{"id":10213,"date":"2018-09-29T20:40:19","date_gmt":"2018-09-29T18:39:47","guid":{"rendered":"https:\/\/vdegallo.com\/?post_type=product&p=10213"},"modified":"2025-05-06T15:59:04","modified_gmt":"2025-05-06T13:59:04","slug":"l-art-d-aldo-ciccolini-scarlatti-schubert-chopin-liszt-schumann-grieg-debussy-8-cd-box-2","status":"publish","type":"product","link":"https:\/\/vdegallo.com\/en\/produit\/l-art-d-aldo-ciccolini-scarlatti-schubert-chopin-liszt-schumann-grieg-debussy-8-cd-box-2\/","title":{"rendered":"L’ART D’ALDO CICCOLINI: SCARLATTI – SCHUBERT – CHOPIN – LISZT – SCHUMANN – GRIEG – DEBUSSY (8 CD BOX)"},"content":{"rendered":"

Realized under the supervision of the executor of Aldo Ciccolini and completely remastered, this 8 CDs-Box includes recordings previously published under Cascavelle, and some others, among them, an unedited version (2002) of Chopin’s 3rd Sonata.<\/p>\n

In the program: Scarlatti, Debussy, Schubert, Liszt, and especially Grieg, Schumann and still Chopin.<\/p>\n

CD 1\u00a0:<\/strong>
\nDomenico SCARLATTI\u00a0:<\/strong> Keyboard Sonata in C Major, K. 406 – Keyboard Sonata in E Major, K. 380 – Keyboard Sonata in F Minor, K. 239 – Keyboard Sonata in B Minor, K. 377 – Keyboard Sonata in D Major, K. 492 \u2013 Claude DEBUSSY\u00a0:<\/strong> Pr\u00e9ludes, Book 1, L. 117: I. Danseuses de Delphes – II. Voiles – III. Le vent dans la plaine – IV. Les sons et les parfums tournent dans l’air du soir – V. Les collines d’Anacapri – VI. Des pas sur la neige – VII. Ce qu’a vu le vent d’ouest – VIII. La fille aux cheveux de lin – IX. La s\u00e9r\u00e9nade interrompue – X. La cath\u00e9drale engloutie – XI. La danse de Puck – XII. Minstrels.<\/p>\n

Aldo Ciccolini<\/strong>, Piano.<\/p>\n

CD 2\u00a0:<\/strong>
\nFranz SCHUBERT\u00a0:<\/strong> 4 Impromptus, Op. 90, D. 899: No. 2 in E-Flat Major – 4 Impromptus, Op. 90, D. 899: No. 4 in A-Flat Major \u2013 Franz LISZT\u00a0:<\/strong> Soir\u00e9es de Vienne, Valse-Caprice No. 6 d’apr\u00e8s Schubert, S. 427 – Piano Concerto No. 2 in A Major, S. 125: I. Adagio sostenuto assai – Allegro agitato assai – II. Allegro moderato – Allegro deciso – III. Marziale un poco meno allegro – IV. Allegro animato \u2013 Stretto \u2013 Fr\u00e9d\u00e9ric CHOPIN\u00a0:<\/strong> Piano Sonata No. 3 in B Minor, Op. 58: I. Allegro maestoso – II. Scherzo, molto vivace – III. Largo – IV. Finale, presto non tanto.<\/p>\n

Aldo Ciccolini<\/strong>, Piano – Orchestre de la Suisse Romande<\/strong>, Ferenc Fricsay<\/strong>, Conductor.<\/p>\n

CD 3\u00a0:<\/strong>
\nFr\u00e9d\u00e9ric CHOPIN\u00a0:<\/strong> Nocturne No. 1 in B-Flat Major, Op. 9, No. 1: Larghetto – Nocturne No. 2 in E-Flat Major, Op. 9, No. 2: Andante – Nocturne No. 3 in B Major, Op. 9, No. 3: Allegretto – Nocturne No. 4 in F Major, Op. 15, No. 1: Andante cantabile – Nocturne No. 5 in F-Sharp Major, Op. 15, No. 2: Larghetto – Nocturne No. 6 in G Minor, Op. 15, No. 3: Lento – Nocturne No. 7 in C-Sharp Minor, Op. 27, No. 1: Larghetto – Nocturne No. 8 in D-Flat Major, Op. 27, No. 2: Lento sostenuto – Nocturne No. 9 in B Major, Op. 32, No. 1: Andante sostenuto – Nocturne No. 10 in A-Flat Major, Op. 32, No. 2: Lento.<\/p>\n

Aldo Ciccolini<\/strong>, Piano.<\/p>\n

CD 4\u00a0:<\/strong>
\nFr\u00e9d\u00e9ric CHOPIN\u00a0:<\/strong> Nocturne No. 11 in G Minor, Op. 37, No. 1: Andante sostenuto – Nocturne No. 12 in G major, Op. 37, No. 2: Andantino – Nocturne No. 13 in C Minor, Op. 48, No. 1: Lento – Nocturne No. 14 in F-Sharp Minor, Op. 48, No. 2: Andantino – Nocturne No. 15 in F Minor, Op. 55, No. 1: Andante – Nocturne No. 16 in E-Flat Major, Op. 55, No. 2: Lento sostenuto – Nocturne No. 17 in B Major, Op. 62, No. 1: Andante – Nocturne No. 18 in E Major, Op. 62, No. 2: Lento – Nocturne No. 19 in E Minor, Op. posth. 72, No. 1: Andante – Nocturne No. 20 in C-Sharp Minor, Op. posth.: Lento con gran espressione – Nocturne No. 21 in C Minor, Op. Posth.<\/p>\n

Aldo Ciccolini<\/strong>, Piano.<\/p>\n

CD 5\u00a0:<\/strong>
\nRobert SCHUMANN\u00a0:<\/strong> Faschingsschwank aus Wien, Op. 26: I. Allegro – II. Romanze – III. Scherzino – IV. Intermezzo – V. Final – Wladszenen, Op. 82: I. Eintritt – II. J\u00e4ger auf der Lauer – III. Einsame Blumen – IV. Verrufene Stelle – V. Freundliche Landschaft – VI. Herberge – VII. Vogel als Prophet – VIII. Jagdlied – IX. Abschied – Piano Sonata No. 3 in F Minor, Op. 14 “Concerto without Orchestra”: I. Allegro – II. Scherzo – III. Quasi variazioni – IV. Prestissimo possibile.<\/p>\n

Aldo Ciccolini<\/strong>, Piano.<\/p>\n

CD 6\u00a0:<\/strong>
\nEdvard GRIEG\u00a0:<\/strong> Lyric Pieces, Book 1, Op. 12: I. Arietta – II. Valse (Waltz) – III. Chant du gardien de nuit (Watchman’s Song) – IV. Danse des f\u00e9es (Elves’ Dance) – V. Chant populaire (Folk Tune) – VI. M\u00e9lodie norv\u00e9gienne (Norwegian Melody) – VII. Feuille d’album (Albumleaf) – VIII. Chant national (National Song) – Lyric Pieces, Book 2, Op. 38: I. Berceuse (Lullaby) – II. Chant populaire (Folk Tune) – III. M\u00e9lodie (Melody) – IV. Halling – V. Springdans (Leaping Dance) – VI. El\u00e9gie (Elegy) – VII. Valse (Waltz) – VIII. Canon – Lyric Pieces, Book 3, Op. 43: I. Papillon (Butterfly) – II. Voyageur solitaire (Lonely Wanderer) – III. Au pays natal (In the Homeland) – IV. Petit oiseau (Little Bird) – V. Erotique (Erotik) – VI. Au printemps (Spring Time) – Lyric Pieces, Book 4, Op. 47: I. Valse-impromptu – II. Feuille d’album (Albumleaf) – III. M\u00e9lodie (Melody) – IV. Halling – V. M\u00e9lancolie (Melancholy) – VI. Springdans (Leaping Dance) – VII. El\u00e9gie (Elegy).<\/p>\n

Aldo Ciccolini<\/strong>, Piano.<\/p>\n

CD 7\u00a0:<\/strong>
\nEdvard GRIEG\u00a0:<\/strong> Lyric Pieces, Book 5, Op. 54: I. Le berger (Herdboy) – II. Marche des paysans norv\u00e9giens (Norwegian Peasant March) – III. Marche des nains (March of the Trolls) – IV. Notturno – V. Scherzo – VI. Sonnerie des cloches (Bellringing) – Lyric Pieces, Book 6, Op. 57: I. Tomb\u00e9e du jour (Vanished Days) – II. Gade – III. Illusion – IV. Secret – V. Elle danse (She Dances) – VI. Mal du pays (Homesick) – Lyric Pieces, Book 7, Op. 62: I. Sylphe – II. Gratitude – III. S\u00e9r\u00e9nade fran\u00e7aise (French Serenade) – IV. Ruisselet (Brooklet) – V. Fant\u00f4me (Phantom) – VI. Vers la patrie (Homeward).<\/p>\n

Aldo Ciccolini<\/strong>, Piano.<\/p>\n

CD 8\u00a0:<\/strong>
\nEdvard GRIEG\u00a0:<\/strong> Lyric Pieces, Book 8, Op. 65: I. Des ann\u00e9es de la jeunesse (From Years of Youth) – II. Chant du paysan (Peasant’s Song) – III. M\u00e9lancolie (Melancholy) – IV. Salon – V. Nervure de feuille (Veined Leaf) – VI. Jour de noces \u00e0 Troldhaugen (Wedding Day at Trolldhaugen) – Lyric Pieces, Book 9, Op. 68: I. Chant des marins (Sailor’s Song) – II. Menuet de grand’m\u00e8re (Grandmother’s Minuet) – III. A tes pieds (At Your Feet) – IV. Soir en haute montagne (Evening in the Mountains) – V. Au berceau (Cradle Song) – VI. Valse m\u00e9lancolique (Melancholy Waltz) – Lyric Pieces, Book 10, Op. 71: I. Il \u00e9tait une fois (Once Upon a Time) – II. Soir d’\u00e9t\u00e9 (Summer Evening) – III. Lutin (Puck) – IV. La paix des bois (Peace of the Woods) – V. Halling – VI. Pass\u00e9 (Gone) – VII. Souvenirs (Remembrance).<\/p>\n

Aldo Ciccolini<\/strong>, Piano.<\/span><\/p>\n

See more on Wikipedia<\/a><\/p>\n

VEL 1530 Booklet.pdf<\/a><\/p>\n

\u00ab Every one of the discs that I recordedwith Aldo Ciccolini remains etched in my <\/em>memory.<\/em>
\nHe was a committed man, on a perpetual quest for perfection.<\/em>
\nHe was \u2018music\u2019 himself. It never left him. Even in the middle of the night.<\/em>
\nHe knew all the music in the world. Or practically. He adored quoting or playing operas, symphonies, and chamber music on the piano, having us touch with the finger such and such influences, singing a theme reprised in homage by a great composer.<\/em>
\nAbove all, he was a transmitter: a large part of his life was devoted to receiving young people, whom he considered not as students but as musicians. Discs had the same mission: to leave traces of music that was rarely played or ill-known.<\/em>
\nHis repertoire was vast, and D\u00e9odat de S\u00e9verac or Federico Mompou occupied the same place in his heart as Beethoven or Chopin.<\/em>[show_more more=”Show More” less=”Show Less”]<\/p>\n

My first meeting with Aldo Ciccolini, in 1996, was quite moving.<\/em><\/p>\n

We had to decide on the first disc we wanted to make together. His choice of recording encores amazed me because I imagined that he had other desires. He thought this repertoire would be ideal for a producer… But it was not what I imagined for our first collaboration, even though I was happy to see this list of magnificent, well-known pieces…<\/em>
\nI simply wanted him to record a disc that he deeply wanted to have released.<\/em>
\nAfter many discussions, and after having promised, even without knowing the programme, I agreed in advance. He confessed: the works of Jan\u00e1\u010dek!<\/em>
\nHe recorded with unbelievable intensity, a profound and moving interiority. It was a lesson in humility for me, since he had initially thought of pleasing me.<\/em>
\nThis friendship led us to record many other discs, each of which was fascinating.<\/em><\/p>\n

I observed on numerous occasions that his way of envisaging a work had nothing to do <\/em>with what other pianists were doing or even with his own desires of the moment.<\/em>
\nHis conception was built above all on his personal conviction shaped by his vast culture and, especially, the texts.<\/em>
\nThis is the reason for which each recording by Aldo Ciccolini is unique and never resembles what we thought we knew about a work.<\/em>
\nThat is the mark of the greats.<\/em>
\nIn the course of recording the Chopin Nocturnes, on the second day he asked me what I thought.<\/em>
\nI told him that not everyone would like it\u2026 His response was immediate: It doesn\u2019t matter!<\/em>
\nThis reply should not be seen as arrogant. It simply meant that he did not play to charm listeners but to respond to the huge responsibility he felt vis-\u00e0-vis the composer. He played for the composers first and foremost.<\/em><\/p>\n

It was often quite difficult to choose one take among several others that were just as magnificent \u2014 each one could relate a landscape, observed from several points of the compass \u2014 without their contradicting each other. Aldo was of no help in those moments, because he trusted me and knew how much I would respect his choices. Moreover, the exercise of editing or formatting hardly interested him. He came at the very end to listen to the work and put his finishing touch. \u2018To choose is to renounce\u2019 is a maxim that I therefore often experienced.<\/em><\/p>\n

Beyond those intense moments shared with him over the years, above all I remember that he was like no one else. What drove him was leaving interpretations in which he told a story with emotion, sincerity, rigour and authenticity.\u00a0\u00bb<\/em><\/p>\n

Jo\u00ebl Perrot<\/strong>, Artistic director and engineer
\nfor Aldo Ciccolini\u2019s recordings
\nfrom 1996 to 2016
\nTranslated by John Tyler Tuttle<\/p>\n

[\/show_more]<\/p>\n

Attention!<\/span><\/strong> CD 1, and 2 (except Chopin’s works) are not available on iTunes<\/strong><\/span><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

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