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Maria João Pires - Maria João Pires - Great Piano Works (2022)

Maria João Pires - Maria João Pires - Great Piano Works (2022)
  • Title: Maria João Pires - Great Piano Works
  • Year Of Release: 2022
  • Label: UMG Recordings, Inc.
  • Genre: Classical
  • Quality: FLAC (tracks)
  • Total Time: 15:45:12
  • Total Size: 3.17 GB
  • WebSite:
Tracklist:

01. VI. Menuet I da capo
02. VI. Menuet II
03. No. 14 in E-Flat Minor
04. VI. Gavotte II ou la Musette
05. VIb Gavotte I da capo
06. II. Allegro molto e vivace
07. III. Scherzo (Allegro molto)
08. III. Rondo (Allegretto)
09. No. 11 in B Major
10. No. 1 Molto vivace in D Major "Minute Waltz"
11. Chopin: Mazurka No. 45 in G Minor, Op. 67 No. 2
12. No. 12 in G-Sharp Minor
13. No. 18 in F Minor
14. No. 19 in E-Flat Major
15. No. 16 in B-Flat Minor
16. I. Praeludium
17. V. Menuet I
18. IV. Air
19. V. Gavotte I
20. II. Courante
21. V. Menuet I-II
22. Chopin: Mazurka No. 39 in B Major, Op. 63 No. 1
23. Chopin: Mazurka No. 37 in A-Flat Major, Op. 59 No. 2
24. Chopin: Mazurka No. 47 in A Minor, Op. 67 No. 4
25. Chopin: Mazurka No. 51 in F Minor, Op. 68 No. 4
26. II. Allegretto
27. II. Prestissimo
28. III. Scherzo. Allegro
29. II. Allemande
30. VII. Giga
31. III. Courante
32. III. Corrente
33. VI. Gigue
34. VII. Gigue
35. III. Presto
36. Allegretto
37. Lento
38. No. 13 in F-Sharp Major
39. Tempo giusto
40. Chopin: Nocturne No. 1 in B-Flat Minor, Op. 9 No. 1
41. Moderato
42. Chopin: Nocturne No. 2 in E-Flat Major, Op. 9 No. 2
43. Chopin: Nocturne No. 4 in F Major, Op. 15, No. 1
44. No. 15 in D-Flat Major ("Raindrop")
45. Chopin: Nocturne No. 15 in F Minor, Op. 55, No. 1
46. Chopin: Nocturne No. 10 in A-Flat Major, Op. 32, No. 2
47. No. 17 in A-Flat Major
48. Chopin: Nocturne No. 13 in C Minor, Op. 48, No. 1
49. Chopin: Nocturne No. 18 in E Major, Op. 62, No. 2
50. Chopin: Nocturne No. 11 in G Minor, Op. 37, No. 1
51. Chopin: Mazurka No. 38 in F-Sharp Minor, Op. 59 No. 3
52. Chopin: Nocturne No. 5 in F-Sharp Major, Op. 15 No. 2
53. Chopin: Nocturne No. 7 in C-Sharp Minor, Op. 27, No. 1
54. Chopin: Nocturne No. 8 in D-Flat Major, Op. 27 No. 2
55. Chopin: Nocturne No. 20 in C-Sharp Minor, Op. Posth.
56. No. 2 Nocturne in E Major (Lento)
57. Moderato
58. No. 1 Nocturne in B Major (Andante)
59. Impromptu No. 4 in C-Sharp Minor, Op. 66 "Fantaisie-Impromptu"
60. Berceuse in D-Flat Major, Op. 57
61. II. Scherzo (Molto vivace)
62. IV. Finale (Presto non tanto)
63. II. Scherzo (Allegro con brio)
64. III. Largo
65. IV. Finale (Allegro)
66. I. Andante - Allegro - Tempo I
67. III. Adagio con espressione
68. IV. Allegro vivace - Tempo I - Presto
69. I. Adagio sostenuto
70. III. Presto
71. I. Vivace, ma non troppo - Adagio espressivo - Tempo I
72. I. Allegro vivace
73. II. Andante più tosto allegretto
74. III. Allegro piacevole
75. I. Allegro
76. II. Adagio molto espressivo
77. IV. Rondo (Allegro ma non troppo)
78. I. Presto
79. II. Andante scherzoso, più allegretto
80. III. Allegro molto
81. I. Allegro con brio
82. II. Tema con variazioni (Andante con moto)
83. III. Rondo (Allegro)
84. I. Allegro con spirito
85. II. Adagio con molt'espressione
86. III. Rondo (Allegro molto)
87. I. Allegro assai
88. II. Tempo di minuetto, ma molto moderato e grazioso
89. III. Allegro vivace
90. III. Finale (Presto)
91. II. Adagio espressivo
92. IV. Poco allegretto
93. I. Allegro
94. II. Adagio
95. III. Allegretto con variazioni
96. I. Allegro con brio
97. II. Adagio cantabile
98. III. Scherzo (Allegro)
99. IV. Finale (Allegro)
100. I. Prélude
101. Pastorale in F Major, BWV 590 - Arr. For Cello And Piano (Live)
102. IV. Sarabande
103. II. Allemande
104. III. Sarabande
105. IV. Sarabande
106. IVb. Les agréments de la même Sarabande
107. I. Allemande
108. II. Adagio
109. I. Allegro vivace - Cadenza
110. II. Andantino
111. III. Allegro ma non troppo
112. II. Larghetto (Live)
113. II. Andante (Live)
114. III. Allegretto (Live)
115. II. Andante
116. III. Allegro vivace assai
117. II. Larghetto (Live)
118. III. Allegro (Live)
119. II. Romance (Live)
120. III. Rondo (Allegro assai) (Live)
121. I. Allegro
122. II. Andante
123. III. Allegro
124. I. Allegro assai
125. II. Adagio
126. III. Presto
127. I. Allegro
128. II. Andante amoroso
129. III. Rondeau (Allegro)
130. I. Adagio
131. II. Menuetto I-II
132. III. Allegro
133. I. Allegro
134. II. Andante
135. III. Presto
136. I. Allegro
137. II. Rondeau en Polonaise (Andante)
138. I. Allegro con spirito
139. II. Andante, un poco adagio
140. III. Rondeau (Allegretto grazioso)
141. I. Allegro con spirito
142. II. Andantino con espressione
143. III. Rondeau (Allegro)
144. I. Allegro maestoso
145. II. Andante cantabile con espressione
146. I. Allegro moderato
147. II. Andante cantabile
148. III. Allegretto
149. II. Menuetto
150. III. Allegretto
151. I. Allegro
152. III. Allegro assai
153. III. Allegretto grazioso
154. I. Molto allegro
155. II. Adagio
156. III. Allegro assai
157. III. Rondo (Allegretto), K.494
158. I. Allegro
159. II. Andante
160. I. Allegro
161. II. Adagio
162. III. Allegretto
163. I. Allegro
164. II. Adagio
165. III. Allegretto
166. I. Allegro
167. II. Larghetto
168. III. Allegretto
169. II. Andante
170. I. Allegro assai
171. II. Adagio
172. III. Rondeau (Tempo di menuetto)
173. II. Allegro
174. I. Allegro
175. II. Tempo di minuetto
176. I. Allegro moderato
177. II. Andantino sostenuto e cantabile
178. III. Rondo (Allegro)

Acclaimed as one of the greatest interpreters of Mozart, Portuguese pianist Maria-João Pires is an artist who combines exquisite stylistic refinement with a serious effort to plumb the intellectual complexities and spiritual depths of music. Refusing to conform to the traditional image of a concert virtuoso, Pires emphasizes the spiritual dimensions of music, always searching for hidden meanings which may elude the analytical performer. This remarkable reverence toward works of music, clearly manifested in her performances of Mozart, was made explicit by her remark that, as a performer, she acts as a channel for the composer's ideas. Interestingly, Pires views both the composer and the performer as conduits for a transcendent force. However, while approaching the work of music with immense awe, Pires is acutely aware of its formal structure, finding a certain transparency in the most intricate formal constructions. In her performances of Romantic masters, particularly Chopin and Schumann, Pires masterfully reconciles her passionate experience of the music with an admirable appreciation for the inner logic of the work she is interpreting. Reflecting her vast emotional range, her tone, as critics have observed, encompasses a dizzying variety of intensities, from an almost imperceptible lightness to an imposing monumentality, with a rich scale of intervening nuances. Another hallmark of her style is her uncanny ability to capture, and convey, the precise variety of inner movement that constitutes the being of a particular musical creation.

Pires started playing at the age of three, giving her first public performance two years later. Pires performed Mozart concertos when she was seven and received Portugal's major prize for musicians at nine. She studied with Campos Coelho and Francine Benoit at the Lisbon Conservatory, graduating at 16. Post-graduate studies took her to Germany, where she studied with Rösl Schmidt, in Munich, and with Karl Engel, in Hanover. In 1970, she won the Beethoven Bicentennial Competition in Brussels. Pires made her London debut in 1986, and she first played in New York three years later. She has performed with the major European and American orchestras, including the Berlin Philharmonic Orchestra, the Boston Symphony Orchestra, the London Philharmonic Orchestra, the Orchestre de Paris, and the Concertgebouw Orchestra. Often praised for her extraordinary renditions of Mozart's works, Pires has shown a remarkable affinity with several of the greatest composers, including Bach, Chopin, and Schubert. An enormously successful recording artist, Pires, who since 1989 records exclusively for Deutsche Grammophon, released several critically acclaimed discs, including a Bach disc, recordings of Chopin's Nocturnes and Schubert's Impromptus, and a recording of two Mozart concertos with Claudio Abbado. Her recording of Mozart's complete sonatas received the 1990 Grand Prix du Disque. Since 1989, Pires has been an enthusiastic performer of chamber music, touring Europe and the Far East with violinist Augustin Dumay. Forming a trio with Dumay and cellist Jian Wang, Pires toured the Far East in 1998, playing Beethoven's Concerto for piano, violin, cello, and orchestra in several European centers in 1999. In 2000, Pires decided to take several months off in order to concentrate on a variety of educational projects in Portugal. Several collections of her performances, including Artist Portrait: Maria-João Pires, appeared in the early 2000s. By 2005, she was recording again, releasing a disc of Schubert duets with Ricardo Castro, and in 2008 a new two-disc set of Chopin's music. ~ Zoran Minderovic


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