arrau

Brahms - Piano Concerto No. 1 Op. 15 / Beethoven - Piano Sonata Op. 53 "Waldstein" - Basil Cameron

cover of Brahms - Piano Concerto No. 1 Op. 15 / Beethoven - Piano Sonata Op. 53 asin: B000CS85J8
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JOHANNES BRAHMS
(1833-1897).

Piano Concerto No.1 in D minor Op.15:
1 - I. Maestro
2 - II. Adagio
3 - I. Rondo: Allegro non troppo.

LUDWIG VAN BEETHOVEN
(1770-1827).

Piano Sonata No.21 in C minor Op.53 "Waldstein":
4 - I. Allegro con brio
5 - II. Introdizione: Adagio molto
6 - III. Rondo: Allegretto moderato Prestissimo.

CLAUDIO ARRAU, piano.
The Philarmonia Orchestra,
BASIL CAMERON.

Ludwig van Beethoven: Piano Sonatas

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This deluxe four-CD set showcases Beethoven's most popular piano sonatas in classic, contrasting performances by some of the 20th century's greatest keyboard soloists. If Bach's "Well-Tempered Clavier" comprises music's Old Testament, Beethoven's 32 Piano Sonatas constitute the New Testament.

Beethoven: Piano Sonatas Op.53 Waldstein & Op.109

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1-3.sonata no.1 in c op.53.4.andante favori op.57/5-77.sonata no.30 in e op.109

Beethoven: Piano Concertos Nos. 3, 4 & 5

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Claudio Arrau Plays Beethoven, Schumann, Schoenberg

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Beethoven: The 32 Piano Sonatas; Variations

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Steinway Legends: Claudio Arrau

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Claudio Arrau in Germany: Pre-War Recordings

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Along with Marston's invaluable reissue of Arrau's early studio recordings, these radio broadcasts from the late 1930s add to our knowledge of one of the century's greats. The younger Arrau was a more overtly virtuosic pianist than the later, more philosophical one on his Philips recordings, but the seriousness of his interpretive approach shines through. The Beethoven sonatas, for example, are weightier in his later recordings, but we can still revel in his unique depth of tone and refusal to settle for surface glitter, a rare trait in a virtuoso of Arrau's technical accomplishments.

Beethoven: Complete Concertos Vol. 2

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The Final Sessions

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Claudio Arrau Plays Mozart Sonata No 8 & Beethoven Sonata No 32

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VAI 4388 Mozart: Sonata No. 7 in A minor, K.310, Beethoven: Sonata No. 32 in C minor, Op. 111. Bonus: Arrau interview. Telecast of March 5, 1964, 60 min., B&W, All regions.

Schumann Piano Concerto & Beethoven Piano Sonata No. 32 / Arrau

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Beethoven: Piano Concerto No 5

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"An Emperor which offers increasing musical dividends - an unmissable bargain ... There are plenty of big-name Emperors around, but this latest entry holds its own against any competition. Yefim Bronfman's touch is light and fleet, while he, David Zinman and the Tonhalle Orchestra form a warmly responsive partnership." - GRAMOPHONE EDITOR'S CHOICE Born in Tashkent, Uzbekistan in 1958, Yefim Bronfman immigrated to Israel at the age of thirteen and later to the U.S., where he pursued his training at the Juilliard School and the Marlboro and Curtis Institutes under Rudolf Serkin, Rudolf Firkusny, and Leon Fleisher. Bronfman celebrated his international début in 1975, accompanied by the Montreal Symphony Orchestra under Zubin Mehta. He soon acquired an excellent reputation as a pianist on the stages of the world's major concert halls. Highlights of recent years include concerts with the Berlin Philharmonic, the Chicago Symphony, the Cleveland Orchestra, the Staatskapelle Dresden, the Gewandhaus Orchestra Leipzig, the Concertgebouw Orchestra Amsterdam, and the Vienna Philharmonic. Yefim Bronfman also gives regular piano recitals in the leading concert halls of the United States, Europe, and the Far East. As a chamber musician, he has collaborated with the Emerson, Cleveland, Guarneri, and Juilliard Quartets. Other long-term musical partners include Emanuel Ax, Yo-Yo Ma, Joshua Bell, Lynn Harrell, Shlomo Mintz, and Pinchas Zukerman. Born in 1936, American conductor David Zinman has risen to the pinnacle of his career in the last decade. After bringing the Baltimore Symphony to major status, he became musical director of the Aspen Music Festival and then took the helm of Zurich's beloved Tonhalle Orchestra. Zinman's discography of some one hundred recordings has won five Grammys and two Grands Prix du Disque. Ever since 1999, when the Tonhalle Orchestra was awarded the German Record Critics' Award for its seminal recording of all Beethoven's symphonies, the oldest symphony orchestra in Switzerland has been the focus of international interest. Under the leadership of David Zinman, the Tonhalle Orchestra has undertaken a number of successful concert tours throughout Europe, the U.S., and Japan. In addition to its concerts at home and its touring schedule, the orchestra and Zinman are devoting increasing time to recording projects. Beethoven's "Emperor" concerto is the most dramatic of his five piano concertos, and one of the most popular in the entire genre. First performed in 1812, it is still a concert staple. First-time listeners to Beethoven's "Choral Fantasy" are inevitably taken aback by its similarities to the far more famous final movement of the Ninth Symphony, and indeed it was to become a sort of model or study for that magnificent finale. The "Choral Fantasy" was especially written for a mammoth concert of Beethoven's works given in December of 1808. Seldom heard in concert today, Beethoven's dramatic choral piece Calm Sea and Prosperous Voyage was composed in 1814/15 to two poems by Goethe, and dedicated to the great German poet who received a copy of the score from Beethoven in 1822, the year of its first performance.

Album of indifficult arrangements for piano four hands. Part 1.

cover of Album of indifficult arrangements for piano four hands. Part 1.author: Bach Johann Sebastian, Mozart Wolfgang Amadeus, Beethoven Ludwig van, Schubert Franz, Mendelssohn F, Glinka Mikhail, Grieg Edvard, Brahms J, Strauss Johann, Tchaikovski Boris, Borodin Aleksander, Musorgski Modest, Stravinsk Movchan S. (Ed.)
asin: 5714008936
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Beethoven: Klaviersonaten - Maurizio Pollini / Mondschein - Pastorale

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The tracks are: 1. - 4. Klaviersonate Nr. 13 Es-dur op. 27 No. 1, 5. - 7. Klaviersonate Nr. 14 cis-moll op. 27 No. 2, 8. - 11. K;aviersonate Nr. 15 D-dur op. 28 "Pastorale".

Great Recordings Of The Century - Beethoven: Triple Concerto; Brahms: Double Concerto / Oistrakh, Rostropovich, Richter

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Among the concertos of Beethoven and Brahms, these two have always been stepchildren. One reason is their extreme difficulty; both composers were pianists, so Beethoven wrote an idiomatic part only for the piano. Brahms's friend Joseph Joachim offered advice for the violin concerto, but not for the Double Concerto, which was written as a peace offering after a falling-out. The Beethoven Triple Concerto demands utmost virtuosity, as well as intimate teamwork among the soloists, and that is exactly what these three supreme masters of their instruments bring to it. Free--indeed unaware--of technical problems, they give it a joyful, sparkling lightness. The piano ripples, the cello sings gorgeously, the violin soars ecstatically, the tone is intoxicatingly beautiful. The Finale is wistful, charming, lyrical, gently humorous; the ending is a big joke, with the cello and piano rumbling in the bass, while the violin whistles forlornly in the dark until they all join together. The Brahms is grand, majestic, dreamy, radiant, triumphant; the slow movement warm as dark velvet, the Finale genial and relaxed. Though the orchestra never covers the soloists, it explodes in the tutti passages, especially in the Beethoven, so you might keep a finger on the volume control. --Edith Eisler

Beethoven - Choral Fantasy and Triple Concerto for Violin, Cello & Piano / Barenboim, Ma, Perlman

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It would be difficult, perhaps impossible, to assemble a better group of musicians to perform Beethoven's Triple Concerto and Choral Fantasy. Daniel Barenboim has been so busy conducting the world's top orchestras and opera companies that there is a danger of forgetting what an excellent pianist he is. He conducts both of these works from the keyboard, as Beethoven would have expected, engaging in chamber music-like dialogue in the concerto and creating a sense of impromptu in the Fantasy's long piano solo, which Beethoven wrote for himself and partly improvised at the first performance. Itzhak Perlman and Yo-Yo Ma are sensitive, alert, and technically superb partners. The music is not Beethoven's most familiar, but it is absolutely charming. The concerto is appealing in its melodic material and the intricate interactions among the soloists and orchestra. The Choral Fantasy features a long piano solo that Beethoven wrote for himself, plus a choral melody that sounds like a preliminary sketch for the last movement of his Ninth Symphony. Both works pose unusual balance challenges, to which Barenboim and the recording engineers rise impressively. --Joe McLellan

Piotr Anderszewski - Beethoven: Diabelli Variations

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Beethoven: Piano Concertos 4 & 5

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Beethoven 11 Pieces for the Young for Piano: Instantly download and print sheet music

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Downloadable sheet music file

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