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See Terms & Conditions for p&p rates. | |  | Rarities of Piano Music at the Husum Festival 2002
Baines: | Tides (1920/1) | Ciurlionis: | 3 Preludes Op. 20 | Friedman, I: | 5 Waltzes (piano 4-hands) | Medtner: | Skazka (Fairy Tale), Op. 20 No 1 in B flat minor Campanella, Op. 20, No. 2 Sonata-Ballada in F sharp major, Op. 27 | Prokofiev: | Pieces (10), Op. 12: No. 1 - March Pieces (10), Op. 12: No. 2 - Gavotte Pieces (10), Op. 12: No. 5 - Caprice | Ravel: | Marsch der Stiftsdamen | Saint-Saëns: | Mon cœur s'ouvre à ta voix (from Samson et Dalila) | Scriabin: | Étude Op. 2 No. 1 in C sharp minor | Szymanowski: | Mazurka, Op. 62 No. 2 | Villa-Lobos: | O Polichinelo (from Prole do Bebê, book 1) | Waller: | Ain't Misbehavin' Choro |
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“The unpredictable Pogorelich at his very best, accomplishing miracles of tone colour, refinement and control, with a coruscating final 'Scarbo'. The couplings are both piano sonatas: Prokofiev No 6 and the Chopin B flat minor.” Gramophone Classical Music Guide, 2010 | | | In stock - usually despatched within 1 working day. |
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| |  | Of ladies and love ...
Beethoven: | Adelaide, Op. 46 Wonne der Wehmut, Op. 83 No. 1 Der Kuss, Op. 128 | Fauré: | Nell, Op. 18 No. 1 Adieu, Op. 21 No. 3, from Poème d'un jour Sylvie, Op. 6 No. 3 Lydia, Op. 4 No. 2 Fleur jetée, Op. 39 No. 2 | Liszt: | Sonetti di Petrarca (3) for voice & piano, S270 | Ravel: | Cinq mélodies populaires grecques | Schubert: | Trost: An Elisa, D97 Laura am Klavier, D388 An Sylvia, D891 Der Jüngling an der Quelle, D300 (Salis-Seewis) | Strauss, R: | Cäcilie, Op. 27 No. 2 Zueignung, Op. 10 No. 1 Nichts, Op. 10 No. 2 Morgen, Op. 27 No. 4 |
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| |  | Tresors du Piano
Bach, J S: | Goldberg Variations, BWV988: Aria | Beethoven: | Für Elise (Bagatelle in A minor, WoO59) | Brahms: | Waltz, Op. 39 No. 15 in A flat major | Chopin: | Prelude Op. 28 No. 17 in A flat major Étude Op. 10 No. 12 in C minor ‘Revolutionary' Nocturne No. 7 in C sharp minor, Op. 27 No. 1 Mazurka No. 13 in A minor, Op. 17 No. 4 | Debussy: | Clair de Lune (from Suite Bergamasque) Arabesque No. 1 | Franck, C: | Symphonic Variations for piano & orchestra, M46 | Mendelssohn: | Song without Words, Op. 62 No. 6 in A major 'Spring Song' | Mozart: | Rondo alla Turca from Piano Sonata No. 11, K331 Fantasia in D minor, K397 | Poulenc: | Mélancolie | Rachmaninov: | Rhapsody on a Theme of Paganini - Variation 18 Prelude Op. 32 No. 10 in B minor Prelude Op. 23 No. 5 in G minor | Ravel: | Pavane pour une infante défunte | Satie: | Gymnopédie No. 1 | Schubert: | Impromptu in A flat major, D935 No. 2 Moments Musicaux, D780: No. 3 in F minor | Scriabin: | Étude Op. 2 No. 1 in C sharp minor |
and excerpts from concertos by Beethoven, Grieg, Prokofiev and Rachmaninov
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| | Tzigane: Musique d'Europe Central
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| |  | Lorin Maazel conducts Ravel
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| |  | Ravel - Piano Music for Four Hands
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| |  | Ravel: Le Chant du Rossignol & L'heure Espagnole
“The singing is delightful: neoclassical crispness of articulation goes with refined textures that convey the ripe humour of the one piece, the tender poetry of the other.The inclusion of [the Rimsky Korsakov and Stravinsky], two classics of the gramophone, makes this reissue more desirable than ever.” Penguin Guide, 2011 edition | | | In stock - usually despatched within 1 working day. |
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| |  | Debussy, Fauré & Ravel: Piano Trios
‘Such flair proves The Florestan Trio, if proof is needed, to be among the finest chamber ensembles of the present day’ (Classic CD) “The Florestan Trio has the ability to adapt its style to different kinds of music without any loss of conviction. After Brahms and Schumann comes this French disc showing it equally adept at entering the 1880 salon world of Debussy's youthful Trio, Ravel's brilliant exotic idiom, and the intimate, intense thoughts of Fauré's old age. In the quicker movements Susan Tomes's playing is remarkably light and precise. The finale of the Fauré, for example, has a scherzando quality that throws into relief the seriousness of the strings' initial gesture. The string players are always ready to modify their sound to produce special expressive effects – the eerily quiet unison passage in Fauré's Andante (track 2, 2'54") or the vibrato-less duet in the Ravel Passacaille (track 10, 5'15") – sounding wonderfully remote and antique. The clarity of the Hyperion recording allows the fantastical detail in the Ravel Pantoum to emerge. In the Debussy, the Florestan favour elegance rather than trying to search out expressive depths.
Their freshness, imagination and purposeful directness makes this a top choice.” Gramophone Classical Music Guide, 2010 | | | In stock - usually despatched within 1 working day. |
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Penguin Guide