5 comments about Carter: String Quartets Nos. 1 & 5.

1. This recording is every bit the equal of the earlier Julliard and Arditti discs. Its probably fair to say that Pacifica strikes a midpoint between the coolness of the Arditti recordings and the almost romantic warmth of Julliard. This music benefits from multiple interpetations and viewpoints so it is difficult to speak of one approach being definitive or markedly superior to another when musicians the quality of the Pacifica, Arditti and Julliard quartets are involved. The sound quality here is excellent and given that the Julliard recording is currently out of print, I would recommend this as the first choice for anyone heretofore unfamiliar with Carter's quartets.



2. you can't argue with impressive, exciting performance as that demonstrated here of two very contrasting Carter Quartets, I guess there are sum afficiandos that hum the 'First Quartet' with their morning coffee now, or on the train to work, (Sheena Easton where are you?, nice song),well Carter once ". . .took the morning train" I had wished Pacifica would give up on Carter and play something a little more interesting, beleive it or not!!,there does exist actually more interesting music than Carter, I borrowed this CD from a friend to listen, I also recall Pacifica did a Marathon of all Carter Quartets,Ugh ! like Arditti, like the "dog" that jumps thru the Hoop; unfortunate that new music now is taking on the dimensions of the sporting events world,the marketplace reducing down high art. . that's what we want? Right? Well Theodor Adorno predicted this homogenization of high art in the Fifties.Carter is the flip side of the more entertaining aspects of culture, we are guilty in that we know we need something a little more serious than the Phab Fyour sometimes.Perhaps the Olympic Torch should be carried through the performance space after the first of Five Carter Quartets is played; Much of the Carter craze,obsession;nostalgia for romanticism lost to modernity or vice versa; whatever it is called is because his music now is strongly institutionaly endorsed, so everyone can run to a "comfort zone", no need to think, everyone else has already done all the thinking you need in your consumerist selection of cultural products for contemplation.



3. This is a stellar recording in all respects- performance, sound, programming. I can't wait for the coming issue of the middle 3!



4. This year includes the 100th birthday of the great American composer Elliott Carter (b. 1908). To celebrate the occasion, Naxos is releasing two CDs consisting of Carter's five string quartets, the first and the fifth of which are included on this disk. The Pacifica Quartet, a group of young musicians from California, perform these difficult works with passion and clarity. The Pacifica Quartet specializes in contemporary music, especially the works of Elliott Carter.
   
   Carter began the serious study of music as an adolescent and his efforts were encouraged by Charles Ives. In the 1940s, some of his music (including his first symphony available on Naxos in a recording by Kenneth Schermerhorn) is reminiscent of the Americana music of Aaron Copland, but Carter soon developed his own unmistakably modernist musical voice. (The Schermerhorn CD also includes the difficult Carter piano concerto.) The five string quartets, written over a period of 45 years give an outstanding overview of this modernist American composer.
   
   Although Carter's quartets bristle with difficulties for the performer and listener, I was struck by the accessibility and the visceral, emotional character of these quartets when I first listened through them. There is a tendency to over-intellectualize modern music and Carter's music in particular. But this is music which, when given the chance, speaks to the heart first, before it speaks to the mind, and which mirrors the complexity of both specifically modern experience and of the human condition.
   
   Carter's first string quartet, composed in 1950-51, was among his first modernist efforts. It is a lengthy, difficult work in five movement which are played without a break between them. The work is densely scored, with bristling harmonies and marked shifts in tempos and rhythm. The texture of the work also is full of shifts, from passages for solo instruments, to sections for impassioned ensemble playing, to moments when the quartet breaks into two groups (the cello and the viola playing against the two violins in the fourth movement), and to long pizzicato passages. Yet the work makes a cohesive, unified whole. I was fascinated by the transitions between movements in this work, and in the fifth quartet, as musical passages of widely different characters flow seamlessly together. Thus the work opens with a lengthy, emotional solo for cello which, after elaboration by the other insturments, shifts imperceptibly into the following scherzo. The adagio consists, as I mentioned, of a section for cello and viola juxtaposed against a figure for the two violins, and these two competing voices are ultimately unified into a taut section which becomes the basis for the long variation movement which concludes the work. The variations work up to a climax (and the thematic material remains identifiable throughout) and then the bubble bursts as Carter closes the work with a solo for the violin, quiet and high in the instrument's register.
   
   The fifth quartet, composed in 1995, has a lighter texture. It consists of 12 short movements played without pause and lasts only about 21 minutes. In this work, short sections of a distinct musical character are juxtaposed against an opening introduction and against sections marked "interlude". There are two slow movements, the fourth and the tenth, three scherzo-like movements, the second, sixth, and eighth, and a concluding pizzacato movement, with some odd sounds from the instruments, marked capriccioso. The fascination of the work lies in the interrelationship of these sections with the interludes, as Carter joins the movements together by weaving moments from the surrounding short pieces into the interludes -- which have a deceptively sketchy style. Thus, interlude II, takes up the slow, expressive character of the preceding Lento, but turns at the last moment to transition to the following presto. Interlude V, in contrast, only makes a gesture towards the previous adagio before it sets the stage for the final Capriccioso. I listened several times to this work straight through and, on my last hearing, watched the second timer on my CD so that I could see directly how the movements flowed together.
   
   Carter's music will not appeal to those listeners with exclusively conservative musical tastes. But listeners with a background in classical music who wish to be adventurous will respond to the music of Elliott Carter. Naxos is doing a great service in making Carter's music available to a wide audience at a budget price.
   
   Robin Friedman



5. At age 50, I have had a life long and developing appreciation of less than strongly tonally centered music, starting with love of Schoenberg's works when I was merely a late teenager. Listening over time has strengthend my appreciation, and listening to great masters like Sessions, Ligeti, Cowell, and many others, bears increasing satisfaction in seeing the history of the 20th Century start to ripen in retrospection. This includes the more avante garde to even the more romantic solves to the 20th century puzzle such as the Brits and their creative resurrection of alternate modes with shadows of the prefunctional western harmony of the Renaissance. Elliot Carter's musical language seems to have a mastery of all the 20th century idioms and a plasticity which tells of a genius that uses in facile ease any style to render real, organic, story telling, or real, organic emotional states which turns musical fluency into great art, soul wringing music; one which edifies and gives glory to God's creation and creation of sound, serving to move one to visions of man's existence in God's universe of ultimate truth. This is what great art does.

No comments about The Tabulature of Johannes von Lublin.

No comments about Brahms: String Quartets Op. 67, Op. 51 No.1.

4 comments about Actionable Offenses: Indecent Phonograph Recordings from the 1890s.

1. This CD is a really interesting bridge across time. Since the recordings weren't made for wide public release, there's a sense of mischief and getting away with something that is rare in artifacts from this time period. I'm grateful that technology has made such interesting bits of history available to anyone.



2. 
   As a history buff, this is the ultimate in never before heard shocking humor from an age (Victorian America) where one would never conceive that such four letter words or bawdy recitations could exist. The 50+ pages of remarkable liner notes, is certainly worthy a tribute as an Historical work in itself, detailing the history of intolerant times, as well as the word by word transcripts of each and every poem, conundrum and limerick told by both the known and unknown performers of this bygone age. Definitely a four star wonder of "one of kind" surviving recordings of naughty humor from 1890's. and certainly a "must grab" for any student and enthusiast of American Comedy history.



3. More than a curiosity, Actionable Offenses is an amazing record of how times have changed . . . and haven't. The quality of the recordings combined with the strong accents of the speakers require reading the transcripts included in the accompanying booklet. You won't be able to decipher the stories and jokes by casually listening, making Actionable Offenses more of an artifact rewarding the patient listener rather than a CD to pop in at a party as a joke.



4. It is nothing short of amazing that these crackly bits of recorded history survived the indecency raids of the early 1900's!! The liner notes contained in this c.d. are actually a book worthy of its own section in the bookstore, and contain the fascinating history of these recordings and drama and scandal which preceded the discovery that men were recording them!!! When you listen to these jokes, limericks and stories that were recorded in backrooms and hideaways due to their scandalous contents- you will not believe what you are hearing and you will understand why (even 100 years later!)a parental advisory label adorns its cover!!! SO hide the kids and pick up a copy of Actionable Offenses. It is hours worth of fun!!!

5 comments about Colonial America.

1. This CD is amazing--it is simply the best collection of colonial music I have ever heard. The recording is crystal clear, and while the quality is reflective of modern technology, the music sounds identical to that you might hear in a colonial setting (like Williamsburg, VA, for instance).
   I really like that this CD does not have any vocal selections--that may be a plus or minus, depending on your taste, but in my opinion, it makes the CD more versatile, either to play as background music, or to turn it up loudly and dance to it. :)
   
   My family listens to this, non-stop, year-round. I plan to buy the other CD's in this series, too.



2. This cd travels everywhere with me and you can easily imagine a ball at Monticello given by Mr. Jefferson when you hear it.
   Try not to daydream too much while driving as i had done several times..lol..it's hard not to with this cd..:)
   Perfect for a colonial reenactment or party.



3. I bought this CD to provide me with another dimension to my studies of period events. It truly contains a wealth of music, and takes it place as an important addition to my musical library. Living in the Mt Vernon area, I often travel with the CD playing while visiting historical places, and it provides a wonderful companion to "set the mood" for the myriad locations in the area. The quality of the sound is remarkable, the musicians superb, and the breadth of song selection provides a musical landscape for the period. Highly recommended!!



4. I first heard the "Colonial America" CD by Hesperus when I visited Monticello recently (the home of Thomas Jefferson) where they were playing the songs in the gift shop. Imagine my dismay to find that only one cassette tape was left of the fabulous music of Hesperus; however, that tape held me spell-bound all the way home, from Virginia to North Carolina.

   It was an incredible journey from the past that has stayed with me since, and every day I drive that one hour back and forth to work. This music has changed everything about the trips, and I can't wait for more.

   Thanks to Amazon.com I was able to buy all three CD's, including "Early American Roots," "Colonial America" and the incredible "Celtic Roots" with the most beautiful violas imaginable.

   Thank you Hesperus! Please play more!




5. Novels and movies like Cold Mountain, Oh Brother Where Art Thou? and Song Catchers are showing the growing interest in traditional music and this recording hits the mark. It is music from the days of early America--the time when the first colonists come to America. You can hear the fiddle playing tunes still popular in the Appalachian mountains today and also hear shape note music arranged by Hesperus as wonderful instrumentals. The music takes you to a time when folks were making music in their homes-before TV, before the internet! This recording is good for teachers or educational purposes too- with informative liner notes. All the music is played on folk and early music instruments and it's lively and an enjoyable listen.

5 comments about Scott Joplin: His Complete Works.

1. i never received this cd - please advise how to search - thank you
   phone 480 837 7910 / cell 480 861 5918



2. These renditions of the Joplin rags and other pieces for solo piano are not only complete, but they seem to this Jopin fan to be faithful in spirit and (for the most part) in letter to the originals. The tempos are appropriate and the amount of elaboration (always a temptation for a skilled pianist) is kept to a minimum. Thus the spirit and genius of Joplin is intact and the music is a joy for the listener. Several works that were unfamiliar to me are now on my list of Joplin sheet music to find for my own playing pleasure.



3. May I offer a suggestion to those who feel that the music is trite and all the same? Do not listen to this collection or any other collection (e.g. John Arpin's or Joshua Rifkin's) of ragtime in the order the pieces are recorded on the CDs, especially if you're not very familiar with ragtime. The pieces are often given chronologically or in alphabetical order. Also, don't listen to too many pieces all at once. Pick two, three, or at most four to become acquainted with first. This way you'll be able to appreciate the individual characteristics of the pieces. Try these four pieces first:
   
   1. Gladiolus Rag
   2. Weeping Willow
   3. Solace
   4. Magnetic Rag
   
   Later you'll discover other gems on your own. When you're first getting to know ragtime, it's probably best to avoid listening to pieces that have been done to death (and often done poorly or played way too fast), like "The Entertainer" or "Maple Leaf Rag."



4. Richard Zimmerman is one of the best interpreters of Scott Joplin. Zimmerman avoids the pitfalls many others have taken by playing Joplin's music too fast and/or too flashy. Zimmerman's tempos are moderate and his ornamentation/improvisaion is tasteful. By not trying to be a "show off", Zimmerman keeps to the original spirit of Joplin's music. Although the original recording itself may be close to 30 years old, it has transferred well to CD. I highly recommend this disc to anyone who is interested in Ragtime and American music.



5. Excellent collection - but there are re-sellers listed here that are selling this for as much $50 or $60. Yikes, most major retailers are selling this complete set for $18 - so beware.

4 comments about Dvorak: Piano Quintet, Op. 81/ String Quartet, Op. 51.

1. I have no bone to pick with the other reviewers who faint with delight over this new recording of the great Dvorak Piano Quintet. But in all fairness someone should describe the interpretation a bit objectively. The dominant force here is the Takacs Qt, with Haefliger decidedly in the background. If like me you think the piano should be the leading voice, as it is to magnificent effect in Sviatoslav Richter's recording with the Borodin Qt. (Phiilips), Haefliger will seem soft-grained and overly suave.
   
   But he falls into the spirit of this account, which is tender, sweet, and swoony. There's no doubt that we are hearing a deluxe, silky performance, but to my mind Dvorak's idiom is already somewhat sugary in this work, and the more starch and rigor one adds, the better. Tempos are middle of the road, execution is crisp and often sparkling, and Decca's sound is up-to-date, although I hear a little vinegar in the upper strings.
   
   Dvorak had the misfortune to write one string quartet, the "American," whose popularity has overshadowed all the others. The Quartet #10 precedes the really great ones from Dvoraka's pen, but the Takacs step up and give it their all. This is a robust, committed reading that ranks among the best I've ever heard. It deserves five stars.



2. There are three piano quintets recognized as masterpieces of the form: Brahms' Op. 34, Schumann's Op. 44 and Dvorak's Op. 81 here. Dvorak composed this work as part of his devotion to the Bohemian folk idiom and, along with the "Dumky" Trio and E-flat Piano Quartet, epitomize the national Czech music tradition. Similarly, the String Quartet Op. 51 was composed purposely with to showcase Slavic flavors and is rich in beauty and charm.
   
   Everything seems to have come together in this reading to produce a great recording for the ages. Andreas Haefliger's joins the quartet with some sparking pianism that propells the fast movements with inspired verve and dazzling running semiquavers - all captured in brilliant clarity. Equally attractive is the poinant and serene second movement which is performed with a beautiful depth of passion and breathtaking emotive tonalities from the legendary Takacs Quartet. Overall, their temperament and approach here are ideal for Dvorak - appealing to his brilliant lyricism and love of the music of his homeland. The recording ambiance is bright, bold and perfectly balanced between instruments with just the right amount of spaciousness. In short, the Dvorak compositions on this CD are truly monumental, the playing of the highest caliber and the end result very attractive. Hopefully, we will see more recordings of Dvorak's chamber works from the Takacs Quartet (whose award-winning Beethoven Quartet cycle is also superb).
   
   Living in Boulder (where the Takacs Quartet is in residence at Colorado University), I have had the priviledge to hear this superb quartet play in person. I thought they sounded great on disc, but to hear this ensemble in person is extraordinary. Among their many fine, award-winning recordings of Bartok, Beethoven and Haydn is this one of Dvorak recorded in 1998 with the brilliant first-violinist, Edward Dusinberre. Another change with this quartet came in 2005 with the departing of Violist Roger Tapping and the arrival of Geraldine Walther from the San Francisco Symphony (a wonderful addition). Also in 2005, The Takacs Quartet celebrated their 30th YEAR with original members Mr. Schranz and Fejer still going strong from the college days in Budapest.
   
   This coupling scored very high with the music press who healded it as one of the great modern recordings of the Quintet. ClassicsToday gave it a perfect 10/10 for Artisty and Sound Quality with these accolades which I concur: "This is one of the most beautiful chamber music discs in the catalog. Throughout, the Decca engineers have managed to combine clarity with tonal richness, achieving perfect balances between the piano and strings in the quintet. Both works are similar in form and content, especially notable for their folk-inspired melodies and infectious dance rhythms." Another impressive recording of the piano quintet (but coupled with an early string quintet) comes from Susan Tomes and the Gaudier Quintet (Hyperion). Both are satisfying choices but my lean would be towards the Takacs/Haefliger recording for the quintet and especially their lush reading of the string quartet companion piece.



3. No mixed feelings at all about this warmly autumnal performance; there is a genuine glow to the Haefliger/Takacs presence, an introspective ambience that separates it from the crowd. There is sweetness, too, and an affecting lyricism, particularly appealing in the tender treatment of the often-hectic opening movement, but even more so in the heartfelt second. Unlike any other recording I've heard, the Slavic melancholy imbued in this work is unashamedly brought to the fore by this ensemble, and I applaud them for their insight. Even the sparkling third movement earns kudos with its magical trio section (so beautiful!); and, too, the finale is brought off with just the right amount of panache and grace, sans the usual barnstorming.
   
   The coupling of the magnificent String Quartet No. 10, Op. 51 couldn't be more perfect. Again, the same intimacy of playing prevails, the same glow. The sense of gentle give and take between the members of the Takacs Quartet is a joy. What a breathtaking and deeply devoted view they take of this quartet, with its exceptionally wonderful slow movement. I can't imagine a more revealing rendition of this work, frankly. Nor have I heard one.
   
   The sound, although a bit ambient, suits and does not cloud clarity or expression of this most moving and impressive CD of these two Dvorak masterpieces.
   
   [Running time: 71:27]



4. Dont miss this one!

   Its one of the best played piano and string quartet from Dvorak out there.

   About this string quartet... well those of you familliar with Deccas Bartok 6 string quartets understand the extremly high quality of these guys and if you dont... trust me on this or read all reviwes about Bartoks 6 string quartets on Decca with Takacs string quartet.

   Haefliger is marvelous on piano here and do justice to Dvoraks lovely pieces.

   Its a very moving set and well worth its price.

1 comments about The Story of Tchaikovsky.

1. Excellent story of Tchaikovsky. All the classics with an engrossing story. Not a dull moment. Fun Fact: Did you know that his name is really spelled: TSCHAIKOWSKI (Polish name spelled in a Polish way, the Russians wanted him all to themselves,so slowly and through the years, the name was Russified, and not by TSCHAIKOWSKI). CD is Great!

5 comments about Sensemaya - Music Of Silvestre Revueltas.

1. So yeah, Revueltas is not one of those big name 20th century composers like Stravinsky or Copland - especially when he's from Mexico - but you got to give him a chance. When I listened to his music, I was immersed with such sensation.
   
   His music is one of a kind, with distinctive rhythm, exoticism, and Latin-American feel. His orchestration is one of the most colorful and fascinating things I have ever heard - things you may never get in traditional or even 20th century European Classical music. This is especially apparent in his two masterpieces: "Sensamaya" and "Night of the Mayas".
   
   Unless you're some stubborn ultra-conservative person who enjoys Mozart more than Beethoven, and utterly denouce 20th century music, you definitely got to buy this album - a whole new world of Classical Music awaits! TRUST ME!!!!!



2. The Mexican expressionist composer Silvestre Revueltas, now well known for his incessant rhythms, wanted to change the state of authentic, Mexican-based classical music, from nationalistic folk-based sounds, to his more urgent and dissonant style of expressionism.
   
   Revueltas' most famous work, Sensamaya, based on the poem Song to kill a snake, is evocative of his style. Constant rhythms, with authentic Hispanic percussion, and modern orchestrations, gritty melodies and harmonies, create an almost industrial sound. On this recording is the 1938 fully orchestrated version of near bombasticity. Two other works on this disk are also written for full orchestra: La Noche de los Mayas and Ventanas. La Noche de los Mayas is intended to evoke ancient Mexican tribal feelings from the Mayan culture. Almost in symphonic form, the four movements follow a classical structure, moderate first movement, scherzo, lyrical third movement, and a theme and variations for the final movement. The incredibly serene and melodic opening, with occasional majestic outbursts of brass and percussion, shows Revueltas' innate ability to combine Mexican culture with classical music. The scherzo second movement, subtitled Jaranas, is almost a classical Mariachi, with witty lightness; whereas the third movement, subtitled Yucatan, has a melancholy calm featuring lush strings, woodwind melodies, and folk-like elements. Extra-musical effects, extensive percussion, and variation technique, show Reveultas' capabilities of diverse compositional techniques as a 20th century modern composer. Interesting sounds and combinations make a very engaging conclusion. Much like Sensamaya, Ventanas is very rhythmical and industrious sounding, featuring in this case, the brass section and tuba solo. Angular melodies, sometimes folk sounding, other times classically based, and clashes of dissonance, along with perpetual motion (even during the subdued middle section), is evocative of expressionism and the influence of Stravinsky.
   
   Three chamber works are also included on this CD: Ocho for Radio, Homage to Frederico Garcia Lorca, and Revueltas' set of two Little Serious Pieces. Each has a unique assortment of instruments and are in smaller proportions to the previously mentioned portions of the disk. Ocho for Radio is a musical answer to a mathematical equation. Featuring eight players, the music has so much going on, it nearly sounds Ivesian. The main idea prevails, however, including a mariachi trumpet and string section, along with two woodwinds and one percussionist. The Homage to Lorca, in three movements (Dance, Sorrow, and Sound) begins with familiar sounding Mexican ideas, with slightly humorous dissonances and motives, includes piano, piccolo, and tuba. The ambiguous sounds of the middle, give an uneasy feeling of impatient monotony, while the concluding movement is in a revelatory and joyous mood with occasional clashings of dissonance and jazzy inflections. The two Serious Little Pieces are charming miniatures: the first, a swift pointilistic whirlwind, the second, a slow waltz. Scored for wind quintet with baritone saxophone, a rustic sound is created.
   
   I personally like to explore new music, and this all Revueltas CD seemed appropriate. The music is diverse, featuring classicism, Mexican folk attributes, expressionism, and tribal rhythms and modes, not to mention the diverse literary sources and instrumentations. The music is modern sounding with particular influences of Stravinsky, dissonance and polytonality are often used. The Los Angeles Philharmonic Orchestra and the Los Angeles New Music Group under Esa-Pekka Salonen play admirably on some rhythmically virtuosic music. Salonen elicits very different sounds from work to work, making the CD varied. After listening, I am personally not astounded by the compositions, nor put off, but satisfactorily interesting. Make sure you like the music before purchasing. In any case, if you are looking for different and new music, this is a quality CD with a good performance, although, you may want to compare other compilations under conductor Eduardo Mata.



3. MUSIC OF SILVESTRE REVUELTAS is one of those CDs that, once in the library, is a disc that enjoys frequent hearings. This is music of deep convictions by a composer who seemed on the brink of entering the highest echelon of 20th Century composers when he died from alcoholism in 1940 (at age 41!). He brought the sounds, pulsations, exotic rhythms, and folk music from Mexico to the classical concert stage in a way that is as important as what Stravinsky did for the Russian idiom, Copeland did for the American idiom, and Bartok is for the Hungarian idiom.
   
   This superb CD includes a fine overview of Revueltas' output. Esa-Pekka Salonen conducts the Los Angeles Philharmonic and the L.A. Philharmonic's New Music Ensemble in both large and small works. The 'La Noche de los Mayas, suite for orchestra' is as lush and gorgeous a work for orchestra as anything he wrote. But it is in 'Homenaje a Federico García Lorca for Chamber Orchestra' that the complexity and the drama of Revueltas' compositional powers are clearly evident. Also included are the now standard 'Sensemayá', 'Ocho por Radio', 'Ventanas' and two 'Little Serious Pieces'.
   
   The performances are clear, transparent, full of bite and energy and very much in line with the quality of sound and interpretation we've come to expect form Salonen and his forces. In Salonen, Revueltas has found a solid supporter and we can only hope there will be many more recordings of this sensual and exciting music! Highly recommended. Grady Harp, October 05



4. Silvestre Revueltas was an enfant terrible of 20th century music in Mexico (compare his compositions to those of the more conservative Carlos Chavez). His works are highly appealing to the contemporary ear by virtue of their intense rhythmicity, creative orchestration and dark undertones which are often counterbalanced by brilliant Mexican motifs. After listening to this enlightening selection of some Revueltas' finest works for full orchestra and chamber ensemble, I wondered what other masterworks might have been composed by one who died too young. Esa-Pekka Salonen and the Los Angeles Philharmonic musicians really do justice to these innovative pieces. Highly recommended!



5. What fun music! Salonen's other discs are great, but this is like a breath of fresh air. Revueltas's music is highly entertaining and pleasant to listen to. The LAPO plays fantastically and the recording quality is excellent. Go ahead and buy this one, it won't disappoint!

5 comments about Horowitz Plays Rachmaninoff/Concerto for Piano in Dm; Sonata for Piano No2/Vladimir Horowitz, Pianist.

1. Rachmaninov, on hearing Horowitz play his difficult concerto in private to him, remarked to someone afterwards, that VH "had swallowed it whole!" Need one say more?



2. The performance that Horowitz gives us in this '50s recording of the Rach 3 is a testament to outstanding human artistic endeavor. As Rachmaninoff said, "...he (Horowitz) swallowed it whole." Along with his pianistic pyrotechnics, Horowitz demonstrates wonderful architectural overview, inevitability, and stylistic authenticity. Truly, a recording of this concerto sui generis that should be in the libraries of all who love the piano!
   The other pieces on this CD, recorded for RCA ca. the late '70s,
   have an unpleasant piano sound. Franz Mohr, piano tuner for
   Horowitz/Steinway during this period, discusses this issue in his
   book, "My Life with the Great Pianists." Superb recordings of
   these pieces are available: Piano Sonata No. 2, recording
   Horowitz made for Columbia Records in the late '60s; Prelude in
   G, Op. 32, Horowitz in Moscow, 1986; and Moment Musical in E flat
   minor and Polka de V. R., Sergei Rachmaninoff, Great Pianists of
   the 20th Century, Philips/Polygram (compiled in 1998).



3. Musicians are reluctant to give rankings. We want to separate the classical music world from the hyped world of MTV top tens and USnews school rankings. Since this is the case why are so many pianists assert and reiterate the glory of Horowitz among 20th century pianists. After all if we are going to deviate from our tendency not to rank we should at least substantiate why Horowitz is so special.
   If one dwells on it for a second the physical act of playing the piano boils down to brain finger coordination. The brain sends a message to the finger what to do next - where to move, how soft to touch the key, etc. It is extremely hard to reach a very high level of coordination. For example, if someone had 100 percent brain hand coordination in basketball they would never miss a shot.
   Horowitz brain-finger coordination is just phenomenal (there are many examples of this and a classic one in my opinion is his playing of Etincelles). Imagine telling a pianist to play a 20 minute piece ONLY in pianissimo but still continaing crescendos and decrescendos within the pianissimo. For 99.9 percent of pianists, and even the great ones, this would be impossible. At some stage during this hypothetical piece they will accidentally stray into mezzo forte (or some other level). TO BE ABLE to play with such softness for a prolonged period of time is unbelievably hard because you need complete control of the fingerwork.
   
   Critics often miss the mark when talking about Horowitz. They look at isolated concerts or recordings during his very long career that are flawed ( and admittedly Horowitz did have ups and downs). The crux of the pianist's talent lies in what he could do at the piano when he reaches the summit of his ability. If one looks at Horowitz' output within a larger context things look different.
   
   Let me conclude with comments of the famous pianist, William Kappell:
   "I'm so weak from tears and shouting, that I can hardly write.... I just heard Horowitz here in Pasadena, playing the 3rd Concerto of Rachmaninoff. The man is such a genius of the piano that it seems inhuman to play like that.... He is not a pianist, he is a magician."
   Eloquent and Succinct.



4. The monumental Sonata No. 2 is possibly the most complete work of this genre emerged from Russia until this date. It possesses that effluvium and nostalgic gaze,contemplative lyricism and arresting expression that invades the listener from the first bars. Involved in the classical Romantic heritage, with a strong Lisztian influence and the majestic and elusive introspection so typical of Robert Schumann.
   
   The celebrated Non allegro: Lento expresses this sad melodic flight where the meditation and farewell sense seems to shake hands. What it seduces me from this version is its maidenly approach; Horowitz understands the core of the work as anyone else, given this similar condition of exiled Soviet citizen and explores with acuteness and refined eloquence the inner folds, those enigmatic pianissimos and sudden outbursts of fevered poetry make of this performance the most genuine and best achieved versions that I have ever listened never before.
   
   The Third Piano Concerto despite the fact is not my first choice is incandescent and superbly phrased. In addition we have Reiner making a sharp collaboration and showing the Russian mood underlined beneath the score. Horowitz unexplainable does not play the Diabolic Cadenza and that 's probably one the disillusioned aspects that I dislike; this Cadenza is a true firewall that stigmatizes and accents still more the febrile passion and enraptured flame of this monumental score.
   
   In this sense no other pianist in the history has been able to reach the level of the unsurpassed, resplendent and delirious performance that William Kapell did it in 1952 in a live Concert pitifully non available in CD, due it was a live register, that I could get it thanks to a friend of mine who got a copy in Washington of a hard fan of William in 1988. Since I listened this version, became automatically in the parameter per excellence at the moment to compare some other recording.



5. The CD starts with the Sonata Number 2, which Rachmaninoff composed, then shortened in his later years. Horowitz came to Rachmaninoff saying that he had cut too much. Rachmaninoff agreed and had Horowitz himself add back in what he thought was appropriate. Rachmaninoff approved the changes and that became the official version. Horowitz apparently made a few more changes since the composer's death which he feels Rachmaninoff would have approved. This is the final version that appears in this recording.
   
   There are then a few smaller but still delightful pieces. One of the Musical Moments that Rachmaninoff was apparently particularly proud of. It is done in the Horowitz style, but the piece is dissonant and swirling, even for Rachmaninoff, creating a nice contrast. It's delightful to hear Horowitz's interpretation with his melodic and bell-like tone.
   
   The prelude is peaceful and more complementary (rather than contrasting) to Horowitz's style. Melodic, relaxed, and dreamy.
   
   The Polka is actually based on something Rachmaninoff's father used to play. A folk melody arranged in the virtuoso Rachmaninoff style. Fascinating.
   
   Finally we come to the Third Rachmaninoff Piano Concerto. The Rach 3 as it is known. Respected and feared by pianists the world over. It won Olga Kern the International Cliburn Competition. There are apparently a few mistakes in the piece due to nerves, but I can only hear two spots where they MIGHT be. Horowitz's interpretation emphasizes speed and lightness rather than size and weight (which Ashkenazy tends to emphasize). Horowitz plays the "light and quicksilver" cadenza rather than the heavier chordal one which is more "typical" of Rachmaninoff. I would like to hear Horowitz play the other cadenza, as well. Sometimes when Ashkenazy or other pianists play this piece, you can hear when they are no longer considering interpretation or artistry. They are merely trying to survive the piece intact. Horowitz never struggles with the piece, even though it is the hardest in the repertoire, he is always thinking, feeling, and interpreting the piece. I'm often gasping for breath, but Horowitz is always effortlessly skimming along. A marvelous playing of my favorite Rachmaninoff and my favorite piece. This is marvelous, but it is fascinating to hear other interpretations of this piece. For a more purposeful (but equally speedy) interpretation, I recommend Byron Janis. For a more ponderous weighty interpretation, I recommend Ashkenazy. Olga Kern also does well playing this piece in the Cliburn DVD. It's amazing to see it played.