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The Great Pianists Volumes 1-10

The Great Pianists Volumes 1-10
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Track Listing

Disc 1:

  1. Romance In F, Op.51 No.5 - Alexander Goldenweiser
  2. Mediation In D, Op.72 No.5 - Alexander Goldenweiser
  3. Valse Sentimentale In f, Op.51 No.6 - Alexander Goldenweiser
  4. Dialogue In B, Op.72 No.8 - Alexander Goldenweiser
  5. 'Sari,' Op.28 No.4 From 'Forgotten Rhythms' - Alexander Goldenweiser
  6. Mazurka In C, From 'Petite Suite' - Alexander Goldenweiser
  7. Barcarolle In g, Op.10 No.3, From 'Morceaux De Salon' - Alexander Goldenweiser
  8. Novella In c, Op.17 No.2 - Alexander Goldenweiser
  9. Song And Dance From 'Kabardino-Balkarsky Songs And Dances' - Alexander Goldenweiser
  10. Ste No.2 For Two Pianos, Op.17 (To A.B. Goldenweiser): 1. Introduction - Alexander Goldenweiser
  11. Ste No.2 For Two Pianos, Op.17 (To A.B. Goldenweiser): 2. Waltz - Alexander Goldenweiser
  12. Ste No.2 For Two Pianos, Op.17 (To A.B. Goldenweiser): 3. Romance - Alexander Goldenweiser
  13. Ste No.2 For Two Pianos, Op.17 (To A.B. Goldenweiser): 4. Tarantella - Alexander Goldenweiser

Disc 2:

  1. Rondo In a, K.511 - Heinrich Neuhaus
  2. Son For Two Pianos In D, K.448: 1. Allegro Con Spirito - H. Neuhaus/S. Neuhaus
  3. Son For Two Pianos In D, K.448: 2. Andante - H. Neuhaus/S. Neuhaus
  4. Son For Two Pianos In D, K.448: 3. Molto Allegro - H. Neuhaus/S. Neuhaus
  5. Preludes, Books I & II: No.1 Danseuses De Delphes - Heinrich Neuhaus
  6. Preludes, Books I & II: No.9 La Serenade Interrompue - Heinrich Neuhaus
  7. Preludes, Books I & II: No.15 La Puerta Del Vino - Heinrich Neuhaus
  8. Preludes, Books I & II: No.6 Des Pas Sur La Neige - Heinrich Neuhaus
  9. Preludes, Books I & II: No.4 Les Sons Et Les Parfums Tournent Dans L'air Du Soir - Heinrich Neuhaus
  10. Preludes, Books I & II: No.5 Les Collins D'anacapri - Heinrich Neuhaus
  11. Preludes, Books I & II: No.17 Bruyeres - Heinrich Neuhaus
  12. Preludes, Books I & II: No.12 Minstrels - Heinrich Neuhaus
  13. Visions Fugitives, Op.22: No.1 Lentamente - Heinrich Neuhaus
  14. Visions Fugitives, Op.22: No.2 Andante - Heinrich Neuhaus
  15. Visions Fugitives, Op.22: No.3 Allegretto - Heinrich Neuhaus
  16. Visions Fugitives, Op.22: No.4 Animato - Heinrich Neuhaus
  17. Visions Fugitives, Op.22: No. 5 Molto Giocoso - Heinrich Neuhaus
  18. Visions Fugitives, Op.22: No. 6 Con Eleganza - Heinrich Neuhaus
  19. Visions Fugitives, Op.22: No. 7 Pittoresco (Arpa) - Heinrich Neuhaus
  20. Visions Fugitives, Op.22: No. 8 Commodo - Heinrich Neuhaus
  21. Visions Fugitives, Op.22: No. 9 Allegretto Tranquillo - Heinrich Neuhaus
  22. Visions Fugitives, Op.22: No. 10 Ridicolosamente - Heinrich Neuhaus
  23. Visions Fugitives, Op.22: No. 11 Con Vivacita - Heinrich Neuhaus
  24. Visions Fugitives, Op.22: No. 12 Assai Moderato - Heinrich Neuhaus
  25. Visions Fugitives, Op.22: No. 13 Allegretto - Heinrich Neuhaus
  26. Visions Fugitives, Op.22: No. 14 Feroce - Heinrich Neuhaus
  27. Visions Fugitives, Op.22: No. 15 Inquieto - Heinrich Neuhaus
  28. Visions Fugitives, Op.22: No. 16 Dolente - Heinrich Neuhaus
  29. Visions Fugitives, Op.22: No. 17 Peotico - Heinrich Neuhaus
  30. Visions Fugitives, Op.22: No. 18 Con Una Dolce Ientezza - Heinrich Neuhaus
  31. Visions Fugitives, Op.22: No. 19 Presto Agitatissimo E Molto Accentuato - Heinrich Neuhaus
  32. Visions Fugitives, Op.22: No. 20 Lento Ireelamente - Heinrich Neuhaus

Disc 3:

  1. Largo From Son No. 5 In C, BWV 529/2 - Samuil Feinberg
  2. Choral-Prelude: Allein Gott In Der Hoh Sei Ehr, BWV 711 - Samuil Feinberg
  3. Choral-Prelude: Allein Gott In Der Hoh Sei Ehr, BWV 622 From 'Leipzig' Chorales (1. Version 1952) - Samuil Feinberg
  4. Choral-Prelude: Allein Gott In Der Hoh Sei Ehr, BWV 662 From 'Leipzip' Chorales (2. Version 1962) - Samuil Feinberg
  5. Choral-Prelude: Wer Nur Den Lieben Gott Labt Walten, BWV 647 From 'Schubler' Chorales - Samuil Feinberg
  6. Choral-Prelude: Allein Gott In Der Hoh Sei Ehr, BWV 663 From 'Leipzig' Chorales - Samuil Feinberg
  7. Son In E-Flat, K.282: 1. Adagio - Samuil Feinberg
  8. Son In E-Flat, K.282: 2. Menuetto - Samuil Feinberg
  9. Son In E-Flat, K.282: 3. Allegro - Samuil Feinberg
  10. SoN In E-Flat, K.282: 1. Allegro - Samuil Feinberg
  11. Son In E-Flat, K.282 2. Adagio - Samuil Feinberg
  12. Son In E-Flat, K.282 3. Allegretto - Samuil Feinberg
  13. Fant And Fugue In C, K. 394 - Samuil Feinberg
  14. 12 Variations On An Allegretto In B-Flat, K. 500 - Samuil Feinberg

Disc 4:

  1. Serenade In A: 1. Hymne - Maria Yudina
  2. Serenade In A: 2. Romanza - Maria Yudina
  3. Serenade In A: 3. Rondoletto - Maria Yudina
  4. Serenade In A: 4. Cadenza Finala - Maria Yudina
  5. Mikrokosmos, Part 5 & 6: No.128 Stamping Dance. Moderato - Maria Yudina
  6. Mikrokosmos, Part 5 & 6: No.132 Major Seconds Broken And Together. Adagio - Maria Yudina
  7. Mikrokosmos, Part 5 & 6: No.137 Unison. Moderato - Maria Yudina
  8. Mikrokosmos, Part 5 & 6: No.142 From The Diary Of A Fly. Allegro - Maria Yudina
  9. Mikrokosmos, Part 5 & 6: No.144 Minor Seconds, Major Sevenths. Molto Adagio, Mesto - Maria Yudina
  10. Mikrokosmos, Part 5 & 6: No.145 Chromatic Invention. Allegro (Ver. A & B Played... - Maria Yudina
  11. Mikrokosmos, Part 5 & 6: No.146 Ostinato. Vivacissimo - Maria Yudina
  12. Mikrokosmos, Part 5 & 6: No.149; No.2 From 'Six Dances In Bulgarian Rhythm' - Maria Yudina
  13. Son No.3 In B-Flat: 1. Ruhig Bewegt - Maria Yudina
  14. Son No.3 In B-Flat: 2. Sehr Lebhaft - Maria Yudina
  15. Son No.3 In B-Flat: 3. MaBig Schnell - Maria Yudina
  16. Son No.3 In B-Flat: 4. Fuga. Leghaft - Maria Yudina
  17. Son In B, Op. 1 - Maria Yudina
  18. Son No.2, Op.59: 1. Allegretto. Moderato Comodo - Maria Yudina
  19. Son No.2, Op.59: 2. Alla Marcia. Energico - Maria Yudina
  20. Son No.2, Op.59: 3. Finale - Maria Yudina

Disc 5:

  1. Fant In C, K. 475 - Vladimir Sofronitsky
  2. Impromptus, D.899, Op.90: No.3 In G-Flat - Vladimir Sofronitsky
  3. Impromptus, D.899, Op.90: No.4 In A-Flat - Vladimir Sofronitsky
  4. Son No.1 In f-Sharp, Op.11: 1. Introduzione. Un Poco Adadio-Allegro Vivace - Vladimir Sofronitsky
  5. Son No.1 In f-Sharp, Op.11: 2. Aria - Vladimir Sofronitsky
  6. Son No.1 In f-Sharp, Op.11: 3. Scherzo E Intermezzo. Allegrissimo - Vladimir Sofronitsky
  7. Son No.1 In f-Sharp, Op.11: 4. Finale. Allegro Un Poco Maestoso-Presto... - Vladimir Sofronitsky
  8. Nocturne In F-Sharp, Op. 15 No.2 - Vladimir Sofronitsky
  9. Nocturne In F, Op.15 No.1 - Vladimir Sofronitsky
  10. Scherzo No.1 In b, Op.20 - Vladimir Sofronitsky

Disc 6:

  1. Scherzo No. 2 In B-Flat, Op.31 - Vladimir Sofronitsky
  2. Moments Musicaux, Op.16: No.5 In D-Flat - Vladimir Sofronitsky
  3. Moments Musicaux, Op.16: No.2 In e-Flat - Vladimir Sofronitsky
  4. Son No.4 In F-Sharp, Op.30: 1. Andante - Vladimir Sofronitsky
  5. Son No.4 In F-Sharp, Op.30: 2. Prestissimo Volando - Vladimir Sofronitsky
  6. Poeme Tragique, Op. 34 - Vladimir Sofronitsky
  7. Valse In A-Flat, Op. 38 - Vladimir Sofronitsky
  8. Etude In b-Flat, Op. 8 No. 11 - Vladimir Sofronitsky
  9. Four Tales Of A Grandmother, Op.31: 1. Moderato - Vladimir Sofronitsky
  10. Four Tales Of A Grandmother, Op.31: 2. Andantino - Vladimir Sofronitsky
  11. Four Tales Of A Grandmother, Op.31: 3. Andante Assai - Vladimir Sofronitsky
  12. Four Tales Of A Grandmother, Op.31: 4. Sostenuto - Vladimir Sofronitsky
  13. Vision Fugitive, Op.22 No.7 (Pittoresco. Arpa) - Vladimir Sofronitsky
  14. Sarcasm, Op.17 No.3 (Allegro Precipitato) - Vladimir Sofronitsky
  15. Pieces For Piano, Op.12 (10 Episodes): No. 2 Gavotte - Vladimir Sofronitsky
  16. Pieces For Piano, Op.12 (10 Episodes): No. 3 Rigaudo - Vladimir Sofronitsky
  17. Pieces For Piano, Op.12 (10 Episodes): No. 6 Legende - Vladimir Sofronitsky
  18. Pieces For Piano, Op.12 (10 Episodes): No. 7 Prelude In C Major - Vladimir Sofronitsky
  19. Pieces For Piano, Op.12 (10 Episodes): No. 8 Allemande - Vladimir Sofronitsky
  20. Pieces For Piano, Op.12 (10 Episodes): No. 9 Scherzo Humoristique - Vladimir Sofronitsky

Disc 7:

  1. Italian Concerto In F, BWV 971: 1. Allegro - Sviatoslav Richter
  2. Italian Concerto In F, BWV 971: 2. Andante - Sviatoslav Richter
  3. Italian Cencerto In F, BWV 971: 3. Presto - Sviatoslav Richter
  4. Fant And Fugue In a, BWV 944 - Sviatoslav Richter
  5. Son In C, Hob. XVI No.50: 1. Allegro - Sviatoslav Richter
  6. Son In C, Hob. XVI No.50: 2. Adagio - Sviatoslav Richter
  7. Son In C, Hob. XVI No.50: 3. Allegro Molto - Sviatoslav Richter
  8. Son No.12 In A-Flat, Op.26: 1. Andante Con Variazioni - Sviatoslav Richter
  9. Son No.12 In A-Flat, Op.26: 2. Scherzo. Allegro Molto - Sviatoslav Richter
  10. Son No.12 In A-Flat, Op.26: 3. Marcia Funebre Sulla Morete D'un Eroe - Sviatoslav Richter
  11. Son No.12 In A-Flat, Op.26: 4. Allegro - Sviatoslav Richter
  12. Ballade No.1 In g, Op. 23 - Sviatoslav Richter
  13. Ballade No.2 In F, Op. 38 - Sviatoslav Richter

Disc 8:

  1. Prelude And Fugue In D (For Organ), BWV 532 - Emil Gilels
  2. 32 Variations On An Original Theme In c, WO 80 - Emil Gilels
  3. Son No.2 In A-Flat, Op.39: 1. Allegro Moderato Con Spirito Ed Assai Legato - Emil Gilels
  4. Son No.2 In A-Flat, Op.39: 2. Andante - Emil Gilels
  5. Son No.2 In A-Flat, Op.39: 3. Presto Assai - Emil Gilels
  6. Son No.2 In A-Flat, Op.39: 4. Rondo. Moderato E Molto Grazioso - Emil Gilels
  7. Rhapsodie Espangnole - Emil Gilels
  8. Visions Fugitives, Op.22: No.1 Lentamente - Emil Gilels
  9. Visions Fugitives, Op.22: No.3 Allegretto - Emil Gilels
  10. Visions Fugitives, Op.22: No.5 Molto Giocoso - Emil Gilels
  11. Visions Fugitives, Op.22: No.11 Con Vivacita - Emil Gilels

Disc 9:

  1. 12 Etudes D'Execution Transcendante: No.1 Prelude (Presto) - Lazar Berman
  2. 12 Etudes D'Execution Transcendante: No.2 Molto Vivace - Lazar Berman
  3. 12 Etudes D'Execution Transcendante: No.3 Paysage (Poco Adagio) - Lazar Berman
  4. 12 Etudes D'Execution Transcendante: No.4 Mazeppa (Allegro) - Lazar Berman
  5. 12 Etudes D'Execution Transcendante: No.5 Feux Follets (Allegretto) - Lazar Berman
  6. 12 Etudes D'Execution Transcendante: No.6 Vision (Lento) - Lazar Berman
  7. 12 Etudes D'Execution Transcendante: No.7 Eroica (Allegro) - Lazar Berman
  8. 12 Etudes D'Execution Transcendante: No.8 Wilde Jagd (Presto Furioso) - Lazar Berman
  9. 12 Etudes D'Execution Transcendante: No.9 Ricordanza (Andantino) - Lazar Berman
  10. 12 Etudes D'Execution Transcendante: No.10 Allegro Agitato Molto - Lazar Berman
  11. 12 Etudes D'Execution Transcendante: No.11 Harmonies Du Soir (Andantino) - Lazar Berman
  12. 12 Etudes D'Execution Transcendante: No.12 Chasse Neige (Andante Con Moto) - Lazar Berman
  13. Hungarian Rhapsody No.9 In E-Flat 'Pesther Carneval' - Lazar Berman

Disc 10:

  1. Con-ste From The Ballet 'The Nutcracker,' Op.71: 1. Marche - Mikhail Pletnev
  2. Con-ste From The Ballet 'The Nutcracker,' Op.71: 2. Danse De La Fee-Dragee - Mikhail Pletnev
  3. Con-ste From The Ballet 'The Nutcracker,' Op.71: 3. Tarantella - Mikhail Pletnev
  4. Con-ste From The Ballet 'The Nutcracker,' Op.71: 4. Intermezzo - Mikhail Pletnev
  5. Con-ste From The Ballet 'The Nutcracker,' Op.71: 5. Trepak - Mikhail Pletnev
  6. Con-ste From The Ballet 'The Nutcracker,' Op.71: 6. Danse Chinoise - Mikhail Pletnev
  7. Con-ste From The Ballet 'The Nutcracker,' Op.71: 7. Andante Maestoso - Mikhail Pletnev
  8. Prologue And Horse-racing From The Ballet 'Anna Karenina' - Mikhail Pletnev
  9. Son No.7 In B-Flat, Op.83: 1. Allegro Inquieto - Mikhail Pletnev
  10. Son No.7 In B-Flat, Op.83: 2. Andante Caloroso - Mikhail Pletnev
  11. Son No.7 In B-Flat, Op.83: 3. Precipitato - Mikhail Pletnev
  12. Son In B-Flat, K 570: 1. Allegro - Mikhail Pletnev
  13. Son In B-Flat, K 570: 2. Adagio - Mikhail Pletnev
  14. Son In B-Flat, K 570 3. Allegretto - Mikhail Pletnev

Disc 11:

  1. Etudes-Tableaux, Op.39: No.1 In c - Evgeny Kissin
  2. Etudes-Tableaux, Op.39: No.2 In a - Evgeny Kissin
  3. Etudes-Tableaux, Op.39: No.4 In b - Evgeny Kissin
  4. Etudes-Tableaux, Op.39: No.5 In e-Flat - Evgeny Kissin
  5. Etudes-Tableaux, Op.39: No.6 In a - Evgeny Kissin
  6. Etudes-Tableaux, Op.39: No.9 In D - Evgeny Kissin
  7. Prelude In G-Flat, Op.23: No.10 - Evgeny Kissin
  8. Prelude In a, Op.32: No.8 - Evgeny Kissin
  9. Lilacs, Op.21: No.5 (Author's Transcription) - Evgeny Kissin
  10. Preludes, Op.27: No.1 In g (Patetico) - Evgeny Kissin
  11. Preludes, Op.27: No.2 In B (Andante) - Evgeny Kissin
  12. Pieces, Op.51: No.1 Fragilite - Evgeny Kissin
  13. Pieces, Op.51: No.2 Prelude - Evgeny Kissin
  14. Pieces, Op.51: No.3 Poeme Aile - Evgeny Kissin
  15. Pieces, Op.51: No.4 Danse Languide - Evgeny Kissin
  16. Preludes, Op.37: No. 1 In b-Flat - Evgeny Kissin
  17. Preludes, Op.37: No.2 In F-Sharp - Evgeny Kissin
  18. Preludes, Op.37: No.3 In B - Evgeny Kissin
  19. Preludes, Op.37: No.4 In gG - Evgeny Kissin
  20. Etude In c-Sharp, Op.42: No.5 - Evgeny Kissin
  21. Visions Fugitives, Op.22: No.16 Dolente - Evgeny Kissin
  22. Visions Fugitives, Op.22: No.11 Con Vivacita - Evgeny Kissin
  23. Visions Fugitives, Op.22: No.17 Poetico - Evgeny Kissin
  24. Visions Fugitives, Op.22: No.10 Ridiocolosamente - Evgeny Kissin
  25. Dance In f-Sharp, Op.32: No. 1 - Evgeny Kissin
  26. Two Inventions - Evgeny Kissin

Product Details

  • Amazon Sales Rank: #104798 in Music
  • Released on: 1995-06-13
  • Number of discs: 11
  • Format: Box set

Editorial Reviews

Album Details
As One of the Most Legendary Champions of Bach Karl Richter's Many (And in Some Instances Multiple) Recordings of the Composers Cantata's Arguably is his Greatest Achievement. Richter Enlisted Many of the Finest Vocalists in their Prime During the 1950's Through the Early 70's for These Recordings Elevating the Neglected Form at the Time to the Level of Grand Opera. His Conducting, Especially for his Day as Well Remains Remarkably Animated and Fluent Yet Always Respectful of Bach's Underlying Powerful Architectural Components. These Recordings Set the Standard and for Many Today Remain the Benchmark Performances by which all New Ones Continue to Be Judged.

Customer Reviews

Bach in the Bach Tradition5
I believe I owe it to the period performance movement for making me feel like I am committing a sin when I don't listen to Gardiner's or Hogwood's Bach (or Handel, or any Baroque composer for that matter). If, say, I put in Shaw's recording of the B minor mass, or most certainly Klemperer's recording of the St. Mathew passion, I feel that I should somehow be ashamed for what I am doing. There may be some type of Freudian truth buried deep within my being ashamed; however, there has always been an exception to my modern instrument guilts. This is, of course, the Bach recordings of Karl Richter; and more specifically, Richter's immortal survey of the sacred cantatas (well, 75 of them anyway). I received this set as a gift when I graduated from college, and I have been constantly listening since. The music of Bach has meant more to me than any other composer, and the Richter recordings show Bach's true genius at full speed ahead.

Don't get me wrong, I love Gardiner's recordings of the B-minor mass and the St. Matthew Passion; and I do believe that period performance practice reveals a totally new dimension of Bach which can sometimes be overlooked (or, "glossed-over" as the case may be with Klepmerer and others of the like). However, any academic arguments favoring Gardiner over Richter are simply meaningless to me. As Glenn Gould said, its not the type of instruments used that count, but rather, a deep respect for the innate structures of the music; this is what's important,and to accomplish this he believed that we must get rid of the incorrect and outdated notion that by "glossing over" these structures, it somehow improves upon them. I think Gould is absolutely correct in saying its respect for the musical structures that counts most; this is the only duty incumbent upon interpreters of Baroque music (and especially Bach). With this in mind, how can Richter not be the supreme interpreter? Richter gives us Bach in the Bach tradition, and I believe that this is in no small part due to his deep understanding of the same Lutheranism which was in the mind of Bach when he wrote this glorious music. To quote yet another Bach authority, Albert Schweitzer once said "Only he who sinks himself into Bach's emotional world, who lives and thinks with him, [...] can rightly bring Bach's music to the listener". I can think of no one who fits the description quite like Karl Richter.

Well, all arguments aside, the music on these 26 [!] discs are absolutely unsurpassed. I was a bit worried before I received this set, as I knew that in Richter's latter years, he did seem to take various liberties with the scores (more specifically, a slowing of the tempi to the point that it takes us out of the Bach tradition). However, I can safely say that these rumored liberties are nowhere to be found in this set, just pure Bach. I wont dare try to single out notable performances of this massive set (I would be here all night, and I am sure you are becoming tired of reading this anyway). However, one cantata specifically stood out for me during my first few hours with the set (and has since stuck with me); this being BWV 132 (4th Sunday in Advent cantata). This specific cantata, can speak for the entire set in terms of the soloist supremacy above all other Bach cantata recordings (how can you go wrong with Edith Mathis, Anna Reynolds, Peter Schreier, and Theo Adam - with Ursula Buckel and Dietrich Fischer-Dieskau elsewhere on the set).

So, finally, this set has exactly what I want in a survey of the cantatas - that is, the genius of J.S. Bach is in the driver's seat, not the conductors. While Gardiner has his moments (and when he does, they are fantastic), and Klemperer did at least get everyone talking about Bach again, I believe Richter's interpretations are the standard by which this music should be played and heard. This set is a landmark in the history of Bach recordings, and although quite expensive, it really should be in the collections of all lovers of music.


- By the way, the set comes in a large slipcover (as shown above by Amazon), with the five original fold-open cases inside; each made of an extremely sturdy, glossy-coated cardboard (as shown above by me [hopefully]). Each disc is in a paper sleeve.

A Time Capsule of Sheer Delight4
I treasured these recordings as a music student in high school and college in the '70's. Although newer, 'historically correct' recordings were emerging, Richter's musicality, if one will, still attracted me to these Archive recordings. This set is a bargin considering all the music there is to digest. DG's remastering is excellent-the warm analog sound does not suffer what can sometimes be a strident digitized reincarnation. DG's engineers and hardware were always on the cutting edge and these recordings speak to that fact. Say what one will about the oddities of interpertation, there is music in evey bar. Before I began listening, I though that I should prepare myself to forgive Richer for his position in history and look the other way when so called historically inaccurate idioms presented themselves. Yes, they are there, but, the younger listener will be quite astonished to find amazing vitality and sweep of phrase and articulation. Richter's tempi are often suprisingly brisk. The roster of soloists speaks for itself. If you are a musician interested in the genesis of Bach interpertation, this set is a must-have. It is often said that many Bach conductors after Richter took up where he left off. This group of recordings is a testament to his influence. Bravo DG !

An achievement for the ages.5
These performances may not get high grades from the professors, but Richter makes glorious music here. I owned most of these recordings on disc decades ago, and upon hearing them again was surprised at how deeply I was struck not only by the magnificent beauty of the interpretations, but also by the heartfelt commitment of the superb soloists. I have a zillion recordings of these cantatas, so go ahead and scoff, but Richter gets me closer to this music than anyone else. And what music it is! I hope I live long enough to listen to these 26 discs a thousand times.