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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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| |  | Daniel Barenboim Live from the Teatro Colón 200050th anniversary of his debut recital
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| |  | Artur RubinsteinLive, Moscow, Great Hall Moscow Conservatory, 1st October, 1964
Chopin: | Polonaise No. 5 in F sharp minor, Op. 44 Impromptu No. 3 in G flat major, Op. 51 Nocturne No. 8 in D flat major, Op. 27 No. 2 Piano Sonata No. 2 in B flat minor, Op. 35 'Marche funèbre' Barcarolle in F sharp major, Op. 60 Étude Op. 25 No. 1 in A flat major 'Aeolian Harp' Étude Op. 25 No. 5 in E minor Étude Op. 10 No. 4 in C sharp minor Étude Op. 10 No. 5 in G flat major 'Black Key' Waltz No. 3 in A minor 'Grande Valse Brillante', Op. 34 No. 2 Polonaise No. 6 in A flat major, Op. 53 'Héroïque' | Debussy: | Préludes - Book 2: No. 8, Ondine | Schumann: | Fantasiestücke, Op. 12 No. 1 'Des Abends' | Villa-Lobos: | O Polichinelo (from Prole do Bebê, book 1) |
Artur Rubinstein's charismatic personality and unique ability to connect with an audience made each of his concert appearances an event. Surprisingly, the vast majority of his recorded output - whether on record or film - was made in the recording studio.This rare film, preserved in the vaults of the Russian State television archives for nearly 50 years, shows Rubinstein at his prime playing in the Great Hall of the Moscow Conservatory.This historic concert both testifies to Rubinstein's freer and risk-taking approach when in front of an audience and allows us to share the electric atmosphere of his live appearances. BONUS: 1928 footage accompanying a silent film “From the archives of Russian state television, this astonishing film captures the great Rubinstein holding his Moscow audience spellbound.” BBC Music Magazine, May 2009 ***** “Considering his celebrity, longevity and huge studio recording legacy, there is very little film of Rubinstein in concert. Indeed, this is the only full solo recital I can recall and as such is immensely valuable… fine as are most of his studio recordings, Rubinstein played with a greater freedom and daring when in front of an audience. The playing, of course, is heart-warming... Everything seems so inevitable and right, whether in the caressing phrases of the Barcarolle or the bravura of the A flat Polonaise, the inevitable trademark conclusion to any Rubinstein recital.” Gramophone Magazine, May 2009 “Considering his celebrity, longevity and huge studio recording legacy, there is very little film of Rubinstein in concert. Indeed, this is the only full solo recital one can recall and as such is immensely valuable, not least because the printed programme is devoted entirely to the composer with whom he was most closely associated and because, fine as are most of his studio recordings, Rubinstein played with a greater freedom and daring when in front of an audience.
The film of the occasion, preserved in the vaults of the Russian State television archives for nearly 50 years, provides a vivid reminder of this great artist's idiosyncrasies – the dignified, immobile posture, the expressionless face and the little tug at his lapels before the start of each item.
The playing, of course, is heart-warming, the kind that can absorb the odd fluff, though the memory lapse in the Scherzo of the Sonata is disconcerting (he has to make an unwritten repeat before ad libbing his way into the Trio).
Everything seems so inevitable and right, whether in the caressing phrases of the Barcarolle or the bravura of the A flat Polonaise, the inevitable trademark conclusion to any Rubinstein recital. Aficionados will relish his only known performance of the Aeolian Harp Study, Op 25 No 1. (The bonuses are two short – 1'45” – silent films of excerpts from two études shot in slow motion in Canada in 1928.)” Gramophone Classical Music Guide, 2010 | | | Usually despatched in 2 - 3 working days. |
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| |  | Artur Rubinstein plays Beethoven, Beethoven & ChopinRecording: Nijmegen, The Netherlands, 20 April 1963
This recital by Arthur Rubinstein (1887-1982) given in Nijmegen close to the Dutch border with Germany in 1963 can be considered an event of historical importance. Because of the pianist's refusal to play in Germany following the War, Rubinstein decided to give a concert as close to the border as feasible, which not surprisingly attracted a great deal of press attention at the time and because it was attended by many German music lovers who travelled from all over the Germany to see him. The recording made by the WDR in Cologne has never been available before either as a pirate or commercially. This is it's first ever release. The programme is a distillation from the full recital lasting over 90 minutes and has been overseen by the Rubinstein family. The titles are familiar to any Rubinstein collector but are given added vibrancy and presence by the excitement of the event caught live in excellent sound. This is far removed from the sometimes more careful Rubinstein of the recording studio. “This live recital has the added frisson of being played in Nijmegen, just a few miles from the German border, a country in which Rubinstein vowed never to play again after the horrors of the Nazi regime. Chris de Souza's excellent booklet reveals that Rubinstein was unusually nervous on the occasion, having decided to play to an audience which he knew might include former Nazis. So, although this is a mere snapshot of a 76-year-old legend, it is a vividly coloured one.
His Beethoven is direct and unmannered, a performance which truly inhabits the sonata's subtitle. Its famous presto coda is a real whiteknuckle ride that you feel might hurtle out of control any second (it doesn't). By contrast, the Brahms Intermezzo casts a warm glow over proceedings – magical, understated, inimitable. Carnaval, which follows, was another Rubinstein favourite and though his observation of some dynamics and repeats is cavalier, with playing of such charm and utter conviction it seems invidious to nit-pick. As was said of another pianist, why look for spots on the sun? The Chopin items are imbued with a lifetime's close friendship, and the comparative rarity (for Rubinstein) of Liszt's 12th Hungarian Rhapsody, an account that would turn many pianists half his age green with envy, is the cherry on top.” Gramophone Classical Music Guide, 2010 “…although this is a mere snapshot of a 76-year-old legend… it is a vividly coloured one. His Beethoven is direct and unmannered… Brahms Intermezzo casts a warm glow over proceedings… The Chopin items are imbued with a lifetime's close friendship, and the comparative rarity (for Rubinstein) of Liszt's 12th Hungarian Rhapsody, an account that would turn many pianists half his age green with envy, is the cherry on top.” Gramophone Magazine, Awards Issue 2008 “Right from the first bars of Beethoven's Appassionata, you know you are in the presence of a master in this historic recording, never before released. It dates from a 1963 recital in Nijmegen in Holland. The great pianist refused to step foot in Germany after the war but agreed to play a bus ride from the border, even though he knew former Nazis could be in the audience. Digital technology has brought the old WDR recording to life, transmitting every moment of nervous creativity in a fascinating testimony to a talent that endures beyond the grave.” The Observer, 27th July 2008 | | | Usually despatched in 2 - 3 working days. |
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| |  | Off the beaten trackPiano Rarities
Bartók: | Pe loc (No 3 from Romanian Folk Dances) | Cui: | Causerie (Etude), Op. 40 No. 6 | Driver: | Doll's Lullaby (from Seven Blakemore Poems) First recording Sarabande First recording | Fauré: | Après un rêve, Op. 7 No. 1 arr. Grainger | Glière: | Prelude in C minor, Op. 16, No. 1 Aux Champs, Op. 34, No. 7 Prelude in E flat (from 12 Children's Pieces, Op. 31) | Grieg: | Jeg Elsker Deg, Op. 41 No. 3 | Griffes: | The White Peacock | Ireland: | The Almond Trees | Lecuona: | Suite Andalucía: Córdoba | Liadov: | Berceuse, Op. 24, No. 2 Prelude in B flat minor, Op. 31, No. 2 Prelude in B minor, Op. 11, No. 1 | Rachmaninov: | Elegie, Op. 3 No. 1 | Schubert: | Moments Musicaux, D780: No. 3 in F minor arr. Godowsky | Scriabin: | Étude Op. 2 No. 1 in C sharp minor Mazurka in E minor, Op. 3 No. 7 Mazurka in C sharp minor, Op. 3, No. 6 Mazurka in E minor, Op. 25 No. 3 Etrangeté, Op. 63 No. 2 Masque, Op. 63, No. 1 | Shostakovich: | Prelude for piano, Op. 34 No. 17 in A flat major | Strauss, R: | Träumerei (No 4 from Stimmungsbilder, Op. 9) | Tchaikovsky: | Waltz in A flat, Op. 40 No. 8 | Vaughan Williams: | The Lake in the Mountains | Villa-Lobos: | O Polichinelo (from Prole do Bebê, book 1) |
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| |  | For ChildrenPiano music composed for or about children
Bach, J S: | Prelude in E major, BWV937 Prelude in G minor, BWV930 | Bartók: | An evening in the country Andante Swineherd's Song Moderato Jest | Beethoven: | Für Elise (Bagatelle in A minor, WoO59) | Bizet: | La toupie | Chopin: | Nocturne in C minor Op. post | Daquin: | Le Coucou | Debussy: | Docteur Gradus ad Parnassum (from Children's Corner) The Little Shepherd (from Children's Corner) Le petit nègre | Fauré: | Berceuse from Dolly Suite, Op. 56 | Jolivet: | Chanson naïve Nos. 1 & 3 | Liszt: | Étude Nos. 1 & 2 | Magin: | Danse noble Nostalgie du pays Chant des moissons | Maticic: | Miniature Variations | Mozart: | Variations (12) on ‘Ah, vous dirai-je, Maman' in C major, K265 | Prokofiev: | Waltz, Op. 65 No. 6 | Schumann: | Wilder Reiter Volksliedchen Op. 68/9 Fröhlicher Landmann, Op. 68 No. 10 | Tchaikovsky: | Mother, from Album for Children, Op. 39 Valse | Villa-Lobos: | O Polichinelo (from Prole do Bebê, book 1) A Pobrezinha Moreninha |
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| |  | BrasilianaThree Centuries of Brazilian Music
Braga: | Corrupio (Valsa-Capricho) | Dutra: | Prelude in F sharp minor, Op. 32 | Fernandez, O L: | Suite Brasileira No. 2 | Gnattali: | Valsa No. 7 | Gonzaga: | Gaúcho - Tango Brasileiro | Guarnieri, C: | Dança Negra Ponteio No. 49 | Guerra Peixe: | Prelúdio Tropical No. 2 (Marcha Abaianada) | Levy, A: | Coeur blessé | Levy, L: | Valsa Lenta No. 4 | Mignone: | Valsa de Esquina No. 1 Congada (Danca brasileira) | Miguez: | 12 Pecas Características: Nos. 3 & 8 | Nazareth: | Apanhei-te Cavaquinho (I have grabbed you, cavaquinho!) Odeon - Tango Brasileiro | Nepomuceno: | Air (from Suite Antiga, Op. 11) | Nunes Garcia: | Fantasia para Pianoforte No. 4 | Oswald, H: | Il neige | Pinto, L Á: | Solfejo Lessons: Nos. 21 & 24 | Pinto, O: | Cenas Infantis: March, little soldier! & Sleeping time | Santoro: | Paulistana Nos. 1 & 4 | Siqueira: | Valsa No. 3 | Vianna: | Serenata Espanhola, Op. 1 No. 2 | Villa-Lobos: | O Polichinelo (from Prole do Bebê, book 1) Valsa da Dor |
| | | (also available to download from $10.50) | Usually despatched in 2 - 3 working days. (Available now to download.) |
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| |  | For Children
| | | (also available to download from $10.50) | Usually despatched in 2 - 3 working days. (Available now to download.) |
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