or
Sign in to turn on 1-Click ordering.
 
 
More Buying Choices
19 used & new from £3.78

Have one to sell? Sell yours here
 
   
Available to Download Now
 
Buy the MP3 album for £4.89
 
 
 
 
Copland: Piano Sonata; Piano Fantasy
 
See larger image
 

Copland: Piano Sonata; Piano Fantasy

~ Aaron Copland (Composer), Benjamin Pasternack (Piano)
4.0 out of 5 stars  See all reviews (1 customer review)
Price: £4.89 & this item Delivered FREE in the UK with Super Saver Delivery. See details and conditions
o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o o
In stock.
Dispatched from and sold by Amazon.co.uk. Gift-wrap available.

Only 1 left in stock--order soon (more on the way).

Want guaranteed delivery by Tuesday, November 10? Choose Express delivery at checkout. See Details
18 new from £3.78 1 used from £4.14
Buy the MP3 album for £4.89 at the Amazon MP3 Downloads store.


Special Offers and Product Promotions


Customers Who Bought This Item Also Bought

Piano Concerto

Piano Concerto

~ Nathaniel Stampley
4.0 out of 5 stars (1)  £4.89
The Rest is Noise: Listening to the Twentieth Century

The Rest is Noise: Listening to the Twentieth Century

by Alex Ross
4.3 out of 5 stars (38)  £8.07
Works of Igor Stravinsky [Box Set]

Works of Igor Stravinsky [Box Set]

~ Donald Gramm
4.9 out of 5 stars (26)  £23.57
Explore similar items

Product details

  • Composer: Aaron Copland
  • Audio CD (2 May 2005)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Label: Naxos
  • ASIN: B0008JEKFO
  • Other Editions: MP3 Download
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon.co.uk Sales Rank: 260,304 in Music (See Bestsellers in Music)

Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.

Samples
Song Title Time Price
Listen  1. Piano Fantasy29:25Album Only
Listen  2. Piano Sonata: I. Molto moderato 7:51£0.69
Listen  3. Piano Sonata: II. Vivace 4:59£0.69
Listen  4. Piano Sonata: III. Andante sostenuto 9:03Album Only
Listen  5. Piano Variations11:46Album Only


Suggested Tags from Similar Products

 (What's this?)
Be the first one to add a relevant tag (keyword that's strongly related to this product)
 
piano
copland
sonatas
fantasies
chamber music
aaron copland
a different copland

Your tags: Add your first tag
 

 

Customer Reviews

1 Review
5 star:    (0)
4 star:
 (1)
3 star:    (0)
2 star:    (0)
1 star:    (0)
 
 
 
 
 
Average Customer Review
4.0 out of 5 stars (1 customer review)
 
 
 
 
Share your thoughts with other customers:
Most Helpful Customer Reviews

 
8 of 9 people found the following review helpful:
4.0 out of 5 stars Copland's Three Most Important Piano Works, 22 Jun 2005
By J Scott Morrison (Middlebury VT, USA) - See all my reviews
(TOP 50 REVIEWER)    (REAL NAME)   
Aaron Copland composed at the piano. It was his instrument and he was a competent pianist. Most of the works for which he is best known -- the ballets, the 'Fanfare for the Common Man,' and the rest of it -- were composed initially at the piano and only later orchestrated. These three works -- interestingly presented here in reverse order to that in which they were composed -- are his most important solo piano works. As far as I know they have not appeared on the same CD before. There are, of course, well-known recordings of each of them, most importantly by William Masselos and Leo Smit, but those are getting a bit long in the tooth. So, it is nice to have them gathered here in what are acceptable performances by Benjamin Pasternack, student of Mieczeslaw Horszowski and Rudolf Serkin, former pianist with the Boston Symphony and for some time now a professor of piano at the Peabody Conservatory in Baltimore. I have learned that exactly the same program played by Robert Weirich will be released later this year on the Albany label. Having heard Weirich play the 'Piano Fantasy' in concert, I am eager to hear that release.

As I say, these are competent performances. Certainly nothing is lost in these traversals. One can quibble with Pasternack's choices in certain instances -- for instance, he plays the 'Piano Fantasy' noticeably faster than Masselos; the metronome marking for the declamatory opening of the 'Piano Fantasy' is quarter note = 48 and Pasternack takes it at something more like quarter note = 60. Not a huge difference, but enough to feel it. And it gives the opening a different character than one has come to expect. Just a word further about the 'Piano Fantasy': although it is essentially a twelve-tone composition it is not only discernibly by Copland, with his typical jazzy rhythms and accentual displacements, along with other Coplandesque gestures, it is entirely listener-friendly. I can almost guarantee that anyone familiar with and fond of the 'Piano Variations' will have no problem whatever with the 'Fantasy.' [The material in the 'Piano Fantasy' is taken from the early sketches for a piano concerto Copland was writing for William Kapell but which had to be scrapped when Kapell died in a plane crash. The work is dedicated to his memory.]

I find little to quibble with about Pasternack's performance of the 'Piano Sonata.' Possibly that's because I am less familiar with it than the other two pieces, and I do not own a score. Still, it has never, to me, seemed to be at quite as high a level of inspiration as the two pieces that bracket it. It is in three movements, a typical slow-fast-slow form, and for me the most attractive is the jazz-inflected middle movement, Vivace, which has a subtle and inward slower middle section.

The 'Piano Variations' are much better-known than the other two pieces, and have been recorded many times. The story is often told how Leonard Bernstein at his first meeting with Copland impressed the composer by sitting down and playing the 'Variations' from memory. The 'Variations' are often called 'thorny' or 'difficult', although they have never struck me that way. And certainly Pasternack's way with them is rather more lyrical than one generally hears. This has both advantages and disadvantages. It makes it sound less like the ground-breaking work that it is (both for Copland and for American piano music of the 1930s) but it makes it a bit more accessible to those listeners who might be a bit allergic to the granitic declamatory style Copland used in this work.

At the budget Naxos price, I would recommend this issue. I will still be waiting to hear Robert Weirich's CD of these three pieces, though, and am hoping that his performances will have just a bit more élan, edge and depth than Pasternack's.

Scott Morrison

Comment Comment | Permalink | Was this review helpful to you? Yes No (Report this)


Share your thoughts with other customers: Create your own review
 
 
 
Only search this product's reviews



Customer Discussions

This product's forum
Discussion Replies Latest Post
No discussions yet

Ask questions, Share opinions, Gain insight
Start a new discussion
Topic:
First post:
Prompts for sign-in
 


Active discussions in related forums
Discussion Replies Latest Post
Arts on TV 40 21 minutes ago
Eric Clapton - Why Are So Many Folks Down On Him?? 31 26 minutes ago
Classical Top Totty.. 19 26 minutes ago
Albums With Long Titles 19 33 minutes ago
BEST COMPOSER ...EVER 415 35 minutes ago
Fans 6 1 hour ago
Postees Outing Early 2010...... 68 1 hour ago
   
Related forums


Listmania!


Look for similar items by category


Look for similar items by subject





i.e., each product must be in subject 1 AND subject 2 AND ...

Feedback

Ad

Your Recent History

 (What's this?)

After viewing product detail pages or search results, look here to find an easy way to navigate back to pages you are interested in.