Anatole Kitain (1903-1980)
View record and artist detailsRecord and Artist Details
Composer or Director: Sergey Rachmaninov, Johannes Brahms, Alexander Scriabin, Fryderyk Chopin, Franz Liszt, Robert Schumann, Leopold Godowsky, Nikolay Rimsky-Korsakov
Label: Appian Publications & Recordings
Magazine Review Date: 8/1996
Media Format: CD or Download
Media Runtime: 123
Mastering:
Mono
ADD
Catalogue Number: APR7029

Tracks:
Composition | Artist Credit |
---|---|
Introduction and Rondo |
Fryderyk Chopin, Composer
Anatole Kitain, Piano Fryderyk Chopin, Composer |
Mazurkas (Complete), Movement: No. 13 in A minor, Op. 17/4 (1832-33) |
Fryderyk Chopin, Composer
Anatole Kitain, Piano Fryderyk Chopin, Composer |
(4) Ballades, Movement: No. 2 in F, Op. 38 |
Fryderyk Chopin, Composer
Anatole Kitain, Piano Fryderyk Chopin, Composer |
(4) Ballades, Movement: No. 3 in A flat, Op. 47 |
Fryderyk Chopin, Composer
Anatole Kitain, Piano Fryderyk Chopin, Composer |
(4) Scherzos, Movement: No. 1 in B minor, Op. 20 (1831-32) |
Fryderyk Chopin, Composer
Anatole Kitain, Piano Fryderyk Chopin, Composer |
(27) Etudes, Movement: G flat, 'Black Keys', Op. 10/5 |
Fryderyk Chopin, Composer
Anatole Kitain, Piano Fryderyk Chopin, Composer |
(27) Etudes, Movement: E flat minor, Op. 10/6 |
Fryderyk Chopin, Composer
Anatole Kitain, Piano Fryderyk Chopin, Composer |
(27) Etudes, Movement: C, Op. 10/7 |
Fryderyk Chopin, Composer
Anatole Kitain, Piano Fryderyk Chopin, Composer |
(27) Etudes, Movement: F, Op. 10/8 |
Fryderyk Chopin, Composer
Anatole Kitain, Piano Fryderyk Chopin, Composer |
(27) Etudes, Movement: C minor, 'Revolutionary', Op. 10/12 |
Fryderyk Chopin, Composer
Anatole Kitain, Piano Fryderyk Chopin, Composer |
(2) Concert Studies, Movement: No. 1, Waldesrauschen |
Franz Liszt, Composer
Anatole Kitain, Piano Franz Liszt, Composer |
Années de pèlerinage année 1: Suisse, Movement: Vallée d'Obermann |
Franz Liszt, Composer
Anatole Kitain, Piano Franz Liszt, Composer |
Années de pèlerinage année 2: Italie, Movement: Sonetto 47 del Petrarca |
Franz Liszt, Composer
Anatole Kitain, Piano Franz Liszt, Composer |
Années de pèlerinage année 2: Italie, Movement: Sonetto 123 del Petrarca |
Franz Liszt, Composer
Anatole Kitain, Piano Franz Liszt, Composer |
(12) Etudes d'exécution transcendante, Movement: No. 5, Feux follets |
Franz Liszt, Composer
Anatole Kitain, Piano Franz Liszt, Composer |
Toccata |
Robert Schumann, Composer
Anatole Kitain, Piano Robert Schumann, Composer |
(4) Ballades, Movement: D minor (Edward) |
Johannes Brahms, Composer
Anatole Kitain, Piano Johannes Brahms, Composer |
(16) Waltzes |
Johannes Brahms, Composer
Anatole Kitain, Piano Johannes Brahms, Composer |
(3) Pieces, Movement: No. 1, Etude in C sharp minor |
Alexander Scriabin, Composer
Alexander Scriabin, Composer Anatole Kitain, Piano |
(24) Preludes, Movement: A minor |
Alexander Scriabin, Composer
Alexander Scriabin, Composer Anatole Kitain, Piano |
(9) Mazurkas, Movement: E minor |
Alexander Scriabin, Composer
Alexander Scriabin, Composer Anatole Kitain, Piano |
(5) Morceaux de fantaisie, Movement: No. 1, Elégie in E flat minor |
Sergey Rachmaninov, Composer
Anatole Kitain, Piano Sergey Rachmaninov, Composer |
(9) Etudes-tableaux, Movement: No. 1 in F minor |
Sergey Rachmaninov, Composer
Anatole Kitain, Piano Sergey Rachmaninov, Composer |
(24) Preludes, Movement: G sharp minor, Op. 32/12 |
Sergey Rachmaninov, Composer
Anatole Kitain, Piano Sergey Rachmaninov, Composer |
Potpourri on Johann Strauss's 'Die Fledermaus' |
Leopold Godowsky, Composer
Anatole Kitain, Piano Leopold Godowsky, Composer |
(The) Tale of Tsar Saltan, Movement: Flight of the bumble-bee |
Nikolay Rimsky-Korsakov, Composer
Anatole Kitain, Piano Nikolay Rimsky-Korsakov, Composer |
Author: Bryce Morrison
Elsewhere Kitain is foiled by music of concentration and economy (Chopin’s neurasthenic Mazurka, Op. 17 No. 4 or Brahms’s grisly ‘Edward’ Ballade, Op. 10 No. 1). Here you can almost feel his fingers itching for a greater prestidigitory challenge. Again, he reels off the glittering thread of Chopin’s E flat Rondo (his was the first recording of this work) but his opening to the Third Ballade is disappointingly gentlemanly or
However, even when everything is kept smartly on the move and the effect is more streamlined than probing, all these performances are nimble and often exhilarating. The recordings have come up remarkably well and, once again, collectors are in debt to Bryan Crimp for his care and research.'
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