Med et utroligt væld af vintage-optrædener i perfekt stand og med ekspertise fra nogle af nutidens førende lydingeniører har Naxos været i stand til at transformere fortidens legendariske optagelser til en bemærkelsesværdig digital lyd.

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When Arrau was a year old his father died. His mother gave piano lessons to support her three children, and after Claudio made his debut at the age of five she moved the family to Santiago de Chile so that he could study with Bindo Paoli. By 1911 the Chilean government had decided to fund Claudio’s training in Berlin. At the Stern Conservatory he studied with Martin Krause (1853–1918), a pupil of Liszt. Krause became a father-substitute for young Claudio, guiding him toward art, literature and opera. The boy had little schooling, and Krause oversaw most aspects of his life and development. At the piano Krause laid a technical foundation based not only on physical stamina and endurance but also on technique being the means to a musical interpretation. It supported Arrau throughout his long career.

kr. 35,99 (kr. 119,95)
Image Piano Concerto
This third Naxos volume of Claudio Arrau’s recordings from the 1930s and 1940s includes two performances set down in an incredibly short period of time. Richard Strauss’s Burleske was recorded at a morning session on 13th April 1946 at Orchestra Hall in Chicago, followed immediately by Weber’s Konzertstück (Naxos 8.111263). The 1944 recording of Schumann’s Piano Concerto was recorded in one session of one hour and 45 minutes, with the first side of the second movement and both sides of the last movement done in single takes. The 1939 recording of Schumann’s Carnaval is one of Arrau’s finest recordings. A contemporary reviewer stated that, ‘This magnificent recording shows convincingly that Carnaval is one of the masterpieces of piano literature and that Arrau is a great pianist… The recording itself is of the highest quality, better far than any record previously made by Arrau, and the performance – as I ought to have made clear by now – is of supreme artistic value and completely satisfying in every respect.’

kr. 35,99 (kr. 119,95)
Image Piano Sonata No. 2
Alfred Cortot was renowned above all as a pianist whose interpretations, especially of the works of Schumann, Debussy and Chopin, were often on a spiritual level.This 1953 performance of Chopin's Piano Sonata No. 2 is his fifth and final commercial recording of the work (the 1928 recording is available on Naxos 8.111065; the 1927 recording is unissued). Cortot wanted to record the work again partly because he felt his interpretation would be 'an example for the young pianists, who are so little imbued with the Romantic spirit'. His 1953 and third recording of Schumann's Kinderszenen is notable for the familiar singing tone and poetic warmth he brings to Kind im Einschlummern (Child falling asleep) and Der Dichter spricht (The poet speaks). Cortot's interpretation of the youthful romanticism of Carnaval is full of colour and character,far preferable to bland and uninspired subsequent accounts from lesser pianists.

kr. 35,99 (kr. 119,95)
Image Preludes Op 28
Dette er den første volymen af fem i Naxos-serien med Alfred Cortots Chopininspelningar fra 78-varvseran.
Alfred Cortot, klaver.

kr. 35,99 (kr. 119,95)
Image Waltzes (Nos. 1-14)
Detta är den andra volymen av fem i Naxos serie med Alfred Cortots Chopininspelningar från 78-varvseran.

...this whole series of valses is played with an
artistry that a few technical lapses cannot mar...

...The records are an object lesson in
the difficult art of rubato
- Gramophone, 1934

Alfred Cortot, piano.


kr. 35,99 (kr. 119,95)
Image Etudes (Complete)
International Piano skrev blandt andet følgende om de tidligere bind i denne serie (Preludes, 8.111023 & Waltzes, 8.111035): is the pianist’s tonal variety that sets this playing apart...

...Credit must go to Mark Obert-Thorn’s transfers, which manage to convey Cortot’s special tone and nuance, plus a sense of acoustic space...
Alfred Cortot, piano

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Image Piano Sonatas Nos. 2 & 3

Posterity has judged Alfred Cortot as one of the greatest artists of the twentieth century. His Naxos Historical recording of Chopin and Schumann Piano Concertos had him elevated in The Sunday Times as “The great French pianist famous for…. his magical touch and lovely singing tone and a flexibility of phrasing and movement as natural as breathing.”

This fourth disc in the Naxos five volume series devoted to his 78 rpm era recordings of Chopin includes three rarities: My Joys and the Polonaise-Fantasie, both unreleased on 78 rpm, and the first-ever CD appearance of the1933 version of the Piano Sonata No. 2. Completed in only fourteen takes on 6th July, this version of the Sonata has incredible energy, particularly in the last movement.

The stunning performance of the Grande Polonaise, Op. 22, demonstrates Cortot’s total understanding of Chopin’s use of the decorated melodic line. The popular Polonaise in A flat, Op. 53 is played with majestic swagger and pomp, aided by a well recorded Steinway piano.
Alfred Cortot - Chopin

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Image Ballades/Nocturnes
• As with previous discs, this fifth and final release in the Naxos series of Cortot’s 78 rpm era Chopin recordings includes versions of recordings which have not been reissued often, if at all. The 1929 set of Ballades, which emerge from Cortot’s hands with all the passion and emotion, poetry and tenderness that were the hallmark of his playing, has been chosen over the more familiar 1933 remake.

• The 1949 re-recording of the Nocturne Op. 9, No. 2 has not previously been available on CD outside of Japan. Cortot’s phrasing, colourful tonal palette and singing tone in the F major and C sharp minor Nocturnes are without equal, while the dramatic middle sections of these works explode in anguish or ecstasy.

• Posterity has judged Alfred Cortot as one of the greatest artists of the twentieth century. His Naxos Historical recording of Chopin and Schumann Piano Concertos had him elevated in The Sunday Times as “The great French pianist famous for…. his magical touch and lovely singing tone and a flexibility of phrasing and movement as natural as breathing.”

Alfred Cortot, piano
Fryderyk Chopin

kr. 35,99 (kr. 119,95)
Image Early Recordings, Vol. 1
Emil Gilels was one of the greatest Russian pianists of the twentieth century, born in Odessa in 1916. The recordings on this first disc of his early recordings, made in the USSR, come from the first stage of Gilels's career and include his first known recordings from 1935. Leopold Godowsky's arrangement of the Gigue by Jean-Baptiste Loeillet immediately shows the immense power the nineteen-year old Gilels had at the keyboard. His playing, especially in his youth, was fiery, volatile and exciting, and even late in his career it still retained the grandeur and sweep of a great master in the Russian tradition.

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Image Early Recordings, Vol. 2 (1937-1954)
These recordings were made in the USSR and come from the first stage of Emil Gilels's career. Although he was strongly identified with Russian repertoire, this disc presents several rarities. As performances of Medtner's music were forbidden in the USSR until after Stalin's death, Gilels, who was an ardent champion of the composer's music, was unable to record the G minor Piano Sonata until 1954. No less valuable are the recordings of Glazunov's and Prokofiev's Second Piano Sonatas which, like Rachmaninov's music, were rarely included in Gilels's concert programmes.

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Image Early Recordings, Vol. 3
Emil Gilels, piano

Emil Gilels played a sonata by Scarlatti at his first public concert in 1929 and included them in his tours to the West in the 1950s. These recordings present a splendid group of the composer's widely contrasting moods. Gilels was a true virtuoso in the Lisztian tradition, combining musical integrity with rarely equalled technique. The Fantasia was one of the works with which he won the First Soviet All-Union Competition in 1933, while his recordings of the Hungarian Rhapsodies and three works by Chopin are full of character and personality. A recently discovered notebook in which Gilels logged some of his recording sessions has made the dating of these recordings more accurate in this edition.

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Image Goldberg Variations
The Canadian pianist Glenn Gould burst onto the world’s musical stage in January 1955 when he made his United States recital début in Washington D.C. with Bach’s Goldberg Variations. His 1955 recording of the work is one of the most important and influential piano discs of the second half of the twentieth century, leading not only to a wider appreciation of Bach’s keyboard works by the general public but to a fundamental re-appraisal of how Bach should be played.When the recording was released the American Record Guide headed its review with ‘The Record Début of Glenn Gould a Keyboard Genius.’ With its great attention to clarity and detail, little use of the sustaining pedal, and sometimes rapid or extreme tempos, this vital and exciting performance is the complete antithesis to the‘sewing-machine’ style of Bach playing.

Glenn Gould, piano

kr. 35,99 (kr. 119,95)
Image Keyboard Concerto No. 1
Canadian pianist Glenn Gould's first Columbia recording, his classic 1955 Goldberg Variations [Naxos 8.111247], and second, Beethoven's last three piano sonatas [Naxos 8.111299], were followed by this 1957 rendition of Bach's D minor Concerto, praised by The New York Times critic Harold Schoenberg for its 'considerable dash... fine ensemble and musical finesse'. Of Gould's re-recordings of two keyboard partitas (he was dissatisfied with the first takes from 1956) one critic registered his astonishment when 'confronted with the naked imagination and sensitivity of a genius'.The two fugues from The Well-Tempered Clavier are further testimony to Gould, the creative artist, shedding new light on familiar works with conviction.

kr. 35,99 (kr. 119,95)
Image Piano Concerto No. 2
Glenn Gould played Beethoven's piano concertos from the beginning of his short concert career, this recording being made when he was 24, the same age as the composer when he wrote his Piano Concerto No. 2. Gould's vitality and enthusiasm in the first movement are particularly notable, as is Bernstein's highly expressive interpretation of the beautiful Adagio. Despite his temperamental aversion to chamber music and his preference for pre-romantic music, Gould's account with the Montreal String Quartet of Brahms's F minor Piano Quintet is clearly articulated, propulsive and highly focussed.

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Image Piano Sonatas Nos. 30-32
Not long after his February 1934 London Queen's Hall concert comprising three Mozart concertos, Schnabel made his first recording of a Mozart piano concerto, No. 27 in B flat major, K.595, at the recently opened and well equipped Abbey Road Studios. Completed in one session, this recording is notable not only for the excellence of its sound but for the moulding of the slow movement, taken at a slow tempo, but without any loss of the tension between successive notes or of the coherence of harmonic progressions. Schnabel's recording of the Concerto for two pianos, with his son Karl Ulrich, is made up entirely of first takes. In the Rondo in A minor, K.511, Schnabel beautifully shapes the phrases and avoids sentimentality or overt intensity of expression.

kr. 35,99 (kr. 119,95)
Image Piano Concerto No. 5
Här kan vi höra Vladimir Horowitz i virtuosa tolkninar av två mästerverk för piano. Beethovens "Kejsarkonsert" är inspelad 1952 och Rachmaninovs tredje pianokonsert 1951.

Vladimir Horowitz, piano.

RCA Victor Symphony Orchestra/Fritz Reiner.

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Although he grew up in Kiev, and claimed that was the city of his birth, it is possible that Horowitz’s birthplace was actually Berdichev, situated southwest of Kiev. Horowitz was born into a well-to-do, cultured family and he received his first piano lessons from his mother. At the age of nine he entered the Kiev Conservatory where he studied with Vladimir Puchalsky, then with Sergei Tarnowsky; both had been pupils of Theodor Leschetizky. From 1919 Horowitz studied with Felix Blumenfeld, a pupil of Anton Rubinstein. Although never a performing child prodigy, Horowitz was always the centre of attention as a child and adolescent due to his extraordinary talent at the keyboard, and this environment moulded his personality as an adult. Horowitz made his debut in Kiev in 1920, the year that he graduated from the Kiev Conservatory.

kr. 35,99 (kr. 119,95)
Image Pianosonat B minor
Vladimir Horowitz spiller blandt andet Liszts "Klaversonate i h-mol" og
Rimsky-Korsakovs "Humlebiens flugt".

Optagelsesår: 1932-1935.
Vladimir Horowitz, piano.

kr. 35,99 (kr. 119,95)
Image Piano Sonata No. 2
Although Horowitz’s concept of Chopin, characterised by extremes of dynamics and tempi, divided the critics over the years, as one of them wrote in 1958 of a disc containing the Barcarolle heard here,‘If your choice in Chopin interpretation runs to largescale, grandiose treatments, magnificent panoramas of sound, delicacy and yet tremendous virility, obtain this record by all means. The overall effect is breathtaking.’ The tempo Horowitz chooses for the first movement of this 1950 recording of Piano Sonata No. 2 may seem surprisingly slow, yet the relationship between the first and second subject is far more logical than many performances where the second subject is often played much slower than the first. The 1949 recording of the Ballade No. 4 has never been reissued but is presented here for its rarity and in conjunction with the artist’s approved 1952 remake of the same work.

kr. 35,99 (kr. 119,95)
Image Piano Concerto No. 3
Vladimir Horowitz, piano. London Symphony Orchestra / Albert Coates.

Frédéric Chopin

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Image Last Recital, The

Dinu Lipatti, piano

Reissue Producer and Audio Restoration Engineer: Mark Obert-Thorn

It is not surprising that Lipatti achieved cult status in the years following his death at the age of 33. He was an extremely sensitive musician and a man whose approach to the piano was one of utter fastidiousness, always striving for perfection in every aspect of his interpretation and performance. Throughout this Besançon recital there is a clarity of sound, evenness of attack and scrupulous attention to gradation of dynamics, characteristic hallmarks of Lipatti's playing. The fourteen Chopin Waltzes are played in the order that Lipatti chose for performance but, according to his wife, he was too physically weak to play the last Waltz in A flat, Op. 34 No. 1, so it is included here from his commercial recording of a few months before.

kr. 35,99 (kr. 119,95)
Image Early Recordings, Vol. 1 (The)
Michelangeli's first recordings were made for HMV in Milan in 1939, following his win at the Geneva International Piano Competition. In Granados's Andaluza Michelangeli uses a soulful singing tone to great advantage, while his phenomenal virtuoso technique can be heard in Marescotti's Fantasque, one of the test pieces for the Geneva Competition. These and the 1948 recordings of Bach, Galuppi and Brahms demonstrate that as a young man Michelangeli was already a consummate artist. As a critic wrote about the recording of the Brahms Paganini Variations: 'What a pianist! Technically, the playing is astonishing: interpretatively, here is a very great musician.... altogether this is the most exciting piano performance and recording I have heard for many a long day.'

kr. 35,99 (kr. 119,95)
Image Early Recordings, Vol. 2 (The)
Producer and Audio Restoration Engineer: Ward Marston

Also available:
Michelangeli - The Early Recordings Vol 1 (1939-1948) 8.111351

kr. 35,99 (kr. 119,95)
Image Piano Concertos
Arturo Benedetti Michelangeli, piano
Milan La Scala Orchestra
Antonio Pedrotti, conductor

Michelangeli was a peerless aristocrat of the piano. He had made his recording début for HMV in Milan in 1939, and in 1942 went into studios in the same city to record two major concertos for German Telefunken. Schumann's Piano Concerto is played with a dazzling, almost improvisatory freedom, whereas the Grieg Piano Concerto is a forthright, poetic and virtuosic performance, albeit one of great warmth. The smaller pieces reveal his outstanding gradations of tone. Remarkably, Michelangeli never re-recorded either concerto again in the studio.

kr. 35,99 (kr. 119,95)
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