on a comparison of his recordings from the 1970's vs. the 1980's, as well as the testimony of my longtime piano teacher, who while completing his graduate studies at Juilliard had an opportunity to see Bolet perform at Carnegie Hall in the mid 1970's, although this performance does not correspond with the one released on the "Great Pianists of the 20th Century".

The Un Sospiro recording on this album is one of the best. With Bolet as well as other great pianists, technical proficiency is not an issue in his playing. Looking at strictly the musical aspects, his interpretation of this piece is great. It has an overall mood of melancholy, more than anything, which I think is particularly evident in the closing measures of the piece.

The Spanish Rhapsody and Tannhauser Overture are two unfortunately neglected pieces among the piano literature. Any admirer of the Romantic composers in general and Liszt in particular will agree. I will say with confidence that Bolet's performance of both of these pieces are unparalleled in the modern era of piano playing. If anyone knows of a better performance of either of these pieces (in my opinion not Claudio Arrau or Leslie Howard) then let me know. Bolet's performance of the Tannhauser on this CD as well as on his live recording at Carnegie Hall are both superb, and should be heard by every Liszt enthusiast.

Tracks:

Applause
Sonata No. 3 In F Minor, Op. 14 'Concert Sans Orchestre'
Allegro Brillante
Scherzo: Molto Commodo
Quasi Variazioni: Andantino De Clara Wieck
Prestissimo Possible

Tracks:

Applause
Prelude In G, Op. 32 No. 5
Etude-Tableau In E-Flat Minor, Op. 39 No. 5
Valse Oubliee No. 1 In F-Sharp
Au Bord D'une Source (Annees De Pelerinage, 1er Annee, Suisse, No. 4)
Waltz In A Minor, Op. 34 No. 2
Scherzo No. 1 In B Minor, Op. 20
Serenade To A Doll (Children's Corner)
traumerei/Reverie (Kinderscenen, Op. 15 No. 7
Etincelles (Morceaux Caracteristiques, Op. 36 No. 6
Etude-Tableau In D, Op. 39 No. 9

Amazon.com

When Vladimir Horowitz was still alive, he insisted that his live performance recordings be corrected with retakes whenever he was dissatisfied with artistic or technical matters. This posthumous release is apparently the first major label publication of an unedited Horowitz recital. Listeners who never heard Horowitz in concert, or who haven't heard any of the bootleg releases of his live performances, may be surprised to hear "The Pianist of the Century" actually hitting wrong notes and having out of control moments, just like a real live human being. But this complete recital, recorded in Carnegie Hall on November 16, 1975, presents a more honest and, in some ways, more affecting portrait of Horowitz than his more heavily edited recordings. The Etude-Tableau Op. 39, No. 5 may be a little messy, and Horowitz's way with the Chopin Scherzo is rather heavy-handed and sometimes veers off the track. But the Schumann works (often one of Horowitz's best composers) are quite splendid, well worth the reasonable cost of the set in themselves, and the encores all sparkle. The professional-quality recording has been expertly remastered. This may not be Horowitz's "best" recording, but it may be the truest representation of his playing. --Leslie Gerber

Customer Reviews:

Horowitz is Horowitz.......2004-01-26

This concert is certainly a mixed bag filled with the gorgeous sounds only Horowitz can draw out of his piano, the exaggerated rhythmic variances that always skirt the line of good taste (usually managing to stay on the positive side), and the incredible daring this man would risk in front of a Carnagie Hall audience! In the end, although I might at times feel annoyance with what he is doing, I always feel deeply satisfied and pleased, and simply happy. Perhaps that has to do with the fact that Horowitz is always engaging, and one sits and listens attentively to what sonic information he will come up with next. Beautifully recorded... and what a Chopin's B Minor Scherzo!!!! Nobody but Horowitz ever reached THAT level!

He does what he does!.......2003-12-27

While listening to this recital I kept thinking of a comment a friend made after attending a Horowitz recital (possibly this very one). I called him and naively asked if it was a good recital. He informed me that Horowitz's playing has nothing whatever to do with good or bad. He is just Horowitz. He does what he does. If you don't like it, don't go!
That's pretty much the way I feel about this recital. There's certainly plenty to grumble about. The Blumenstuck is anything but semplice, and the last movement of the Schumann sonata seems to entirely confuse Horowitz, as he throws in everything but the kitchen sink in an unsuccessful attempt to make sense of it. (For a far more coherent rendition, try Pollini's stunning performance on DGG.) "Traumerie" is also pulled to pieces with all sorts of phony inner voices and changes of tempo. Worst of all is the poor Chopin Waltz, where Horowitz's tendency to set off little "bombs" in the left hand combines with endless fussing around with tempo and phrasing to produce a terminally annoying performance.
So why the five stars? Because ultimately none of the above matters much. This is still Horowitz in hs late prime, complete, unedited, and quite well-recorded. The Rachmaninoff and Liszt works are superb, as are the Debussy and Moszkowski and the first three movements of the sonata. Love him or hate him, it's HOROWITZ LIVE this very night in your living room. Be there!

some spectacular stuff.......2003-10-03

the entire first CD is works by Schumann which are played well,

but the reason to get this CD is for the terrifying version of the b-minor scherzo of Chopin, absolutely awesome!
and the a-minor waltz is beautiful.
the rachmaninoff prelude in g-major is stunningly sensitive

this is some exciting playing!

Primarily for Horowitz fans.......2003-06-10

I can add only a little to an earlier review of this concert - which was right on the money. But for those that might be looking for the earlier lp issue of the Schumann sonata, one can now obtain the original lp issue of the sonata on the Philips' Great Pianist series where that performance in question has finally been reissued on CD. (This should not be confused with the RCA Horowitz plays Schumann disc, where an alternate, inferior, take was used.)
It is a matter of fact that both Sony and BMG has volumes of complete Horowitz recitals in their vaults. Having several boots of his concerts from the 70's, RCA did not always issue the better takes. (Or for tha matter, why didn't RCA issue VH's rarely performed Scriabin Nocturne for the left hand, which he played in '79?)
As far as this recital goes, it's a bit of a mixed bag, but it is true that he never played the same piece twice the same way. Horowitz fans will jump on this set - yet at the same time crave more recitals to be issued! Sony and BMG: Are you listening?

High Voltage Pianism.......2003-05-30

2003 marks the centennial year of the birth of Vladimir Horowitz. In commemoration, RCA has released the complete, unedited recital of November 16, 1975. None of the repertoire on this release is new to the Horowitz discography, but as the pianist never played the same works twice in the same way, the performances contain new insights.

The first half of the recital featured two works by Schumann which were somewhat off the beaten path. The Blumenstück (Flower Piece) is played in a considerably different manner than his live performance from 1966. The tempo is dramatically slower, with more rubato as Horowitz occasionally slows down to smell the roses.

The Sonata in F Minor, (sometimes referred to as the Concerto Without Orchestra) is a problematic piece. Horowitz's go-for-broke performance here is in marked contrast to the version he approved for release on LP in 1976 (and far superior to the botched CD "outtake" version on RCA 6680-2-RG). The pianist takes considerably more liberties in regard to tempo and rubato, and he takes a great number of risks technically (particularly in the second movement, which is very fast) which don't always pay off. That was the thing about Horowitz in concert: rather like a box of chocolates, you never knew what you were going to get. In the final analysis, the LP version (which is not available on CD) remains the benchmark performance of this piece.

Rachmaninoff's G major Prelude is played with loving tenderness and astonishing control of the lower levels of dynamics. The two Rachmaninoff Etudes-Tableaux (one of them was an encore) are given spasmodic, occasionally brutal "go for broke" performances which teeter on the brink of disaster, but remain remarkable for all that.

Liszt's Valse Oublieé and Au bord d'une source had been recorded by Horowitz before, but it's interesting just how much more effective these live performances are. Whether it's due to superior recorded sound, or perhaps because Horowitz was "in the mood" that day, the pianist perfectly captures the prismatic mystique of the forgotten waltz, and the bubbling brook of the water piece.

Horowitz recorded more music by Chopin than any other composer. The A Minor Waltz (Horowitz's favorite) is played in a brooding, inward manner altogether different from his straightlaced 1971 studio version. The B minor Scherzo, a Horowitz staple, is given a feverish, slashing performance similar in tempo and mood to his 1951 recording, building to a stunning climax and concluding with interlocking octaves replacing the usual chromatic scales.

The encores by Debussy, Schumann, Moszkowski and Rachmaninoff are a typical Horowitzian show (the pianist announces the encores, which he usually didn't do), and bring an effective close for the recital.

To be frank, there are numerous unissued Horowitz performances in RCA's vaults (not to mention Sony's and Deutsche Grammophon's) which are even more deserving of release than this one. They include stunning live renditions of Balakirev's Islamey and Liszt's St. Francis Walking on the Water, alongside studio renditions of the Bach-Busoni Toccata in C and numerous shorter works. Nevertheless, this release is an important document as it is the first time a complete, unedited Horowitz recital has been released by a major label. Despite its imperfections, it should be in every serious music lover's CD collection. The sound is a bit close for comfort but acceptable.

Heifetz Rediscovered (Dlx)
Average customer rating:

A true master

Great CD!

noise starting with track4

Heifetz Rediscovered (Dlx)
Jascha Heifetz
Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
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Mozart: Violin Concertos #4 & 5/Mendelssohn: Violin Concerto - Jascha Heifetz, Sir Thomas Beecham, Sir John Barbirolli

Heifetz in Performance [includes DVD]

ASIN: B000065VDS
Release Date: 2002-05-07

Tracks:

Allegro Molto Ed Appassionato - Jascha Heifetz
Allegretto Espressivo Alla Romanza; Allegro Molto; Tempo - Jascha Heifetz
Allegro Animato - Jascha Heifetz
Vivace Ma Non Troppo - Jascha Heifetz
Adagio - Jascha Heifetz
Allegro Molto Moderato - Jascha Heifetz
Caprice 'Alla Saltarella' - Isidor Achron
Lensky's Aria - Jascha Heifetz
Tambourin - Isidor Achron
Sicilienne - Isidor Achron
Valencia - Isidor Achron
Zapateado - Isidor Achron

Amazon.com

Does Heifetz really need to be "rediscovered?" One of the greatest violinists of his own or any other time, his name, though he died 15 years ago, has lost none of its luster, and his lasting fame is assured through his enormous discography, which captures his matchless art with astonishing fidelity. In 1994, RCA itself issued a 65-CD set of his "approved" recordings; this new release presents what was omitted as "unapproved." Though the Heifetz estate supported the project, one cannot help wondering what the violinist himself, famous for his stringent self-criticism and perfectionism, would have thought of it. However, even a less than top-drawer Heifetz performance is eminently worth hearing, and though on this reissue, the music, the playing, and the recorded sound vary in quality, the best parts fully display his unique, inimitable magic: the breathtaking virtuosity, the incomparably beautiful tone, the unmistakably elegant style! The original recordings of the short pieces were made acoustically in 1922 and '24; their age shows in the background noise and in the choice of sentimental and stylistically inappropriate transcriptions along with real violin pieces by Wieniawski and Sarasate. All are played marvelously. A half-jazzy four-hand piano arrangement of a Spanish song by Padilla, played by Heifetz and Isidore Achron with unbridled relish, adds a light touch. In the sonatas, the piano sounds distant, harsh, and unresonant. Brahms's G-major Sonata is disappointing: very fast, prosaic, unromantic, full of slides, and false accents; in the Finale, a frequently misread piano note goes undetected. Grieg's C-minor Sonata, however, is wonderful: dramatic, wistful, charming, elegant, restrained, but so warm and passionate that it should lay to rest forever the illusion that Heifetz was a cold player. --Edith Eisler

Customer Reviews:

A true master.......2002-06-08

This is a valueable insight into the development of a master. The playing is spectacular. Very violinistic in the true sense. We don't here this lushness anymore. To think his peers thought he was cold. They didn't have any idea how bitterly detached violin playing would come to be.

Saying that one can see why Heifetz suppressed some of this during his life. He only wanted to project perfection. Is interpretation of 6/4 time in the Brahms is just plain wrong.

Great CD!.......2002-06-07

... The sound quality is just fine. If you have listened to any old recordings you will hear a little static. The playing is very audible and easy to listen to. Best of all, you get to hear never-before-released Heifetz recordings of the Grieg C minor Sonata, Brahms Sonata No. 1 and some other pieces by Wieniawski, Tchaikovsky, and Bach among others. If you want to hear some amazing Heifetz playing this is the CD to get.

noise starting with track4.......2002-05-16

I enjoyed the first 3 tracks but after the 4th track, background
noise became worse and after 8th track, it is unbearable. Since
I opened the CD wrapper, I cannot return it. So let this be a lesson to future buyers.

Average customer rating:

this set comes with intriguing documentaion
A treasure for Richter's fans and all music lovers!
Interesting document, both historically and musically
Richter live, for better and for worse
Magnificent Prokofiev

Richter Rediscovered

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

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ASIN: B00005OLD9
Release Date: 2005-07-18

Tracks:

Applause
Son No.60 in C, H.XVI/50: Allegro
Son No.60 in C, H.XVI/50: Adagio
Son No.60 in C, H.XVI/50: Allegro Molto
Scherzo No.4 in E, Op.54
Ballade No.3 in A flat, Op.47
Prld in f#, Op.23 No.1
Prld in A, Op.32 No.9
Prld in b, Op.32 No.10
Prld in g#, Op.32 No.12
Jeux D'eau
La Vallee Des Cloches (Miroirs, No.5)

Tracks:

Applause
Son No.6 in A, Op.82:
Son No.6 in A, Op.82:
Son No.6 in A, Op.82:
Son No.6 in A, Op.82:
Visions Fugitives, Op.22: No.3 Allegretto
Visions Fugitives, Op.22: No.4 Animato
Visions Fugitives, Op.22: No.5 Molto Giocoso
Visions Fugitives, Op.22: No.6 Con Eleganza
Visions Fugitives, Op.22: No.8 Commodo
Visions Fugitives, Op.22: No.9 Allegretto Tranquillo
Visions Fugitives, Op.22: No.11 Con Vivicita
Visions Fugitives, Op.22: No.14 Feroce
Visions Fugitives, Op.22: No.15 Inquieto
Visions Fugitives, Op.22: No.18 Con Una Dolce Lentezza
(Mosque Theatre Encores) Applause
(Mosque Theatre Encores) Cinderella Ste: Gavotte, Op.95 No.2
(Mosque Theatre Encores) Visions Fugitives, Op.22: No.4 Animato
(Mosque Theatre Encores) Prlds, Book I. No.5: Les Collines D'Anacapri
(Mosque Theatre Encores) Etude in A flat, Op.10 No.10
(Mosque Theatre Encores) Etude in c, Op.10 No.12
(Mosque Theatre Encores) Mazurka in C, Op.24 No.2

Amazon.com's Best of 2001

RCA Victor's Richter Rediscovered lets us hear Sviatoslav Richter perform with intensity and purpose he rarely matched and still more rarely surpassed. This two-CD set comprises Richter's entire Dec. 26, 1960, Carnegie Hall recital and several encores from the same program two days later in Newark's Mosque Theater. Most transcripts of Richter's live performances miss details in his playing--the prismatic shimmer of his tone in all registers, for example, or the way he could instantaneously jump from triple pianissimo to triple fortissimo. But RCA's superb recorded sound does justice to the pianist's variety of nuance and range of dynamics. Younger listeners will now hear Richter "live" the way we older ones remember him: performing Haydn's Sonata No. 50 in C with lapidarian perfection as well as with freedom of rhythm and expression; diversifying, without diluting, the savagery of Prokofiev's Sonata No. 6 by employing softer colors than those usually heard; playing Rachmaninov's Prelude in A with gigantic chords made more all the more impressive by the subtle emergence of the delicate melody from within them; and endowing Chopin's Étude in A flat (Op. 10, No. 10) with breathtaking poetry through ingenious variations of touch and rhythm. --Stephen Wigler

Customer Reviews:

this set comes with intriguing documentaion.......2005-12-30

I have a hunch that the reviewer below who expresses some doubts about some of the playing could be right.Richter was never that happy playing in the USA and the hard driven Haydn which opens the disc only intermittently captured my attention.However,this set does come with some fascinating documentation including a thoroughly patronizing article (from 1961) by that doyen of American music critics Harold C. Schonberg '..in some respects Richter's playing tends to be provincial.One has noticed this again and again with Russian artists coming to the west for the first time.....now he must adapt his thinking to new influences'

A treasure for Richter's fans and all music lovers!.......2004-06-01

Richter was an outrageous pianist; you may admire or disagree with his musical conceptions; but instead of that statement, you must recognize the presence of the genius in this unforgettable russian artist.

In this recording Richter has peaks and lows; his Haydn's sonate performance lacks of humor and spirit naif; his Chopin sounds cold; even expressive.

But listen Ravel's jeux; with the only exception of Cortot achievement's from 1928 , I've never heard such sound; loiaded with warm imagination and deep nuance.

The Prokoviev's sixth is the best of the record.I've matched with Sandor; Bronffman and an ancient russian pianist Yuri Boukoff (not released in CD yet) and forgive all the items. It's a winner.

In general terms it's an important document that lets you approach to Richter's craft.

Buy this one.

Interesting document, both historically and musically.......2004-01-06

These performances from one of Richter's first Carnegie Hall recitals offer amany interesting insights, although they are not of a uniform level, as we will see. Richter plays the Haydn admirably, but the sonata misses some necessary charm and humour. His Chopin Scherzo strikes me as a bit weird, although the Ballade is majestic and rathe convincing, despite the idiosyncratic tempo changes. In Rachmaninov, Richer is entirely in his element and he delivers spectacular, wonderfully autumnal performances of the Preludes on the programme. The Ravel, the last on the first disc, is splendid: Richter plays with the least probable ponderousness in Jeux-d'eau, going almost to a higher realm. The entire second disc is great. The Prokofiev Sonata no.6 has only been surpassed by Richter himself, in his Praga live recording (which also has more liquid sound) The sonata's final movement, where Richter plays with a stunning sense of rhythm and incredible virtuosity, is one of his finest moments. Richter runs through the ensuing Visions fugitives as if he was made to play this music. Follow a fine Debussy piece, two incredibly speedy Chopin etudes and a Mazurka, all played with much relaxation and authority. The Revolutionary Etude could have been fierier, but still. The only problem with the second disc is hat it is overloaded with applauses. Additionally, I do find he price a bit exorbitant when considering that both discs do not contain as much music as they could. In sum, a fine, recommendable set, with some historical value too (it was part of Richter's first American tour). The liner notes are good, but some of Harold Schonberg's remarks are doubtful (he says, among other things, that Richter lacks the power of Serkin or the technique of Cherkassky, wboth of which statements do not seem true to me). There may be other Richter recordings of this repertoire available that surpass these readings, however, and the price is definitely too high for the amount of music that is given.

Richter live, for better and for worse.......2003-05-25

These live recordings, taken from recitals in New York's Carnegie Hall and New Jersey in 1960, vividly capture Sviatoslav Richter's gargantuan technique and equally outsize musical personality.

Not surprisingly, the Russian music receives close to definitive treatment, with the Prokofiev Sixth Sonata breathtaking in capturing both the hard-edged virtuosity of the outer movements and decadent elegance of the Tempo di valzer lentissimo third movement. The Rachmaninov Preludes are a feast of warm tone and clear textures. The Prokofiev Visions Fugitives, performed as encores at both concerts, slip by like the quicksilver glimpses of fantasy they are.

The rest of the material is more controversial. The Haydn Sonata is notable for the incredible speed of its opening movement; the technique is dazzling but there is little else. The finale, oddly, proves to be on the sedate side. The Adagio, however, is beautifully shaped and balanced. The Chopin Scherzo and Third Ballade remind this listener of Horowitz, not in a good way: the music is driven too hard and loses poise, the end of the Ballade particularly difficult to endure in its overplayed clangor.

Nevertheless, as a whole, these performances are vivid and essential documents of one of the great pianistic personalities of the twentieth century. The sound is clear and perfectly acceptable, though there is little "live" ambience.

Magnificent Prokofiev.......2003-03-21

Richter played an unrivaled Prokofiev at this concert, especially the sonata No. 6 in A, Op.82. I have rarely heard him play with so much intensity, love, spontaneity, passion. The splendid remastered sound adds more grandeur to his powerful and moving performance.
Besides the impressive Prokofiev, I also appreciate his Rachmaninov preludes, surpassing the other Russian pianists I know, Pletnev, Gavrilov, Ashkenazy, etc.
Richter's Chopin usually leaves me cold. Like Sofronitsky, an incomparable Scriabin performer, Richter played Chopin with too much virility, too much strength, lacking something subtle, refined, deep, romantic, touching.
Listening to Richter's Chopin, I yearn for Grigory Sokolov, the romantic pianist who can express all the emotions and passions of Chopin.

R&B Music:

R&B Music

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