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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."
![Schubert: The Collector's Edition [Box Set]](https://lh3.googleusercontent.com/blogger_img_proxy/AEn0k_scKlxMXy0BsyJlyoxpCfd83yUSvW3dFr5Yp4bBkeQTw--FC1fCe6iu5mqAoTbze8-54NrOOwsGlX5F1P5V9qWq_r1wO2sqnFNucRxx5tBbSEfAMa_ZypKi=s0-d "Schubert: The Collector's Edition [Box Set]")
Schubert: The Collector's Edition [Box Set]
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From December on, "Arthur Rubinstein The Complete Album Collection" will be the world's biggest CD edition for a solo artist according to Guinness World Records (TM). It features all the legendary pianist's issued recordings made by RCA Victor between 1940 and 1976, and includes one LP issued on the DECCA label in 1978. The collection also includes the recordings Rubinstein made in England for the English label His Master's Voice (HMV) between 1928 and 1940, most of which were released in the United States by RCA on its Victor label. The collection includes complete studio and live performances, solo, concerto and chamber music repertoire in reproductions of original LP sleeves and labels, the earlier recordings, initially released on 78-rpm discs, appear in three sets with 14 CDs in the edition.
The bonus CDs in this edition (CDs 140-142) contain recordings of his legendary 1961 cycle of ten concerts at New York's Carnegie Hall. They include four works that Rubinstein had never before committed to disc plus two others that represent brand-new additions to his RCA discography.
This edition also boasts the finest sound quality ever bestowed on Arthur Rubinstein's complete recordings. The masters for the principal works in the collection come from the series of Living Stereo SACDs and Japanese XRCDs. All the other recordings are based on masters from the Rubinstein Collection of 1999, technically and sonically refurbished for this edition. In cases where the desired results could not be obtained, Sony Classical has gone back to the original analogue tapes.
The 164-page full-colored hardcover book in landscape format includes new liner notes by Rubinstein biographer Harvey Sachs, photos shot or selected by Arthur Rubinstein's daughter Eva Rubinstein, an essay about the legendary 1961 Carnegie Hall concerts, complete discography in alphabetical and chronological order featuring 78s, 45s and LPs and track listings with complete discographical notes, producer names and matrix nos.
The two bonus DVDs are "Rubinstein Remembered", a documentary tracing the great pianist's life from his origins in Łódź, Poland, through his final concert there in 1975, with interviews from family and friends, newsreels, home movies, TV interviews and performance footage. Narrated by Rubinstein's son John Rubinstein and produced by Peter Rosen and the "The Benefit Recital for Israel 1976" recorded at Ambassador College, Pasadena, California on Jan 15, 1975 featuring works by Beethoven, Schumann, Debussy, Chopin and Mendelssohn.
The "Arthur Rubinstein Complete Album Collection" consists almost entirely of reproductions of vinyl LPs in their original sleeves. The few exceptions that were only released on CD retain their original CD cover. Thus for the first time ever, music lovers have the opportunity of discovering every single one of Rubinstein's original albums in a single issue.
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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 !
Leonard Bernstein's Young People's Concerts with the New York Philharmonic stand among his greatest achievements. These televised programs introduced an entire generation to the joys of classical music. Bernstein conducted his first Young People's Concert on January 18, 1958, just two weeks after becoming Music Director of the New York Philharmonic. Such programs were already a Philharmonic tradition when Bernstein arrived, but he made them a centerpiece of his work, part of what he described as his "educational mission." Looking back on the concerts years later, he referred to them as being "among my favorite, most highly prized activities of my life." When he took a sabbatical season from the orchestra in 1964-65, he still came back to lead the Young People's Concerts. He continued to lead these programs until 1972, even though he had stepped down as director of the Philharmonic in 1969. Bernstein led a total of fifty-three Young People's Concerts during those fourteen years, and covered a broad range of subjects. The works of the great composers were explored, including tributes to modern masters such as Dmitri Shostakovich, Paul Hindemith, Gustav Holst, Aaron Copland and Charles Ives. Bernstein discussed "Jazz in the Concert Hall," "Folk Music in the Concert Hall," and "The Latin-American Spirit." He explained the intricacies of Music Theory in programs such as "Musical Atoms: A Study of Intervals" and "What is a Mode?" He broached complex aesthetic issues such as "What Does Music Mean?" (his first program) with clarity and without condescension. Bernstein also used the Young People's Concerts to introduce young performers to the musical world. The sixteen year-old pianist André Watts made his debut in the concert of January 15, 1963. Originally broadcast on Saturday mornings, the programs were considered so important that for three glorious years CBS presented them at 7:30 p.m. (prime time for television viewing). Eventually the programs were moved to Sunday afternoons. The concerts were translated into other languages and syndicated to forty countries.
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