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Through his recitals, concerto appearances and critically acclaimed recordings, the Irish pianist John O'Conor has earned a reputation as a masterful interpreter of the Classic and Early Romantic piano repertoires. He has been praised for his formidable technique and through his eloquent phrasing, mastery of keyboard colour and, in particular, his unique sound he has been called a true Poet of the Piano.
He has performed in Europe, North America, Asia, Africa, Australia and New Zealand and has appeared with such orchestras as the London Symphony, Royal Philharmonic, Czech Philharmonic, Vienna Symphony, l'Orchestre National de France, the Scottish and Stuttgart Chamber Orchestras, the Israel Camerata, the NHK, Yomiuri, Kyushu, Kyoto and Sapporo Symphonies in Japan, the KBS Symphony in Korea, the Singapore Symphony, the New Zealand Symphony and the orchestras of Atlanta, Cleveland, San Francisco, Boston, Dallas, Detroit, Indianapolis, Seattle, Montreal, Toronto, Tampa and Washington DC in North America.
He also appears frequently with the National Symphony Orchestra of Ireland (and was soloist with them on their inaugural tour of the USA in 2004) and with the Irish Chamber Orchestra.
He has given concerts in many of the world's most famous halls including Carnegie Hall and the Lincoln Center in New York, the Kennedy Center in Washington, the Wigmore Hall and South Bank Centre in London, the Musikverein in Vienna, the Dvorak Hall in Prague and the Bunka Kaikan in Tokyo.
He also enjoys collaborating in Lieder Recitals and performing chamber music with many instrumentalists and ensembles such as the Cleveland, Tokyo, Vanbrugh, Vermeer, Takacs, Vogler, Ying, Audubon and Navarra Quartets.
Mr. O'Conor also continues to make significant contributions to the arts in his native country and has championed the works of Ireland's leading 19th century composer, John Field. He has become a key figure in the development of young artists through his role as Director of the Royal Irish Academy of Music, and was a co-founder of the Dublin International Piano Competition of which he is Artistic Director and Chairman of the Jury.
John O'Conor first gained widespread attention in the United States in 1986 with the release of the initial volume of the complete recorded Beethoven Sonata cycle which was issued as a box set in 1994. CD Review described Mr. O'Conor's performances of these sonatas as "piano recording of the highest calibre and Beethoven playing at its best" and went on to say "This Beethoven series should become the complete set of choice".
Mr. O'Conor has made more than 20 recordings for the Telarc label including the complete Beethoven Bagatelles, which was cited by the New York Times as the best recording of these works; four volumes of Mozart Piano Concertos with Sir Charles Mackerras and the Scottish Chamber Orchestra; numerous works of Schubert including the late A major Sonata, the complete Impromptus and Moments Musicaux, Waltzes and the Trout Quintet with the Cleveland Quartet; and two volumes of short piano pieces entitled "Piano Classics" and "Autumn Songs". An avid proponent of his fellow countryman John Field, he has recorded most of the composer's major works including the complete Concertos, Sonatas and Nocturnes. His recording of Field's Nocturnes featured on Billboard's classical charts for many weeks. He has also made a recording of his favourite Irish Airs with the Irish Chamber Orchestra entitled "My Ireland".
In 2007 and 2008 he recorded the complete Piano Concertos of Beethoven with the London Symphony Orchestra conducted by Andreas Delfs which have received great acclaim.
Mr. O'Conor's early studies began in Dublin where his main piano teacher was Dr. J.J.O'Reilly. He was awarded an Austrian Government scholarship that enabled him to study in Vienna with the renowned pedagogue Dieter Weber. He also made a special study of Beethoven with the legendary German pianist Wilhelm Kempff. In 1973 John O'Conor was unanimously awarded First Prize at the International Beethoven Piano Competition in Vienna and in 1975 he won First Prize at the Bösendorfer Competition.
John O'Conor is deeply committed to the development of young pianists in Ireland and in other countries. As well as being Professor of Piano at the Royal Irish Academy of Music, he gives masterclasses and lectures in many of the places he performs as well as in many of the major music institutions including the Juilliard and Manhattan Schools in New York, Harvard, Yale, Temple, Rutgers, Indiana and Seattle Universities, the Ravinia Festival, the Adamant Music School in Vermont, the Hamamatsu Piano Academy in Japan, the National University of the Arts in Korea, the Australian National Academy and the Sydney Conservatorium in Australia, the Paris Conservatoire and the Royal Academy of Music and the Guildhall School of Music in London. He has been a member of the Faculty of the Aspen Music Festival and School since 2006 and is a regular performer at the Festival.
He has been invited on the juries of most of the world's most prestigious International Piano Competitions including those in Leeds, Moscow (Tchaikovsky), Vienna (Beethoven), Warsaw (Chopin), Tel Aviv (Rubinstein), Hamamatsu, Beijing, Shanghai, Munich, Bolzano (Busoni), Cologne, Vevay (Clara Haskil), Cleveland, Salt Lake City (Gina Bachauer), Sydney, Pretoria, London, College Park (William Kapell), Valencia (Jose Iturbi), Hilton Head and Seoul. His students have won many international prizes.
Since 1997 he has taken on the mantle of his revered professor Wilhelm Kempff and gives the annual Beethoven Interpretation Course in Kempff's own villa in Positano, Italy where Kempff gave the course from 1957.
In August 2010, John O'Conor retired as Director of the Royal Irish Academy of Music after 16 years at the helm during which time he introduced Masters and Doctoral degrees in performance, oversaw a major refurbishment of the building itself, acquired many new instruments for the teaching rooms (including Steinway grand pianos) and persuaded the most prominent Irish musical personalities to join the teaching faculties of the Academy. Many students have had great successes in International Music Competitions and have gone on to forge major performing careers.
John O'Conor will continue to be Professor of Piano at the RIAM but has also taken on a new position as Distinguished Visiting Artist and Professor of Piano at Shenandoah Conservatory of Shenandoah University in Winchester, Virginia. He has also recently been appointed Visiting Professor of Piano at the Showa University of Music in Kawasaki, Japan.
For his services to music John O'Conor has been awarded Honorary Doctorates by the National University of Ireland, by Trinity College Dublin and by Shenandoah University, Virginia and an Honorary Fellowship by the Royal Irish Academy of Music. He has been decorated with the title "Officier de l'Ordre des Arts et des Lettres" by the French government, awarded the "Ehrenkreuz für Wissenschaft und Kunst" by the Austrian government and has also been decorated by the Italian and Polish governments. Most recently, the Japanese government has awarded him the Order of the Rising Sun and Gold Rays with Neck Ribbon. Mr. O'Conor has also been decorated by the governments of Italy and Poland.
BACH Concerto No. 1 in d minor
BARTÓK Concerto No. 3
BEETHOVEN
Concerto No. 1 in C, Op. 15
Concerto No. 2 in B flat, Op. 19
Concerto No. 3 in c minor, Op. 37
Concerto No. 4 in G, Op. 58
Concerto No. 5 in E flat, Op. 73 "Emperor"
Rondo in B flat, WoO 6
BRAHMS
Concerto No. 1 in d minor, Op. 15
DOHNANYI Variations on a Nursery Song
FIELD, JOHN
Concerto No. 1 in E flat
Concerto No. 2 in A flat
Concerto No. 3 in E flat
Concerto No. 4 in E flat
Concerto No. 5 in C
Concerto No. 6 in C
Concerto No. 7 in c minor
FRANCK Symphonic Variations
GERSHWIN
Concerto in F
Rhapsody in Blue
GRIEG Concerto in a minor, Op. 16
HAYDN Concerto in D
MENDELSSOHN Concerto No. 1 in g minor, Op. 25
MOZART
Concert No. 7 in F (for three pianos) K242
Concerto No. 9 in E flat, K. 271 "Jeunehomme"
Concerto No. 10 in E flat (for two pianos) K365
Concerto No. 11 in C K413
Concerto No. 12 in A K414
Concerto No. 13 in C K415
Concerto No. 14 in E flat K449
Concerto No. 15 in B flat K450
Concerto No. 17 in G K453
Concerto No. 18 in B flat K456
Concerto No. 19 in F K459
Concerto No. 20 in d minor K466
Concerto No. 21 in C K467 "Elvira Madigan"
Concerto No. 22 in E flat K482
Concerto No. 23 in A K488
Concerto No. 24 in c minor K491
Concerto No. 25 in C K503
Concerto No. 26 in K537 "Coronation"
Concerto No. 27 in B flat K595
Rondo in A K386
RACHMANINOV Concerto No. 2 in c minor, Op. 18
RAVEL Concerto in G
SCHUMANN Concerto in a minor, Op. 54
SHOSTAKOVITCH Concerto No. 2 in F, Op. 102
TCHAIKOVSKY Concerto No. 1 in b flat minor, Op. 23
ALL SELECTIONS ARE SUBJECT TO FINAL CONFIRMATION BY THE ARTIST
Field
Three Nocturnes: No. 5 in B flat
No. 6 in F
No. 18 in E ("Le Midi")
Scriabin Prelude and Nocturne for the Left Hand alone Op. 9
Beethoven Six Bagatelles Op.126
INTERMISSIONBarber Nocturne - Hommage a John Field
Schubert Impromptus D.899
- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -John Field: Sonata No. 1 in E flat
John Field:
Three Nocturnes: No. 5 in B flat
No. 6 in F
No. 18 in E ("Le Midi")
Schubert: Four Impromptus D 899
INTERMISSIONChopin Nocturnes: c sharp minor Op. 27 No. 1; e minor Op. 72 No. 1; E flat Op. 9 No. 2
Beethoven Sonata in c sharp minor Op. 27 No. 2 ("Moonlight")
By Donald Rosenberg,
The Plain Dealer
Courtesy of Cuyahoga Community CollegeIrish pianist John O'Conor gave a concert Sunday at First Baptist Church of Greater Cleveland to open the Tri-C Classical Piano Recital Series.
John O'Conor CLEVELAND, Ohio — When Irish pianist John O’Conor flew to Cleveland over the weekend, his luggage flew to Kansas City. So he showed up Sunday at First Baptist Church of Greater Cleveland in the casual attire he had worn on the flight from New York.
The wardrobe matter didn’t matter in the least during this season-opening event in Cuyahoga Community College’s Classical Piano Recital Series. Once O’Conor took his place at the keyboard, his bold, exquisite artistry commanded attention. Even the church’s slightly over-ripe acoustics couldn’t distract from the probing music-making.
O’Conor has close ties to the Cleveland area. His discography includes stellar recordings of concertos and solo repertoire on Telarc, the Beachwood-based label. In 2003, he was a juror at the Cleveland International Piano Competition.
His recital Sunday revealed his authority in Classical and Romantic literature. Even Haydn, a composer some interpreters approach with elegant restraint, became a forceful figure in the pianist’s probing hands.
O’Conor’s treatment of Haydn’s Sonata in B minor emphasized dramatic contrasts, dynamic gradations and flexible tempos. There was no attempt to hold back in expressive terms, but everything also emerged with crystalline clarity.
His penetrating tonal qualities made the stormy thrusts in the first movement of Beethoven’s “Pathetique” Sonata sound like suspenseful surprises. Structures were beautifully proportioned, with the yearning episode reaching transcendence and the fervent flourishes catapulted to the hilt.
O’Conor applied similar intensity and patience to Beethoven’s “Moonlight” Sonata. The opening movement took on a brooding, haunted aura as shaded by the pianist, who blended a light touch with robust urgency in the second movement and brought fierce attack to the finale’s furious demands.
O’Conor’s poetic side emerged in music by John Field (1782-1837), the Irish composer who spent much of his life in Russia. His inventive and rapturous nocturnes influenced Chopin.
Two of the three Field pieces O’Conor played were nocturnes that showed the composer to be a master of lyrical rhetoric. The pianist drew out subtle details and molded the ecstatic phrases in long lines. A third Field creation, “Le Midi,” revels in virtuoso writing and 12 strikes of the noonday bell.
The right hand is especially taxed in this work, which could have been a reason that O’Conor turned next to two left-hand pieces by Scriabin. Actually, the Russian composer had injured his right hand and wrote his Prelude and Nocturne for the Left Hand, Op. 9, to keep himself occupied. O’Conor’s fluid, soaring performances almost made one forget that only one limb was in action.
And even after playing Beethoven’s “Moonlight” Sonata, O’Conor’s two hands were still supple enough to caress the encore, Chopin’s Nocturne in E-flat major, Op. 9, No. 2.
By R.M. Campbell
P-I Music Critic
Seattle Post-Intelligencer
See Original Article: http://seattlepi.nwsource.com/classical/358391_oconor10q.html
John O'Conor has spent a lifetime studying the piano music of Beethoven, and that dedication and knowledge was revealed in every phrase of his program, devoted to the composer, Tuesday night at Meany Hall.
For his recital, part of a residency at the University of Washington School of Music, O'Conor chose some of the best-known sonatas -- "Pathetique," "Waldstein" and "Moonlight" -- as well as the Six Bagatelles. He played them as if they had been minted yesterday, with conviction and temperament certainly but also freshness. There was no suggestion of pandering to common taste in that the works, save the Bagatelles, are so famous. O'Conor played them as the masterpieces they are, without apology, and demonstrated some of the reasons they have held center stage on several continents for so long.
O'Conor is concerned with coherent structure, a not inconsiderable point with Beethoven, but also all the luminous details that fill the music. Drama was sought and found in passage after passage. If Beethoven sought the universe in his 32 sonatas (one eminent scholar says now there are 35), O'Conor likewise searched for the larger world, including its contradictions and myriad of colors. Despite the occasional smudge, he has a rich technique that he put to superb use in drawing out the music's bravura. O'Conor possesses a deep, resonant sound that served as contrast to something harder and more metallic.
His music making was one of evenness, of balance and proportion. Never indulgence or empty theatricality. One heard inner voices as well as outer voices. He also knows the importance of silence. O'Conor is a robust musician, but he is also a master of nuance, of shading. Remarkably he manages to be both visceral and poetic. Intense and of high purpose O'Conor is, but he is not without wit.
Completed in 1798, when Beethoven was 28, the "Pathetique" is the earliest of the three sonatas on O'Conor's program. It is among the most sublimely lyrical pieces of music ever written, full of pathos and drama. Wilhelm Kempff, the famed Beethoven interpreter with whom O'Conor spent two summers in Italy, once criticized O'Conor's performance as too nice. Certainly this reading had nothing to do with niceness or mere pleasantries. Its blood was hot, and its beauty carried a sense of tragedy and desolation.
The "Waldstein" has been called "the keyboard equivalent of (Beethoven's) Fifth Symphony." I would suspect O'Conor agrees, digging deep into its expansive virtuosity. He dashed off technical challenges with a kind of forthright abandon, yet simultaneously captured its emotional resonance. There was unquestioned weight, but it never impeded the sonata's rampant fluency. O'Conor performance was towering.
To end the evening O'Conor chose the "Moonlight" Sonata. That would not be everyone's choice, but it worked because the pianist is an expert in drawing out the delicate colors and poetic sensibility of the first two movements yet made the massive final movement riveting and impetuous. O'Conor never has been one to bang away for the sake of effect, but effect he made in the final movement.
O'Conor's last visit was nearly a decade ago. I hope we don't have to wait that long for another.
Jed Distler
www.gramophone.co.uk
Beethoven Piano Concertos - No 2, Op 19; No 5, 'Emperor', Op 73
John O'Conor pf
London Symphony Orchestra / Andreas Delfs
Telarc ® CD80675 (69' • DOD)
Beethoven's Second and Fifth Concertos make for an uncommon yet attractively contrasted CD coupling. More importantly, pianist John O'Conor and conductor Andreas Delfs invest these much-recorded scores with deep feeling, relaxed yet never draggy tempi, and freshly considered details that provide a welcome corrective to the attention-getting elbow-pokes and finger-jabs favoured by certain recent contenders in the name of "interpretation".
Although O'Conor clearly commands world-class virtuosity, he shares his one-time teacher Wilhelm Kempffs disdain for surface display and propensity for intimate nuance and suggestive colorations. For example, in the B flat Concerto, the way O'Conor's change of sonority imbues the momentary change of key 4'24" into the first movement with appropriate mystery, or the cadenza's effectively playful rhythmic fluctuations.
The pianist similarly plays down his bravura opportunities in the Emperor and insists upon being an equal partner. Listen to how flexibly and effortlessly he guides the first movement's plaintive B major episode back into the orchestra's military mood, or the chamber-like give and take governing the development section's sequences of scales. The London Symphony Orchestra provide vibrant and unfailingly alive support under Delfs's caring leadership, with the heartfelt, singing strings standing out in the slow movements. Even in an overcrowded Beethoven concerto market, these distinctive and excellently engineered performances are well worth hearing.
By Melinda Bargreen
Seattle Times music critic
Wednesday, September 26, 2007
Keyboard bonanza
A wealth of recent arrivals is good news for piano fans. Here are a few highlights:
Beethoven concertos, John O'Conor, (Telarc): Irish-born pianist John O'Conor has never enjoyed fame commensurate with his spectacular talents, shown here in the seldom-heard Beethoven Piano Concerto No. 2 and the beloved No. 5 ("Emperor" Concerto). O'Conor's subtle touch sparkles in these readings with Andreas Delfs and the London Symphony Orchestra.
“…O’Conor gives a bold, no-nonsense performance, right down to the shimmering piano chords accompanied by phantom drum-taps, and then a dash to the finish at the very end.”
—Atlanta Audio Society
Atlanta Audio Society
Oct. 2007
Telarc CD-80675 www.telarc.com
About the only way you could really mess up Beethoven’s Piano Concerto in E-flat, Op. 73, known to all and sundry as the “Emperor,” would be to employ a dryly academic, scholarly approach using a period instrument and an anemic ensemble (it’s been tried). With Irish pianist John O’Conor at the keyboard of a Hamburg Steinway D and with yeoman support from the London Symphony Orchestra conducted by Andreas Delfs, there was never any chance of that! O’Conor, who received critical acclaim for his cycle of the 32 Beethoven Sonatas, returns to the scene of the crime (Telarc Records) with repertory in which he obviously feels very much at home.
From the attention-getting cadence at the very opening to the maelstrom that heralds the beginning of the development, the filigree passagework by the soloist above the orchestral accompaniment in the Adagio, and the composer’s innovation of leading right into the Rondo finale without a movement break, this concerto is a bold conception in every respect. And O’Conor gives a bold, no-nonsense performance, right down to the shimmering piano chords accompanied by phantom drum-taps, and then a dash to the finish at the very end.
The companion-piece, Piano Concerto in B-flat, Op. 19, a landmark of Beethoven’s First Period, is often described as “Mozartean” (at least he knew a good model when he saw one). Following the initial fanfare, the opening movement is characterized by engaging lyricism and the parallel treatment of soloist and tutti. The pensive Adagio has more captivating melody in the form of an interesting dialog between piano and orchestra. The finale, a cheerful and ingratiating Rondo, is just the sort of thing O’Conor relishes, and he makes the most of it. Delfs and the LSO lend support sturdily, if not as brilliantly as in the “Emperor” where, to be fair, the composer gives them more to work with than in Op. 19 where the soloist is clearly at the center of attention.
Classical Music
BY FRED KIRSHNIT
February 27, 2006
See Original Article: http://www.nysun.com/article/28198
Any discussion of the "Waldstein" Sonata begins and ends with what Beethoven chose to delete. After composing a lovely if meandering slow movement, he decided at the very last minute to cut it out of the work entirely, eventually publishing it on its own as the "Andante favori." In its place, he fashioned an improvisatory interlude of only three minutes length, linking the two great, action-packed outer movements, both in C major. As a result, Beethoven established two precedents. First, the piece is the beginning of a series of heroic sonatas that encompasses both the "Appassionata" and the "Hammerklavier." Second, the new form, with the middle movement introducing the more powerful finale, was employed throughout this creative period, not just in chamber music, but also in the last two concertos for piano and the concerto for violin.
The "Waldstein" was on the program as Irish pianist John O'Conor presented his recital on Thursday evening at the Metropolitan Museum.
I am not a pianist, but 50 years of observation has alerted me to the phenomenon that certain senior keyboard artists have reached a state of satori, of being at one with the music. My two favorite Beethoven interpreters, Arrau and Kempff, fell into that category, and it appears that Mr. O'Conor does as well.
Oddly, I do not feel this way about older violinists or cellists or tuba players. But pianists replicate the creative process of most of our beloved composers.
At the museum, it was possible to think of this recital as being given by Beethoven himself.
Some touches that lent an air of authenticity to this performance were Mr. O'Conor's supreme confidence in playing quite softly, even in the "action hero" sections where the audience witnessed his protean sense of style and arresting ability to turn an entire movement on one leading tone. The last note of that belated second Waldstein movement rang out so noticeably, and was sustained for such a long time, that a listener could easily understand the entire construction of the piece in an instant. You really have to know your stuff to punctuate so decisively.
Also on the program was the Sonata in C minor, Op. 111, the one with the striking opening reminiscent of Greek tragedy (Richard Strauss, whose piano pieces (Op. 3) is a reworking of Beethoven's fate motif from the Fifth Symphony, must have taken notice when first contemplating the opening of "Elektra"). This was a dramatic study in contrast;
Mr. O'Conor ratcheted up the volume without seeming to labor or struggle. Continuing the Greek imagery, this performance was oracular.
Not that there weren't problems. Young people have their cellular telephones and the older crowd has its hearing aids - parenthetically, Mr. O'Conor and I felt like callow youths in this audience - one of which provided a metallic obbligato to the proceedings. I finally had to move to the back of the hall to avoid its interference. Also, Mr. O'Conor may have lost a step with regard to accuracy, but overall his technique was solid.
There was also Schubert on the menu, specifically 12 early waltzes and Four Impromptus, D. 899. The dances had that special Schubertian poignancy, the music of the wallflower rather than the participant, a spirit so brilliantly captured by Mahler in several of his middle movements. The Impromptus were well-crafted; from the stateliness of the C minor to the rippling water imagery of the G flat major, Mr. O'Conor exhibited poetic mastery. I will always be grateful to him for introducing so many of us to the piano music of his countryman John Field, and this set in its sheer beauty recalled that forgotten tone poet.
This recital was part of the Piano Forte series at the museum wherein the recitalists are given a choice of using more than one piano an evening. Mr. O'Conor and his audience were more than content to stick with one tried and true Steinway.
BEETHOVEN(Telarc CD-80675) |
Piano Concerto No. 2 in B-flat major, Op. 19 Piano Concerto No. 5 in E-flat major, Op. 73, "Emperor" |
BEETHOVEN: Bagatelles, Complete(Telarc 80423) | Op. 33, 119, and 126; Op. 52 and 56 |
BEETHOVEN: Piano Sonatas, Complete(Telarc 80118) |
Volumes I-IX |
BEETHOVEN: Piano Sonatas, Volume I(Complete 9-CD Boxed Set)(Telarc 80400-2) |
No. 8 in C minor, Op.13, "Pathétique" No. 14 in C-sharp minor, Op. 27, No. 2, "Moonlight" No. 23 in F minor, Op. 57, "Appassionata" |
BEETHOVEN: Piano Sonatas, Volume II(Telarc 80160) |
No. 17 in D minor, Op. 31, No.2, "Tempest" No. 21 in C major, Op. 53, "Waldstein" No. 26 in E-flat major, Op. 81a, "Les Adieux" |
BEETHOVEN: Piano Sonatas, Volume III(Telarc 80185) |
No. 15 in D major, Op. 28, "Pastoral" No. 16 in G major, Op. 31, No. 1 No. 18 in E-flat major, Op. 31, No. 3 |
BEETHOVEN: Piano Sonatas, Volume IV(Telarc 80214) |
No. 1 in F minor, Op. 2, No. 1 No. 2 in A major, Op. 2, No. 2 No. 3 in C major, Op. 2, No. 3 |
BEETHOVEN: Piano Sonatas, Volume V(Telarc 80237) |
No. 5 in C minor, Op. 10, No. 1 No. 6 in F major, Op. 10, No. 2 No. 7 in D major, Op. 10, No. 3 No. 12 in A-flat major, Op. 26, "Funeral March" |
BEETHOVEN: Piano Sonatas, Volume VI(Telarc 80261) |
No. 30 in E major, Op. 109 No. 31 in A-flat major, Op. 110 No. 32 in C minor, Op. 111 |
BEETHOVEN: Piano Sonatas, Volume VII(Telarc 80293) |
No. 9 in E major, Op. 14, No. 1 No. 10 in G major, Op. 14, No. 2 No. 19 in G minor, Op. 49, No. 1 No. 20 in G major, Op. 49, No. 2 No. 22 in F major, Op. 54 No. 24 in F-sharp major, Op. 78 No. 25 in G major, Op. 79 |
BEETHOVEN: Piano Sonatas, Volume VIII(Telarc 80335) |
No. 27 in E minor, Op. 90 No. 28 in A major, Op. 101 No. 29 in B-flat major, Op. 106, "Hammerklavier" No. 23 in F minor, Op. 57, "Appassionata" |
BEETHOVEN: Piano Sonatas, Volume IX(Telarc 80363) |
No. 4 in E-flat major, Op. 7 No. 11 in B-flat major, Op. 22 No. 13 in E-flat major, Op. 27, No. 1 | FIELD: Fifteen Nocturnes(Telarc 80199) |
Fifteen Nocturnes: Nos. 1,2,4,5,6,8,9,10,11,12,13,14,15,16,18 | FIELD(Telarc 80290) |
Sonatas Nos. 1-4, Nocturnes Nos, 3,7,17 | FIELD: Concertos(Telarc 80370) |
Piano Concertos No. 2 in A-flat major and No. 3 in E-flat major The Complete Piano Concertos (7), New Irish Chamber Orchestra, Janos Furst, conductor, Onyx 3-CD set 101-103 |
MOZART: PIANO CONCERTOS, Volume I(Telarc 80219) |
with the Scottish Chamber Orchestra Sir Charles Mackerras, conductor No. 21 in C major, K. 467 No. 27 in B-flat major, K. 595 |
MOZART: PIANO CONCERTOS, Volume II(Telarc 80285) |
No. 19 in F major, K.459 No. 23 in A major, K 488 |
MOZART: PIANO CONCERTOS, Volume III(Telarc 80306) |
No. 17 in G major, K 453 No. 24 in C minor, K.491 |
MOZART: PIANO CONCERTOS, Volume IV(Telarc 80308) |
No. 20 in D minor, K.466 No. 22 in E-flat major, K.482 |
SCHUBERT(Telarc 80337) |
Impromptus, Op. 90, D. 899 & Op. 142, D. 935 (complete) Waltzes, Op. 18, D. 145 |
SCHUBERT(Telarc 80369-2) |
Piano Sonata in a A Major, D. 664 Moments Musicaux, D. 780 |
SCHUBERT(Telarc 80225) |
Quintet in A major for Piano and Strings, D. 667, "Trout" With Quartet No. 13 in A minor, D.804 The Cleveland Quartet and James VanDemark, bass |
COLLECTION : "Light Piano Favorities"(Telarc 80313) |
Music of Chopin, Debussy, Mozart, Ramchmaninoff, Schumann, Satie and others | COLLECTION : "Autumn Songs"(Telarc 80391) |
Music of Strauss, Debussy, Bach, Mozart, Schumann,Tchaikovsky, Mendelssohn and others |
