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Schumann: Piano Concerto, Symphonic Etudes


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Product Description

titoloconcerto per pianoforte - studi sinfonici - arabesque op.18compositorerobert schumann orchestraberliner philharmoniker direttoreclaudio abbado interpretimaurizio pollini (pianoforte)etichettadeutsche grammophonsupportocd audio---braniascolta 30''1.concerto for piano and orchestra in a minor -- alegro affettuoso op. 54ascolta2.intermezzo, andantino graziosoascolta3.allegro vivaceascolta4.symphonic etudes op 13 -- thema. andanteascolta5.etude i. un pocu piu vivoascolta6.etude ii. morcato il cantoascolta7.etude iii. vivaceascolta8.etude ivascolta9.etude vascolta10.variation post. iascolta11.variation post. iiascoltaascolta 30''12.variation post. iiiascolta13.variation post. ivascolta14.variation post. vascolta15.etude vi. agitatoascolta16.etude vii. allegro moltoascolta17.etude viiiascolta18.etude ix. presto possibileascolta19.etude xascolta20.etude xiascolta21.etude xii. allegro brillanteascolta22.arabesque op. 18ascoltachi ha comprato questo disco ha comprato anche

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Amazon.com: HASH(0x963dffc0) out of 5 stars 7 reviews
16 of 16 people found the following review helpful
HASH(0x96e79528) out of 5 stars My favorite Pollini CD 5 Sept. 2008
By Gaetano - Published on Amazon.com
Format: Audio CD
I own three recordings of the Symphonic Etudes: Pollini, Kissin (Carnegie Hall Debut), and Hamelin. By a long stretch of a mile, I would choose the Pollini recording over the other two. It would be foolish to quibble over the hierarchy of dexterity and technical proficiency amongst the three, as they each deliver whistle clean performances of the highest standard; and thus satisfying the Etude half of the title. Why then, am I specifically partial to Pollini? It is because Pollini truly exhibits his oft-written ability as the supreme architect of coherence, while also being attentive to the microscopic details of the written score. Although the early digital DG recorded sound is slightly boomy, especially in the pedaled passages, it serves to accentuate Pollini's bell-like tone and powerful lucidity in the exciting finale. Compared to Pollini's magisterial allegro brilliante, the stacattos (indicated in the score, of course) of both Kissin and Hamelin can appear somewhat piercing, clunky, and rushed. It is a truly symphonic rendition indeed, where Schumann's uniquely rich, pianistic and contrapuntal language is clearly audible. It is a recording of the highest standard and my favorite*.

*For what it's worth, I own every Pollini CD except for the Chopin Ballades.
18 of 20 people found the following review helpful
HASH(0x963da9d8) out of 5 stars The concerto is marvelous, but the real treat here is... 13 Feb. 2000
By Chip Hartranft - Published on Amazon.com
Format: Audio CD
...Pollini's recording of the Symphonic Etudes. Nowhere in the entire catalog of Schumann recordings will you find a greater performance of this set, which DG finally issued in CD format after years of unavailability. In these pieces, as in his celebrated versions of the Fantasy in C and the Sonata, Op. 11, Pollini is magisterial, profound, and utterly compelling. Unlike many other interpreters, he wisely inserts the five posthumous variations between Variations V & VI of the published group, integrating them seamlessly into the whole. His playing, as always, is notable for its penetrating insight, and for the intense emotionalism he's able to summon without the least loss of clarity. Coupled with sublime reading of the 'Arabeske' and cool, clear Concerto, this is Schumann playing for the ages. Enjoy!
3 of 3 people found the following review helpful
HASH(0x963d6804) out of 5 stars A fabulous schumannesque rendition 12 Aug. 2011
By P. Adrian - Published on Amazon.com
Format: Audio CD
Maurizio Pollini delivers here an overwhelming rendition of the Symphonic Etudes op.13 by Robert Schumann. This recording dates back from 1981, a time when Pollini entered his forties and his technical perfection was still imbued with his youthful (yet, discrete) sentimentality. Fiery phrases, sudden change of mood, well calibrated rubatos - these are the trumps of Pollini at the peak of his mastery. The romantic fervour crams somehow from inside the keyboard bravura and imposes a magic atmosphere. The technicalities are subdued by intense feeling, and that's quite remarkable and rare in Pollini's achievements, where the keyboard wizardry takes always the lead. His fame consists in championing the so called "clinical" style. He conceives his versions of greatest masterpieces of the old ages and demanding work of contemporary composers as well with the pharmacologic care for detail and proportion, gauging minutely the effect. The architectural vision prevails and the listener understands immediately that Pollini addresses an invitation to the core of the piece he interprets and offers a partnership in reaching it. This is more evident in the A minor concerto recorded when Pollini was going towards his fifties. The intellectual rigour seems here to beat the romantic ardour. Maybe the exacting Claudio Abbado and his Berliners contributed to this impression. Everything is classically weighed, the line of the score is kept obsessively clean. No side-slip, no exaggeration, no improvisation. A splendid Arabesque comes to round-off this marvellous recording of Maurizio Pollini from 1980s.

The Crown's Pearl here - a fabulous Symphonic Etudes account at all expected levels: deepness of artistry, technical achievement, romantic feeling, and not least sound quality of recording!
3 of 3 people found the following review helpful
HASH(0x96eec1a4) out of 5 stars Top flight Etudes, Concerto less so. 21 Aug. 2009
By A. F. S. Mui - Published on Amazon.com
Format: Audio CD
This recording of Schumann's only piano concerto with Abbado has been coupled with other works in DG's releases. Even so, if you happen to have owned that Concerto (with Schonberg's Concerto) already, still you should acquire the Symphonic Etudes (added with a number of Variations).
Wilhem Kempff have a very decent recording of the Etudes with DG in the late 1970's. They are stereo recordings. But Kempff, though a keen interpretor of Schumann, did not own the technical prowess as he did in his earlier years. If you are looking for fireworks, Kempff's falls rather short by comparison. Then there is Horowitz's. I for one always feel that Horowitz was able to bring out all the outward attributes of Schumann, but failed to go deeper than the skin, especially compared with the veteran Kempff; and even here, with Pollini. As a result, Horowitz's Schumann lands much to hearing, but not to repeated listening.
Not so with Pollini here. He has it all - the outer attributes and the deep inner contents. The recording seems to have been made in the early 1980's, on LP, then transferred digitally on CD. I wonder why they are not in 'THE ORIGINAL' series, though. These are a set of all time great Schumann Symphonic Etude recordings.
4 of 5 people found the following review helpful
HASH(0x97152ba0) out of 5 stars A commanding Symphonic Etudes, utterly flawless 24 April 2009
By Santa Fe Listener - Published on Amazon.com
Format: Audio CD
Great pianists cast a spell that captures the imagination of listeners, but not all listeners. Rubinstein entraced his countless fans; I fall asleep. Shura Cherkassky sends me running from the room. But I am captivated by Pollini's spell, with its piercing intelligence and coiled intensity. He gives and holds back at the same time. That adds an element of suspense and mystery to his playing that I relish.

But there are times when Pollini gives his all, and this 1981 account of the Symphonic Etudes is one of those times. Without sacrificing control, the pianist allows Schumann's most ecstatic passages to blossom; his tempos run free at the great climaxes; and he is altogether in Schumann's romantic world without succumbing to salon sentimentality. In short, this is an unassailable reading. Among postwar pianists only Richter matches it. The greatest set of piano vairations between Beethoven and Brahms is given full justice.

Happily, DG provides excellent sound, and the piano is a good one. Pollini accounts for the five posthumous variations that were salvaged by Brahms by inserting them after Etude V. But it's nice that one can program them out to hear the unvarnished original. Pollini's lower-key Arabeske dates from 1983.

From 1989 comes the Schumann Cto., which some listeners might find too cool and controlled. Pollini doesn't exploit rubato to the fullest extent, and Abbado's accompaniment is reserved and elegant (the propulsion of the finale is muted). I don't want to exaggerate the understated quality; it isn't a flaw. From beginning to end the pianist and conductor achieve a sympathetic bond, and Pollini is to the manner born in his phrasing and handling of a melodic line. The Berliners play beautifully but without the monumental sound of the Karajan era (he had died a few months before the recording was made), and DG's sound is admirable. If only te solo prt were more abandoned here and there, but there's room in the world for a more classical view.
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