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The EMI Classics recordings of C√©cile Ousset (b. 1936), spanning the years between 1982 and 1991, would mark her third and most prestigious recording collaboration, launching her, at age forty-six, into the international limelight. Indeed, recognition did not come easily to this grand dame of the piano, who, at the age of fourteen, obtained her prize at the Paris Conservatoire under the tutelage of Marcel Ciampi and began the grueling rounds at major competitions shortly after: Geneva, Long-Thibaud, Queen Elisabeth and Busoni, as well as the inaugural edition of the Van Cliburn. As a young female pianist, doors remained firmly shut, even with the support of the great Arthur Rubinstein, who personally invested in Ousset's early career after witnessing her performance at the Long-Thibaud competition. Her rise to international fame came primarily in the 1970s, notably through her recordings for the German Eterna label as well as for Decca France. The year 1982 marked the release of her first solo recording with EMI, a vivid program pairing Mussorgsky's Pictures at an Exhibition with Ravel's Gaspard de la nuit. Writing in The Musical Times, Cyril Ehrlich lauds a "luminous tone" and a "sense of style", proclaiming, "C√©cile Ousset is an exhilarating pianist". Her strong technique, based on the Russian method taught by Ciampi lends her playing a clear-cut and robust tone; her virtuosity is proved incontestable, revealing a mastery of sound, color and brilliance. Works of the French repertoire continued to occupy an important place in Ousset's programs. To France's greatest modernists, Debussy and Ravel, the pianist would consecrate significant recordings in the second half of the 80s. Liszt and Chopin were essential components of her repertoire as well. The recording of Chopin's Third Sonata brims with poignant lyricism and heroic sentiment, it's excellent pacing just as admirable as the naturalness of the playing, hardly ostentatious but in every way spellbinding. "Like Pollini," observes Gramophone, "the masterful Ousset commands in this work... [her] Chopin CD will give immense pleasure by reason of her indefatigable musical verve." A survey of C√©cile Ousset's acclaimed concerto recordings for EMI may point to a seemingly-logical conclusion - that the pianist was drawn to the unabashedly-virtuosic heavyweights of the concerto literature: Rachmaninov, Saint-Sa√ęns, Liszt, Prokofiev, Grieg, Tchaikovsky
The EMI Classics recordings of C√©cile Ousset (b. 1936), spanning the years between 1982 and 1991, would mark her third and most prestigious recording collaboration, launching her, at age forty-six, into the international limelight. Indeed, recognition did not come easily to this grand dame of the piano, who, at the age of fourteen, obtained her prize at the Paris Conservatoire under the tutelage of Marcel Ciampi and began the grueling rounds at major competitions shortly after: Geneva, Long-Thibaud, Queen Elisabeth and Busoni, as well as the inaugural edition of the Van Cliburn. As a young female pianist, doors remained firmly shut, even with the support of the great Arthur Rubinstein, who personally invested in Ousset's early career after witnessing her performance at the Long-Thibaud competition. Her rise to international fame came primarily in the 1970s, notably through her recordings for the German Eterna label as well as for Decca France. The year 1982 marked the release of her first solo recording with EMI, a vivid program pairing Mussorgsky's Pictures at an Exhibition with Ravel's Gaspard de la nuit. Writing in The Musical Times, Cyril Ehrlich lauds a "luminous tone" and a "sense of style", proclaiming, "C√©cile Ousset is an exhilarating pianist". Her strong technique, based on the Russian method taught by Ciampi lends her playing a clear-cut and robust tone; her virtuosity is proved incontestable, revealing a mastery of sound, color and brilliance. Works of the French repertoire continued to occupy an important place in Ousset's programs. To France's greatest modernists, Debussy and Ravel, the pianist would consecrate significant recordings in the second half of the 80s. Liszt and Chopin were essential components of her repertoire as well. The recording of Chopin's Third Sonata brims with poignant lyricism and heroic sentiment, it's excellent pacing just as admirable as the naturalness of the playing, hardly ostentatious but in every way spellbinding. "Like Pollini," observes Gramophone, "the masterful Ousset commands in this work... [her] Chopin CD will give immense pleasure by reason of her indefatigable musical verve." A survey of C√©cile Ousset's acclaimed concerto recordings for EMI may point to a seemingly-logical conclusion - that the pianist was drawn to the unabashedly-virtuosic heavyweights of the concerto literature: Rachmaninov, Saint-Sa√ęns, Liszt, Prokofiev, Grieg, Tchaikovsky
190296436246
The Complete Warner Recordings 16CD
Artist: Ousset, Cecile
Format: CD
New: Available to Order - Not In Our Store $44.98
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Formats and Editions

DISC: 1

1. Pictures at An Exhibition: Promenade I
2. Pictures at An Exhibition: I. the Gnome
3. Pictures at An Exhibition: Promenade II
4. Pictures at An Exhibition: II. the Old Castle
5. Pictures at An Exhibition: Promenade III
6. Pictures at An Exhibition: III. Tuileries
7. Pictures at An Exhibition: IV. Bydlo
8. Pictures at An Exhibition: Promenade IV
9. Pictures at An Exhibition: V. Ballet of the Unhatched Chicks
10. Pictures at An Exhibition: VI. Samuel Goldenberg and Schmu√Ņle
11. Pictures at An Exhibition: Promenade V
12. Pictures at An Exhibition: VII. Limoges, the Market
13. Pictures at An Exhibition: VIII. Catacombs
14. Pictures at An Exhibition: Cum Mortuis in Lingua Mortua
15. Pictures at An Exhibition: IX. the Hut on Fowl's Legs "Baba Yaga"
16. Pictures at An Exhibition: X. the Great Gate of Kiev
17. Gaspard de la Nuit, M. 55: I. Ondine
18. Gaspard de la Nuit, M. 55: II. Le Gibet
19. Gaspard de la Nuit, M. 55: III. Scarbo
20. Piano Concerto No. 2 in G minor, Op. 22: I. Andante Sostenuto
21. Piano Concerto No. 2 in G minor, Op. 22: II. Allegro Scherzando
22. Piano Concerto No. 2 in G minor, Op. 22: III. Presto
23. Piano Concerto No. 1 in E-Flat Major, S. 124: I. Allegro Maestoso
24. Piano Concerto No. 1 in E-Flat Major, S. 124: II. Quasi Adagio - III. Allegretto Vivace
25. Piano Concerto No. 1 in E-Flat Major, S. 124: IV. Allegro Marziale Animato
26. Impromptu No. 2 in F minor, Op. 31
27. Impromptu No. 3 in A-Flat Major, Op. 34
28. Estampes, CD 108, L. 100: No. 1, Pagodes
29. Estampes, CD 108, L. 100: No. 2, la Soirée Dans Grenade
30. Estampes, CD 108, L. 100: No. 3, Jardins Sous la Pluie
31. Miroirs, M. 43: IV. Alborada Del Gracioso
32. 10 Pièces Pittoresques: No. 10, Scherzo-Valse
33. 10 Pièces Pittoresques: No. 6, Idylle
34. 3 Gymnopédies: No. 1, Lent Et Douloureux
35. 3 Gymnopédies: No. 2, Lent Et Triste
36. 3 Gymnopédies: No. 3, Lent Et Grave
37. Allegro Appassionato, Op. 70
38. 6 √Čtudes, Op. 52: No. 6, √Čtude en Forme de Valse
39. Piano Concerto No. 3 in C Major, Op. 26: I. Andante - Allegro
40. Piano Concerto No. 3 in C Major, Op. 26: II. Andantino - Variations 1 to 5 - Tema. L'istesso Tempo
41. Piano Concerto No. 3 in C Major, Op. 26: III. Allegro, Ma Non Troppo
42. Piano Concerto in C-Sharp minor, FP 146: I. Allegretto
43. Piano Concerto in C-Sharp minor, FP 146: II. Andante Con Moto
44. Piano Concerto in C-Sharp minor, FP 146: III. Rondeau A la Française
45. Piano Concerto No. 2 in C minor, Op. 18: I. Moderato
46. Piano Concerto No. 2 in C minor, Op. 18: II. Adagio Sostenuto
47. Piano Concerto No. 2 in C minor, Op. 18: III. Allegro Scherzando
48. Rhapsody on a Theme of Paganini, Op. 43: Introduction. Allegro Vivace ; Variation I. Precedente
49. Rhapsody on a Theme of Paganini, Op. 43: Theme. L'istesso Tempo ; Variation II. L'istesso Tempo
50. Rhapsody on a Theme of Paganini, Op. 43: Variation III. L'istesso Tempo
51. Rhapsody on a Theme of Paganini, Op. 43: Variation IV. Pi√Ļ Vivo
52. Rhapsody on a Theme of Paganini, Op. 43: Variation V. Tempo Precedente
53. Rhapsody on a Theme of Paganini, Op. 43: Variation VI. L'istesso Tempo
54. Rhapsody on a Theme of Paganini, Op. 43: Variation VII. Meno Mosso, a Tempo Moderato
55. Rhapsody on a Theme of Paganini, Op. 43: Variation VIII. Tempo I
56. Rhapsody on a Theme of Paganini, Op. 43: Variation IX. L'istesso Tempo
57. Rhapsody on a Theme of Paganini, Op. 43: Variation X. Poco Marcato
58. Rhapsody on a Theme of Paganini, Op. 43: Variation XI. Moderato
59. Rhapsody on a Theme of Paganini, Op. 43: Variation XII. Tempo Di Minuetto
60. Rhapsody on a Theme of Paganini, Op. 43: Variation XIII. Allegro
61. Rhapsody on a Theme of Paganini, Op. 43: Variation XIV. L'istesso Tempo
62. Rhapsody on a Theme of Paganini, Op. 43: Variation XV. Pi√Ļ Vivo, Scherzando
63. Rhapsody on a Theme of Paganini, Op. 43: Variation XVI. Allegretto
64. Rhapsody on a Theme of Paganini, Op. 43: Variation XVII. Allegretto
65. Rhapsody on a Theme of Paganini, Op. 43: Variation XVIII. Andante Cantabile
66. Rhapsody on a Theme of Paganini, Op. 43: Variation XIX. a Tempo Vivace
67. Rhapsody on a Theme of Paganini, Op. 43: Variation XX. Un Poco Pi√Ļ Vivo
68. Rhapsody on a Theme of Paganini, Op. 43: Variation XXI. Un Poco Pi√Ļ Vivo
69. Rhapsody on a Theme of Paganini, Op. 43: Variation XXII. Un Poco Pi√Ļ Vivo. Alla Breve
70. Rhapsody on a Theme of Paganini, Op. 43: Variation XXIII. L'istesso Tempo
71. Rhapsody on a Theme of Paganini, Op. 43: Variation XXIV. a Tempo Un Poco Meno Mosso
72. Piano Concerto in a Minor, Op. 16: I. Allegro Molto Moderato
73. Piano Concerto in a Minor, Op. 16: II. Adagio
74. Piano Concerto in a Minor, Op. 16: III. Allegro Moderato Molto E Marcato
75. Piano Concerto No. 1 in G minor, Op. 25, MWV O7: I. Molto Allegro Con Fuoco
76. Piano Concerto No. 1 in G minor, Op. 25, MWV O7: II. Andante
77. Piano Concerto No. 1 in G minor, Op. 25, MWV O7: III. Presto - Molto Allegro E Vivace
78. Piano Sonata in B minor, S. 178
79. 6 √Čtudes D'ex√©cution Transcendante D'apr√®s Paganini, S. 140: No. 1, Tremolo
80. 6 √Čtudes D'ex√©cution Transcendante D'apr√®s Paganini, S. 140: No. 2, Octave
81. 6 √Čtudes D'ex√©cution Transcendante D'apr√®s Paganini, S. 140: No. 3, la Campanella
82. 6 √Čtudes D'ex√©cution Transcendante D'apr√®s Paganini, S. 140: No. 4, Arpeggio
83. 6 √Čtudes D'ex√©cution Transcendante D'apr√®s Paganini, S. 140: No. 5, la Chasse
84. 6 √Čtudes D'ex√©cution Transcendante D'apr√®s Paganini, S. 140: No. 6, Th√®me Et Variations
85. Préludes, Livre I, CD 125, L. 117: No. 1, Danseuses de Delphes
86. Préludes, Livre I, CD 125, L. 117: No. 2, Voiles
87. Préludes, Livre I, CD 125, L. 117: No. 3, Le Vent Dans la Plaine
88. Préludes, Livre I, CD 125, L. 117: No. 4, Les Sons Et Les Parfums Tournent Dans I'air Du Soir
89. Préludes, Livre I, CD 125, L. 117: No. 5, Les Collines D'anacapri
90. Préludes, Livre I, CD 125, L. 117: No. 6, Des Pas Sur la Neige
91. Préludes, Livre I, CD 125, L. 117: No. 7, Ce Qu'a Vu Le Vent D'ouest
92. Préludes, Livre I, CD 125, L. 117: No. 8, la Fille Aux Cheveux de Lin
93. Préludes, Livre I, CD 125, L. 117: No. 9, la Sérénade Interrompue
94. Préludes, Livre I, CD 125, L. 117: No. 10, la Cathédrale Engloutie
95. Préludes, Livre I, CD 125, L. 117: No. 11, la Danse de Puck
96. Préludes, Livre I, CD 125, L. 117: No. 12, Minstrels
97. Préludes, Livre II, CD 131, L. 123: No. 1, Brouillards
98. Préludes, Livre II, CD 131, L. 123: No. 2, Feuilles Mortes
99. Préludes, Livre II, CD 131, L. 123: No. 3, la Puerta Del Vino
100. Préludes, Livre II, CD 131, L. 123: No. 4, Les Fées Sont D'exquises Danseuses
101. Préludes, Livre II, CD 131, L. 123: No. 5, Bruyères
102. Préludes, Livre II, CD 131, L. 123: No. 6, General Lavine - Excentric
103. Préludes, Livre II, CD 131, L. 123: No. 7, la Terrasse Des Audiences Du Clair de Lune
104. Préludes, Livre II, CD 131, L. 123: No. 8, Ondine
105. Préludes, Livre II, CD 131, L. 123: No. 9, Hommage A S. Pickwick, Esq., P. P. M. P. C
106. Préludes, Livre II, CD 131, L. 123: No. 10, Canope
107. Préludes, Livre II, CD 131, L. 123: No. 11, Les Tierces Alternées
108. Préludes, Livre II, CD 131, L. 123: No. 12, Feux D'artifice
109. Pour Le Piano, CD 95, L. 95: I. Prélude
110. Pour Le Piano, CD 95, L. 95: II. Sarabande
111. Pour Le Piano, CD 95, L. 95: III. Toccata
112. L'isle Joyeuse, CD 109, L. 106 ^1
113. Piano Sonata No. 3 in B minor, Op. 58: I. Allegro Maestoso ^1
114. Piano Sonata No. 3 in B minor, Op. 58: II. Scherzo ^1
115. Piano Sonata No. 3 in B minor, Op. 58: III. Largo ^1
116. Piano Sonata No. 3 in B minor, Op. 58: IV. Finale. Presto Non Tanto ^1
117. Ballade No. 1 in G minor, Op. 23 ^1
118. Ballade No. 2 in F Major, Op. 38 ^1
119. Ballade No. 3 in A-Flat Major, Op. 47 ^1
120. Ballade No. 4 in F minor, Op. 52 ^1
121. Piano Sonata No. 2 in B-Flat minor, Op. 35 "Funeral March": I. Grave - Doppio Movimento ^1
122. Piano Sonata No. 2 in B-Flat minor, Op. 35 "Funeral March

More Info:

The EMI Classics recordings of C√©cile Ousset (b. 1936), spanning the years between 1982 and 1991, would mark her third and most prestigious recording collaboration, launching her, at age forty-six, into the international limelight. Indeed, recognition did not come easily to this grand dame of the piano, who, at the age of fourteen, obtained her prize at the Paris Conservatoire under the tutelage of Marcel Ciampi and began the grueling rounds at major competitions shortly after: Geneva, Long-Thibaud, Queen Elisabeth and Busoni, as well as the inaugural edition of the Van Cliburn. As a young female pianist, doors remained firmly shut, even with the support of the great Arthur Rubinstein, who personally invested in Ousset's early career after witnessing her performance at the Long-Thibaud competition. Her rise to international fame came primarily in the 1970s, notably through her recordings for the German Eterna label as well as for Decca France. The year 1982 marked the release of her first solo recording with EMI, a vivid program pairing Mussorgsky's Pictures at an Exhibition with Ravel's Gaspard de la nuit. Writing in The Musical Times, Cyril Ehrlich lauds a "luminous tone" and a "sense of style", proclaiming, "C√©cile Ousset is an exhilarating pianist". Her strong technique, based on the Russian method taught by Ciampi lends her playing a clear-cut and robust tone; her virtuosity is proved incontestable, revealing a mastery of sound, color and brilliance. Works of the French repertoire continued to occupy an important place in Ousset's programs. To France's greatest modernists, Debussy and Ravel, the pianist would consecrate significant recordings in the second half of the 80s. Liszt and Chopin were essential components of her repertoire as well. The recording of Chopin's Third Sonata brims with poignant lyricism and heroic sentiment, it's excellent pacing just as admirable as the naturalness of the playing, hardly ostentatious but in every way spellbinding. "Like Pollini," observes Gramophone, "the masterful Ousset commands in this work... [her] Chopin CD will give immense pleasure by reason of her indefatigable musical verve." A survey of C√©cile Ousset's acclaimed concerto recordings for EMI may point to a seemingly-logical conclusion - that the pianist was drawn to the unabashedly-virtuosic heavyweights of the concerto literature: Rachmaninov, Saint-Sa√ęns, Liszt, Prokofiev, Grieg, Tchaikovsky
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