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Monday, April 16, 2012

Tchaikovsky Edition

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Price : $125.99
Post Date : Apr 16, 2012 20:32:08
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From the lighter-than-air ballets to the tormented strains of the Pathetique symphony, here are 60 CDs of sublime Tchaikovsky creations-rare historical recordings aimed squarely at record collectors plus bonus material including a CD-ROM with comprehensive booklet notes and sung texts. Among the illustrious performers: Sviatoslav Richter, Emil Gilels, David Oistrakh, Leonid Kogan, Evgeny Kissin, London Symphony Orchestra, National Choir of the Ukraine, Moscow Philharmonic Orchestra and Radio-Sinfonie-Orchester Stuttgart. If there's a Tchaikovsky piece that's particularly dear to your heart, rest assured: it is here, as this big box contains his complete symphonies, overtures, orchestral works, orchestral suites, ballets, piano concertos, violin concertos, cello works, (DEEP BREATH!), choral works, chamber music, piano works and his ravishing Serenade for Strings !

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Tuesday, April 10, 2012

Complete Duo Recordings

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| Price : $50.85 | Post Date : Apr 10, 2012 17:19:04
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Although Argerich has participated in numerous musical partnerships, not to mention her longtime mentoring of young artists, her associations with violinist Gidon Kremer and cellist Mischa Maisky are surely among the pianist's most substantial and musically rewarding collaborations. The present collection includes all of the Argerich/Kremer and Argerich/Maisky duo recordings for Deutsche Grammophon as originally released and in chronological order, allowing listeners the opportunity to trace each duo's evolution in terms of artistic rapport, sensitivity, risk-taking and the fine tuning of nuance.

Any discussion of Beethoven's violin sonatas (CDs 1, 4, 9 & 10) must address the fact that the composer did not designate these works as being "for violin and piano". For example, the first published edition of the "Spring" Sonata op. 24 from October 1801 reads "Sonate pour le Piano Forte," in large letters, followed in smaller print by "avec un Violon." Similarly, the title-page of the first edition of the "Kreutzer" Sonata op. 47 from April 1805 reads "Sonata per il Piano-forte ed un Violino obligato." None of this should be taken to mean that the violin writing plays "second fiddle" to the piano part, so to speak, but rather that both instruments carry equal weight within the musical discourse.

Argerich and Kremer understood this from the start of their recorded Beethoven encounters, originally intended as part of a series encompassing all the violin sonatas, the music for cello and piano with Maisky, plus the five piano concerti with Giuseppe Sinopoli and the Philharmonia Orchestra (in the end, Argerich and Sinopoli recorded only the First and Second Concertos). Initially Argerich expressed apprehension about recording Beethoven, lest her readings might sound self-conscious under the microphone's objective, unforgiving scrutiny. Yet, during an interview conducted prior to the cycle's final sessions, both Argerich and Kremer spoke of using the recording process to look for the unexpected. "It was an inspired idea to match (Argerich) against a violinist so unpredictable as she is herself," wrote Edward Greenfield in Gramophone, "for though there is nothing `safe' about these interpretations, and not everyone will respond to their sparkling, volatile qualities, the liveness of the experience is undeniable."

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