Alexis Weissenberg: The Complete Rca Album Collection

This seven disc set from Sony Classical features pianist Alexis Weissenberg’s complete recordings for Columbia Masterworks (one disc) and RCA Red Seal (six discs). The Columbia recording was made in 1949; the others from 1967-1969.Disc 1: This mono disc includes “Sigi” Weissenberg’s earliest recordings. Prokofiev’s Sonata No. 3 and Suggestion Diabolique are virtuosic but sectionalized; indicating that the young pianist had chops but was still assimilating the formal aspects of the works. The Scriabin works fare a bit better, with beautiful voicing in the Left Hand Prelude. The three Rachmaninoff Preludes are the best items on the disc, which makes one wonder why they’ve never been issued before.Disc 2: Weissenberg includes the exposition repeat in the opening movement of Chopin’s B minor Sonata – a rare decision at the time but somewhat more common today. The more assertive theme is presented in a rather clipped manner, and then thickly lays on the rubato for the lyrical sections. Contrast is also the watchword for the Scherzo, in which the rapid filigreed is presented non-legato and without pedal, while the interlude is more richly colored and accented. The Largo is presented with inward stillness, and Finale goes with great gusto and flair. As with Horowitz, Weissenberg ends the B minor Scherzo with interlocking octaves rather than chromatic scales. Unlike Horowitz, he includes the repeat of the first section, which makes an already repetitive piece too much so. The B-flat minor Scherzo is rather hard driven – I miss the plush quality of Rubinstein.Disc 3: It’s possible that Weissenberg, like many pianists of his generation, had a Horowitz fixation during his younger years. His rendition of the Rachmaninoff Third Concerto is along the same virtuosic lines as the elder pianist’s 1951 rendition – Weissenberg’s playing has much the same diamond hard brilliance, although there is a welcome sense of relaxation during the central movement. Also like Horowitz, Weissenberg plays the shorter cadenza. The Chicago Symphony under Georges Prétre provides a fine accompaniment – if somewhat masked by the close miking of the piano.Disc 4: Weissenberg’s Debussy is notably clear and cool-eyed - the antithesis of the piano without hammers approach that was championed by Walter Gieseking and Debussy himself. This is more successful in pieces like Dr. Gradus as Parnassum and L’Isle Joyeuse than The Girl with the Flaxen Hair or Clair de lune. An acquired taste.Disc 5: Weissenberg’s approach is a bit more suited to Haydn. He plays the Sonatas with a full dynamic range, far outstripping the capabilities of the piano Haydn knew. Within that framework, Weissenberg turns in a beautifully paced E-flat Sonata that demonstrates how Haydn was evolving toward a broader sound world that would soon be championed by Beethoven, and the C minor Sonata emerges with more passion than usually heard.Disc 6: Bartók’s Second Piano Concerto finds Weissenberg in his element. The opening Allegro is delivered with color and full throated virtuosity. The contrasting chorale/rustic aspects of the central movement, where the performance could easily become fragmented, are beautifully held together. The Finale is a headlong dance through the score. In the Concerto and the Four Pieces, Op. 12 (the first ever recording for this piece), Ormandy and the Philadelphians contribute some gorgeous playing.Disc 7: Weissenberg brings to Rachmaninoff’s Preludes many of the same qualities the composer himself did: sensible tempi, a strong left hand with – when called for – an almost barbaric rhythmic thrust – and judicious pedaling which keeps the textures clear and prevents the music from dissolving into Romantic mush.This is an Original Album style reissue, reproducing the front and back covers, and adhering to the programming of the original LPs (with the exception of disc 1, which adds the three Rachmaninoff Preludes). Most of the contents have been newly remastered, but the piano is invariably miked closely, resulting in a rather dry sound picture. The booklet includes a perceptive essay by Jed Distler, appropriately titled “Fire and Ice”.

I am sorry to say that I am not impressed with Mr. Weissenberg's performances. I was swept by the hyperbole that he was one of the 20th century's greatest pianists. EIther these CD's have been so remastered that they clipped any dynamic range or Mr. Weissenberg's playing is just not for me. I have so many collections of great pianists that I prefer. I'm glad I got this set to compare and to have in my collection. Maybe it will grow on me, but listening to his Chopin CD I had to switch and play Kissin, Malczusinski, Bunin, Horowitz or Rubinstein and then I was satisfied.

I remember a teacher of mine saying that Weissenberg was “crazy” after listening to his Rachmaninov preludes cd - i believe it remains the most exciting performance available. Its included here - but the rest of the set is not the best representation of this pianist - both in sound and performances.

Great pianist, worthwhile repertoire!

The best of the Weissenberg box-sets, with some really great playing. The Chopin Third is probably the best thing in the set, and the Rach Preludes can still sound too heavy-handed, but there's not denying Weissenberg's chops.

Great reissue of Weissenberg's RCA Victor recordings. The Chopin, Rachmaninoff (with Pretre / Chicago Symphony Orchestra) and Bartok (with Ormandy / Philadelphia Orchestra) are exceptional. Georges Pretre died last month - I wonder if SONY is considering an Original Jackets issue of his RCA Victor recordings?

A very nice set - that's the bottom line. He's certainly not my favorite pianist - rather a little too bombastic for me, but he plays well and the selections are very nice. The one mono album sounds very good. The best of this is the surprisingly scrappy-sounding Bartok with Ormandy, but not Ormandy at Columbia - Ormandy at RCA, which is a whole other ballgame, sound-wise, and I don't mean a good ball game. Despite the sound, the performance is just kind of wild and I liked it and the four pieces for orchestra is really good. All in all, a nice set for an excellent pianist who simply is not my fave.

Wessenberg was a great if controversial pianist. Whether it is your thing or not you must agree this is quality playing

このＣＤの主要な曲は、ＬＰで持っている。ただ、車で聴きたいとのことで買ったが、想像以上、期待以上の内容だった。何よりも、アナログからの復刻が最高レベルであり、ラフマニノフの協奏曲、前奏曲共に、ＬＰ同等か以上。彼の演奏の特徴は、一般的な日本人が聴いているピアノと異なり、ペダルに頼らず、音が無い時の静寂感が特徴であるとも思う。ただ、一般的評価としては、ピアノを叩いているとの評もある。真のピアノ好きには、必聴の盤です。

perfect