1. Piano Sonata No. 14 in C sharp minor ('Moonlight'), Op. 27/2: Adagio sostenuto 2. Piano Sonata No. 14 in C sharp minor ('Moonlight'), Op. 27/2: Allegretto 3. Piano Sonata No. 14 in C sharp minor ('Moonlight'), Op. 27/2: Presto agitato 4. Pr?lude, choral, et fugue, for piano, M. 21: Pr?lude 5. Pr?lude, choral, et fugue, for piano, M. 21: Choral 6. Pr?lude, choral, et fugue, for piano, M. 21: Fugue 7. Variations (28) on a Theme of Paganini, for piano, in A minor, Op. 35: Book I: Theme 8. Variations (28) on a Theme of Paganini, for piano, in A minor, Op. 35: Book I: Variation 1 9. Variations (28) on a Theme of Paganini, for piano, in A minor, Op. 35: Book I: Variation 2 10. Variations (28) on a Theme of Paganini, for piano, in A minor, Op. 35: Book I: Variation 3 11. Variations (28) on a Theme of Paganini, for piano, in A minor, Op. 35: Book I: Variation 4 12. Variations (28) on a Theme of Paganini, for piano, in A minor, Op. 35: Book I: Variation 5 13. Variations (28) on a Theme of Paganini, for piano, in A minor, Op. 35: Book I: Variation 6 14. Variations (28) on a Theme of Paganini, for piano, in A minor, Op. 35: Book I: Variation 7 15. Variations (28) on a Theme of Paganini, for piano, in A minor, Op. 35: Book I: Variation 8 16. Variations (28) on a Theme of Paganini, for piano, in A minor, Op. 35: Book I: Variation 9 17. Variations (28) on a Theme of Paganini, for piano, in A minor, Op. 35: Book I: Variation 10 18. Variations (28) on a Theme of Paganini, for piano, in A minor, Op. 35: Book I: Variation 11 19. Variations (28) on a Theme of Paganini, for piano, in A minor, Op. 35: Book I: Variation 12 20. Variations (28) on a Theme of Paganini, for piano, in A minor, Op. 35: Book I: Variation 13 21. Variations (28) on a Theme of Paganini, for piano, in A minor, Op. 35: Book I: Variation 14 22. Variations (28) on a Theme of Paganini, for piano, in A minor, Op. 35: Book II: Variation 1 23. Variations (28) on a Theme of Paganini, for piano, in A minor, Op. 35: Book II: Variation 2 24. Variations (28) on a Theme of Paganini, for piano, in A minor, Op. 35: Book II: Variation 3 25. Variations (28) on a Theme of Paganini, for piano, in A minor, Op. 35: Book II: Variation 4 26. Variations (28) on a Theme of Paganini, for piano, in A minor, Op. 35: Book II: Variation 5 27. Variations (28) on a Theme of Paganini, for piano, in A minor, Op. 35: Book II: Variation 6 28. Variations (28) on a Theme of Paganini, for piano, in A minor, Op. 35: Book II: Variation 7 29. Variations (28) on a Theme of Paganini, for piano, in A minor, Op. 35: Book II: Variation 8 30. Variations (28) on a Theme of Paganini, for piano, in A minor, Op. 35: Book II: Variation 9 31. Variations (28) on a Theme of Paganini, for piano, in A minor, Op. 35: Book II: Variation 10 32. Variations (28) on a Theme of Paganini, for piano, in A minor, Op. 35: Book II: Variation 11 33. Variations (28) on a Theme of Paganini, for piano, in A minor, Op. 35: Book II: Variation 12 34. Variations (28) on a Theme of Paganini, for piano, in A minor, Op. 35: Book II: Variation 13 35. Variations (28) on a Theme of Paganini, for piano, in A minor, Op. 35: Book II: Variation 14
Customer Reviews of This Album/CD
A Mixed Bag from Kissin Submitted on: 2009-10-02
It goes without saying, Beethoven's Moonlight Sonata is one of the most popular works in the piano repertoire, and anyone who plays it comes up against stiff competition. Kissin's performance, while serviceable, is not one for the ages. The opening movement plods along uneventfully at a virtually unchanging dynamic level. The middle movement (really an Intermezzo between the outer movements) is inoffensive but Kissin makes no attempt to bring out the various lines of the piece. He just highlights the melody like his teacher told him to do. The finale fares best. Kissin's fingers have plenty to do, and although he fiddles with the dynamics in parts, as a whole the movement works.
Franck's Prelude, Chorale and Fugue is one of the most unified works written for solo piano. But you wouldn't know it from Kissin's performance. I've never heard the Prelude sound so sectionalized and inorganic. I wonder if Kissin was trying to sound profound by playing it in this manner. (Kissin should listen to Rubinstein Rubinstein Collection, Vol. 68 playing this piece - the elder pianist knew how to highlight a work's structure without being pedantic about it.) The Chorale is given a very plain, flat run-through. Things liven up in the Fugue, which Kissin takes at a rather brisk tempo with some varied dynamics. But there is little sense of the mystery one expects when hearing this piece.
The Brahms Paganini variations is another matter. The spontaneity and verve missing from the Beethoven and Franck are in abundance here. Kissin achieves the dual distinction of dazzling the listener and making the variations cohere. This is one of the best Kissin performances I've ever heard. I'd love to hear him play the Brahms Handel variations.
The sound nicely balances immediacy and ambience.
finest recording Submitted on: 2009-03-07
Beethoven and Brahms are outstanding- intellectual, emotional, modern, energetic. I don't have many Franck recordings to compare this with, regardless this is very sensitive playing. there are a gazillion recordings of the Moonlight sonata, but this one is one of my favorite (with GilelsBeethoven: Sonaten - Pathétique & Mondschein, RubinsteinBeethoven Sonatas [Hybrid SACD], SolomonBeethoven: Piano Concertos Nos. 2-5; Piano Sonata No. 14). same goes for the Brahms- not many better recordings out there (Benedetti MichelangeliSchumann: Carnaval; Brahms: "Paganini" Variations; Bach-Busoni: Chaconne, ArrauClaudio Arrau - Great Pianists of the 20th Century I.
Listen to this disc and tell me that this is anything other than 'sexy'.
Buy This for the Brahms & Franck, Maybe Not the "Moonlight" Submitted on: 2008-09-13
Though many others have reviewed this CD, there is one point I want to make about the playing of first movement of the "Moonlight Sonata."
First, I have to acknowledge that for a celebrated artist to tackle a very old, familiar piece is not without its dangers. If you read the music in a fairly straightforward way you'll likely be accused of being too conservative or not bringing fresh insights. (This assumes that the piece still has interpretive secrets to be discovered.) If you employ too much imagination or innovation, you're subject to being criticized for quirkiness or idiosyncrasy. Still, record producers see profit in giving the public a new artist's take on a popular piece. So what are you going to do?
The above, I would suppose is the case with the Beethoven sonata. There must be many millions who have a listening familiarity with the piece, and many, many thousands who have played the first movement, with its limited technical demands. That means a lot of people know the notes Beethoven wrote and the sounds they call for.
So, when they hear Kissin playing the very familiar melody a fraction of a beat ahead of the accompaniment, they might wonder whether he has a coordination problem. More sophisticated listeners will assume that he's emphasizing the melody by purposely sounding its notes a bit ahead of the accompaniment, a more likely analysis. But if the highest art is that which conceals itself, I'm afraid this maneuver falls somewhat short: to me at least, the lack of synchronization is not only apparent, but more than a little distracting. True, if you don't listen too carefully to the details the piece will sound fine. (Doesn't that defeat the whole purpose?)
The moral: when playing something a lot of your audience have also played you shouldn't wander too far from what the composer wrote--at least not without a damned good reason. Beethoven didn't write the melody to be ahead of the accompaniment and most basic piano players will naturally synchronize the two. Celebrated artists may take liberties in the interest of interpretive clarity and effectiveness, but those liberties should not be so great as to call attention to themselves and thus detract from the listening experience.
After the first movement the sonata sounds very good: the second movement is delightful and the third is impressively and satisfyingly dynamic. Indeed, bouquets are merited there!
The César Franck piece is well played; I've never before heard it presented so effectively.
Clearly the best performance on the disk is the Brahms Paganini Variations. Here the zestful young pianist seems in his virtuosic element as he wows us with not only the impossible-sounding stunts of Brahms' fertile imagination, but also the warmer, gentler stirrings of his heart.
Overall this CD, recorded by the 26-year-old Kissin in Freiburg (Germany) in 1997, is a fine and worthy contribution to the recorded piano literature. The 20-bit digitally recorded sound is excellent, and with a better first movement of the Beethoven sonata it would certainly rate five stars. If you don't need another copy of the Moonlight, then buy this CD for Franck and Brahms alone!
Perfection dimmed, but there's still much to enjoy Submitted on: 2006-03-17
By the time this CD came out in 1997, the musical world was hanging on to every note played by Kissin, a prodigy and a genius above reproach. Then everyone's collective heart sank as the Moonlight sonata unfolded in a plodding, uninspired way--for the first time perfection was dimmed. Sadly enough, it has continued to. Kissin's talent shines by fits and starts now.
On this CD the Beethoven must be passed over with some embarrassment, but the Franck is compelling and the Brahms, as everyone else has noted, is superb. Over the years Kissin's interpretation of Schubert and Schumann, once two of his best composers, has begn to suffer from coarseness, and his once incomparable Chopin has turned to grandstanding. Luckily, we have many earlier recitals to enjoy, and one hopes there will be a return to greatness from this unique musician.
the brahms is truely a pleasure Submitted on: 2003-07-13
i agree with many of the other reviewer that the brahms variations are very special and real treat at the hands of kissin. the paganini variations are also well recorded by an artist named Ivo Janssen along with some other equally fine variations by brahms in case you are looking for an all brahms album(i am not sure if that cd is still in print)
![Evgeny Kissin Plays Schubert, Brahms, Bach, Liszt, Gluck [DVD Video]](http://ecx.images-amazon.com/images/I/51mhnF-OmVL._SL160_.jpg)
A Mixed Bag from Kissin
finest recording
Perfection dimmed, but there's still much to enjoy