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Complete Solo 78rpm Recordings [Box set, Import]

Percy Grainger , Grieg , Liszt , Stanford-Grainger , Grainger , Debussy , Handel-Grainger , Gluck-Brahms , Chopin , Schumann , Brahms , Dett , Guion , MacDowell , Sinding , Scharwenka , Tchaikovsky-Grainger , Bach-Tausig-Busoni-Grainger , Bach-Liszt , Bach , Strauss-Grainger , Scott , None Audio CD
5.0 out of 5 stars  See all reviews (1 customer review)

Price: $37.45 & FREE Shipping. Details
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Complete Solo 78rpm Recordings + The Grainger Edition
Price for both: $124.74

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  • The Grainger Edition $87.29


Product Details

  • Performer: Percy Grainger
  • Conductor: None
  • Composer: Grieg, Liszt, Stanford-Grainger, Grainger, Debussy, et al.
  • Audio CD (March 8, 2011)
  • Number of Discs: 5
  • Format: Box set, Import
  • Note on Boxed Sets: During shipping, discs in boxed sets occasionally become dislodged without damage. Please examine and play these discs. If you are not completely satisfied, we'll refund or replace your purchase.
  • Label: APPIAN ( APR )
  • ASIN: B004IJ66NE
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Best Sellers Rank: #216,784 in Music (See Top 100 in Music)

Editorial Reviews

This release is a tribute to the pianism of Percy Grainger who died 50 years ago in February 1961. Grainger was the most reluctant of virtuosos, always wishing that he would be remembered primarily as a composer. However, the large number of recordings he made attests to his greatness as a pianist. Very few of Grainger s recordings are currently available and indeed, many have never been transferred to CD before. This landmark set reveals, in state-of-the-art transfers by Ward Marston, the true glory of Grainger the performer.

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Most Helpful Customer Reviews
19 of 19 people found the following review helpful
Format:Audio CD
Please discover these discs! From the spectacular young lion of the 1908 and 1914 recordings to the 1945 Deccas, Percy Grainger at the piano even in the recording studio played like a legendary bard. He unwaveringly projects a storybook hero quality that enthralls the listener. His playing always, always sings. Of course there are also the amazing tone colors (listen to how his Bach sounds uncannily like an organ on the piano, much more so than Horowitz), the always fierce, "gangway I'm coming," yet infectiously lilting rhythm, the idiosyncratic rubato, the delicate touch alternating with trumpet-clarion tone, the heart-on-sleeve yet guileless poetry, all delivered with a sheer joy of projection and power of expression which one seldom hears on the concert stage any more.

Like all the grand manner pianists of yore, Grainger altered the score sometimes for expressive purposes (listen to the heady emotion of his manic speed-up of a transitional section in "Wedding Day at Troldhaugen"). His unique habit of arpeggiating (or as he called it, "harping") unbroken chords can be heard not only in his playing of his own works on this set but in his Chopin, MacDowell, Cyril Scott, and others. Calling it arpeggiation doesn't do it justice; under Grainger's extraordinarily supple fingers, it's a plangent, "non-piano" sonority, as if some cosmic Orpheus with polydactylous hands strummed a zither. His dazzling yet earthy "harping" of the big chords in "Molly on the Shore" makes you understand why Gabriel Fauré said upon hearing Grainger play, "It's as if a whole people were dancing.
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