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Horowitz, Vladimir - 1993 - Complete Masterworks Recordings Box Set [1/0]

Sat, 31 Dec 2011 10:45:10 GMT

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Omdaru radio music 2011 03 [1/0]

Mon, 25 Jul 2011 12:42:25 GMT

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111 Years Of Deutsche Grammophon - The Collector's Edition 2 (56 CD) [3/6]

Sat, 05 Feb 2011 17:08:23 GMT

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The Essential Vladimir Horowitz [3/0]

Thu, 27 Jan 2011 11:18:59 GMT

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Volodos [3/1]

Tue, 28 Dec 2010 02:15:46 GMT

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Vladimir Horowitz OJC [1/3]

Fri, 29 Oct 2010 10:59:26 GMT

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Torrent "Vladimir Horowitz - Original Jacket Collection (70 CDs)" - 10.06 GB in 274 files. Added 6 minutes ago. Torrent downloaded from torrent cache at http://zoink.it

Rachmaninov Edition - Complete Works [17/7]

Tue, 30 Mar 2010 07:38:36 GMT

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Vladimir Horowitz In Hamburg (The Last Consert) [2/0]

Sat, 30 Jan 2010 14:38:43 GMT

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The Frederic Chopin Collection [4/1]

Tue, 12 Jan 2010 15:37:02 GMT

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Vladimir Horowitz - Incomparable Horowitz [2/0]

Sat, 06 May 2006 04:13:22 GMT

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Beethoven - Piano Concertos Nos. 1 & 3 - Michelangeli, Giulini, Wienner Symphoniker (DG, 1980-87) [1/0]

Sun, 12 Nov 2006 19:41:14 GMT

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LUDWIG VAN BEETHOVEN (1770-1827) Konzert für Klavier und Orchester Nr. 1 C-dur op. 1 5 [38'03] 1. Allegro con brio [18’33] Kadenz: Ludwig van Beethoven 2. Largo [10'36] 3. Rondo. Allegro [8'54] Kadenz: Ludwig van Beethoven Konzert für Klavier und Orchester Nr. 3 c-moll op. 37 [38'05] 1. Allegro con brio [17'14] Kadenz: Ludwig van Beethoven 2. Largo [11'16] 3. Rondo. Allegro [9'35] ARTURO BENEDETTI MICHELANGELI, Piano Wiener Symphoniker CARLO MARIA GIULINI Live recording of televised concerts in Vienna MICHELANGELI AND GIULINI PLAY BEETHOVEN A riveting and impressive account [of No. 1] High Fidelity (1981) Great playing ...by an important pianist. Gramophone (1988) The price of the first chairs was tripled and that of the boxes raised to twelve ducats for the concert at the Theater an der Wien on 5 April 1803. Beethoven, who had been up at 5 o'clock in the morning copying out trombone parts, and who would be sustained throughout an arduous day of rehearsals by hampers of wine, cold meats and bread and butter thoughtfully provided by Prince Lichnowsky, was about to put before the world three new master-works: the Second Symphony, his oratorio Christusam Olberge, and a new Pianoforte Concerto in C minor. Newly confident in the wake of the near-suicidal despair of the summer of 1802, Beethoven clearly felt the moment ripe to bring forward this concerto which he had specially treasured ever since first conceiving it three years previously. He had been happy to let his B flat Piano Concerto [No.2] go to a publisher for a mere ten ducats. ("One of my first concertos and therefore not one of my best compositions," he later observed, in a rare fit of modesty.) The C major Concerto [No. 1] was something else again. The composer Tomasek heard Beethoven perform it sometime in 1798 and was so stirred by the grandeur of the playing (and by Beethoven's astonishing improvisatory powers) that he feared even to touch a keyboard for several days afterwards. The C minor Concerto was gestat-ing at this time, but even though it was largely completed by the summer of 1800, Beethoven refused to part with it. "Musical policy," he wrote to the publishers Breitkopf und Hartel, "demands that one should keep one's finest concertos to oneself for a while." Such presence of mind indicates that by 1801 Beethoven was beginning to register his worth to the world. When he finally delivered himself of the concerto in April 1803, the reception was by no means wholly favourable. The critic of the reveal-ingly named Zeitung fur die Elegante Welt observed that in the concerto, "Hr. v. B., who is otherwise known to be an excellent pianist, performed not entirely to the public's satisfaction". This is perhaps not surprising when we learnfrom Bitter von Seyfried, composer and temporary page-turner, that virtually nothing of the solo part was committed to paper. From a few scant scribbles - "like Egyptian hieroglyphs", remarks Seyfried - Beethoven spun his musical fabric, occasionally glancing provocatively up "at the end of each of his invisible pages". It seemed to amuse him, for after the concert he was in high good humour. All of which might appear to be some way from the chiselled certainties of the Beethoven playing of Arturo Benedetti Michelangeli. A supreme technician, and a notoriously fastidious one, Michelangeli the Beethoven interpreter seemed to sculpt his performances out of the finest Carrara marble. The playing is at once Titanic and fine. So exacting a manner should imprison the music not free it, yet, curiously, it makes it the more Beethovenian, radical and free-spirited. In the first movement of the C major Concerto, the cadenza (the third and grandest of those Beethoven later provided) is played with all the stops out. Scales roll like thunder, minor seconds glint with scarifying brilliance. Midway, there is a terrific accelerando and chords black as judgment day. Then a trill and a devil-may-care return to the principal idea. It is all rather shocking. But Beethoven enjoyed shocking -terrorizing, even-the solemn-browed cognoscenti of his day. And is Giulini's Beethoven the same as Michelangeli's? As the mendacious journalist in Evelyn Waugh's Scoop would say, "Up to a point, Lord Copper." Musically speaking, conductor and soloist are very much of one mind. Giulini shares with Michelangeli a pas- sion for what one might call-musically speaking - executive integrity. Rhythms are never skimped and even the rustic-sounding Vienna Symphony Orchestra is persuaded to paint the tuttiswithafull brush. (Sir Simon Rattle, Giulini's deputy in Los Angeles many years ago, tells a charming story against himself of how the rich and beautifully graded sound of a Beethoven concerto performance Giulini had prepared gradually drained away as Rattle's subseguent tour with the orchestra slowly progressed.) And what of any possible congruence between the two men, spiritually and intellectually? Here what we have is perhaps best described as "a unity of opposites". Hearing Giulini and Michelangeli making music together is a little like hearing a conversation between a saint and a Manichee. That, too, is a very Beethovenian thing, though Beethoven might have been surprised to find the debate taking place within the context of a piano concerto. In his day the conductor wasn't given a second thought. Richard Osborne -------------------------------------------------------------------------------------------- Customer Review (Amazon.com): Greatest performance of Beethoven's first piano concerto, September 19, 1999 Reviewer: Juan Carlos Garelli Nobody plays Beethoven C major concerto like Arturo Benedetti Michelangeli! He leaves his competitors lagging far behind. Mostly because ABM's approach is totally Beethovenian, it is the first and only time this concerto is played with all the bravura, heroism, dramatism, sincerely conveying Beethoven's passionate feelings. Most pianist approach the first three piano concertos as if they were sort of Mozartian. Plenty of examples: Maurizio Pollini, Vladimir Ashkenazy, Martha Argerich, Vladimir Horowitz, Emil Gilels, even the great Sviatoslav Richter. They believe that all compositions classified as belonging to Beethoven's early compositions are to be seen as rather immature, and consequently bearing the stamp of 18th century classicism. The C major concerto is Op. 15. The Pathetique piano sonata is Op.13. Now has anybody ever heard the Pathetique has been labelled immature? Or Mozartian, or even Early? Nonsense. Beethoven was 28 when he finished Op. 15, a wholly mature composer. And so does ABM understand: he plays it as a grand concerto; he is right, it is a great piano concerto, one of the greatest. All the approach is incredible: scales sound so breathtakingly as if you were in a roller-coaster or skiing down the Monte Bianco (let's remember, in passing, ABM was a ski champion). Trills are also so giddy you wonder how ABM manages to keep his balance. His tempo, few rallentandi, are fascinating, his expression incomparable, his sound loudness control marvelous, he sounds colourful, deep, in total mastery. In my opinion it is not only by far the best rendition of the C major piano concerto, it is also high quality music. I rank this CD as the best music I have in my collection. As is well known, ABM found the piano too percussive, so let alone forcefully hammering the keys, especially in fortissimi, as so many a renowned pianist is used to. The outcome of this unique view regarding the acoustic traits of the pianoforte becomes a turning-point in Michelangeli's pianism. Striking chords are always lively and lovingly played, never pounded. ABM uses the most supreme technique, he seems to sculpt his performance out of the finest Carrara marble. The playing is at once Titanic and fine making the music the more Beethovenian, radical and free-spirited. In the first movement of the C Major concerto, the cadenza is played with all the stops out. Scales roll like thunder, minor seconds glint with scarifying brilliance. Midway, there is a terrific accelerando and chords black as judgment day. Then a trill and a devil-may-care return to the principal idea. It is all rather shocking. But Beethoven enjoyed shocking -terrorizing even- the solemn-browed cognoscenti of his day... More customer reviews: http://www.amazon.com/Beethoven-Piano-Concertos-Michelangeli-Giulini/dp/B000001GXL

Vladimir Horowitz - Original Jacket Collection [2/1]

Sun, 01 Apr 2007 12:58:00 GMT

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[ Find More at http://www.torrentportal.com ] An Essential Vladimir Horowitz Collection

Horowitz - Favorite Beethoven Sonatas [1/0]

Tue, 06 May 2008 10:22:26 GMT

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Franz Liszt - Piano sonata in B minor [1/0]

Fri, 10 Aug 2007 20:35:05 GMT

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Franz Liszt: Piano Sonata in B minor

Vladimir Horowitz - Favorite Chopin [21/1]

Sat, 22 Nov 2008 17:25:17 GMT

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Vladimir Horowitz - In the Hands of the Master [The Definitive Recordings] - FLAC [3/0]

Fri, 29 May 2009 23:12:38 GMT

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Vladimir Horowitz Plays Scriabin [1/1]

Tue, 12 May 2009 00:59:36 GMT

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Vladimir Horowitz - Der letzte Romantiker [5/0]

Sat, 17 Mar 2007 12:40:19 GMT

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Vladimir Horowitz Plays Scriabin [FLAC] [7/0]

Wed, 26 Nov 2008 19:41:20 GMT

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Scarlatti Domenico (1685 - 1757) [3/0]

Thu, 07 Aug 2008 17:46:44 GMT

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