The Murray Perahia Awards Collection
The Murray Perahia Awards Collection
Murray Perahia, Radu Lupu, Georg Solti, Evelyn Glennie, English Chamber Orchestra, Academy of St. Martin in the Fields, Concertgebouw Orchestra, Bernard Haitink
15
CDs
CD (Compact Disc)
Herkömmliche CD, die mit allen CD-Playern und Computerlaufwerken, aber auch mit den meisten SACD- oder Multiplayern abspielbar ist.
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1. CD Mozart: Klavierkonzerte Nr. 15 & 16 (English Chamber Orchestra / Gramophone Award for Best Concerto Recording 1984)
2. CD Mozart: Sonate für 2 Klaviere KV 448; Fantasie D. 940 (mit Radu Lupu / Gramophone Award for Best Instrumental Recording 1986)
3. CD Beethoven: Klavierkonzerte Nr. 3 & 4 (Concertgebouw Orchestra, Bernard Haitink / Gramophone Award for Best Concerto Recording 1986)
4. CD Bartok: Sonate für 2 Klaviere & Schlagzeug; Brahms: Haydn-Variationen für 2 Klaviere op. 56b (Georg Solti, David Corkhill, Evelyn Glennie / Grammy for Best Chamber Music Performance 1989)
5. CD Chopin: Balladen Nr. 1-4; Walzer Nr. 1 & 5; Nocturne Nr. 4; Etüden Nr. 3 & 4; Mazurken Nr. 7, 13, 23 (Gramophone Award for Best Instrumental Recording 1995)
6. CD Händel: Cembalosuiten Nr. 2, 3, 5 (HWV 427, 427, 430); Chaconne HWV 435; Scarlatti: Klaviersonaten K. 27, 29, 206, 212, 247, 491, 537 (Midem Cannes Classical Awards and the Best Instrumental Solo or Chamber Performance, 17th / 18th Centuries 1997)
7. CD Bach: Englische Suiten BWV 806, 808, 811 (Gramophone Award for Best Instrumental Recording 1997 / Echo Klassik 1999 für die Solistische Einspielung des Jahres)
8. CD Bach: Goldberg-Variationen BWV 988 (Grammy Award for Best Instrumental Recording 2001/ Echo Klassik 2001 für die Solistische Einspielung des Jahres)
9. CD Bach: Klavierkonzerte BWV 1052, 1053, 1055 (Academy of St. Martin in the Fields / Echo Klassik 2002 für die Konzerteinspielung des Jahres)
10. CD Bach: Klavierkonzerte BWV 1054, 1056-1058 (Academy of St. Martin in the Fields / Echo Klassik 2003 für die Konzerteinspielung des Jahres)
11.CD Chopin: Etüden Nr. 1-24 (Grammy 2003 for Best Instrumental Soloist Performance)
12. CD Bach: Brandenburgisches Konzert Nr. 5; Tripelkonzert BWV 1044 für Klavier, Flöte, Violine & Orchester; Italienisches Konzert BWV 971 für Klavier (Kenneth Sillito, Jaime Martin, Academy of St. Martin in the Fields / Echo Klassik 2004 für die Konzerteinspielung des Jahres - 18. Jahrhundert)
13. CD Bach: Partiten BWV 826-828 (Echo Klassik 2008 für die Solistische Einspielung des Jahres - Musik des 17./18. Jahrhunderts / Diapason d'or 2009)
14. CD Bach: Partiten BWV 825, 829, 830 (Diapason d'or 2008)
15. CD Brahms: Händel-Variationen op. 24; Rhapsodien op. 79; Klavierstücke op. 118 & 119 (Gramophone Award 2011 / Echo Klassik 2011)
- Künstler: Murray Perahia, Radu Lupu, Georg Solti, Evelyn Glennie, English Chamber Orchestra, Academy of St. Martin in the Fields, Concertgebouw Orchestra, Bernard Haitink
- Label: Sony, DDD, 1984-2011
- Bestellnummer: 6100044
- Erscheinungstermin: 31.3.2017
In einer limitierten 15 CD-Edition finden sich, mit dem Grammy über Midem Classical bis ECHO Klassik, preisgekrönte Alben des Meisterpianisten Murray Perahia. Dabei sind die Mozartkonzerte KV 450 und 451, Duo-Aufnahmen mit Radu Lupu und Sir Georg Solti (Mozart, Schubert, Brahms, Bartók) über Beethoven (Klavierkonzerte Nr. 3&4 mit Bernard Haitink), Händel & Scarlatti, Chopin (u. a. die kompletten Etudes), Brahms bis – selbstverständlich – Johann Sebastian Bach (Klavierkonzerte, Goldbergvariationen, Partiten u. a.).
Murray Perahia’s prolific recording career has spanned some 45 years to date, encompassing music of three different centuries, from Bach to Bartók. Ever since his first LP, soon after his triumph at the 1972 Leeds International Piano Competition, aged 25, the great American pianist’s performances have more than stood the test of time; and along the way they have been recognised with an astonishing crop of awards. The Grammys in the US, the Gramophone Awards in Britain, the Diapason d’or in France and the ECHO Klassik awards in Germany are among the organisations that have picked out many of Perahia’s recordings as some of the finest of their day.
This set is devoted to Perahia’s award-winning discs for Sony Classical / CBS Masterworks. These also trace the story of his journey through the musical world, capturing magnificent collaborations, unforgettable partnerships and peerless solo accounts alike.
The earliest recording here dates from 1983 and presents Perahia as soloist and director in two exquisite Mozart piano concertos, No. 15 in B-flat major, K 450 and No. 16 in D major, K 451. Much influenced by his studies at the Curtis Institute with the Polish pianist Mieczysław Horszowski and by playing chamber music at summer courses such as Marlboro and Blue Hill, Perahia was attracted to the close-knit, chamber music-like qualities of the concertos and sought to bring these to the fore, particularly spotlighting the English Chamber Orchestra’s fine wind soloists. This was named Best Concerto Recording at the Gramophone Awards 1984, and soon afterwards Perahia and the ECO’s complete set of the Mozart concertos was also awarded a Rosette by the Penguin Guide to Compact Discs.
Two years later, Perahia joined forces with a close friend and musical kindred spirit: the Romanian pianist Radu Lupu, who shares Perahia’s affinity for the most intimate works among the Viennese classics, including Mozart, Schubert and Brahms. They teamed up for some memorable joint performances, not least at the Snape Maltings, Suffolk, while Perahia was co-artistic director of the Aldeburgh Festival (1981–1989). He and Lupu recorded the Mozart Sonata for Two Pianos, K 448 and the Schubert F minor Fantasy for Piano Duet, D 940 live at Snape; it became an instant classic, winning Best Instrumental Recording at the Gramophone Awards in 1986.
It was around the same time, having explored the Mozart concertos to happy effect, that Perahia was turning his attention in the studio to those by Beethoven, in a cherished collaboration with the conductor Bernard Haitink and his Royal Concertgebouw Orchestra from Amsterdam. Their recording of the Piano Concertos No. 3 and 4 scooped a Gramophone Award in 1986 (Best Concerto Recording). Beethoven has been central to Perahia’s repertoire for his whole career and in recent years he has been preparing a new edition of the piano sonatas for Henle Urtext.
If Haitink has been a close colleague for Perahia over many years, so was Sir Georg Solti. »He was a formidable musician«, Perahia said of him in an interview a few years ago with the present writer. »He once played for me a Haydn oratorio as if it was a piano piece, reading from the score or memorised, as if it were the most natural thing in the world. I have only happy memories of him.« The fiery Hungarian conductor was also a magnificent pianist – and in this role he recorded with Perahia one of the most thrilling accounts yet set down of the Bartók Sonata for Two Pianos and Percussion, together with the percussionists David Corkhill and Evelyn Glennie. Again the Snape Maltings was the venue and the joyous result was recognised with the 1989 Grammy for Best Chamber Music Performance.
By this time Perahia had built a reputation second to none for his interpretations of the German-Austrian classics. Yet at the Leeds International Piano Competition he had triumphed by playing the Chopin Piano Concerto No. 1 in the final. Chopin might have seemed to take a back seat to Beethoven and Mozart as Perahia’s career progressed, but his recording of the Four Ballades and a selection of mazurkas, waltzes, études and nocturnes proved a revelation to many, winning him the Gramophone Award for Best Instrumental Recording in 1995.
Eight years later, his account of the Etudes opp. 10 and 25 was recognised with a Grammy for Best Instrumental Soloist Performance. Perahia has cited the Chopin Études as a vital practice tool, remarking in the aforementioned interview, »I’m occupied with ideas of legato touch and smoothness of line«, and suggesting that work on these studies can be of vital benefit in achieving those qualities.
When Perahia chose to record a disc of Handel Suites and Scarlatti Sonatas, the result was showered with accolades, winning Record of the Year at the 1997 Midem Cannes Classical Awards and the Best Instrumental Solo or Chamber Performance – 17th / 18th Centuries. It was also given the 1997 Gramophone Award for Best Instrumental Recording.
The link between Handel and the Romantic era came to the fore when Perahia recorded Brahms’s grand-scale Variations on a Theme of Handel, along with the two Rhapsodies op. 79 and the late Klavierstücke opp. 118 and 119. The critic for Gramophone declared: »Time and again Brahms’s potential for strenuousness and opacity is clarified with a superfine musical intelligence and technique … I doubt whether the concluding and exultant fugue has often been given with a more formidable yet lightly worn articulacy in its entire history.« No surprise, then, that this recording won a Gramophone Award and an ECHO Klassik in 2011.
But if Perahia’s Handel and Scarlatti recording was ultimately a fascinating, beautifully executed excursion, Bach has been a stronger presence – and has also brought him more awards than any other single composer. His Bach recordings include the Brandenburg Concerto No. 5 and the Concerto for Flute, Violin and Keyboard BWV 1044 – most unusual on the modern piano – as well as the Keyboard Concertos, which pair him with the Academy of St Martin in the Fields, of which he became principal guest conductor in 2000. The concerto discs won ECHO Klassik awards in 2002 and 2003.
In the Bach solo keyboard music, Perahia’s accounts of the English Suites were honoured with an ECHO Klassik 1999 and Nos. 1, 3 and 6 with a Grammy; the Goldberg Variations won the Gramophone Award for Best Instrumental Recording 2001 and an ECHO Klassik; and the second disc of his Six Partitas won an ECHO Klassik in 2008, with both CDs scooping the Diapason d’or in 2008 and 2009 respectively. In 2013, London’s Royal Academy of Music, of which Perahia is an honorary fellow, presented him with its Bach Prize.
Playing Bach has had a profound impact on Perahia’s approach to composers such as Beethoven and Chopin, whose music, he reflects, would have been »unthinkable« without it. »It’s so joyful, so full of buoyancy and spirituality, that it affects all of the music written after it«, he says.
Product Information
Murray Perahia’s prolific recording career has spanned some 45 years to date, encompassing music of three different centuries, from Bach to Bartók. Ever since his first LP, soon after his triumph at the 1972 Leeds International Piano Competition, aged 25, the great American pianist’s performances have more than stood the test of time; and along the way they have been recognised with an astonishing crop of awards. The Grammys in the US, the Gramophone Awards in Britain, the Diapason d’or in France and the ECHO Klassik awards in Germany are among the organisations that have picked out many of Perahia’s recordings as some of the finest of their day.
This set is devoted to Perahia’s award-winning discs for Sony Classical / CBS Masterworks. These also trace the story of his journey through the musical world, capturing magnificent collaborations, unforgettable partnerships and peerless solo accounts alike.
The earliest recording here dates from 1983 and presents Perahia as soloist and director in two exquisite Mozart piano concertos, No. 15 in B-flat major, K 450 and No. 16 in D major, K 451. Much influenced by his studies at the Curtis Institute with the Polish pianist Mieczysław Horszowski and by playing chamber music at summer courses such as Marlboro and Blue Hill, Perahia was attracted to the close-knit, chamber music-like qualities of the concertos and sought to bring these to the fore, particularly spotlighting the English Chamber Orchestra’s fine wind soloists. This was named Best Concerto Recording at the Gramophone Awards 1984, and soon afterwards Perahia and the ECO’s complete set of the Mozart concertos was also awarded a Rosette by the Penguin Guide to Compact Discs.
Two years later, Perahia joined forces with a close friend and musical kindred spirit: the Romanian pianist Radu Lupu, who shares Perahia’s affinity for the most intimate works among the Viennese classics, including Mozart, Schubert and Brahms. They teamed up for some memorable joint performances, not least at the Snape Maltings, Suffolk, while Perahia was co-artistic director of the Aldeburgh Festival (1981–1989). He and Lupu recorded the Mozart Sonata for Two Pianos, K 448 and the Schubert F minor Fantasy for Piano Duet, D 940 live at Snape; it became an instant classic, winning Best Instrumental Recording at the Gramophone Awards in 1986.
It was around the same time, having explored the Mozart concertos to happy effect, that Perahia was turning his attention in the studio to those by Beethoven, in a cherished collaboration with the conductor Bernard Haitink and his Royal Concertgebouw Orchestra from Amsterdam. Their recording of the Piano Concertos No. 3 and 4 scooped a Gramophone Award in 1986 (Best Concerto Recording). Beethoven has been central to Perahia’s repertoire for his whole career and in recent years he has been preparing a new edition of the piano sonatas for Henle Urtext.
If Haitink has been a close colleague for Perahia over many years, so was Sir Georg Solti. »He was a formidable musician«, Perahia said of him in an interview a few years ago with the present writer. »He once played for me a Haydn oratorio as if it was a piano piece, reading from the score or memorised, as if it were the most natural thing in the world. I have only happy memories of him.« The fiery Hungarian conductor was also a magnificent pianist – and in this role he recorded with Perahia one of the most thrilling accounts yet set down of the Bartók Sonata for Two Pianos and Percussion, together with the percussionists David Corkhill and Evelyn Glennie. Again the Snape Maltings was the venue and the joyous result was recognised with the 1989 Grammy for Best Chamber Music Performance.
By this time Perahia had built a reputation second to none for his interpretations of the German-Austrian classics. Yet at the Leeds International Piano Competition he had triumphed by playing the Chopin Piano Concerto No. 1 in the final. Chopin might have seemed to take a back seat to Beethoven and Mozart as Perahia’s career progressed, but his recording of the Four Ballades and a selection of mazurkas, waltzes, études and nocturnes proved a revelation to many, winning him the Gramophone Award for Best Instrumental Recording in 1995.
Eight years later, his account of the Etudes opp. 10 and 25 was recognised with a Grammy for Best Instrumental Soloist Performance. Perahia has cited the Chopin Études as a vital practice tool, remarking in the aforementioned interview, »I’m occupied with ideas of legato touch and smoothness of line«, and suggesting that work on these studies can be of vital benefit in achieving those qualities.
When Perahia chose to record a disc of Handel Suites and Scarlatti Sonatas, the result was showered with accolades, winning Record of the Year at the 1997 Midem Cannes Classical Awards and the Best Instrumental Solo or Chamber Performance – 17th / 18th Centuries. It was also given the 1997 Gramophone Award for Best Instrumental Recording.
The link between Handel and the Romantic era came to the fore when Perahia recorded Brahms’s grand-scale Variations on a Theme of Handel, along with the two Rhapsodies op. 79 and the late Klavierstücke opp. 118 and 119. The critic for Gramophone declared: »Time and again Brahms’s potential for strenuousness and opacity is clarified with a superfine musical intelligence and technique … I doubt whether the concluding and exultant fugue has often been given with a more formidable yet lightly worn articulacy in its entire history.« No surprise, then, that this recording won a Gramophone Award and an ECHO Klassik in 2011.
But if Perahia’s Handel and Scarlatti recording was ultimately a fascinating, beautifully executed excursion, Bach has been a stronger presence – and has also brought him more awards than any other single composer. His Bach recordings include the Brandenburg Concerto No. 5 and the Concerto for Flute, Violin and Keyboard BWV 1044 – most unusual on the modern piano – as well as the Keyboard Concertos, which pair him with the Academy of St Martin in the Fields, of which he became principal guest conductor in 2000. The concerto discs won ECHO Klassik awards in 2002 and 2003.
In the Bach solo keyboard music, Perahia’s accounts of the English Suites were honoured with an ECHO Klassik 1999 and Nos. 1, 3 and 6 with a Grammy; the Goldberg Variations won the Gramophone Award for Best Instrumental Recording 2001 and an ECHO Klassik; and the second disc of his Six Partitas won an ECHO Klassik in 2008, with both CDs scooping the Diapason d’or in 2008 and 2009 respectively. In 2013, London’s Royal Academy of Music, of which Perahia is an honorary fellow, presented him with its Bach Prize.
Playing Bach has had a profound impact on Perahia’s approach to composers such as Beethoven and Chopin, whose music, he reflects, would have been »unthinkable« without it. »It’s so joyful, so full of buoyancy and spirituality, that it affects all of the music written after it«, he says.
Rezensionen
„Wie aus einem Guss erklingen die Händel-Variationen, klanglich stets abgerundet und geschmackvoll elegant gestaltet auf einem besonders in den oberen Oktaven silbrig-zart klingenden Flügel, der die Noblesse des Spiels noch unterstützt. Die innere Erregtheit der Rhapsodien vermag der Pianist ebenso mit seinem ästhetisch polierten Anschlag glänzend darzustellen wie die Melancholie der späten Klavierstücke. Perahia zeigt sich einmal mehr als Meister der Gestaltung feinster Oberflächen.“ (FonoForum)„Feinste Spieltechnik und intelligente Stimmführung sind selbstverständlich. Hinzu kommt aber eine eine in Samthandschuhe verpackte Fingerfertigkeit, geschmeidig, weich, oft nur wie getupft alle Schattierungen des pianissimo auskostend.“ (Audio)
„Das Ergebnis ist von betörender Intensität. Perahia spielt die Partiten und seine Interpretation ist vor allem getragen von tiefem, zuweilem gar feierlichem Ernst, von einer nachgerade philosophischen Seriosität. Über welch gestalterisches Vermögen dieser Pianist gebietet, über welche klangliche Vielfalt seine Darbietung, das zeigt sich beredt an der längsten Allemande im Klavieroeuvre Bachs, dem Stück aus der D-Dur-Partita.“ (Rondo)
„Der US-Pianist und -Dirigent Murray Perahia gilt als Bach-Experte. Wenn man diese Aufnahmen hört, weiß man auch, warum: Seine Interpretationen sind klar strukturiert und logisch phrasiert, seine langsamen Sätze wunderbar gesanglich.“ (Audio)
„Perahias Triller und Verzierungen gehören in die oberste Güteklasse. Das perlt, flirrt, klirrt - aber nie hart oder verwegen. Der Rang dieser Produktion spricht also für sich.“ (FonoForum)
„Und wieder gelingt es ihm auf faszinierende Art, dem viel geschundenen Doppeldutzend ein eigenes, neuartiges, sehr markantes Profil abzugewinnen, das die einzelnen Charaktere reliefartig heraustreten, zugleich aber auch die atmosphärischen Elemente nicht zu kurz kommen lässt: auf dass sich die orchestrale Pracht und die Farbenvielfalt dieser wahrlich heroischen Szenenfolge entfaltet. Perahia entdeckt, erneuert die politische Sprengkraft Chopins: Das ist die neue Referenz.” (stereoplay)
„Bachs Klavierkonzerte sind geradezu prädestiniert dafür, nur vom Pianisten selbst geleitet zu werden. Wie gut das gelingen kann, wie sagenhaft ineinander verwoben Orchester und Klavier musizieren können, zeigt diese CD. (Audio)
„Eine brillante Fußnote zu Gould ist Murray Perahias Einspielung. Perahia wartet mit einer Vielzahl schöner und origineller Ornamente auf.“ (Scala)
„Englisch - unter diesem Namen firmieren diese Meisterwerke der kontrapunktischen Raffinesse, der harmonischen Eleganz und des melodischen Charme, der genialen Organisation und kompositorischen Geradlinigkeit. Der Tastensensibilissimus Murray Perahia hat sich nun dreier dieser zu Bachs Lebzeiten unveröffentlichten Kleinode angenommen. Hier paart sich Perahias exquisiter Klangsinn mit rhythmischer Präzision.“ (Scala)
“Ein wohltuend ›altmodischer‹, in seinen Resultaten hochwertiger Versuch einer romantischen Seelenerkundung alter Meister im phantastischen akustischen Klang-Design, pure Steinway-Magie!“ (stereoplay)
„Brillantes und transparentes Spiel von Georg Solti und Murray Perahia.“ (HiFi-Vision)
„Sorgfältige, den unterschiedlichen Stimmungscharakteren angepaßte Wiedergabe, die den Einspielungen "gestandener" Duo-Formationen kaum nachsteht." (FonoForum)
„Wer sich, mit den Pianisten Murray Perahia und Radu Lupu vertraut, auf eine ruhige, gefaßte Schubert-Darstellung einstellt, wird nicht enttäuscht werden. Klangbild: Weich gezeichneter, eher intimer, etwas abgedeckter Klavierklang in Übereinstimmung mit den musikalischen Intentionen.“ (FonoForum)
„Eine überzeugend harmonische, mehr auf großbögige Entwicklung als auf scharfe Charakterisierung zielende Interpretation.“ (stereoplay)
- Tracklisting
- Details
- Mitwirkende
Disk 1 von 15
Concerto for Piano and Orchestra No. 15 in B-Flat Major, K. 450
- 1 I. Allegro
- 2 II. Andante
- 3 Iii. Allegro
Concerto No. 16 in D Major for Piano and Orchestra, K. 451
- 4 I. Allegro assai
- 5 II. Andante
- 6 Iii. Allegro Di Molto
Disk 2 von 15
Sonata in D Major for Two Pianos, K. 448
- 1 I. Allegro con spirito
- 2 II. Andante
- 3 Iii. Allegro Molto
- 4 Fantasia in F Minor for Piano, Four Hands, D. 940 (Op. 103)
Disk 3 von 15
Concerto No. 3 in C Minor for Piano and Orchestra, Op. 37
- 1 I. Allegro con brio
- 2 II. Largo
- 3 Iii. Rondo: Allegro
Concerto No. 4 in G Major for Piano and Orchestra, Op. 58
- 4 I. Allegro moderato
- 5 II. Andante con moto
- 6 Iii. Rondo Vivace
Disk 4 von 15
Sonata for Two Pianos and Percussion
- 1 I. Assai lento
- 2 II. Lento, ma non troppo
- 3 Iii. Allegro Non Troppo
Variations on a Theme by Haydn for Two Pianos, Op. 56b
- 4 Thema. Chorale St. Antoni
- 5 Variation 1. Andante con moto
- 6 Variation 2. Vivace
- 7 Variation 3. Con moto
- 8 Variation 4. Andante
- 9 Variation 5. Poco presto
- 10 Variation 6. Vivace
- 11 Variation 7. Grazioso
- 12 Variation 8. Poco presto
- 13 Finale. Andante
Disk 5 von 15
- 1 Ballade No. 1 in G Minor, Op. 23
- 2 Ballade No. 2 in F Major, Op. 38
- 3 Ballade No. 3 in A-Flat Major, Op. 47
- 4 Ballade No. 4 in F Minor, Op. 52
- 5 Grande valse brillante in E-Flat Major, Op. 18
- 6 Grande Valse in A-Flat Major, Op. 42
- 7 Nocturne in F Major, Op. 15 No. 1
- 8 Mazurka in F Minor, Op. 7 No. 3
- 9 Mazurka in A Minor, Op. 17 No. 4
- 10 Mazurka in D Major, Op. 33 No. 2
- 11 Etude in E Major, Op. 10 No. 3
- 12 Etude in C-Sharp Minor, Op. 10 No. 4
Disk 6 von 15
Suite No. 5 In E Major, Hwv 430
- 1 I. Prelude
- 2 II. Allemande
- 3 Iii. Courante
- 4 IV. Air con Variazioni 'The Harmonious Blacksmith'
- 5 Chaconne In G Major, Hwv 435
Suite No. 3 In D Minor, Hwv 428
- 6 I. Prelude - Presto
- 7 II. Allegro
- 8 Iii. Allemande
- 9 IV. Courante
- 10 V. Air con Variazioni
- 11 VI. Presto
Suite No. 2 In F Major, Hwv 427
- 12 I. Adagio
- 13 II. Allegro
- 14 Iii. Adagio
- 15 IV. Allegro
- 16 Murray Perahia: Sonata in D Major, K 491
- 17 Sonata in B Minor, K 27
- 18 Sonata in C-Sharp Minor, K 247
- 19 Sonata in D Major, K 29
- 20 Sonata in A Major, K 537
- 21 Sonata in E Major, K 206
- 22 Sonata in A Major, K 212
Disk 7 von 15
English Suite No. 1 In A Major, Bwv 806
- 1 I. Prelude
- 2 II. Allemande
- 3 Iii. Courante I
- 4 IV. Courante II avec deux Doubles
- 5 V. Sarabande
- 6 VI. Bourree I
- 7 Vii. Bourree Ii
- 8 Viii. Gigue
English Suite No. 3 In G Minor, Bwv 808
- 9 I. Prelude
- 10 II. Allemande
- 11 Iii. Courante
- 12 IV. Sarabande
- 13 V. Gavotte I
- 14 VI. Gavotte II
- 15 Vii. Gigue
English Suite No. 6 In D Minor, Bwv 811
- 16 I. Prelude - Allegro
- 17 II. Allemande
- 18 Iii. Courante
- 19 IV. Sarabande - IVa. Double
- 20 V. Gavotte I
- 21 VI. Gavotte II
- 22 Vii. Gigue
Disk 8 von 15
Goldberg Variations, Bwv 988
- 1 Aria
- 2 Variatio 1 a 1 Clav.
- 3 Variatio 2 a 1 Clav.
- 4 Variatio 3 a 1 Clav. Canone all'Unisuono
- 5 Variatio 4 a 1 Clav.
- 6 Variatio 5 a 1 ovvero 2 Clav.
- 7 Variatio 6 a 1 Clav. Canone all Seconda
- 8 Variatio 7 a 1 ovvero 2 Clav. Al tempo di Giga
- 9 Variatio 8 a 2 Clav.
- 10 Variatio 9 a 1 Clav. Canone alla Terza
- 11 Variatio 10 a 1 Clav. Fughetta
- 12 Variatio 11 a 2 Clav.
- 13 Variatio 12 Canone alla Quarta
- 14 Variatio 13 a 2 Clav.
- 15 Variatio 14 a 2 Clav.
- 16 Variatio 15 a 1 Clav. Canone alla Quinta - Andante
- 17 Variatio 16 a 1 Clav. Ouverture
- 18 Variatio 17 a 2 Clav.
- 19 Variatio 18 a 1 Clav. Canone alla Sexta
- 20 Variatio 19 a 1 Clav.
- 21 Variatio 20 a 2 Clav.
- 22 Variatio 21 Canone alla Settima
- 23 Variatio 22 a 1 Clav. Alla breve
- 24 Variatio 23 a 2 Clav.
- 25 Variatio 24 a 1 Clav. Canone all' Ottava
- 26 Variatio 25 a 2 Clav.
- 27 Variatio 26 a 2 Clav.
- 28 Variatio 27 Canone alla Nona
- 29 Variatio 28 a 2 Clav.
- 30 Variatio 29 a 1 ovvero 2 Clav.
- 31 Variatio 30 a 1 Clav. Quodlibet
- 32 Aria da capo
Disk 9 von 15
Keyboard Concerto No. 1 In D Minor, Bwv 1052
- 1 I. Allegro
- 2 II. Adagio
- 3 Iii. Allegro
Keyboard Concerto No. 2 In E Major, Bwv 1053
- 4 I. [ ]
- 5 II. Siciliano
- 6 Iii. Allegro
Keyboard Concerto No. 4 In A Major, Bwv 1055
- 7 I. Allegro
- 8 II. Larghetto
- 9 Iii. Allegro Ma Non Tanto
Disk 10 von 15
Keyboard Concerto No. 3 In D Major, Bwv 1054
- 1 I. Allegro
- 2 II. Adagio e piano sempre
- 3 Iii. Allegro
Keyboard Concerto No. 5 In F Minor, Bwv 1056
- 4 I. (Allegro)
- 5 II. Largo
- 6 Iii. Presto
Concerto For Harpsichord And Orchestra No. 6 In F Major, Bwv 1057
- 7 I. (without tempo indication)
- 8 II. Andante
- 9 Iii. Allegro Assai
Keyboard Concerto No. 7 In G Minor, Bwv 1058
- 10 I. (Allegro)
- 11 II. Andante
- 12 Iii. Allegro Assai
Disk 11 von 15
12 Etudes, Op. 10
- 1 Etude No. 1 in C Major
- 2 Etude No. 2 in A Minor
- 3 Etude No. 3 in E Major
- 4 Etude No. 4 in C-Sharp Minor
- 5 Etude No. 5 in G-Flat Major 'Black Keys'
- 6 Etude No. 6 in E-Flat Minor
- 7 Etude No. 7 in C Major
- 8 Etude No. 8 in F Major
- 9 Etude No. 9 in F Minor
- 10 Etude No. 10 in A-Flat Major
- 11 Etude No. 11 in E-Flat Major
- 12 Etude No. 12 in C Minor 'Revolutionary'
12 Etudes, Op. 25
- 13 Etude No. 1 in A-Flat Major
- 14 Etude No. 2 in F Minor
- 15 Etude No. 3 in F Major
- 16 Etude No. 4 in A Minor
- 17 Etude No. 5 in E Minor
- 18 Etude No. 6 in G-Sharp Minor 'Thirds'
- 19 Etude No. 7 in C-Sharp Minor
- 20 Etude No. 8 in D-Flat Major 'Sixths'
- 21 Etude No. 9 in G-Flat Major
- 22 Etude No. 10 in B Minor 'Octaves'
- 23 Etude No. 11 in A Minor
- 24 Etude No. 12 in C Minor
Disk 12 von 15
Concerto For Flute, Violin, Harpsichord, Bwv 1044
- 1 I. Allegro
- 2 II. Adagio ma non tanto e dolce
- 3 Iii. Alla Breve
Brandenburg Concerto No 5, Bwv 1050
- 4 I. Allegro
- 5 II. Affetuoso
- 6 Iii. Allegro
Italian Concerto, Bwv 971
- 7 I. (Allegro)
- 8 II. Andante
- 9 Iii. Presto
Disk 13 von 15
Partita No. 2 In C Minor, Bwv 826
- 1 I. Sinfonia
- 2 II. Allemande
- 3 Iii. Courante
- 4 IV. Sarabande
- 5 V. Rondeaux
- 6 VI. Capriccio
Partita No. 3 In A Minor, Bwv 827
- 7 I. Fantasia
- 8 II. Allemande
- 9 Iii. Corrente
- 10 IV. Sarabande
- 11 V. Burlesca
- 12 VI. Scherzo
- 13 Vii. Gigue
Partita No. 4 In D Major, Bwv 828
- 14 I. Ouverture
- 15 II. Allemande
- 16 Iii. Courante
- 17 IV. Aria
- 18 V. Sarabande
- 19 VI. Menuet
- 20 Vii. Gigue
Disk 14 von 15
Partita No. 1 In B-Flat Major, Bwv 825
- 1 I. Praeludium
- 2 II. Allemande
- 3 Iii. Corrente
- 4 IV. Sarabande
- 5 V. Menuet I & II
- 6 VI. Gigue
Partita No. 5 In G Major, Bwv 829
- 7 I. Praeambulum
- 8 II. Allemande
- 9 Iii. Corrente
- 10 IV. Sarabande
- 11 V. Tempo di Minuetto
- 12 VI. Passepied
- 13 Vii. Gigue
Partita No. 6 In E Minor, Bwv 830
- 14 I. Toccata
- 15 II. Allemande
- 16 Iii. Corrente
- 17 IV. Air
- 18 V. Sarabande
- 19 VI. Tempo di Gavotta
- 20 Vii. Gigue
Disk 15 von 15
Händel Variations, Op. 24
- 1 Aria
- 2 Variation 1
- 3 Variation 2
- 4 Variation 3
- 5 Variation 4
- 6 Variation 5
- 7 Variation 6
- 8 Variation 7
- 9 Variation 8
- 10 Variation 9
- 11 Variation 10
- 12 Variation 11
- 13 Variation 12
- 14 Variation 13
- 15 Variation 14
- 16 Variation 15
- 17 Variation 16
- 18 Variation 17
- 19 Variation 18
- 20 Variation 19
- 21 Variation 20
- 22 Variation 21
- 23 Variation 22
- 24 Variation 23
- 25 Variation 24
- 26 Variation 25
- 27 Fugue
Two Rhapsodies, Op. 79
- 28 Rhapsodie in B Minor, Op. 79, No. 1
- 29 Rhapsodie in G Minor, Op. 79, No. 2
Six Piano Pieces, Op. 118
- 30 Intermezzo in A Minor, Op. 118, No. 1
- 31 Intermezzo in A Major, Op. 118, No. 2
- 32 Ballade in G Minor, Op. 118, No. 3
- 33 Intermezzo in F Minor, Op. 118, No. 4
- 34 Romance in F Major, Op. 118, No. 5
- 35 Intermezzo in E-flat Minor, Op. 118, No. 6
Four Piano Pieces, Op. 119
- 36 Intermezzo in B Minor, Op. 119, No. 1
- 37 Intermezzo in E Minor, Op. 119, No. 2
- 38 Intermezzo in C Major, Op. 119, No. 3
- 39 Rhapsodie in E-flat Major, Op. 119, No. 4
