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Classical - Released October 17, 2014 | RCA Red Seal

To a great degree, this disc captures the excitement of Jorge Bolet's legendary recital at Carnegie Hall on February 25, 1974, and only falls short in conveying this pianist's enormous sound. The original analog recording is somewhat diminished in the digital transfer, and the inadequate technology of 1988 makes this CD a prime candidate for a new remastering. Yet Bolet's performances shine through the limited audio, and his mastery is what makes this album an essential item in any collection. His playing of the Bach/Busoni Chaconne in D minor is as controlled as possible, in light of its contrapuntal crossings and sudden changes of textures. Bolet gives a vigorous performance with only a few wrong notes -- easy to forgive when the daunting complexities of this arrangement are considered -- and the music is rich and powerful. In Chopin's Preludes, Bolet balances the shifting moods with great discipline, perhaps favoring the pensive preludes by minimizing the exuberance of the brighter pieces, but never at the expense of the set's continuity. Bolet's incredible ability to orchestrate at the keyboard is most apparent in Liszt's transcription of Wagner's Tannhäuser Overture, a tour de force of the piano's timbral possibilities. Decidedly the most dazzling offering of the evening, this extraordinary performance invites repeated listening. © TiVo
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Classical - Released January 1, 1960 | Everest

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Classical - Released January 1, 1987 | Decca Music Group Ltd.

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Classical - Released October 17, 2014 | RCA Red Seal

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Classical - Released January 1, 2014 | Decca Music Group Ltd.

Jorge Bolet was an avowed Romantic, happy to relax once the serious business of his recital was over. Like Moiseiwitsch, he could be mischievously enterprising, challenging his audience to guess the composer of this or that rare poetic jewel or confection or, like Rubinstein, he could affectionately confirm and recreate their favourites. With delightful old world charm, fleet of finger, yet ever conscious of the singing line, Bolet weaves pure magic in this collection of encores. After a long absence from the catalogue, this disc returns, now at budget price. (© Decca Music Group Limited / Universal Music Australia Pty Ltd.)
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Classical - Released October 1, 2011 | APR

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Classical - Released March 1, 1984 | Decca Music Group Ltd.

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Classical - Released October 17, 2014 | RCA Red Seal

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Classical - Released April 24, 2001 | RCA Red Seal

Jorge Bolet was one of those artists whose performances in the studio often failed to catch the fire that sparked in live recitals. It is no wonder that among Bolet's greatest recordings is the RCA two-LP set of a Carnegie Hall recital of 1974. So the title of this CD, Bolet Rediscovered Liszt Recital holds out a promise that is not completely fulfilled. What was rediscovered is, in fact, a master tape of a 1972 studio recording of eight pieces by Franz Liszt. It is a very superior recorded program, to be sure, and ought to please the fans of composer and pianist alike. The program notes state that the reason for the failure to release the tape is still unknown, but speculates the idea was probably to make a two-LP set with future recordings, and that for some reason the master got stored without proper documentation until discovered at the turn of the century. In some cases it provides interpretations that essentially duplicate releases that have long been familiar -- for instance, the Funérailles or his unusually dreamy version of the Campanella etude. On the other hand, the Grand Galop chromatique is here fleet and playful (in contrast with his sober Decca recording) and his Liebestraum and Un sospiro are entirely successful. The most valuable recording is Bolet's only taping of the Rhapsodie espagnole, and impulsive recording with textual retouching by Bolet. Then there is an unbuttoned run-through of Liszt's Tannhäuser Overture arrangement that Bolet played after a 1973 session was over, perhaps unaware that the engineers managed to get the recorders running in the nick of time. Although there are several finger faults, there is a joy in Bolet playing essentially for himself that comes close to his public recital fire. The sound in all cases is fine. © TiVo
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Classical - Released January 1, 1987 | Decca Music Group Ltd.

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Classical - Released January 1, 1990 | Decca Music Group Ltd.

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Classical - Released October 17, 2014 | RCA Red Seal

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Classical - Released January 1, 2014 | Decca Music Group Ltd.

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Classical - Released April 12, 2019 | SWR Classic

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Classical - Released July 22, 1978 | Decca Music Group Ltd.

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Classical - Released September 11, 2007 | Musical Concepts

The name of pianist Jorge Bolet is almost synonymous with the recorded works of Franz Liszt. Extremely active as a pedagogue in his earlier years, Bolet's recording legacy didn't truly hit its stride until the late '70s. This recording of the two Liszt concertos from 1979, therefore, marks the beginning of that chapter of Bolet's career and also the early conducting post of David Zinman with the Rochester Symphony Orchestra. Both of these concertos are a testament to Bolet's repute with Liszt. Shying away from a strictly technical or virtuosic interpretation of the two masterworks, Bolet's playing is filled with nuance, attention to the details of the score, and above all, musical insight. The second movement of the First Concerto in particular demonstrates the sentimental side of Liszt and Bolet's capacity to captivate and enthrall listeners with his long lines, lush harmonies, and warm sound. The Rochester Symphony Orchestra provides a splendid backdrop to Bolet's performance; balance between the orchestra and soloist always allows the piano to be heard without making the orchestra sound timid. Recorded nearly 20 years earlier, the sound quality in the B minor sonata is almost indistinguishable from the two concertos, a testament to the superb remastering. In the sonata, Bolet's playing is equally as passionate and musical, but somewhat weaker from a technical perspective with frequent wrong notes. © TiVo
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Classical - Released April 1, 2014 | SWR Classic

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Classical - Released August 25, 1965 | Olympic Records