His accounts of the Mazurkas of Opp 6 and 7, for instance, offer a genuine alternative to Rubinstein. 35, is a piano sonata in four movements by polish composer frdric chopin.chopin completed the work while living in george sand's manor in nohant, some 250 km (160 mi) south of paris, a year Outwardly sober-suited and without the occasional wildnesses or mischievous emendations of the score that so delighted his capacity audiences, his relative reserve thinly disguises a heart of gold. A comprehensivelist of the finest Chopinrecordings has been released in the October issue of the prestigiousGramophone Magazine. The programme embraces Chopins Opp 3338 with the exception of the two Nocturnes, Op 37, though theyre not played in chronological order. He has always played outstandingly. The largest of these, Op 50 No 1, unfolds with great affective variety and richly varied sonorities, its tragic utterance chaste, courageous, the whole as tight as the snug fit of a master joiner. Pollinis disc is the most perfect, both in terms of the pianists technical accomplishment and the lucid piano sound, with nothing that offends the ear. Take the First Ballades opening, where Cortot is every inch the bardic poet, free, rhapsodic and inimitable; or hear him in thePresto con fuocostorms of the Second Ballade, where he plays as if pursued by the furies of hell. Hopefully it is good enough to be included in the discography. His rendering of the "Berceuse" during that recital was memorable if not mesmerizing. Responses to him are so deeply and inevitably personal that, in a way, the Mazurkas, Chopins preferred dance form, belong to everyone, whether they first experienced them listening to performances or recordings by Rubinstein or Pollini, watching choreography of Fokine or Robbins, or through their own hands. 1 in E minor, Concerto No 2. in F minoron RCA. George Copeland. The poise of Op 17 No 2 is maintained without a trace of maudlin sentimentality. No details are overlooked yet without drawing undue attention to them: note thestaccatomarkings of the A minor study (richly voiced by Chochieva, the left hand sounds almost like a plucked string bass) and also in the second subject of No 3, a good example of the meltingly lovely tone Chochieva produces. There are very few recordings of the 24 Preludes that have such a perfect combination of temperamental virtuosity and compelling artistic insight. The melody is very similar to the other two Chopin D flat pieces included here, as if to say that a sentence contains multiple anagrams, and no one strainer catches the river's only gold. The soundscape of the recording is bit man-alone-in-empty-studio, and ada capo(rather thandoppio movimento) repeat in the Sonatas first movement always sounds clumsy. KK IIb/4 in particular embodies Kolesnikovs ability to choose the perfect sonorities that seem to instantly encapsulate the character of the music. Again there may be moments in the Ballades and Barcarolle where the playing verges on hysteria but the sheer mastery and strength are like an elemental force of nature. He has the sort of hands that used to be called velvet paws, which are seemingly incapable of making an ugly sound at the instrument. When Arthur Rubinstein made the first complete recording of the Mazurkas in the 1930s, it's said that he demonstrated to his producers the steps of the dances that influenced Chopin. At 7'59" Chopins flame-throwing interjections are volcanic, and if theres ample poetic delicacy and compensation (notably in thePolonaise-fantaisie, always among Chopins most profoundly speculative masterpieces), its the more elemental side of his genius, his cannons rather than flowers that are made to sear and haunt the memory. 1913.Audio. Chopin - Polonaises on Deutsche Grammophon. 3 and the Opus 53 Polonaise No. Of all 10+ pieces I have been learning in the past 5 months as a beginner, Berceuse near the the bottom of the list in degree of difficulty. The recording captures well Fliters innate beauty of sound, encompassing the dynamic range with ease. Gramophone is part of Again, in both the Ballades his sharply original ideas combine with a total responsibility to the score; seldom can the letter and spirit of the composer be united so flawlessly. This is very much the playing of a pianist who lives in the fast lane of life. Other pianists may be more outwardly beguiling, but Pollinis magnificently unsettling Chopin can be as imperious and unarguable as any on record. The answer came back immediately: Martha Argerich. One of the aspects that particularly compels about this CD on repeated listening is the way Fliter encompasses the diversity, the sometimes shocking juxtaposition of the Preludes, but within a range that gives them a coherence, a sense of an interpretation as a whole. Its a deftly composed, attractively varied work and, as with the other items, the performance is exemplary. I believe, moreover, that nobody really wants to sit down and listen to pieces of a single genre in a rowThis practicemakes more sense by allowing the listener to enjoy the contents in one stretch.. Istvan Szekely. Of the remaining works, the two Nocturnes are particularly fine, the Mazurkas sometimes a degree less inevitable-sounding than some, though she bewitches in the quick-shifting moods of Op 6 No 1, which prefaces the third Op 9 Nocturne very effectively. Frdric Chopin wrote his Berceuse, Op. Mark Hambourg, 1928 (pupil of Leschetitzky) at 18:57\r7. It is not at all a perfect recording, and my grand piano was also not in perfect tuning. The recording beautifully captures his instantly recognisable, glistening sound world. At the centre of the recital is a masterly performance of the enigmaticPolonaise-fantaisie. Hough is always doing something, though sometimes you might wish he were doing less. It is, averred my informant, the greatest Ive ever heard. Quite a claim. All these performances prove that Rubinstein played the piano as naturally as a bird flies or a fish swims. This may not be Chopin for every day, but the force of Pogorelichs musical personality subtly and irrevocably shapes ones view of the music. Not only are they faster, but they are also of a more scintillating,scherzando-like lightness. The edition has been based primarily on Chopin's autograph manuscripts, copies approved by him and first editions. He wrote the Polonaise in October 1829, adding a touching Introduction the following July. Even Lipatti hardly achieved such an enchanting lilt or buoyancy, such a beguiling sense of light and shade. His Chopin Preludes, for example, have no time for the notion of a freely Romantic melodic line being kept in check by a Classical accompaniment. 57: Chopin: Help Opus Details For feedback and questions, please contact Victor Gomersall. The strikingly different characters of Op 33 No 3, ingratiating, delicate, and the sensual melancholy of Op 68 No 2 share a sense of confiding intimacy. He commands an immense colour palette and moves from a robustfortissimoto a scarcely audiblepianissimoin a nanosecond. His discs of minor Chopin (EMI, 3/10), his highly praised unofficial debut (This and That, 4/10), live recordings circulated privately over the past few years and this new one are evidence of an awesome talent, a pianist with fantastic natural reflexes in the Cziffra class and, more excitingly, a musician with purpose and imagination, whose playing transcends the sterile confines of the studio. His tone doesnt have much luxuriance, being quite chiselled; yet a finely tuned sensibility is evident throughout. Prone to lose its way in rhetorical excess, Op 30 No 2 here remains shapely, proportionate. 1918. Scrupulously observant of the composers agogic indications, the abundant drolleries of these pieces are understated and all the wittier for it. A lesser known Chopin work for cello and piano is the Introduction and Polonaise brillante, Op 3 (though it is not so little known as his Grand Duo on themes from Meyerbeer's Robert Ie Diable). After this, the songfulAllegrettoof No 17 comes as balm, here given the range and story-telling quality of a Ballade. He prefers a subtly chosen programme to complete sets of the Mazurkas, Ballades or Polonaises, and his often phenomenally acute and sensitive awareness of Chopins constantly shifting perspective has you reliving every bar of such incomparable music. It clocks in at 808, compared with Rubinsteins fast 820 (his 1932 recording), a tempo that reduces the first subject to the verge of incoherence. The middle treble range in Rubinsteins piano sound has a hollow resonance. Joseph Horowitz points out Arrau's ability to play the Nocturnes' many ornaments as intrinsic parts of the melodic line. Indeed, her earlier performances are infinitely less witty, personal and eruptive, less inclined to explore, albeit with the most spontaneous caprice and insouciance, so many new facets, angles and possibilities. And it's just the performance to show just how far the Nocturnes are from being mere character pieces the slight, Romantic keyboard comfits that allowed the word 'bagatelle' to become a pejorative. In the three Op 59 Mazurkas (a notably rich part of Chopins deeply confessional diary) he achieves a rare sense of brooding introspection, close to neurosis, with bittersweet mood-swings that shift from resignation to flashes of anger. No 8 is delightfully rumbustious, and just when you note a touch of evasion in his rapid spin through the morbid near-Wagnerian chromaticism of No 6 you find yourself relishing his cool tempo, a musical ease and flexibility that give new meaning to Chopins prescribedcon molto espressione. Another of Houghs strengths is to be found in the shape and direction he gives all the Waltzes, and in the freshness of his tone of voice. His Nocturnein D flat has long been hailed as one of the finest versions currently available. The recording has a number of blemishes: the piano is too closely recorded, the loud passages are hollow-toned, especially in the bass, and there is little sparkle to the sound. This has the virtue of allowing us a less hectic view of subsidiary elements within the music, which elsewhere can too often be overwhelmed by the sheer turbulence of the action. The greatest on disc? Never for a moment would I want to be without celebrated recordings by Cortot, early Pollini and Ashkenazy and Perahia, but for a memorable musical recreation Lisiecki stands alone. Their grand gestures carry complete conviction and sweep us along, even over the finales obsessive repetitions. The work was dedicated to Elise Gavard. The First and Second Scherzos show the juxtaposition of extremes at its most intense, stretching the limits of the musically viable. Listen immediately in My Library. Every recording included has received the approval ofGramophones critics and as such, areGramophoneAward-winning albums, Recordings of the Month, or Editors Choice discs from Rubinstein, Argerich, Pollini, Perahia, Cortot, and Grosvenor. The programme ends with Guldas ownEpitaph for a Love, a strange mixed-up jazz effusion that includes some very odd vocals in Viennese dialect and a phantom reference to Chopins C minor Prelude. BTW, (forgive the name-dropping) I was at Perahia's Carnegie Hall recital when he "returned" after his absence due to a hand injury. 58, is a challenge even for the best of pianists. One easily imagines a large drawing room cleared of furniture and rugs, its floors swept clean and sprinkled in preparation for a dozen couples whose dancing skill is a joy to behold. But whereas in less imaginative hands the results could seem mannered or overly drawn out, here its mesmerising. From her, Chopin is hardly the most balanced or classically biased of the Romantics. In fact, both that performance and this one by Mstislav Rostropovich and Martha Argerich are of strongly marked character, acutely, though differently, responsive to the music's every inflection, and both provide deep satisfactions. Borrow it. Shes hardly a comfortable companion, confirming your preconceptions. George Copeland ca. Benjamin Grosvenor pf Royal Scottish National Orchestra / Elim Chan, 'When Benjamin Grosvenor finally makes his first entrance, it proves well worth the wait, and his playing beguiles from the off; as the dynamics sink, his lines are full of poetry but they unfold with utter naturalness. Shop Chopin: Walce; Ecossaises; Barkarola; Berceuse [CD] at Best Buy. Just as significantly, this acknowledgement has not come on the back of a major competition. Although Kissin may be a little unsmiling in the three Waltzes, at least he has admirable sophistication in being able to add interest to the interpretations. Ashkenazy memorably catches their volatile character, and their essential sadness. Chopin, she informs us in no uncertain terms, was no sentimentalist. Nimbus: NI5064. pierre boulez was born on 26 march 1925, in montbrison, a small town in the loire department of east-central france, to lon and marcelle (ne calabre) boulez. The simple truth is that Rubinstein played the piano as a fish swims in water, free to phrase and inflect with a magic peculiarly his own, to make, in Liszts words, emotion speak, weep and sing and sigh. Kissin is among the master-pianists of our time. The tension and menace at the start of No 2 are almost palpable, its storming and disconsolate continuation made a true mirror of Polands clouded history. As a former pupil of Cortot, it wasnt perhaps surprising that Lipatti always kept a special place in his heart for Chopin. Martha Argerich pfMontreal Symphony Orchestra / Charles Dutoit. Mark Obert-Thorns restoration of the 1953 sound is a model of remastery though even he cannot make the 1946 Second Concerto sound less than cramped. Benno Moiseiwitsch, rec. When I learned this piece i had never heard it before, and after I performed it I heard Rubinsteings and I played it almost exactly like he did, yay. chopin366, Aug 26, 2007 #1. Sydney Jones Library, University of Liverpool. These are both extraordinary performances by an extraordinary pianist, though of the two, the First Concerto is the more affecting.
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