This is the definitive collection: all 711 master recordings as released during Elvis’ lifetime, mastered from the original analog master tapes where available. Each recording has been carefully restored to achieve the best sound reproduction ever without compromising the audio quality of the original master. The collection also contains 103 additional rare recordings and a 240-page hardbound book featuring an annotated discography, original album artwork, rare and classic photos, a complete song index and an essay by Peter Guralnick. Housed in a beautiful, limited edition display case, THE COMPLETE ELVIS PRESLEY MASTERS is an indispensable piece of music history and the one collection no true connoisseur should be without.
On this specially-priced 8-CD set Zoltan Kocsis performs the complete solo piano music of his fellow Hungarian, B la Bart k. Completed in 2001, these critically acclaimed, definitive performances are the benchmark against which all others are considered.
This collection contains 349 songs recorded at 91 separate recording sessions between October 11, 1942 and March 23, 1961. Two-thirds of the selection on this 18-disc anthology have either been out out of print since the 1940s, or have never been released in any form. Cole's 1956 album, AFTER MIDNIGHT, is included here in its entirety, along with all of the trio's more familiar songs. Included in this set are 104 tracks previously unavailable on US LPs. Sixty-six of the tracks were previously unavailable anywhere. Fifty-six rare Capitol radio transcriptions appear commercially for the first time. Dozens of the tracks appear at the correct speed for the first time ever.
A limited-edition super-budget set. 2009 is 200th anniversary of Haydn’s death. Decca’s pioneering complete cycle of Haydn symphonies on modern instruments. Recorded between 1969 and 1972, this was the first complete cycle of Haydn’s symphonies. Hungarian-born Antal Dorati was a Haydn pioneer and specialist who also recorded Haydn operas for Philips during the same period. Decca catalogue of Haydn is without parallel and contains complete cycles of the Piano Sonatas and String Quartets (as well as Piano Trios on Philips). Many of these are award-winning recordings.
Granted, there are better individual performances of the various symphonies from conductors as diverse as Eugen Jochum, Leonard Bernstein, Trevor Pinnock, and Thomas Fey; but when all is said and done this remains the finest complete set of Haydn symphonies yet recorded, and its basic musicality only seems to grow more impressive over time.
Jarrett plays brilliantly.
Personally, I love Jarrett's playing; he is one of the most sensitive and lyrical of contemporary pianists, and his long illness has deprived us of what would surely have been a larger body of baroque music recordings. So make your own mind up.
I highly recommend this collection to lovers of Bach, Jarrett and the diabolical harpsichord.
A variety of European folk tales are retold in nine new stories. A soldier captures Death in a magic sack. A fearless young man sets out to learn to shudder. A boy with a destiny that frightens a tyrant is sent on an impossible task that will see him wed the princess, or dead. A storyteller must spin tales to stay alive. A woman bears a hedgehog-child who grows up to live alone in a castle until he does a king a favor and gets the princess's hand in return. A princess must keep silent while she works to free her brothers from an evil spell. A princess runs away from wedding her father and disguises herself as an ugly forest creature. A young boy must overcome a heartless giant. A princess searches the earth for her stolen bridegroom.
Wanda Landowska brought the Goldbergs out of hiding on the harpsichord in the '40s and Glenn Gould made them a bonafide hit on the piano in the '50s, opening the floodgates for keyboardists of all stripes. So, in one of his earlier recorded voyages into the classical world, Keith Jarrett is up against an imposing legacy as he tackles what has become the most famous set of variations in Western music. First, he chooses to play them on a double-manual harpsichord – which makes the task somewhat easier, avoiding the finger-tangling cross hand difficulties that can trip up a piano performance.