Piano Sonata No. 17 in D major ('Gasteiner'), D. 850 (Op. 53)
Piano Sonata No. 13 in A major, D. 664 (Op. 120): Allegro moderato
Piano Sonata No. 13 in A major, D. 664 (Op. 120): Andante
Piano Sonata No. 13 in A major, D. 664 (Op. 120): Allegro
Symphonic Etudes ('Etudes in the form of variations') for piano (2 versions), Op. 13: Theme: Andante
Symphonic Etudes ('Etudes in the form of variations') for piano (2 versions), Op. 13: Variation 1: Un poco piu vivo
Symphonic Etudes ('Etudes in the form of variations') for piano (2 versions), Op. 13: Variation 2: Marcato il canto
Symphonic Etudes ('Etudes in the form of variations') for piano (2 versions), Op. 13: Etude 1: Vivace
Symphonic Etudes ('Etudes in the form of variations') for piano (2 versions), Op. 13: Etude 2
Symphonic Etudes ('Etudes in the form of variations') for piano (2 versions), Op. 13: Etude 3
Symphonic Etudes ('Etudes in the form of variations') for piano (2 versions), Op. 13: Etude 4: Agitato
Symphonic Etudes ('Etudes in the form of variations') for piano (2 versions), Op. 13: Etude 5: Allegro molto
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: Etude 6: Presto possibile
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: Con espressionne
Symphonic Etudes ('Etudes in the form of variations') for piano (2 versions), Op. 13: Finale: Allegro brillante
Sonata for keyboard in D major, K. 388 (L. 414)
Sonata for keyboard in E major, K. 380 (L. 23) 'Cort?ge'
Work(s): Unspecified piece from Well Tempered Clavier, Book I
Work(s): Unspecified piece from Well Tempered Clavier, Book I
Piano Sonata No. 17 in D major ('Trumpet', 'Hunt'), K. 576: Allegro
Piano Sonata No. 17 in D major ('Trumpet', 'Hunt'), K. 576: Adagio
Piano Sonata No. 17 in D major ('Trumpet', 'Hunt'), K. 576: Allegretto
Kinderszenen No. 1 ('Von fremden L?ndern und Menschen'), for piano, Op. 15/1
Kinderszenen No. 2 ('Curiose Geschichte'), for piano, Op. 15/2
Kinderszenen No. 4 ('Bittendes Kind'), for piano, Op. 15/4
Kinderszenen No. 5 ('Gl?ckes genug'), for piano, Op. 15/5
Kinderszenen No. 6 ('Wichtige Begebenheit'), for piano, Op. 15/6
Kinderszenen No. 7 ('Tr?umerei'), for piano, Op. 15/7
Kinderszenen No. 8 ('Am Camin'), for piano, Op. 15/8
Kinderszenen No. 9 ('Ritter vom Steckenpferd'), for piano, Op. 15/9
Kinderszenen No. 10 ('Fast zu ernst'), for piano, Op. 15/10
Kinderszenen No. 11 (F?rchtenmachen'), for piano, Op. 15/11
Kinderszenen No. 12 ('Kind im Einschlummern'), for piano, Op. 15/12
Kinderszenen No. 13 ('Der Dichter spricht'), for piano, Op. 15/13
The early Gieseking was quite a different pianist from the refined colorist familiar from his often perfunctory postwar EMI recordings. This important release includes examples of the great pianist's recordings and broadca... more »sts made between 1924 and 1945. We hear a more engaged and vigorous artist here, evidenced by the energetic snap in the Schubert Sonata and the sweep and power of Schumann's Études Symphoniques. Both are from a broadcast made in the closing weeks of the war, which could account for some of the uncharacteristic intensity. The Baroque items, taken from unpublished 1924-1925 pressings, offer playing of consummate elegance. The 1940 Mozart sonata is more lively and pointed than the postwar remake. Schumann's Kinderszenen, also from 1940 and the only previously available item here, flows with warm tone and touching delicacy. Sound throughout is good for the period and source. --Dan Davis« less
The early Gieseking was quite a different pianist from the refined colorist familiar from his often perfunctory postwar EMI recordings. This important release includes examples of the great pianist's recordings and broadcasts made between 1924 and 1945. We hear a more engaged and vigorous artist here, evidenced by the energetic snap in the Schubert Sonata and the sweep and power of Schumann's Études Symphoniques. Both are from a broadcast made in the closing weeks of the war, which could account for some of the uncharacteristic intensity. The Baroque items, taken from unpublished 1924-1925 pressings, offer playing of consummate elegance. The 1940 Mozart sonata is more lively and pointed than the postwar remake. Schumann's Kinderszenen, also from 1940 and the only previously available item here, flows with warm tone and touching delicacy. Sound throughout is good for the period and source. --Dan Davis