Products
25001 products
1944 & 1945
1944 & 1946
1944 THE HORN
1944-1945
1944-1945
1945-1950
1948
1948–2001: A Ligeti Odyssey
1949
1949 SECOND MASTERS
1950-1961
1950S ALBUM COLLECTION
1951
1951>2001: 50 YEARS OF EMOTION
1960 R&B HITS COLLECTION / VARIOUS
1961 R&B HITS COLLECTION / VARIOUS
1962
1962 Copenhagen
1962 R&B HITS COLLECTION / VARIOUS
1962 Stockholm-Oslo
1962'S GREATEST HITS & THE SHIFTING WHISPERING
1965 CARNEGIE LIVE UNEDITED
1966
1967
1971 REVERBER/ATION
1976
1991 Grange De Meslay Recital
Gyorgy Sebok (1922-1999) was a Hungarian-born American pianist who was also renowned as a teacher and giver of masterclasses. He made more than 16 recordings for the Erato label as a soloist early on in his career. He has received countless honors and awards throughout his career in recognition of musical life. His fellow Hungarian pianist Livia Rev said of him: “one of the greatest pianists in the second half of the century, if not the greatest.” Cellist Janos Starker, with whom Sebok played for more than six decades, pulled even fewer punches: “First hand, second hand, or in recordings, Gyorgy Sebok is the greatest pianist who ever lived,” and also “one of the greatest teachers of all time.” This live recording was made at the 1991 Grange de Meslay Recital, Parcay-Meslay, France.
1992 New Year's Concert / Kleiber, Wiener Philharmoniker
In every respect, this is superb: a 'must'. I recently listened to DG's historic issue of VPO Johann Strauss ((D 435 335-2GWP2), reviewed enthusiastically in February by RO. Here the present needs fear nothing from the past. Indeed Carlos Kleiber combines in one baton, miraculously, every attribute of his predecessors—his father Erich's discipline and élan, Krauss's Schwung, Karajan's elegance, Boskovsky's lift and Krips's insinuating charm. Anyone who saw and heard the concert on television (the video incidentally will be released on Philips) will know just how delightfully Kleiber, with his unorthodox, seemingly effortless methods, achieves his aims and how willingly his complaisant orchestra responds to his peculiar gifts.
If I had to decide between so many winners, I might choose Eine Tausend und eine Nachi for the translucency of its introduction and the champagne elation of its main section, and Spharenklange for ethereal wonder. But then there is the irresistible verve of the Pizzicato Polka where the rubato is perfectly judged, and the tremendous panache of Unter Donner und Blitz. Is there a touch of the mannered just once or twice, as in the opening bars of The Blue Danube? If so, it is usually justified as a means to an entirely convincing end—in this case a familiar piece given with a swooning spontaneity that invites the body to sway with the music.
To crown one's pleasure, the recording is faultless: it has presence, warmth, depth, and captures ideally a sense of the occasion. Here is not merely a wonderful souvenir of a special event but a thing of joy forever. And now if you'll excuse me, I shall go and listen to it again.
-- Gramophone [4/1992]
1995 New Year's Concert / Mehta, Wiener Philharmoniker
