Grieg: Piano Music, Vol. 6

Early French Organ Music, Vol. 1

Schubert: Piano Works for Four Hands, Vol. 2

Haydn: Piano Sonatas Nos. 20 and 30-32

SOLER, A.: Sonatas for Harpsichord, Vol. 2

Volume 6 of Naxos' Complete Piano Music of Liszt continues the exploration of Liszt's transcriptions of lieder begun in the previous Volume 5. Compared to the commercial greats of pianism, Joseph Banowetz is not well known, and yet he one of the most versatile pianists alive. His repertory is variegated and often incongruent: he has left many recordings of Bach, Anton Rubinstein, Balakirev and Ronald Stevenson. I am an ardent supporter of Banowetz because of his amazing recordings of Anton's Rubinstein's works on the Marco Polo label.

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Sibelius: Piano Music

Beethoven: Bagatelles and Dances, Vol. 2

Fauré: Barcarolles (Complete) / Ballade, Op. 19

Beethoven: Bagatelles and Dances, Vol. 1

DUPRE: Works for Organ, Vol. 1

JANACEK: Along an Overgrown Path / Piano Sonata, 'From the S

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This disc is part of a series of Faur�'s complete piano music and contains two works better known in orchestral form with some less well known originals. The four pieces from Pell�as et M�lisande in their original version are some of the most subtle of the composer's music written for the stage. The opening Pr�lude sets the scene and introduces themes representing the naivety of the heroine and the passion she is unable to escape. This is followed by a Fileuse, the introduction to Act 3 where M�lisande is at her spinning wheel. The Sicilienne, introduction to the fountain scene of Act 2, is the one part of the suite Faur� composed some years earlier and scored himself for sextet. Finally, La mort de M�lisande (The Death of M�lisande) is an intense parallel to the heroine's music in the Pr�lude, portraying her Act 5 death scene. The Pavane was orchestrated at a later date and the original version for piano of this well-known piece shows that the simple archaic melody should be played at a faster speed than is the case with the orchestral or choral versions. The four Valses-caprices are not a cycle. The two earlier pieces were written in the early 1880s, the later pair a decade later. Although Saint-Sa�ns enjoyed Opp. 30 and 38. Their indebtedness to Chopin and their attempt at capriciousness does not suit Faur�'s introverted nature. The later pieces are more successful and. #despite retaining traces of the virtuoso style, are more introspective, nearer to the true nature of the composer. The Mazurka hints again at a tribute to Chopin, but shows no debts to Polish folk rhythms. Similar in style to the Valses Caprices, it has a haunting central slow section.

Bach, J.S.: Well-Tempered Clavier (The), Book 2

MEDITATION - Classical Favourites for Relaxing and Dreaming

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