Variations on the name 'Abegg,' for piano in F major, Op. 1
Symphonic Etudes ('Etudes in the form of variations') for piano (2 versions), Op. 13: Theme
Symphonic Etudes ('Etudes in the form of variations') for piano (2 versions), Op. 13: Variation 1
Symphonic Etudes in Variation Form (5), for piano (variants & corrections of Op. 13), WoO 6: Posthumous variation 1
Symphonic Etudes ('Etudes in the form of variations') for piano (2 versions), Op. 13: Variation 2
Symphonic Etudes ('Etudes in the form of variations') for piano (2 versions), Op. 13: Variation 3
Symphonic Etudes ('Etudes in the form of variations') for piano (2 versions), Op. 13: Variation 4
Symphonic Etudes ('Etudes in the form of variations') for piano (2 versions), Op. 13: Variation 5
Symphonic Etudes ('Etudes in the form of variations') for piano (2 versions), Op. 13: Variation 6
Symphonic Etudes in Variation Form (5), for piano (variants & corrections of Op. 13), WoO 6: Posthumous variation 4
Symphonic Etudes in Variation Form (5), for piano (variants & corrections of Op. 13), WoO 6: Posthumous variation 5
Symphonic Etudes ('Etudes in the form of variations') for piano (2 versions), Op. 13: Variation 7
Symphonic Etudes in Variation Form (5), for piano (variants & corrections of Op. 13), WoO 6: Posthumous variation 3
Symphonic Etudes ('Etudes in the form of variations') for piano (2 versions), Op. 13: Variation 8
Symphonic Etudes ('Etudes in the form of variations') for piano (2 versions), Op. 13: Variation 9
Symphonic Etudes in Variation Form (5), for piano (variants & corrections of Op. 13), WoO 6: Posthumous variation 2
Symphonic Etudes ('Etudes in the form of variations') for piano (2 versions), Op. 13: Variation 10
Symphonic Etudes ('Etudes in the form of variations') for piano (2 versions), Op. 13: Variation 11
Symphonic Etudes ('Etudes in the form of variations') for piano (2 versions), Op. 13: Finale
Track Listings (10) - Disc #2
Piano Sonata No. 6 in A major ('War Sonata 1'), Op. 82: Allegro moderato
Piano Sonata No. 6 in A major ('War Sonata 1'), Op. 82: Allegretto
Piano Sonata No. 6 in A major ('War Sonata 1'), Op. 82: Tempo di valzer lentissimo
Piano Sonata No. 6 in A major ('War Sonata 1'), Op. 82: Vivace
Liebesträume, notturno for piano No. 3 in A flat major ('O Lieb, so lang du lieben kannst'), S. 541/3 (LW A103/3)
Rhapsodie espagnole (Folies d'Espagne et jota aragonesa), for piano, S. 254 (LW A195)
Waltz for piano No. 7 in C sharp minor, Op. 64/2, CT. 213
Appassionata, etude for piano in F minor (Transcendental Etude No. 10), S. 139/10 (LW A172/10)
Widmung (Liebeslied), transcription for piano (after Schumann, I & II), S. 566 (LW A133)
Etudes (4) for piano, Op. 2: No. 3
Kissin's U.S. debut recital confirmed his status as a major pianist. The Prokofiev Sonata No. 6, one of Kissin's specialties since he was in his early teens, is very fluent and impressive, but it doesn't have the power the... more » music needs for maximum impact. In fact, a lack of really powerful bass from the pianist's left hand (not a fault of the recording) lightens the weight of his playing throughout. But both sets of Schumann Variations are convincingly played (and contrasted), and Kissin's Liszt playing is as dazzling as any you'll hear. --Leslie Gerber« less
Kissin's U.S. debut recital confirmed his status as a major pianist. The Prokofiev Sonata No. 6, one of Kissin's specialties since he was in his early teens, is very fluent and impressive, but it doesn't have the power the music needs for maximum impact. In fact, a lack of really powerful bass from the pianist's left hand (not a fault of the recording) lightens the weight of his playing throughout. But both sets of Schumann Variations are convincingly played (and contrasted), and Kissin's Liszt playing is as dazzling as any you'll hear. --Leslie Gerber
"What can one say about a recital like this one? You loose words when you front such a stunnig performance in every way. I just wonder how many pianists smashed their instuments in anger and restlessness after having heard that teenager whoop of some of the most demanding works of the piano repertory in such a flawless way. The teqnical bravura is unbelivable and the deep insight and understanding of the works performed shines throughout. I once saw Kissin live myself and my advice to you is to do it also (if that situation pops up). You'll be far richer."
Astounding
07/23/1999
(5 out of 5 stars)
"This recording signaled Kissin's 'arrival'. There is so much to priase here, but one must remember that this is the playing of a teenager at his debut in the world's premier concert hall; imperfections are to be expected. Almost shocking, then, is the near-perfection of Kissin's playing, and not merely in getting round the notes, but in his complete command of every piece here.While the Prokoviev is hair-raising, the real 'genius' piece here is the Liszt Spanish Rhapsody, by far the best I've encountered. Such power, control, singing line, humor, everything one might ask for in big Liszt playing. Anyone doubting Kissin's greatness need only listen to this. No matter how you slice it, one of the great debut recordings, in the same league as Argerich's (an exalted league to be sure)."
At the dawn of a brilliant career
Mark Hennicke | A stone's throw from Carnegie Hall | 01/27/2008
(5 out of 5 stars)
"I have a great deal of affection for this two cd set. I was one of the fortunate few who was in attendance that stunning night at Carnegie Hall in September of 1990. We had all heard about the brilliant young talent from Russia, being duly impressed by his advance notices and the recordings we had already heard. None of the advance word, however, could prepare one for the performance Kissin gave that evening. His technique held the audience breathless throughout the entire program, informing one & all that an astounding new performer was making his claim for the top spot among the world's finest pianists. The performances of Schumann, Liszt, Chopin and Prokofiev are grand. This two disc set from BMG Classics' RCA Victor Red Seal is a wonderful reminder of what a stellar night September 30, 1990 really was. One of the great benefits of the digital era is the opportunity to capture such a historic moment in time for musical posterity. This set will always be looked to as evidence of when the legacy of Evgeny Kissin was properly born in America."
Waltz King
Peter P. Fuchs | Washington, DC | 12/13/2009
(5 out of 5 stars)
"I agree with those who say these performances are superb. The Schumann is especially fine and an example of Kissin's insight into German repertoire, which is not always so apparent later. But I want to comment on the Prokofiev. Sixth Sonata. What an incredible performance, especially the waltz-tempo movement, very slow waltz for sure, that Kissin gives incredible sweep. But incredible as it sounds there is even a greater example of this from a 1986 lp where he performed it as a guest at the Tschaikovsky Compettition I believe. The slow movement there has even greater waves of sound, and sweep. It is incredible that he could do that at that point. There is such a thing as miracles, but they are somewhat rare."