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Arrogant Interloper by Catherine George. The Arrow Chest by Robert Parry. Arsenal : 20 defining matches by David Hills. Art in Focus: London by Thomas Parsons. Art in London Jarrold arts series by Michael Jacobs. The Art of the Steal by Christopher Mason. The Art of Travel by Alain de Botton. The Art of War by Mike Tucker. The Art Thief by Noah Charney. Artistic Licence by Katie Fforde. Artists' London by David Piper. Artwise London Artwise by Michael Brown. As an Earl Desires by Lorraine Heath. As the Crow Flies by Jeffrey Archer. Ashenden, or, The British Agent by W. Somerset Maugham.
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A Brighter Tomorrow by Rowena Summers. Brighton Honeymoon by Sheri Cobb South. Brilliant by Marne Davis Kellogg. Bring on the Girls by P. Bring Up the Bodies by Hilary Mantel. Though he had a virtuoso technique it was fallible and the careless slips he was renowned for became more pronounced as he became older. This set, recorded in the last days of 78s, had only a limited life as LP technology arrived within a year and brought with it improved recording quality.
It appears that when some of these titles were reissued on LP different takes, recorded on tape, were used so these versions are included as an appendix. Nocturne No 2 in E flat major Op.
- The Persistence of Voice: Instrumental Music and Romantic Orality;
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- Black Mask Pulp Story Reader #4: Stories from the February, 1941 issue of ASTONISHING STORIES!
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- Man vs. Wolf (Alone in The Woods).
- Unwanted: A Tale of Sadness and Pain.
Sadly, by this time his failing health meant that many works remained unissued as they did not meet the standards of his earlier magnificent versions, however some old warehorses did stand the test of time, as can be heard in the Carnaval featured here. Along with Schnabel, in the first half of the 20th century Edwin Fischer was generally regarded as the greatest interpreter of the Germanic classics - Bach, Mozart, Beethoven, Schubert and Brahms.
This was the period when recording came of age, and many first recorded performances, regarded as definitive in their time and still thought amongst the greatest even today, were set down by Fischer. These are the only Mozart concerto recordings Fischer was to make commercially except for a LP remake of the D minor in We continue our comprehensive survey of the many great pianists who worked in Russia in the Soviet era with the first two discs in the Igumnov School. The bulk of the issues will be divided into 'schools' which represent the three main teachers of this period - Neuhaus, Goldenweiser and Igumnov, - and their pupils.
Igumnov was the oldest of the thre great teachers we are considering. Flier arrived at the Moscow Conservatiore a prodigy and rapidly went on to become one of the greatest of Igumnov's many pupils. He had a friendly rivalry with Emil Gilels, beating him in competition in , only for the roles to be reversed in the Queen Elizabeth Competition of In many ways his career mimicked that of his teacher Igumnov, as Flier also taught at the Moscow Conservatiore from an early age until his death and produced many illustrious pupils, though perhaps his own fame, at least internationally, suffered as a result.
Flier had a large repertoire and specialized particularly in the great works of the Romantic period which suited his all-encompassing, but undemonstrative, technique. Unfortunately he made surprisingly few recordings though all we have are very fine. Of particular interest here is the world premiere recording of Kabalevsky's 24 Preludes Op. These and all the other material included, are new to CD. Pickwick Esq. Minstrels Preludes, Book I, No 12 ; 8. These four titles are the first in a comprehensive survey of the many great pianists who worked in Russia in the Soviet era.
Here, in a selection of his earliest recordings, we see a different side to his talent as he reveals an astonishing virtuosity in such warhorses as the Liszt Hungarian Rhapsodies and the Schumann Toccata. That Gilels and Zak began performing together is perhaps not surprising as they both grew up in Odessa and then moved to Moscow to study with Neuhaus, however it was probably the Second World War, and their confinement to the Soviet Union where there was a need for morale boosting concerts, which brought the duo together in a partnership which lasted about ten years.
With the exception of a performance of Carnival of the Animals their complete recordings are featured here, and a fascinating selection they are. Gilels was one of the few Russian pianists who played Mozart successfully and these recordings, either as original works, or transcribed by Busoni, present both pianists revelling in an easy virtuosity and joie-de-vivre.
Perhaps surprisingly, its very French brilliance seems particularly suited to these two Russians! This CD is the second of two devoted to his earliest 78rpm recordings mainly dating from around These discs are extremely rare and many of the performances included will be unknown to even the most ardent collectors. Of particular interest to pianophiles will be his supremely elegant Strauss transcriptions and the Schumann arrangements of Paganini Caprices. These three titles inaugurate the Goldenweiser School, the last of the three great teaching traditions to be covered in this comprehensive survey of the many great pianists who worked in Russia in the Soviet era.
Along with Goldenweiser himself we start with Nikolayeva and Ginzburg. Alexander Goldenweiser was born in and studied at the Moscow Conservatoire with the great generation that included Rachmaninov, Scriabin and Medtner. Though a fine pianist, he quickly gravitated towards teaching and had an astonishing 55 year reign at his alma mater until his death in Goldenweiser was to exert a profound influence upon more than pianists among whom the most celebrated are Grigory Ginzburg, Samuil Feinberg, Rosa Tamarkina and Tatiana Nikolayeva all of whom will be represented in this series as well as Lazar Berman, Dmitri Bashkirov, Isabella Vengerova, Oxana Yablonskaya and Dmitri Paperno.
During the last 15 years of his life Goldenweiser recorded quite prolifically but most of this work was for the radio and only released subsequent to his death. They capture the young Horowitz just after his sensational arrival in the west and, apart from a few 78s made in the previous two years in the US, they are his earliest solo recordings. Though most of the chosen pieces were short enough to fit onto a 78rpm side Horowitz did record the Liszt Sonata, a performance which quickly achieved a legendary status. The Prokofiev Toccata was also originally unissued and is not otherwise currently available.
Self-respecting pianophiles will already have most of these seminal recordings. But, compared with earlier issues, APR reveal a fuller, richer piano sound where every nuance is crystal clear and in a judiciously-enhanced ambience APR's presentation,as usual, leaves its peers standing, fully worthy of the great artist enshrined in these magical recordings.
Classic CD. Igumnov was the oldest of the three great teachers we are considering. Though less well known than the first of our great Russian pedagogues Heinrich Neuhaus on APR , Konstantin Igumnov had an equally illustrious career as pianist and teacher. An exact contemporary of Rachmaninov, he studied with the same teachers and the two were good friends, Igumnov championed much contemporary music by his Russian compatriots and gave the premiers of Rachmaninov's first piano sonata and Glazunov's first piano concerto to name but two examples.
He taught from an early age and was appointed to the Moscow Conservatoire in where he remained until his death in ; between and he was appointed principal. Sadly he recorded very little and what there is comes from near the end of his life. A live recital taped the year before his death, when he was suffering from flu, does not do him justice and is not represented here, but much of the rest of his recorded output is included and reveals him to be a true romantic whose playing is passionate and focused on the singing line but perhaps larger in scale than the Neuhaus style.
Few of his recordings have ever been easily available and this CD fills an important gap in the history of Russian pianism. Bagatelle in C major Op 33 No 5 Recorded in ? Though Hungarian by birth, and having studied at the Franz Liszt Academy in Budapest, Louis Kentner, like so many others of Jewish origin, immigrated to London in the mid s, aware that central Europe was not the best place to be at that time for someone of his race.
He was to remain in London for the rest of his life, becoming very much part of British musical life both as pianist and, later, as teacher. His somewhat sensational London debut took place in the Aeolian Hall in October where he gave an all Liszt recital. As a direct result he was signed up by HMV and over the next fifteen years, in addition to much other repertoire, he made a large number of Liszt recordings which featured not only the often recorded etudes and Hungarian Rhapsodies but also premiere recordings of many of Liszt's more important, but then less well known, larger works.
This later piece is one of Liszt's most brilliant operatic transcriptions, but is strangely little known. It is perhaps Kentner's most stunning recording and a fitting way to end this fascinating recital. Piano Sonata in B minor S Etude 1 Berceuse Andantino first recording 4. Etudes 1 — 12 complete recording All three developed fabulous techniques and were romantic pianists in the grand manner, and each fled Russia after the Revolution to make their way in the West.
That Kitain is the least known can only be put down to misfortune as these pre-War European recordings attest to a pianist of fabulous talent. Sadly he failed to 'make it' after his Wartime emigration to the USA and slowly faded from view, giving his last New York concert in Wanda Landowska has achieved such fame for her 20th-century revival of the harpsichord that it is sometimes forgotten that she was a very fine pianist and continued to play music of the classical period on modern piano.
This set brings together, for the first time, all her recordings on that instrument. This title continues the Goldenweiser School, the last of the three great teaching traditions to be covered in this comprehensive survey of the many great pianists who worked in Russia in the Soviet era. One of the youngest pianists to be featured in this series, Victor Merzhanov is more a grand-pupil of Goldenweiser than a pupil, as his major professor was Samuil Feinberg. It seems certain though, that while studying with one of Goldenweiser's most illustrious pupils he would also have had contact with the great man.
Merzhanov graduated from the Moscow conservatory in and, after war service, shared first prize in the All-Union piano competition with Sviatoslav Richter. He began teaching at the Moscow Conservatoire in and, at the age of 90, continues to teach and serve on competition juries today. Merzhanov quickly became renowned as a Rachmaninov interpreter and his recording of the Third Concerto is one of the greatest, he also made the first recording of Prokofiev's Sixth Sonata.
He was most prolific in the recording studio in the 's and his performances are characterised by peerless technique witness the Liszt 'Paganini' Studies included here and a generous, but never self-serving, emotional involvement with the music.