Barere

Par son altière magnificence, la "Sonate en si mineur" brille au firmament de la littérature romantique pour le piano. Le manuscrit porte la mention « Grande Sonate pour le piano forte, F. Liszt, terminé le 2 février 1853 », en écho à la "Grosse Sonate für das Hammerklavier" de Beethoven. En 1854, l'édition est dédiée « An Robert Schumann » qui, quinze ans auparavant, avait adressé à Liszt sa "Fantaisie op.17". Le « pianiste roi » acclamé dans toute l'Europe occupe désormais les sérieuses fonctions de Kapellmeister à Weimar — petite ville de Thuringe encore emplie du souvenir de Goethe - car le moment est venu pour lui de « briser sa chrysalide de virtuosité pour laisser plein vol à sa pensée ».

This two-CD set is volume 3 in the Landmarks of Recorded Pianism series, and comprises piano solos, concerti, and two spoken reminiscences. Producers Gregor Benko and Ward Marston have selected these recordings because of their intrinsic musical and historic importance, hoping that they will merit the attention of music lovers, scholars, and collectors. Most of the offerings in this set will be completely new to collectors and enthusiasts since they are available here for the first time.

This two-CD set is volume 3 in the Landmarks of Recorded Pianism series, and comprises piano solos, concerti, and two spoken reminiscences. Producers Gregor Benko and Ward Marston have selected these recordings because of their intrinsic musical and historic importance, hoping that they will merit the attention of music lovers, scholars, and collectors. Most of the offerings in this set will be completely new to collectors and enthusiasts since they are available here for the first time.

This two-CD set is volume 3 in the Landmarks of Recorded Pianism series, and comprises piano solos, concerti, and two spoken reminiscences. Producers Gregor Benko and Ward Marston have selected these recordings because of their intrinsic musical and historic importance, hoping that they will merit the attention of music lovers, scholars, and collectors. Most of the offerings in this set will be completely new to collectors and enthusiasts since they are available here for the first time.

While on first listen Michael Franks' Passion Fruit appears to convey a jazz fusion approach, the inclusion of such contributors as Naná Vasconcelos, Astrud Gilberto and Toots Thielemans actually shows it to be a further continuation of Franks' championing of Brazilian music, with a light and deft touch. As on his previous outing, for which he brought in guest vocalists (Bonnie Raitt, Luther Vandross and Randy VanWarmer), on this album he enlists vocalist Kenny Rankin as well as Gilberto. This time, though, the vocalists appear to be a more natural fit. "Amazon," "Rainy Night in Tokyo" and "How the Garden Grows" reveals some of his best writing in some time, while "Now That Your Joystick's Broke" wouldn't be out of place lyrically alongside some of his clever, earlier songs.

Des enregistrements historiques fabuleux qui auront marqué l'évolution du piano, de l'enregistrement et de la lecture de chopin. Des interprétations globalement bonnes en ce qui concerne l'intégrale et, surtout, une classification qui permet d'ordonner aisément le répertoire de Chopin. Alors, bien sûr, il existe des interprétationsplus brillantes, plus prestigieuses mais ne dit-on pas aussi qu'il y a une certaine forme de subjectivité qui détermine un jugement? Ce coffret est un bon reflet de l'oeuvre de Chopin, honnêtement interprétée.

Eduard Nápravník is hardly a household name, but he was one of the most important figures in nineteenth-century Russian music. As conductor of the Mariinsky Theatre—one of the finest opera houses in Europe, which became the Kirov Theatre—he worked with many of the most important composers of the day, including Tchaikovsky and ‘The Five’. He composed four operas, and many works in a range of genres, including four symphonies and the two works for piano and orchestra on this disc. His A minor Piano Concerto (1877) begins with a striking reference to the ‘Dies irae’ of Verdi’s Requiem, and is a work of tremendous energy and lyricism, with a nocturne-like slow movement and a dance-like finale. "Fantaisie russe (1881) is based on three Russian folk tunes, and is infectious in its melodic richness and thrilling in its virtuosity.