Carnaval, Op.9: Marche des 'Davidsbundler' contre les Philistins
Goyescas: Quejas o la maja y el ruisenor (from: Goyescas)
Lieder ohne Worte, Op. 102 No. 5
Waltz in A Flat,Op. 39 No. 15
Intermezzo in C, Op. 119 No. 3
Piano Concerto In A Minor, Op.54: Allegro affettuoso
Piano Concerto In A Minor, Op.54: Intermezzo. Andantino grazioso
Piano Concerto In A Minor, Op.54: Allegro vivace
Track Listings (21) - Disc #2
Symphonische Etuden: Thema
Symphonische Etuden: Etude I
Symphonische Etuden: Etude II
Symphonische Etuden: Etude III
Symphonische Etuden: Etude IV
Symphonische Etuden: Etude V
Symphonische Etuden: Etude VI
Symphonische Etuden: Etude VII
Symphonische Etuden: Etude VIII
Symphonische Etuden: Etude IX
Symphonische Etuden: Etude X
Symphonische Etuden: Etude XI
Symphonische Etuden: Etude XII (Finale)
Piano Sonata In E, Op.109: Vivace, ma non troppo - Adagio espressivo - Tempo I
Piano Sonata In E, Op.109: Prestissimo
Piano Sonata In E, Op.109: Gesangvoll, mit innigster Empfindung
Piano Sonata In A-flat, Op.110: Moderato cantabile molto espressivo
Piano Sonata In A-flat, Op.110: Allegro molto
Piano Sonata In A-flat, Op.110: Adagio ma non troppo
Piano Sonata In A-flat, Op.110: Fuga. Allegro ma non troppo
'Jesu, Joy Of Man's Desiring'
The famous images of Dame Myra Hess defying German bombs during World War II to organize National Gallery concerts or play in the shelters during the raids have become iconic for a time when music making really seemed... more » a matter of life or death. But as integral a part of her time as she was, Hess also managed to distance herself from its penchant for extravagant, juicy, romantic style; she actually anticipated something of the "objective" stance to come from keyboard artists in the future. Her Schumann Carnaval--which has the earliest provenance (1938) on the set and was one of her own favorite recordings--sings its clarified beauties through the distractions of tape hiss with a marvelously clear-headed vision. Hess's limpidity of approach sketches a "Eusebius" and "Florestan" that are not frantic contrasts but surprisingly close in spirit, while Schumann's Bachian lineage is always in evidence (and just listen to her counterpoint in the two Scarlatti gems). Not quite so compelling are the sometimes too sober and controlled 1954 Symphonic Etudes, but a real treasure here is the highly regarded second recording Hess made of the Schumann Concerto (1952) under Rudolf Schwarz: exquisitely mellow and imbued with poetry. Hess was also a commanding Beethoven interpreter, with special insights into the late sonatas. The autumnal breath she weaves into the Opus 109, with its spectacularly executed trills in the quickening of the variations, makes this one of the lasting accounts. The set concludes with Hess's signature arrangement of the chorale from Bach's Cantata 147: sure, steadfast, of moving dignity. --Thomas May« less
The famous images of Dame Myra Hess defying German bombs during World War II to organize National Gallery concerts or play in the shelters during the raids have become iconic for a time when music making really seemed a matter of life or death. But as integral a part of her time as she was, Hess also managed to distance herself from its penchant for extravagant, juicy, romantic style; she actually anticipated something of the "objective" stance to come from keyboard artists in the future. Her Schumann Carnaval--which has the earliest provenance (1938) on the set and was one of her own favorite recordings--sings its clarified beauties through the distractions of tape hiss with a marvelously clear-headed vision. Hess's limpidity of approach sketches a "Eusebius" and "Florestan" that are not frantic contrasts but surprisingly close in spirit, while Schumann's Bachian lineage is always in evidence (and just listen to her counterpoint in the two Scarlatti gems). Not quite so compelling are the sometimes too sober and controlled 1954 Symphonic Etudes, but a real treasure here is the highly regarded second recording Hess made of the Schumann Concerto (1952) under Rudolf Schwarz: exquisitely mellow and imbued with poetry. Hess was also a commanding Beethoven interpreter, with special insights into the late sonatas. The autumnal breath she weaves into the Opus 109, with its spectacularly executed trills in the quickening of the variations, makes this one of the lasting accounts. The set concludes with Hess's signature arrangement of the chorale from Bach's Cantata 147: sure, steadfast, of moving dignity. --Thomas May
CD Reviews
Stunning musicality, one of the greatest recordings ever
Sarah E Herman | Holland, MI United States | 04/15/2001
(5 out of 5 stars)
"Myra Hess was a master of expression and artistry, all of her true gifts shining through beautifully in this incredible CD. It is now one of my most cherished posessions- I find it both moving and inspiring."
Great Pianists of the 20th Century - Myra Hess
Sarah E Herman | 06/24/2000
(5 out of 5 stars)
"Myra Hess has an exquisite singing tone on the piano... she interprets each composer's selection with sincerity and beauty... What a wonderful collection of various composers! This recording is a must-have in every classical music-lover's collection!"