Editorial Product Review:

Amazon.com essential recording:
Blessed with transcendent technique and an affinity for big, bold Romantic works, William Kapell has been hailed as America's greatest homegrown pianist. This comprehensive collection of his complete recorded output, previously unreleased recordings, and broadcast tapes adds luster to a reputation that's become legendary since his tragic death in a plane crash at age 31. The earliest recordings, from the mid-1940s, bristle with raw energy and virtuosic flourishes tempered by an innate musicality that rises above mere display.

The disc coupling Khachaturian and Prokofiev concertos is charged with excitement; the Rachmaninoff pairing of the Paganini Variations and the Concerto No. 2 weds the Grand Romantic style to poetic lyricism; and an inspired Liszt group is charged with dynamic energy. Best may be the two Chopin discs: spontaneous, rhythmically flexible sonatas and mazurkas. The later recordings demonstrate the repose that comes with artistic maturity, and the 'live' broadcasts reveal Kapell's warmth and spontaneity in concert. Splendid transfers help make this long-awaited set appealing to music lovers in general, as well as piano buffs. --Dan Davis









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Disc 1:

1. Allegro maestoso
2. Scherzo: Molto vivace
3. Largo
4. Finale: Presto, non tanto
5. Grave; Doppio movimento
6. Scherzo
7. Marche funèbre
8. Presto
9. 2. Adagio

Disc 2:

1. Introduction: Allegro vivace; Variation 1: (Precedente)
2. Tema: L'istesso tempo
3. Variation 2: L'istesso tempo
4. Variation 3: L'istesso tempo
5. Variation 4: Più vivo
6. Variation 5: Tempo precedente
7. Variation 6: L'istesso tempo
8. Variation 7: Meno mosso, a tempo moderato
9. Variation 8: Tempo 1
10. Variation 9: L'istesso tempo
11. Variation 10: Poco marcato
12. Variation 11: Moderato
13. Variation 12: Tempo di minuetto
14. Variation 13: Allegro
15. Variation 14: L'istesso tempo
16. Variation 15: Più vivo scherzando
17. Variation 16: Allegretto
18. Variation 17: [Allegretto]
19. Variation 18: Andante cantabile
20. Variation 19: A tempo vivace
21. Variation 20: Un poco più vivo
22. Variation 21: Un poco più vivo
23. Variation 22: Un poco più vivo (Alla breve)
24. Variation 23: L'istesso tempo
25. Variation 24: A tempo un poco meno mosso
26. Moderato: Allegro
27. Adagio sostenuto
28. Allegro scherzando

Disc 3:

1. Andante: Allegro
2. Tema: Andantino
3. Variation 1: Listesso tempo
4. Variation 2: Allegro
5. Variation 3: Allegro moderato (poco meno mosso)
6. Variation 4: Andante meditativo
7. Variation 5: Allegro giusto
8. Tema: Listesso tempo
9. Allegro ma non troppo
10. Allegro maestoso
11. Andante con anima
12. Allegro brillante

Disc 4:

1. Allegro con brio
2. Adagio
3. Rondo, Molto allegro
4. No. 2 in B major
5. No. 26
6. No. 32
7. No. 6 in Bf
8. no. 7 in B major
9. No. 34
10. G major, Op. 67/1, D734
11. D major, Op. 67/2, D734/2

Disc 5:

1. Ouverture
2. Allemande
3. Courante
4. Aria
5. Sarabande
6. Menuet
7. Allemande
8. Courante
9. Sarabandes 1 & 2
10. Gigue
11. 2. Adagio
12. Evocación
13. No. 1: Waltz of the Rainbow (To Carol)
14. No. 4: By the Brook (To 'Butten')
15. No. 5: Dancing Bagpipes (To David)
16. No. 6: Tricky Trumpet (To Bobby)
17. Dr. Gradus ad Parnassum
18. Jimbo's Lullaby
19. Serenade for the Doll
20. The Snow Is Dancing
21. The Little Shepherd
22. Golliwog's Cakewalk

Disc 6:

1. Lento; Allegro moderato
2. Allegro scherzando
3. Andante
4. Allegro mosso; Meno mosso; Moderato, Più vivo
5. Allegro appassionato
6. Andante un poco adagio
7. Allegretto grazioso
8. Vivace
9. Allegro
10. Adagio
11. Un poco presto e con sentimento
12. Presto agitato

Disc 7:

1. Molto moderato
2. Vivace
3. Andante sostenuto
4. Promenade
5. The Gnome
6. Promenade
7. Il vecchio castello / The Old Castle
8. Promenade
9. Tuileries
10. Bydlo
11. Promenade
12. Ballet of the Unhatched Chicks
13. Samuel Goldenberg and Schmuyle
14. Promenade
15. Limoges - The Market
16. Catacombs (Sepulchrum romanum)
17. Con mortis in lingua mortua
18. The Hut on Fowl's Legs
19. The Great Gate at Kiev

Disc 8:

1. Allemande (Beginning)
2. 1. Allegro moderato (beginning)
3. 1. Allegro maestoso (beginning)
4. 3. Largo
5. 2. Adagio

Customer Rating: - Very touched
I wrote my doctoral dissertation on William Kapell (we share the same school, and my teacher was a student of his), and to still see the outpouring of admiration and love for Kapell's art is still very moving for me.

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Customer Rating: - In Memorium
I heard William Kapell play the Rachmaninov Rhapsody on a Theme by Paganini with the fledgling Atlanta Symphony Orchestra in the late 1940's or very early 1950's. My only memory of the occasion is that I was enthralled. Kapell has held me in thrall ever since.

A few years later, in the middle 50's, I bought Kapell's recording of the same work, with Fritz Reiner and the Robin Hood Dell Orchestra (alias of The Philadelphia Orchestra). I still have that LP, though I wore it out long ago. It was the beginning of my musical education. But since 1998, we have had this wonderful box of reissues from the vaults of RCA. The sound is mostly excellent, considering the age of the monophonic originals. To this day, Kapell's Rachmaninov Rhapsody remains-in my opinion-the most impassioned, yet the most musical, reading of the piece ever recorded. No one had, or has, Kapell's combination of white-hot temperament, technical brilliance, and musical insight. We have had musical geniuses; technical wizards abound. It is the combination of these gifts, as Kapell possessed them in particular, married to his incendiary passion, that made him unique.

He was still learning, and he was learning at such an astounding rate! He had moved from Khachaturian to the most unforgettable Chopin B minor Sonata ever recorded in little more than a decade. His deep throated, noble, and articulate Bach has caused some to speculate that Glenn Gould might have found his inspiration in Kapell. One Gould biographer, and a New York critic, wrote that the reverse was true. The critic acknowledged the error, in print, noting that Kapell could not have been influenced by Gould's style since he had been dead for two years by the time of Gould's debut recital in New York City in 1955.

The lyrical side of romantic music is not what Kapell was or is known for, not his "style" as people remember him now. But listening to the lyrical music in this set shows a side of him that was, nevertheless, as real as any, and perhaps more revealing. It also gives us a notion of what we might have expected of William Kapell had he lived a normal span of years and played a normal variety of music. In a live performance, he plays Chopin's Nocturne, Op. 9, No. 1, with melting legato and exquisite timing: his innate sense about when to tug on the beat and when to surge forward makes the music breathe. His use of dynamic variety demands the greatest respect: at one point, the repetition of a melodic phrase is but a pale echo of its first statement. His tonal palette is no less wondrous. When a deep bass note suddenly appears, early in the A section of the ABA structure, it sounds-not loud nor quiet, not muffled nor distinct-but awesomely subterranean. Kapell begins the piece without much sustaining pedal, but in the B section, he subtly adds more and more. Then, when the A section returns near the end, the pedal disappears. This dramatic change in color-along with Chopin's change of key-seems like the parting of clouds. We are in the hands of two masters here, Chopin and Kapell. Kapell gave this performance in Carnegie Hall in February of 1945, when he was twenty-two years old.

In the Bach and Chopin works I've discussed, the steely, percussive tone that some speak of is nowhere to be heard. Rather, we hear a full, rich, and complex piano tone. In the Chopin Sonatas, the Debussy pieces, and the Schubert, Schumann, Mendelssohn, Debussy, and Albeniz, the sound Kapell produces is beautiful and varied.

He was a chamber musician of the first order, as his collaborations with Heifetz prove. (He was one of the very few musicians who had the force of personality to make Heifetz accompany HIM. And you can hear it.) And if you've never heard Rachmaninov's great Cello Sonata, played here with the grand Russian/German cellist Edmund Kurtz, you're in for a treat. There are several fine, modern stereo recordings, but this one is special. The piano part is very important-Rachmaninov did write it, after all-and Kapell is magnificent. This was Rachmaninov's next published work after the 2nd Piano Concerto, to give you an idea of its melodic grandeur. If there is a flaw here, it is that the piano is recorded too far back, relative to the cello.

Kapell died on October 30, 1953. He had just turned thirty-three. He played his last recital in Geelong, Australia, on the 22nd. It included the Chopin 2nd Piano Sonata which contains the well-known "Marche funèbre." That performance is included here, transferred from the original acetates. It is a great performance but very hard to listen to now, in light of what was to follow just over a week later. I am writing this one day short of the 52nd anniversary of Kapell's death. Had he lived until today, he would be younger than either Earl Wild or Ivan Moravec, both of whom are still making magnificent music. For those of us who love William Kapell's music, it is heartbreaking to consider, and fruitless. Thank Heaven we have recordings like the ones in this set. They are essential for any lover of good music.

John Pendley

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Customer Rating: - Priceless Souvenirs from a Rare Genius: Ave Atque Vale
During the last century we have had many tragic losses in the arts, often affecting men and women who are at the peak of their careers, shimmering with excellence, only to be silenced by death and all too often, by accidental death. The names of Anton Webern, Fritz Wunderlich, WG Sebald, Sylvia Plath, Dinu Lipatti, and so many others arise, but none as tragic as the death of William Kapell in 1953.

William Kapell is still considered by most as the America's greatest pianist, even fifty odd years after his death at the age of 31 in a plane crash. Those who heard him perform still rhapsodize over the magic he created. Those of us who are left with only recordings, such as this spectacular boxed set of all of his recordings, can only be uplifted by the man's genius, his extraordinary technical facility, and his intuitive, profound approach to the great works of music.

All styles of music were easily accessible to Kapell. Listen to the Mozart, Bach, Scarlatti, Paganini and Mendelssohn and try to imagine performances of more clarity and finesse than these. His Chopin is well represented in this set and glows with the uncanny power and tenderness that Chopin combined in his works. His works for solo piano by Rachmaninov and Shostakovich are the gold standard, and yet his Schubert, Schumann, Brahms, Mussorgsky and Liszt raise the bar for excellence that has since not been excelled. Joyously this set includes concerti including Prokofiev, Beethoven, Khachaturian, and Rachmaninov with the various conductors who saw Kapell's gifts and championed them.

The memory of this great artist is felt throughout the year, but never as acutely as on October 29th which marks the date of his cruel death. The world was brightened for too short a time by William Kapell, yet because of his recorded legacy his legend lives on. This is an impossibly fine box set of treasures. Highly Recommended. Grady Harp, October 05

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Customer Rating: - Poetry without words
In listening ot this collection, I think of the other 20th century pianistic genius who died tragically young: Dinu Lipatti (d. 1950). Both men excelled at Chopin but each had a thoroughly individual sound. In addition to Chopin, the Rachmaninoff and Prokofiev are especially fine. Highly recommended.