GMovier - 极影客

simon barere是horowitz的师兄，技巧可为20世纪第一人，在下最近苦觅其apr录音，可惜已经绝版，好不容易搞到一个piano library的转制。在此诚求他的apr卡耐基vol1-5和hmw recording
zz from http://classicalcdreview.com

simon barere (1896 - 1951) unquestionably was one of the most phenomenal
pianists of the 20th century. (for him not to be included in the philips
great pianists of the 20th century series is preposterous, perhaps the greatest
of several major oversights of the series). born september 1, 1896 in odessa
, the eleventh of thirteen children, he studied piano when young, advanced
quickly and soon helped support his family by playing in cinemas and
restaurants
. he went to st. petersburg where he duly impressed glazunov who was able
to waive regulations that prevented jews from studying at the conservatory
, and kept the young man in the conservatory longer than necessary to protect
him from compulsory army conscription. while at the conservatory, barere
studied with annette essipova, a leading teacher of the time. after her
death he studied with felix blumenfeld, whose other pupils included heinrich
neuhaus, vladimir horowitz and maria grinberg. upon graduation barere
won the prestigious rubinstein prize at which time glazunov said, "barere
is franz liszt in the one hand and anton rubinstein in the other."

after graduation barere began his virtuoso career, at the same time holding
the post of professor of piano at kiev conservatory. married to helen
vlashek, a fellow student, his career was drastically hindered by the ban
on touring outside the soviet union. in 1932 he was able to move his wife
and son, boris, to berlin, but because of hitler's persecution of jews,
barere was unable to give concerts and once again ha the most phenomenal
pianists of the 20th century. (for him not to be included in the philips
great pianists of the 20th century series is preposterous, perhaps the greatest
of several major oversights of the series). born september 1, 1896 in odessa
, the eleventh of thirteen children, he studied piano when young, advanced
quickly and soon helped support his family by playing in cinemas and
restaurants
. he went to st. petersburg where he duly impressed glazunov who was able
to waive regulations that prevented jews from studying at the conservatory
, and kept the young man in the conservatory longer than necessary to protect
him from compulsory army conscription. while at the conservatory, barere
studied with annette essipova, a leading teacher of the time. after her
death he studied with felix blumenfeld, whose other pupils included heinrich
neuhaus, vladimir horowitz and maria grinberg. upon graduation barere
won the prestigious rubinstein prize at which time glazunov said, "barere
is franz liszt in the one hand and anton rubinstein in the other."

after graduation barere began his virtuoso career, at the same time holding
the post of professor of piano at kiev conservatory. married to helen
vlashek, a fellow student, his career was drastically hindered by the ban
on touring outside the soviet union. in 1932 he was able to move his wife
and son, boris, to berlin, but because of hitler's persecution of jews,
barere was unable to give concerts and once again had to play in cabarets
and vaudeville stages to support his family.

simon barere made his british recital debut in 1934, an event so successful
that hmv signed him for a series of recordings (issued on apr cdapr 7001
, 2 cds) that year he also made his british concerto debut, with sir thomas
beecham conducting, playing the tchaikovsky first. one can assume that
barere was more disciplined in his performance than horowitz was when he
made his american debut with sir thomas and the nedying at the conservatory
, and kept the young man in the conservatory longer than necessary to protect
him from compulsory army conscription. while at the conservatory, barere
studied with annette essipova, a leading teacher of the time. after her
death he studied with felix blumenfeld, whose other pupils included heinrich
neuhaus, vladimir horowitz and maria grinberg. upon graduation barere
won the prestigious rubinstein prize at which time glazunov said, "barere
is franz liszt in the one hand and anton rubinstein in the other."

after graduation barere began his virtuoso career, at the same time holding
the post of professor of piano at kiev conservatory. married to helen
vlashek, a fellow student, his career was drastically hindered by the ban
on touring outside the soviet union. in 1932 he was able to move his wife
and son, boris, to berlin, but because of hitler's persecution of jews,
barere was unable to give concerts and once again had to play in cabarets
and vaudeville stages to support his family.

simon barere made his british recital debut in 1934, an event so successful
that hmv signed him for a series of recordings (issued on apr cdapr 7001
, 2 cds) that year he also made his british concerto debut, with sir thomas
beecham conducting, playing the tchaikovsky first. one can assume that
barere was more disciplined in his performance than horowitz was when he
made his american debut with sir thomas and the new york philharmonic playing
the same concerto in january 1928. (presumably by 1934 beecham had learned
the tchaikovsky¡ªglenn plaskin's biography of horowitz gives a detailed
account of the conductor's inadequacies, forgetfulness and perverseness at
horowitz's debut).

barere made his american debut with a recital in carnegie hall november 9
, 1936, to highest acclaim. he gave many concerts, touring australia, new

after graduation barere began his virtuoso career, at the same time holding
the post of professor of piano at kiev conservatory. married to helen
vlashek, a fellow student, his career was drastically hindered by the ban
on touring outside the soviet union. in 1932 he was able to move his wife
and son, boris, to berlin, but because of hitler's persecution of jews,
barere was unable to give concerts and once again had to play in cabarets
and vaudeville stages to support his family.

simon barere made his british recital debut in 1934, an event so successful
that hmv signed him for a series of recordings (issued on apr cdapr 7001
, 2 cds) that year he also made his british concerto debut, with sir thomas
beecham conducting, playing the tchaikovsky first. one can assume that
barere was more disciplined in his performance than horowitz was when he
made his american debut with sir thomas and the new york philharmonic playing
the same concerto in january 1928. (presumably by 1934 beecham had learned
the tchaikovsky¡ªglenn plaskin's biography of horowitz gives a detailed
account of the conductor's inadequacies, forgetfulness and perverseness at
horowitz's debut).

barere made his american debut with a recital in carnegie hall november 9
, 1936, to highest acclaim. he gave many concerts, touring australia, new
zealand and south america as well as the united states, where he gave a
series of concerts in carnegie hall¡ªmajor events on the musical scene.
his final concert was april 2, 1951 when he was performing grieg's piano
concerto with eugene ormandy and the philadelphia orchestra in carnegie hall
only to collapse at the keyboard from a fatal cerebral hemorrhage.

barere's recordings are quite limited. he recordedhad to play in cabarets
and vaudeville stages to support his family.

simon barere made his british recital debut in 1934, an event so successful
that hmv signed him for a series of recordings (issued on apr cdapr 7001
, 2 cds) that year he also made his british concerto debut, with sir thomas
beecham conducting, playing the tchaikovsky first. one can assume that
barere was more disciplined in his performance than horowitz was when he
made his american debut with sir thomas and the new york philharmonic playing
the same concerto in january 1928. (presumably by 1934 beecham had learned
the tchaikovsky¡ªglenn plaskin's biography of horowitz gives a detailed
account of the conductor's inadequacies, forgetfulness and perverseness at
horowitz's debut).

barere made his american debut with a recital in carnegie hall november 9
, 1936, to highest acclaim. he gave many concerts, touring australia, new
zealand and south america as well as the united states, where he gave a
series of concerts in carnegie hall¡ªmajor events on the musical scene.
his final concert was april 2, 1951 when he was performing grieg's piano
concerto with eugene ormandy and the philadelphia orchestra in carnegie hall
only to collapse at the keyboard from a fatal cerebral hemorrhage.

barere's recordings are quite limited. he recorded no concertos commercially
, and only the group of hmv solo recordings from 1934/1936. the remainder
of his recorded legacy consists of live performances recorded in carnegie
hall by his son boris, who made them whenever finances permitted. these
were 78 rpm acetates cut in a remote room in carnegie hall without visual
contact with the stage resulting in occasional, but fortunately not very
often, missing sections of music. many of these live recordings were issued
on lp almost a half-plined in his performance than horowitz was when he
made his american debut with sir thomas and the new york philharmonic playing
the same concerto in january 1928. (presumably by 1934 beecham had learned
the tchaikovsky¡ªglenn plaskin's biography of horowitz gives a detailed
account of the conductor's inadequacies, forgetfulness and perverseness at
horowitz's debut).

barere made his american debut with a recital in carnegie hall november 9
, 1936, to highest acclaim. he gave many concerts, touring australia, new
zealand and south america as well as the united states, where he gave a
series of concerts in carnegie hall¡ªmajor events on the musical scene.
his final concert was april 2, 1951 when he was performing grieg's piano
concerto with eugene ormandy and the philadelphia orchestra in carnegie hall
only to collapse at the keyboard from a fatal cerebral hemorrhage.

barere's recordings are quite limited. he recorded no concertos commercially
, and only the group of hmv solo recordings from 1934/1936. the remainder
of his recorded legacy consists of live performances recorded in carnegie
hall by his son boris, who made them whenever finances permitted. these
were 78 rpm acetates cut in a remote room in carnegie hall without visual
contact with the stage resulting in occasional, but fortunately not very
often, missing sections of music. many of these live recordings were issued
on lp almost a half-century ago on the budget-priced remington label; in
the era of cd, apr issued them in far superior sound (7001, 7008, 7009)
. the first of these (7001) contains the complete hmv recordings (1934-1936
) and remains in the catalog. the others have been discontinued¡ªalthough
they are still listed in schwann/opus.

now apr has remastered (with great success) all of these recordings and is
in the process of reissuing not only what previously was available, but
a few additional itecclaim. he gave many concerts, touring australia, new
zealand and south america as well as the united states, where he gave a
series of concerts in carnegie hall¡ªmajor events on the musical scene.
his final concert was april 2, 1951 when he was performing grieg's piano
concerto with eugene ormandy and the philadelphia orchestra in carnegie hall
only to collapse at the keyboard from a fatal cerebral hemorrhage.

barere's recordings are quite limited. he recorded no concertos commercially
, and only the group of hmv solo recordings from 1934/1936. the remainder
of his recorded legacy consists of live performances recorded in carnegie
hall by his son boris, who made them whenever finances permitted. these
were 78 rpm acetates cut in a remote room in carnegie hall without visual
contact with the stage resulting in occasional, but fortunately not very
often, missing sections of music. many of these live recordings were issued
on lp almost a half-century ago on the budget-priced remington label; in
the era of cd, apr issued them in far superior sound (7001, 7008, 7009)
. the first of these (7001) contains the complete hmv recordings (1934-1936
) and remains in the catalog. the others have been discontinued¡ªalthough
they are still listed in schwann/opus.

now apr has remastered (with great success) all of these recordings and is
in the process of reissuing not only what previously was available, but
a few additional items as well. the first two volumes have been released.
volume iii will be issued later this year with the two remaining sets scheduled
for 2001.

volume i opens with liszt's piano concerto no. 1 performed may 17, 1946 with
the new york philharmonic conducted by david broekman, a "pop" concert which
apparently had limited rehearsal. barere's performance is demoniac, not
without an occasional false note, but unquestionably one of the most exciting
recordingsthe group of hmv solo recordings from 1934/1936. the remainder
of his recorded legacy consists of live performances recorded in carnegie
hall by his son boris, who made them whenever finances permitted. these
were 78 rpm acetates cut in a remote room in carnegie hall without visual
contact with the stage resulting in occasional, but fortunately not very
often, missing sections of music. many of these live recordings were issued
on lp almost a half-century ago on the budget-priced remington label; in
the era of cd, apr issued them in far superior sound (7001, 7008, 7009)
. the first of these (7001) contains the complete hmv recordings (1934-1936
) and remains in the catalog. the others have been discontinued¡ªalthough
they are still listed in schwann/opus.

now apr has remastered (with great success) all of these recordings and is
in the process of reissuing not only what previously was available, but
a few additional items as well. the first two volumes have been released.
volume iii will be issued later this year with the two remaining sets scheduled
for 2001.

volume i opens with liszt's piano concerto no. 1 performed may 17, 1946 with
the new york philharmonic conducted by david broekman, a "pop" concert which
apparently had limited rehearsal. barere's performance is demoniac, not
without an occasional false note, but unquestionably one of the most exciting
recordings of this music. the remaining works on the cd are from a concert
november 18, 1946, the featured work being barere's only beethoven recording
, the sonata no. 31 in a flat, heard after a scintillating super-romantic
performance of bach's chromatic fantasia and fugue. because of recording
difficulties mentioned above, chopin's f minor fantasia is incomplete (this
work can be heard in its entirety in volume ii, from a later concert); chopin
is cut short again in the appendixed item, the ballade no.gton label; in
the era of cd, apr issued them in far superior sound (7001, 7008, 7009)
. the first of these (7001) contains the complete hmv recordings (1934-1936
) and remains in the catalog. the others have been discontinued¡ªalthough
they are still listed in schwann/opus.

now apr has remastered (with great success) all of these recordings and is
in the process of reissuing not only what previously was available, but
a few additional items as well. the first two volumes have been released.
volume iii will be issued later this year with the two remaining sets scheduled
for 2001.

volume i opens with liszt's piano concerto no. 1 performed may 17, 1946 with
the new york philharmonic conducted by david broekman, a "pop" concert which
apparently had limited rehearsal. barere's performance is demoniac, not
without an occasional false note, but unquestionably one of the most exciting
recordings of this music. the remaining works on the cd are from a concert
november 18, 1946, the featured work being barere's only beethoven recording
, the sonata no. 31 in a flat, heard after a scintillating super-romantic
performance of bach's chromatic fantasia and fugue. because of recording
difficulties mentioned above, chopin's f minor fantasia is incomplete (this
work can be heard in its entirety in volume ii, from a later concert); chopin
is cut short again in the appendixed item, the ballade no. 4, which is missing
the first 14 bars. the remainder of the cd is barere at his finest. we have
his mentor, glazunov's, etude in c, two solo works of liszt mentioned above
(there is no more mercurial performance of gnomenreigen on recordings),
and a stunning performance of the presto from weber's first sonata.

volume ii was recorded march 9, 1947 and opens with chopin's f-minor fantasy
. liszt is the prime composer on this cd, two concert etudes: a melting account
of un sospiro, and a sts well. the first two volumes have been released.
volume iii will be issued later this year with the two remaining sets scheduled
for 2001.

volume i opens with liszt's piano concerto no. 1 performed may 17, 1946 with
the new york philharmonic conducted by david broekman, a "pop" concert which
apparently had limited rehearsal. barere's performance is demoniac, not
without an occasional false note, but unquestionably one of the most exciting
recordings of this music. the remaining works on the cd are from a concert
november 18, 1946, the featured work being barere's only beethoven recording
, the sonata no. 31 in a flat, heard after a scintillating super-romantic
performance of bach's chromatic fantasia and fugue. because of recording
difficulties mentioned above, chopin's f minor fantasia is incomplete (this
work can be heard in its entirety in volume ii, from a later concert); chopin
is cut short again in the appendixed item, the ballade no. 4, which is missing
the first 14 bars. the remainder of the cd is barere at his finest. we have
his mentor, glazunov's, etude in c, two solo works of liszt mentioned above
(there is no more mercurial performance of gnomenreigen on recordings),
and a stunning performance of the presto from weber's first sonata.

volume ii was recorded march 9, 1947 and opens with chopin's f-minor fantasy
. liszt is the prime composer on this cd, two concert etudes: a melting account
of un sospiro, and a staggering performance of la leggierezza, as well as
what probably is the definitive recorded performance of fun¨¨railles. also
we have liszt's petrarch sonnet 104 and hungarian rhapsody no. 12.. the
three encores that were recorded are scriabin's etude, op. 8/10, and two
rachmaninoff preludes, in g minor and g sharp minor.

these apr reissues are of enormous interest to those interested in the art
of playing the piano. each cd booklet begins with the same 3 the most exciting
recordings of this music. the remaining works on the cd are from a concert
november 18, 1946, the featured work being barere's only beethoven recording
, the sonata no. 31 in a flat, heard after a scintillating super-romantic
performance of bach's chromatic fantasia and fugue. because of recording
difficulties mentioned above, chopin's f minor fantasia is incomplete (this
work can be heard in its entirety in volume ii, from a later concert); chopin
is cut short again in the appendixed item, the ballade no. 4, which is missing
the first 14 bars. the remainder of the cd is barere at his finest. we have
his mentor, glazunov's, etude in c, two solo works of liszt mentioned above
(there is no more mercurial performance of gnomenreigen on recordings),
and a stunning performance of the presto from weber's first sonata.

volume ii was recorded march 9, 1947 and opens with chopin's f-minor fantasy
. liszt is the prime composer on this cd, two concert etudes: a melting account
of un sospiro, and a staggering performance of la leggierezza, as well as
what probably is the definitive recorded performance of fun¨¨railles. also
we have liszt's petrarch sonnet 104 and hungarian rhapsody no. 12.. the
three encores that were recorded are scriabin's etude, op. 8/10, and two
rachmaninoff preludes, in g minor and g sharp minor.

these apr reissues are of enormous interest to those interested in the art
of playing the piano. each cd booklet begins with the same 3 1/2 page biography
; it might have been more helpful for the collector if this space had been
used for more information about barere, where he performed and repertory
he played. i eagerly look forward to remaining issues in the series.

资源名称	资源类型	资源大小	下载历史
Simon Barere plays Rach2, etc.	FLAC	414M	50
The definitive simon and garfunkel COLUMBIA	APE	321M	101
Simon & Garfunkel	APE	4.20G	97
抛砖引玉：Simon Barere1946-1947play liszt	APE	121M	115
(NOW_ESPN)06-07英格足路士VS曼(BY SIMON) RMVB	RMVB	999M	87