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Liszt: Piano Concertos Nos. 1 & 2, Hungarian Fantasia/ Chopin: Andante spianato & Grande Polonaise [Original recording remastered]

Sviatoslav Richter , Kyrill Kondrashin , London Symphony Orchestra Audio CD
4.0 out of 5 stars  See all reviews (2 customer reviews)


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Product Details

  • Orchestra: London Symphony Orchestra
  • Conductor: Kyrill Kondrashin
  • Audio CD (March 28, 2000)
  • Number of Discs: 1
  • Format: Original recording remastered
  • Label: BBC Legends
  • ASIN: B000042NZ9
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Best Sellers Rank: #271,691 in Music (See Top 100 in Music)

1. Andante spianato and Grande Polonaise for piano & orchestra, Op. 22: Andante spinato: Tranquillo
2. Andante spianato and Grande Polonaise for piano & orchestra, Op. 22: Polonaise: Allegro molto - Meno mosso
3. Piano Concerto No. 1 in E flat major, S. 124 (LW H4): Allegro maestoso
4. Piano Concerto No. 1 in E flat major, S. 124 (LW H4): Quasi adagio - Allegretto vivace - Allegro animato
5. Piano Concerto No. 1 in E flat major, S. 124 (LW H4): Allegro marziale animato - Presto
6. Piano Concerto No. 2 in A major, S. 125 (LW H6): I. Adagio sostenuto assai - Allegro agitato assai
7. Piano Concerto No. 2 in A major, S. 125 (LW H6): II. Allegro moderato
8. Piano Concerto No. 2 in A major, S. 125 (LW H6): III. Allegro deciso - Marziale un poco meno allegro
9. Piano Concerto No. 2 in A major, S. 125 (LW H6): IV. Allegro animato
10. Hungarian Fantasy (Fantasie über ungarische Volksmelodien), for piano & orchestra, S. 123 (LW H12)

Editorial Reviews

Amazon.com

Sviatoslav Richter's studio recording of the Liszt Concertos, with the same collaborators heard in these live performances, has long been considered a classic. It also has extraordinarily fine recorded sound. In comparison, these performances are even more exciting, poetic, and spontaneous. They have been available in unauthorized editions for decades, but the current disc is the first ever taken from the original BBC master tapes and it sounds considerably more lifelike than any previous issue. Also, Richter never made studio recordings of the other works, and he plays both with extraordinary virtuosity and style. Richter was never known as a great Chopin player, but you'll wonder why after hearing this performance. Even if you own the Philips disc, this new issue is a highly worthwhile acquisition, more than an hour of the greatest piano playing you'll ever hear. --Leslie Gerber

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20 of 20 people found the following review helpful
5.0 out of 5 stars A showstopper July 16, 2001
By JQR
Format:Audio CD
This is a real example of what documentary recordings can yield to posterity. While I've always found the studio versions by these same artists a bit overrated, this live version--recorded a few days prior to the Philips session (now on "Philips 50") is the real thing. Comparing the two, one gets the distinct sense that the artists were trying to recreate what they did on stage earlier. With a London audience on tenterhooks for the USSR's hidden wonder-pianist, you could not concieve of a more anticipatory concert. The Hungarian Fantasy, which in my mind replaces the Cherkassy/Karajan as the finest on record, is in fact interrupted by applause several times before the close. This is the stuff of time machines.
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1 of 1 people found the following review helpful
3.0 out of 5 stars spoiled for sound April 28, 2013
Format:Audio CD
I have to take issue with the previous reviewer. I think that the sound of this BBC recording (live from the Albert Hall in 1961) doesn't do justice to either Richter or Kondrashin and the LSO. I don't own Richter's near-contemporaneous studio recording on Philips, but the Zimerman/Ozawa recording, in mid-1980's digital sound, gives you a clearer picture of this music. The interplay with the orchestra and the texture of the solo playing just don't come across as effectively with Richter and Kondrashin. About five years after this concert, Abbado and Argerich recorded the First Concerto in the studio (also with the London Symphony Orchestra), and that recording remains for me the best of the Firsts -- but if you want both concertos (with the "Totentanz" thrown in for good measure in a good performance), go for Zimerman and Ozawa. In defense of Richter and Kondrashin, I hear nothing wrong with the playing or the pacing -- it's just that in the post-digital now I (for better or worse) ask more of the sound.
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