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Martha Argerich and Friends: Live from the Lugano Festival, 2006(more) »rank: 161645from: EMI Classics
: : This inexpensively priced 3-CD set of music from the 2006 Lugano Festival with pianist Martha Argerich at its center presents a fascinating cross-section of chamber music, expertly performed. In addition to Argerich, we hear from 15 other instrumentalists – pianists, cellists, violinists, violists, a flugelhorn player (who plays along with Argerich in three of Schumann's Fantasiestücke, to very strange and not very welcome effect), and a wind ensemble made up of members of the Orchestra della Svizzera Italiana that plays with cellist Gautier Caupcon in Friedrich Gulda's Concerto for Cello and Wind Orchestra: a jazzy, definitely eclectic, and playful finale ... |
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Beethoven: Die Violinsonaten(more) »rank: 215424from: Dg Imports
: : This inexpensively priced 3-CD set of music from the 2006 Lugano Festival with pianist Martha Argerich at its center presents a fascinating cross-section of chamber music, expertly performed. In addition to Argerich, we hear from 15 other instrumentalists – pianists, cellists, violinists, violists, a flugelhorn player (who plays along with Argerich in three of Schumann's Fantasiestücke, to very strange and not very welcome effect), and a wind ensemble made up of members of the Orchestra della Svizzera Italiana that plays with cellist Gautier Caupcon in Friedrich Gulda's Concerto for Cello and Wind Orchestra: a jazzy, definitely eclectic, and playful finale ... |
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Brahms: Piano Quartet Op. 25; Schumann: Fantasiestücke Op. 88(more) »rank: 164891from: Dg Imports
: :In recording the first and most popular of Brahms' three piano quartets with three of her favorite chamber-music partners, Argerich follows in the wake of some of her predecessors. Yet she never seems in danger of disappearing in one of the crater-sized footprints left behind by those giants, nor does she seem interested in competing with the kind of performances they gave. For all of its freshness, verve and conceptual freedom, this performance of Brahms’s Opus 25 is not as joyously extroverted as Rubinstein’s 1932 version with members of the Pro Arte Quartet (BMG Classics), as thunderously exciting as Gilels' 1948 ... |
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Panorama: Virtuoso Violin(more) »rank: 177005from: Deutsche Grammophon
: :In recording the first and most popular of Brahms' three piano quartets with three of her favorite chamber-music partners, Argerich follows in the wake of some of her predecessors. Yet she never seems in danger of disappearing in one of the crater-sized footprints left behind by those giants, nor does she seem interested in competing with the kind of performances they gave. For all of its freshness, verve and conceptual freedom, this performance of Brahms’s Opus 25 is not as joyously extroverted as Rubinstein’s 1932 version with members of the Pro Arte Quartet (BMG Classics), as thunderously exciting as Gilels' 1948 ... |
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Panorama: Maurice Ravel(more) »rank: 195492from: Deutsche Grammophon
: :In recording the first and most popular of Brahms' three piano quartets with three of her favorite chamber-music partners, Argerich follows in the wake of some of her predecessors. Yet she never seems in danger of disappearing in one of the crater-sized footprints left behind by those giants, nor does she seem interested in competing with the kind of performances they gave. For all of its freshness, verve and conceptual freedom, this performance of Brahms’s Opus 25 is not as joyously extroverted as Rubinstein’s 1932 version with members of the Pro Arte Quartet (BMG Classics), as thunderously exciting as Gilels' 1948 ... |
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The Classic Christmas Album(more) »rank: 165450from: Deutsche Grammophon
: :In recording the first and most popular of Brahms' three piano quartets with three of her favorite chamber-music partners, Argerich follows in the wake of some of her predecessors. Yet she never seems in danger of disappearing in one of the crater-sized footprints left behind by those giants, nor does she seem interested in competing with the kind of performances they gave. For all of its freshness, verve and conceptual freedom, this performance of Brahms’s Opus 25 is not as joyously extroverted as Rubinstein’s 1932 version with members of the Pro Arte Quartet (BMG Classics), as thunderously exciting as Gilels' 1948 ... |
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Richard Strauss ~ New Year's Eve Concert Berlin 1992 / Argerich, Fleming, Battle, Abbado(more) »rank: 220880by: Richard Strauss, Claudio Abbado, Martha Argerich, Renée Fleming, Kathleen Battle, Berliner Philharmoniker, Toru Yasunaga, Andreas Schmidt
: :In recording the first and most popular of Brahms' three piano quartets with three of her favorite chamber-music partners, Argerich follows in the wake of some of her predecessors. Yet she never seems in danger of disappearing in one of the crater-sized footprints left behind by those giants, nor does she seem interested in competing with the kind of performances they gave. For all of its freshness, verve and conceptual freedom, this performance of Brahms’s Opus 25 is not as joyously extroverted as Rubinstein’s 1932 version with members of the Pro Arte Quartet (BMG Classics), as thunderously exciting as Gilels' 1948 ... |
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Music of the Night: The Essential Chopin Collection(more) »rank: 15036from: Deutsche Grammophon
: :In recording the first and most popular of Brahms' three piano quartets with three of her favorite chamber-music partners, Argerich follows in the wake of some of her predecessors. Yet she never seems in danger of disappearing in one of the crater-sized footprints left behind by those giants, nor does she seem interested in competing with the kind of performances they gave. For all of its freshness, verve and conceptual freedom, this performance of Brahms’s Opus 25 is not as joyously extroverted as Rubinstein’s 1932 version with members of the Pro Arte Quartet (BMG Classics), as thunderously exciting as Gilels' 1948 ... |
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Brahms: Greatest Hits(more) »rank: 209835from: Decca
: :In recording the first and most popular of Brahms' three piano quartets with three of her favorite chamber-music partners, Argerich follows in the wake of some of her predecessors. Yet she never seems in danger of disappearing in one of the crater-sized footprints left behind by those giants, nor does she seem interested in competing with the kind of performances they gave. For all of its freshness, verve and conceptual freedom, this performance of Brahms’s Opus 25 is not as joyously extroverted as Rubinstein’s 1932 version with members of the Pro Arte Quartet (BMG Classics), as thunderously exciting as Gilels' 1948 ... |
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Beethoven: Cellosonaten, Opp. 69 & 102(more) »rank: 241460from: Polygram Records
: :In recording the first and most popular of Brahms' three piano quartets with three of her favorite chamber-music partners, Argerich follows in the wake of some of her predecessors. Yet she never seems in danger of disappearing in one of the crater-sized footprints left behind by those giants, nor does she seem interested in competing with the kind of performances they gave. For all of its freshness, verve and conceptual freedom, this performance of Brahms’s Opus 25 is not as joyously extroverted as Rubinstein’s 1932 version with members of the Pro Arte Quartet (BMG Classics), as thunderously exciting as Gilels' 1948 ... |