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David Saperton Plays Chopin and Godowsky |  | Creators: Isaac Albeniz, Frederic Chopin, Leopold Godowsky, David Saperton
Label: Video Artists Int'l
Category: Music
List Price: $34.98
Buy New: $22.55
as of 11/27/2009 01:54 CST details
You Save: $12.43 (36%)
New (16) Used (6) from $22.55
Seller: blowitoutahere
Rating:  3 reviews
Sales Rank: 313314
Media: Audio CD
Discs: 2
Shipping Weight (lbs): 0.2
Dimensions (in): 5.6 x 5 x 0.5
UPC: 089948103721
EAN: 0089948103721
ASIN: B000003LJ9
Release Date: November 6, 1995
Availability: Usually ships in 1-2 business days
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| Tracks:
Disc 1
| • | Etudes (12) for piano, Op. 10, CT. 14-25: No. 1, C major | | • | Etudes (12) for piano, Op. 10, CT. 14-25: No. 2, A minor ("Chromatic") | | • | Etudes (12) for piano, Op. 10, CT. 14-25: No. 3, E major ("Grief") | | • | Etudes (12) for piano, Op. 10, CT. 14-25: No. 4, C sharp minor ("Torrent") | | • | Etudes (12) for piano, Op. 10, CT. 14-25: No. 5, G flat major ("Black Key") | | • | Etudes (12) for piano, Op. 10, CT. 14-25: No. 6 E flat minor | | • | Etudes (12) for piano, Op. 10, CT. 14-25: No. 7, C major ("Toccata") | | • | Etudes (12) for piano, Op. 10, CT. 14-25: No. 8, F major | | • | Etudes (12) for piano, Op. 10, CT. 14-25: No. 9, F minor | | • | Etudes (12) for piano, Op. 10, CT. 14-25: No. 10, A flat major | | • | Etudes (12) for piano, Op. 10, CT. 14-25: No. 11, E flat major ("Arpeggio") | | • | Etudes (12) for piano, Op. 10, CT. 14-25: No. 12, C minor ("Revolutionary") | | • | Etudes (12) for piano, Op. 25, CT. 26-37: No. 1, A flat major ("Aeolian Harp") | | • | Etudes (12) for piano, Op. 25, CT. 26-37: No. 2, F minor ("Balm") | | • | Etudes (12) for piano, Op. 25, CT. 26-37: No. 3, F major | | • | Etudes (12) for piano, Op. 25, CT. 26-37: No. 4, A minor | | • | Etudes (12) for piano, Op. 25, CT. 26-37: No. 5, E minor | | • | Etudes (12) for piano, Op. 25, CT. 26-37: No. 6, G sharp minor ("Thirds") | | • | Etudes (12) for piano, Op. 25, CT. 26-37: No. 7, C sharp minor ("Cello") | | • | Etudes (12) for piano, Op. 25, CT. 26-37: No. 8, D flat major ("Sixths") | | • | Etudes (12) for piano, Op. 25, CT. 26-37: No. 9, G flat major ("Butterfly") | | • | Etudes (12) for piano, Op. 25, CT. 26-37: No. 10, B minor ("Octaves") | | • | Etudes (12) for piano, Op. 25, CT. 26-37: No. 11, A minor ("Winter Wind") | | • | Etudes (12) for piano, Op. 25, CT. 26-37: No. 12, C minor ("Ocean") | | • | Trois nouvelles études, for piano, KK IIb/3, CT. 38-40 (B. 130): No. 1, F minor | | • | Trois nouvelles études, for piano, KK IIb/3, CT. 38-40 (B. 130): No. 2, A flat major | | • | Trois nouvelles études, for piano, KK IIb/3, CT. 38-40 (B. 130): No. 3, D flat major |
Disc 2
| • | Studies (54) on Chopin Etudes for piano: No. 4, A minor ("Ignis Fatuus"), on Op. 10/2 | | • | Studies (54) on Chopin Etudes for piano: No. 13, E flat minor, on Op. 10/6 | | • | Studies (54) on Chopin Etudes for piano: No. 14, C major, on Op. 10/7 | | • | Studies (54) on Chopin Etudes for piano: No. 15, G flat major, on Op. 10/7 | | • | Studies (54) on Chopin Etudes for piano: No. 25, A flat major, on Op. 25/1 | | • | Studies (54) on Chopin Etudes for piano: No. 26, F minor, on Op. 25/2 | | • | Studies (54) on Chopin Etudes for piano: No. 33, E minor, on Op. 25/5 | | • | Studies (54) on Chopin Etudes for piano: No. 36, G sharp minor, on Op. 25/6 | | • | Studies (54) on Chopin Etudes for piano: No. 47, G flat major ("Badinage"), on Op. 10/5 and Op. 25/9 | | • | Studies (54) on Chopin Etudes for piano: No. 48, F major, on Op. 10/11 and Op. 25/3 | | • | Studies (54) on Chopin Etudes for piano: No. 45, E major, on Trois Nouvelles No. 2 | | • | Triakontameron, Thirty Moods & Scenes in Triple Measure, for piano: No. 8, A Watteau Paysage | | • | Triakontameron, Thirty Moods & Scenes in Triple Measure, for piano: No. 11, Alt Wien | | • | Triakontameron, Thirty Moods & Scenes in Triple Measure, for piano: No. 14, Whitecaps | | • | Triakontameron, Thirty Moods & Scenes in Triple Measure, for piano: No. 15, The Temptress | | • | Triakontameron, Thirty Moods & Scenes in Triple Measure, for piano: No. 21, Salon | | • | Java Suite: Phonoramas, Tonal Journeys for piano: No. 1, Gamelan | | • | Java Suite: Phonoramas, Tonal Journeys for piano: No. 4, Chattering Monkeys at the Sacred Lake of Wendit | | • | Java Suite: Phonoramas, Tonal Journeys for piano: No. 9, In the Streets of Old Batavia | | • | Transcription for piano of Triana from Albeniz's 'Iberia': Triana | | • | Symphonic Metamorphosis on Themes from J. Strauss II's 'Die Fledermaus, ' for piano | | • | Symphonic Metamorphoses on Johann Strauss's waltz 'Künstlerleben' |
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| Customer Reviews:
 The greatest piano technique on recording November 1, 2007
Joseph L. Renouf (Connecticut)
1 out of 1 found this review helpful
This recording is a glimmer into piano playing's past, one filled with keyboard giants, redwood trees, not the puny, the indistinguishable, the faceless drones of today's mechanized generation that churns out pianists from the assembly line. Saperton's name deserves a place among the most celebrated legends of the past -- Rachmaninoff, Cortot, Rosenthal, Friedman, Hofmann, Lhevinne -- those, in short, who "knew no difficulties."
And unlike most other greats (I would give anything to hear one of Rachmaninoff's etudes), Saperton has given us a complete set of Chopin's pianistic bible, one unparalleled in elegance, clarity, freedom of rubato, pure pianism. It may not always have the depth and devil-may-care romantic abandonment of Cortot's set, but Saperton's phrasing, voicing, pedaling, clarity, and lightness are from another world entirely, Cortot takes us to the limits of HUMAN experiences, telling of military conquests, forbidden amorous encounters, midnight rides, but Saperton transcends, elevating our senses to where live the sprites and will-o'-the-wisps, into the ethereal mists, beyond the turmoil and bloodshed of a fallen race. This is the beauty of sound itself. If the gods could breathe music into our ears while we sleep, they would chant such sounds.
But oh, what a tragedy that Saperton has left us only this one record of his genius! After all, he had recorded all 53 Godowsky studies on the Chopin etudes, many of which were lost in the melting-down for the war effort. Each one of the 11 on this disc is a marvel in polyphonic playing, a transcendental realization of Godowsky's wayward salon harmonies. Listen especially to the otherworldly flight of Saperton's fingers in the "Ignis Fatuus" based on the chromatic etude, or the final recrafting of the melody in the second nouvelle etude, played with a trailing rubato into a smorzando.
And as for the etudes themselves, we have never, and it goes without saying, will never, hear the like of this technique again -- not in performance, not on recording, nowhere. Even Lhevinne and Friedman would have had to bow their heads in awe at Saperton's double thirds -- the precision of touch, the suppleness, the dynamic contrasts (note the double passage in descending lateral motion thirds). And Cortot's comment about the importance of the French jeux perle touch in the black key etude is best exemplified by Saperton's pearly touch. The Winter Wind etude bites and hisses (with a climactic double-octave return to the main theme), having more fire than Lhevinne's more orchestral rendering. The Revolutionary, pallid and hackneyed in the hands of a Perahia, crude when pounded out by a hairy caveman like Gavrilov, becomes a perfect blend of dexterity and passion with Saperton, whose left hand is played with the charging energy of cavalry sharply contrasted against the cries of the multitude in the treble.
Chopin would have liked Saperton, and the misanthropic Pole didn't like much. Listen, and you'll hear elegance at its highest level, the way Chopin was meant to be played. Saperton cannot be overlooked by anyone who claims knowledge about the piano. The day will come, whether in this life or the next, when he is crowned with laurels for his achievements.
--Joseph Renouf
AMAZING RECORDINGS July 24, 2003
Alexandre A. G. Salva (Salto, SP Brazil)
4 out of 5 found this review helpful
There are few recordings of Chopin's Etudes that are really good: NOVAES, POLLINI, ARRAU and WILD are on the top. Unfortunatelly, there are not the complete set with Rubinstein... David SAPERTON plays the Etudes Op 10 & 25 like a Master. The second one from Opus 10 is unbelievable. The other recordings are great too, specially Godowsky's transcriptions. SAPERTON was a legendary pianist, as Godowsky, Horowitz, Rachmaninoff and Hofmann. It is a CD set to any good collection. It is a pleasure to listen to these amazing recordings.
 Excellent, although old recording! November 29, 1998
10 out of 10 found this review helpful
Played by David Saperton, son-in-law of Leopold Godowsky, these recordings give an insight into the masterpieces of Godowsky as few have done even now. Especially good to hear is the Symphonic Metamorphoses of the Strauss waltzes. The quality of play on these pieces is better than both Earl Wild and Rian de Waal. The album is worth buying for both its historical value (Saperton was a teacher of Abbey Simon and Jorge Bolet), as well as the excellent performance of the Godowsky works.
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