- Audio CD (Oct 27 1998)
- SPARS Code: DDD
- Number of Discs: 1
- Label: Universal Music Group
- ASIN: B000009MF7
- Average Customer Review: 4.6 out of 5 stars See all reviews (14 customer reviews)
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Amazon Bestsellers Rank:
#2,528 in Music (See Top 100 in Music)
- #30 in Music > Classical > Forms & Genres > Concertos
- #46 in Music > Classical > Forms & Genres > Symphonies
- #59 in Music > Classical > Symphonies
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Product Details |
Track Listings
| 1. Concerto for Piano and Orchestra in G major: 1. Allegramente |
| 2. Concerto for Piano and Orchestra in G major: 2. Adagio assai |
| 3. Concerto for Piano and Orchestra in G major: 3. Presto |
| 4. Valses nobles et sentimentales: I. Modere |
| 5. Valses nobles et sentimentales: II. Assez lent |
| 6. Valses nobles et sentimentales: III. Modere |
| 7. Valses nobles et sentimentales: IV. Assez anime |
| 8. Valses nobles et sentimentales: V. Presque lent |
| 9. Valses nobles et sentimentales: VI. Assez vif |
| 10. Valses nobles et sentimentales: VII. Moins vif |
| 11. Valses nobles et sentimentales: VIII. Epilogue: Lent |
| 12. Concerto For The Left Hand In D Major: Lento - Andante - Allegro - Tempo I |
Product Description
From Amazon.co.uk
Fabulous pianism from Krystian Zimerman, scintillating in its poise, sparkle and wit, but with never a hint of self-regarding flashiness along the way. In the sublime slow movement of the G major concerto, Zimerman's songful liquidity comes close to the ideal (no-one has yet matched Arturo Benedetti Michelangeli's miraculous 1959 EMI account), and Pierre Boulez and the Cleveland Orchestra could not be more sympathetic collaborators. For the Left-hand Concerto, we move from Ohio to Watford and a rather more expansive acoustic. If the London Symphony Orchestra don't always quite match their American counterparts in tasteful refinement and dazzling co-ordination, the detail in Ravel's breathtakingly imaginative orchestral canvas is now fractionally clearer. Again, Zimerman and Boulez forge an imperious alliance, this music's unsettling seam of desperation and terror quarried with comprehensive insight. Sandwiched between the two main courses come the Valses nobles et sentimentales: featuring the Clevelanders again on lustrous form, these are amongst the most bracing and intoxicating of recent times. As for the concertos, you need really look no further than Zimerman and Boulez: they're a class act. --Andrew Achenbach
Chronique amazon.fr
Krystian Zimerman connaît parfaitement la musique française du début du XXe siècle. Son jeu tout à la fois racé, fin et puissant lui permet de traverser des partitions dont la principale difficulté est sans aucun doute la richesse d'expression qu'elles contiennent. Tantôt intime, tantôt magnifié, le clavier de Zimerman est un caméléon parfait. Reste son talent indéniable à exprimer la beauté de ces pages sans paraître se soucier des (nombreuses) difficultés techniques, et vous comprendrez en l'écoutant pourquoi cette version est aujourd'hui une référence. -- Pierre Graveleau
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Customer Reviews
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Most helpful customer reviews
1 of 1 people found the following review helpful
2.0 out of 5 stars
A Popular Recording with Suprising Disappointments,
By A Customer
This review is from: Pno Ctos/Valses Nobles Et Sent (Audio CD)
While Gramophone did award this CD, the performance of the G major concerto (heralded as one of the great accomplishments on this album) is a great disappointment. The first movement is a good example: many of the woodwind solos following the introduction are simply out of tune, and Zimmerman's sudden increase in tempo in the recap begs for slowing--- it pains to hear such speed for the orchestra. Thankfully, the infamous bassoon and horns solos are beautifully played and bear none of the same problems. The second movement is wonderfully executed, (though a little lifeless in the strings) but the ending is oddly out of rhythm, probably the result of a strange ritardando. It is the third movement, however, that really disappoints. For starters, if one listens to the beginning and ending of the track (noting the last and first few measures are nearly identical music), an exponential increase in tempo occurs. Although this movement has been referred to as "the chase," it is taken to an uncontrollable extreme here. The French horn duet early in the movement is too brash and forward (as are many brass entrances throughout), and there is a clarinet run that fails rhythmically, giving some hint of how Cleveland struggled under Zimmerman's wild tempi. The duet bassoon runs (a famous orchestral audition excerpt) take on a tempo all their own when they start (much slower). The piano playing throughout is flawless, but one wonders if Zimmerman could not heed more to the orchestra in order to make controlled, flowing music. The fluctuating tempi are hard to miss, and lead to a disappointingly fast and sometimes unmusical rendition of benchmark 20th century music. As for the Left Hand and the Valses, they are in much better shape and worth the purchase, especially the former. More control, musicality, and an orchestra with an unbeatable sound (in the case of the G Major Concerto) can be found in Alicia de Larrocha and St. Louis under Leonard Slatkin, with the piano version of the Valses being a special (and more musical) treat.
3.0 out of 5 stars
Not quite the summit,
By John Grabowski (USA) - See all my reviews
This review is from: Pno Ctos/Valses Nobles Et Sent (Audio CD)
There are some collaborations that are miraculous, where soloist, conductor and orchestra see as one with the score, where everyone seems to arrive at the same point spontaneously and, seemingly, effortlessly, and the music transcends the written score.Unfortunately, this isn't one of those recordings. I'd hoped it would be. We have Krystian Zimerman, one of the greatest pianists alive. We have Pierre Boulez, a man who's had half a century to think about these great works. We have the Cleveland Orchestra, one of the greatest orchestras and one Boulez performs with often. Yet I feel everyone here is just trying too much. They hit this music too hard, with exaggerated crescendoes and tempi fluctuations, and mannerisms that to me seem out of place for such direct music that should sound almost improvised. The "jazziness" (and jazz was a model for Ravel's concerti) is gone. Dynamics range from VERY LOUD to barely audible. Again, though impressive, I feel it's a little too much--this isn't Mahler. It's all immaculately played and beautifully recorded, with lots of inner detail, but I think we expect that from this crew. The problem is, I don't get any new insights into the music. And the Waltzes are "limpy," or wooden-legged. I get the impression Boulez never waltzed in his life. For the Waltzes I recommend, if you can find it, Eduardo Mata and the Dallas Symphony on a budget RCA recording that also has a superb La Valse and Moussorgsky "Pictures." For the D minor concerto, my favorite is the effortless and flowing Fleisher/Comissiona with the Baltimore Symphony. For the concerto that employs all ten digits, I'll be not-terribly-original and opt for the famous Michelangeli/Gracis/Philharmonia recording that many critics consider one of the greatest piano recordings ever.
5.0 out of 5 stars
Breathtaking beauty,
By A Customer
This review is from: Pno Ctos/Valses Nobles Et Sent (Audio CD)
Krystian Zimerman is one the very few truly exceptional geniuses that can make the piano sing. His colors and tones are of a breathtaking aesthetic beauty as only a Rubinstein or Horowitz were able to produce... French composers appear most suited for him, just look at his Preludes from Debussy. If you love piano, by all means get this CD.
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