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Virtuoso Strauss Transcriptions |  | Creators: Ignaz Friedman, Leopold Godowsky, Moriz Rosenthal, Andrei Schulz-Evler, Carl Tausig, Piers Lane
Label: Hyperion UK
Category: Music
List Price: $12.98
Buy New: $10.77
as of 11/27/2009 00:51 CST details
You Save: $2.21 (17%)
New (7) Used (4) from $7.93
Seller: the_book_depository_
Rating:  1 reviews
Sales Rank: 393913
Format: Import
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.2
Dimensions (in): 5.6 x 5 x 0.5
UPC: 034571152387
EAN: 0034571152387
ASIN: B000KLQYCM
Release Date: February 13, 2007
Availability: Usually ships in 1-2 business days
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| Tracks:
| • | Concert Arabesque on Johann Strauss II's 'By The Beautiful Blue Danube' | | • | Frühlingsstimmen (after Strauss II), for piano | | • | Carnaval de Vienne, Humoresque on themes of Johann Strauss II, for piano | | • | Nouvelles Soirées de Vienne for piano (After J. Strauss II): Nachtfalter | | • | Nouvelles Soirées de Vienne for piano (After J. Strauss II): Man lebt nur einmal | | • | Nouvelles Soirées de Vienne for piano (After J. Strauss II): Wahlstimmen | | • | Symphonic Metamorphosis on Themes from J. Strauss II's 'Die Fledermaus, ' for piano | | • | Fantasy for piano (on Johann Strauss II's 'An der shönen blauen Donau,' 'Die Fledermaus' & 'Freut euch des Lebens') |
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| Customer Reviews:
Pretty Piano Music April 27, 2007
B. Marold (Bethlehem, PA United States)
2 out of 5 found this review helpful
'Virtuoso Strauss Transcriptions' contain music one can perform on a piano in the parlor, drawing room, or salon, where there is not enough room for a full Viennese orchestra. This kind of transcription was very common in the days before mechanical recording techniques permitted one to transport music from even the largest concert stages to your home. The only problem is that listening to an Edison recording was simply not as interesting as listening to cousin Nellie perform 'The Blue Danube' on the family upright, in front of the extended family. In that sense, these recordings are something of a fossil, memories of times past. That means they are more interesting from the point of view of what Friedman and Rosenthal and Tausig and Godowsky and Rosenthal did with Strauss than the musicality of the original tunes, whose reputation in the annal of world music are secure. It also puts much more work on the shoulders of pianist, Piers Lane, as he has no conductor or 100 other pieces with which to share the credit or blame for the interpretation.
After saying all that, I have to say that this is still good listening.
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