Piano Concerto No. 17 in G major, K. 453: 1. Allegro
Piano Concerto No. 17 in G major, K. 453: 2. Andante
Piano Concerto No. 17 in G major, K. 453: 3. Allegretto
Trois pi?ces, for piano, FP 48: 1. Pastorale
Trois pi?ces, for piano, FP 48: 2. Toccata
Trois pi?ces, for piano, FP 48: 3. Hymne
M?lancolie, for piano, FP 105
Suite fran?aise (d'apr?s Claude Gervaise), for piano (arr. from chamber version), FP 80: 1. Bransle de Bourgogne
Suite fran?aise (d'apr?s Claude Gervaise), for piano (arr. from chamber version), FP 80: 2. Pavane
Suite fran?aise (d'apr?s Claude Gervaise), for piano (arr. from chamber version), FP 80: 3. Petite marche militaire
Suite fran?aise (d'apr?s Claude Gervaise), for piano (arr. from chamber version), FP 80: 4. Complainte
Suite fran?aise (d'apr?s Claude Gervaise), for piano (arr. from chamber version), FP 80: 5. Bransle de Champagne
Suite fran?aise (d'apr?s Claude Gervaise), for piano (arr. from chamber version), FP 80: 6. Sicilienne
Suite fran?aise (d'apr?s Claude Gervaise), for piano (arr. from chamber version), FP 80: 7. Carillon
Presto for piano in B flat major, FP 70
Piano Concerto No. 1, for piano, trumpet & strings, in C minor, Op. 35: 1. Allegro moderato - Allegro vivace
Piano Concerto No. 1, for piano, trumpet & strings, in C minor, Op. 35: 2. Lento
Piano Concerto No. 1, for piano, trumpet & strings, in C minor, Op. 35: 3. Moderato
Piano Concerto No. 1, for piano, trumpet & strings, in C minor, Op. 35: 4. Allegro con brio
Track Listings (10) - Disc #2
Concerto in F, for piano & orchestra: 1. Allegro
Concerto in F, for piano & orchestra: 2. Adagio - Andante
Concerto in F, for piano & orchestra: 3. Allegro agitato
The Man I Love, song (from Strike Up the Band, 1st version; orig. composed for Lady, Be Good!)
Embraceable You, song (from Girl Crazy, musical)
I Got Rhythm, song (from Girl Crazy, 1930)
Someone to Watch Over Me, song (from Oh, Kay!, musical)
Work(s): Boy! What Love Has Done to Me! - I've Got a Crush on You
'S Wonderful, song (from Funny Face, musical)
Rhapsody in Blue, for piano & orchestra (orchestrated by F. Grof?)
It's difficult to locate fully André Previn the concert pianist, but this collection, which gathers Mozart and Gershwin convincingly, might just give a full-on portrait. There are loads of documents of his jazz-pianis... more »t days--mainly in the 1950s on the West Coast scene--and, with the premiere of his operatic adaptation of A Streetcar Named Desire, increased attention on Previn as a composer. But the selections collected on these two CDs (both over 75 minutes long) show a versatility that only a full discography could otherwise woodenly demonstrate. Previn's Mozart is muted, his piano applying shade at the edges, whereas his Poulenc solos are forcibly naked and colorfully chromatic, showing off his virtuoso chops to great, even flowering, effect. Like everything here, his Shostakovich (recorded in 1962 with Leonard Bernstein and the New York Philharmonic, one year after the Poulenc solos) shows flaring brilliance and control of both the brittlest and most strenuous runs. But it's the overall package, with the Gershwin songs (from 1997) and Rhapsody in Blue (recorded in 1984) that will excite most Previn fans. The song performances rival the improvisations of Bill Evans and still present the works as hybrid jazz-concert works. For a wide-angle shot of one of the century's great polymaths, this is excellent. --Andrew Bartlett« less
It's difficult to locate fully André Previn the concert pianist, but this collection, which gathers Mozart and Gershwin convincingly, might just give a full-on portrait. There are loads of documents of his jazz-pianist days--mainly in the 1950s on the West Coast scene--and, with the premiere of his operatic adaptation of A Streetcar Named Desire, increased attention on Previn as a composer. But the selections collected on these two CDs (both over 75 minutes long) show a versatility that only a full discography could otherwise woodenly demonstrate. Previn's Mozart is muted, his piano applying shade at the edges, whereas his Poulenc solos are forcibly naked and colorfully chromatic, showing off his virtuoso chops to great, even flowering, effect. Like everything here, his Shostakovich (recorded in 1962 with Leonard Bernstein and the New York Philharmonic, one year after the Poulenc solos) shows flaring brilliance and control of both the brittlest and most strenuous runs. But it's the overall package, with the Gershwin songs (from 1997) and Rhapsody in Blue (recorded in 1984) that will excite most Previn fans. The song performances rival the improvisations of Bill Evans and still present the works as hybrid jazz-concert works. For a wide-angle shot of one of the century's great polymaths, this is excellent. --Andrew Bartlett