Elsewhere she is grand and imperious in the Second Sonata, storming the first movements climax in towering and heroic fashion, and her demonic pace and drive make a true Mephisto-scherzoof the second movement. No 8 (sixths) is playful and giocoso, while in No 10 (octaves) Lisiecki shows himself no stranger to strength and drama when Chopin is in his stormiest B minor mood. Josef Hofmann, 1918 (pupil of Anton Rubinstein) at 4:02\r3. I could go on picking out highlights from each study the question-and-answer voicing in No 9, the subtlerubatoin Op 25 No 1, the infamous studies in thirds and sixths in which, simultaneously, Chochieva reminds us of Chopin the contrapuntalist moments and passages which made me listen afresh to these familiar works and, in some cases, hear things of which I had been previously unaware. While Arthur Rubinstein's Chopin recordings are the "reference" interpretations for me, it is quite magical what the other great pianists mentioned in these answers can bring to the music. Chopins final composition, Op 68 No 4, becomes a valediction encouraging rather than forbidding weeping, Rubinsteinsrubatothe caressing magic that created a furore at his unforgettable recitals. USC Stonier Hall (STO) There are some mazurkas, such as Op 24 No 3, when an inexplicable kinesthetic magic takes over and the worlds rotation all but stops. Take Nos 6 and 7, for instance: here they acquire a kinship despite their different moods and despite the fact that No 6 is pretty slow, possibly too slow for some tastes. No 19 is a particular highlight, its delicacy quite heart-stopping. Finally, two contrasting Etudes, and whether in ardent lyricism (Op 10 No 3) or shot-from-guns virtuosity (Op 10 No 4), Perahias playing is sheer perfection. This recording features Chopin's Piano Sonata No. Most distinguished of the Ballades is No 2, where Hough perceives the invasion of one kind of music by another in all its subtlety and lays out a spellbinding seven-minute drama. 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. Rarely in their entire history have the Chopin concertos received performances of a more teasing allure, brilliance and idiosyncrasy. His delight in the chewy harmonies of the opening movement of K332 is palpable, his phrasing iridescent in its range. Argerich first came to international prominence in 1965 when she won the Chopin Competition. He doesnt, however, take an improvisatory approach. Yundi was propelled to the international stage when he took first prize at the 2000 Chopin Competition, becoming the youngest and the first Chinese winner. In No 13, the glorious melody of the middle section is given with a freedom that would simply not work in a lesser musician; while in the infamous Raindrop, Sokolov replaces the constant dripping with a shifting pulse that has a real urgency, albeit an unconventional one. At the centre of the recital is a masterly performance of the enigmaticPolonaise-fantaisie. This is Chopin presented with a difference. For Freire the Nocturnes are tirelessly experimental, an opalescent world of shifting moods and colours. Why? 50 Greatest Chopin Recordings - Polish Music Center 50 Greatest Chopin Recordings November 1, 2016 A comprehensive list of the finest Chopin recordings has been released in the October issue of the prestigious Gramophone Magazine. The recording by Paul Tortelier and Aldo Ciccolini of the last work Chopin published (Paris, 1847), which they couple with Rachmaninov's Sonata, has been a favourite of mine since it appeared. The simple melody, essentially a theme and variations, is increasingly embroidered . Listen to theAndante spianatofrom Op 22 and youll hear a matchlesscantabile, a tribute to abel cantoso often at the heart of Chopins elusive and heroic genius. Simon Laks had already settled in Paris when he wrote his 1932 Cello Sonata. Offer, Chopin: Nocturnes, Mazurkas, Berceuse, Sonata, Opp. Forever the nonconformist, Gulda may sometimes be wilful and irascible but he is never less than mesmeric and fascinating. Their style changed over time, but all were born out of Chopins strong patriotism. The concerto was recorded shortly after the 18-year-old pianists victory at the Warsaw competition in 1959. Argerichs light burns brighter than ever. Moreover, despite the limits she places on her repertory, such is the spontaneity of her approach that each of her interpretations, no matter how familiar in broad outline, is characterised by a profusion of contrasting details beneath the surface. Try the opening of the Third and youll note an ideal poise and lucidity, something rarely achieved in these outwardly insouciant pages. Personally speaking, I dont recall not recognising at least a couple of mazurkas. Rubinstein, with his serious approach, lends the music more weight than is usual and he wholly avoids trivialising it with over-snappy rhythms. 4 suites / Georg Boehm. Rubinstein judges to perfection which details to bring out so as to give each piece a special character. The Warsaw Mazurkas are a world unto themselves. The edition has been based primarily on Chopin's autograph manuscripts, copies approved by him and first editions. There are very few recordings of the 24 Preludes that have such a perfect combination of temperamental virtuosity and compelling artistic insight. Item Number: HL.348234 ISBN 9781540097262. The pianists son, Paul Gulda, writes a moving and informative essay clarifying much of his fathers complexity and telling us, perhaps not surprisingly, that Alfred Cortot was among his chief musical idols. When you hear Rubinstein tackle the C sharp minor Mazurka, Op 53 No 3, you at once know that he fully comprehends the depth of this, perhaps the greatest of them all. Benno Moiseiwitsch, rec. They have remained popular ever since their first performances. Frankly, Grosvenor is too interesting and too individual to win any of them. 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. The A minor (No 2) demonstrates Budus ability to create a heart-grippingpianissimo, whispered and just barely audible. On hearing them together like this one appreciates the cumulative effect which the composer intended, and Ashkenazy makes a hyper-sensitive response to their quickly changing moods. With him many of the lesser-known Mazurkas come to life, such as the E flat minor, Op 6 No 4, with its insistent little motif that pervades the whole piece. If these accounts do not necessarily outstrip her other recordings, they nevertheless offer an intriguing insight into a work in progress from a pianistic giant whose artistry continues to fascinate and perplex. Such a formal contraction can contribute to the momentum with which the movement unfolds. Listening to his impressive new recording, its easy to understand why Cristian Budu won the Clara Haskil Competition in Vevey three years ago this September. The composer titled it Variations, but upon it first publishing (by J. Meissonnier in 1844) the title was changed to Berceuse. Here is an intensity and drama that scorn all complacent salon or drawing-room expectations. The rhythmic vitality of Op 33 No 1 keeps any suggestion of morose indulgence at bay. She does so in No 14, for instance, matching Trifonov in powerful lan. The two slow movements are distinguished by exquisitely limpidcantabileand superfine delicacy of decorative detail while again conveying urgent undercurrents. Hopefully it is good enough to be included in the discography. Is the delicate rhythmic play at the heart of the Third SonatasScherzovirtually spun out of existence? 820 W. 34 St. BMH 101 - MC 1441 Just about any Rubinstein recording of Chopin can be relied on to be good. He can charm and beguile, and be bold in his contrasts, but he gets on with it, and it is the music he gives us, with true sentiments, and not merely a take on received ideas. It's a kind of thorough textural organicism to every note its place - that Beethoven or Schoenberg would have envied. His own feeling for quiet nuances in theLargoof this work is quite superb, and here too Pollini on DG achieves an innocence thats disarming. 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. Crowning it all is a masterlyGaspardin which an astonishing array of touch and tonal colouring are brought to bear in Grosvenors vivid, distinctly defined characterisation of all three movements. Here is a recording from summer this year, the Berceuse from Chopin. His textural translucency and musical breathing, hisrubatoin No 3, like that of Rubinstein, is that of a great and natural singer of the keyboard. One misses the Berceuse, surely the most magical of all Chopins intimate creations, but relishes the variety achieved by including such grand works as the Fantasie and the First and Second Ballades. It says a lot for this disc that, whenGramophones Editor chose it as his Recording of the Month and asked me for five listening points, I came up with nearly four times that number. MindenBlues New Member Piano Society Artist. Perahia has never made any secret of his liking for the inspirational heat-of-the-moment of a live performance as opposed to a studio recording, where sometimes things get tame. I wonder why there is only a single recording of that beautiful piece on PianoSociety, and if there comes a better recording as my attempt or what is already on the site, please feel free . For Schumann, the Polonaises were cannons buried in flowers and whether epic or confiding, stark or florid, their national and personal fervour is realised to perfection by Rubinstein. Read the biography of host Jan Weller and find out more about all WFMT hosts.View all >, Privacy Policy | Terms of Use | Public File | 2022 WWCI, Playlist: 8 Chopin Recordings Every Music Lover Should Own, Grammys 2022: See All the Classical+ Nominees (And Winners), Decade in Review: The 2010s and Classical Music, Playlist: 11 Lithuanian Composers You Should Know, Musical Tails: 6 Composers Who Wrote Music for Pets. The F sharp major Impromptu, almost a mini-ballade, is heard in another refined account, Pollini relishing theleggiero jeu perlscale passagework at the close. You will go a long way to hear the A minor Waltz confided with a greater sense of its intimacy or the following F major Waltz given with such contrasting brio and expressive freedom. Here, simply and assuredly, is one of the most magisterial talents in the entire history of piano playing. Chopin Complete Edition (17 CD set), released to celebrate Chopin's 200th anniversary in 2010, features the very best recordings from the Deutsche Grammophon and Decca . Three sets (Opp 17, 24 and 50) are given complete. Ive now listened to this disc several times and all I can say is that in each of the 27 studies Chochieva comes as close as anyone to how I hear the ideal performance in my head, or as I would wish to play them had I the ability to do so. Mstislav RostropovichvcMartha Argerichpf. No demonstrations of how almost to fall off the bench, no stomping the floor, no challenging Lon Chaney for the title Man of a Thousand Faces. Rubinstein Collection, Vol. From obvious examples such as Rubinstein and Cortot via Argerich and Freire (what is it with these South Americans?) The four Mazurkas, Op 33, and three Waltzes, Op 34, not only form a contrast to the Ballade but are themselves contrasted with each other. The set includes all those published posthumously and the revised version of Op 68 No 4, so this is a comprehensive survey. (Louis Lortie did this on his recent excellent Chopin recital for Chandos; his B minor Scherzo, incidentally, lasts 926.) 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. The beautifully idiomaticrubatois so stylishly applied that youre only aware of the finest fluctuations of pulse and emotion. What magnificence and assertion he finds in the B minor Sonatas opening, what menace in the following uprush of chromatic scales, his deliberate pedal haze -capturing one of Chopins most truly modernist moments. 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. Finally, in the evergreen E flat Nocturne, Op 9 No 2, Tharaud may be less enchanting than, say, Cherkassky but it is also a salutary reminder that Chopin was the most classically biased of the great keyboard composers. 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. These are both extraordinary performances by an extraordinary pianist, though of the two, the First Concerto is the more affecting. The booklet-note writer may comically mistake the Mazurkas for the Polonaises in referring to Schumanns oft-misquoted description, guns [sic] buried in flowers, but thats a mere spot on Naxoss blazing sun. 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. Register now to continue reading Thank you for visiting Gramophone and making use of our archive of more than 50,000 expert reviews, features, awards and blog articles. And even though we know he himself (one of the greatest perfectionists) was not completely happy about the Barcarolle, for the rest of us this glowing performance has a strength of direction and shapeliness all its own. The addition of two Nocturnes and the sublime Barcarolle simply confirm that though Hamelin has made many fabulous discs, particularly in repertoire of superhuman virtuosity, this is one of his very finest achievements to date. Ignaz Friedman, 1928 (pupil of Leschetitzky) at 15:30\r6. Whether or not Kolesnikovs new disc will suggest to everyone the apotheosis of the mazurka, for me these performances are the most beautiful and strikingly original Ive heard. Great Chopin interpreters include: Krystian Zimerman, Artur Rubinstein, Vladimir Ashkenazy, Maurizio Pollini, Dinu Lipatti, Solomon, Seong Jin-Cho, Moiseiwitsch, Ivan Moravec, Fialkowska, Jorge Bolet, Samson Francois, Rafal Blechacz, Dang Thai Son, and Maria Joao Pires. This may not be Chopin for every day, but the force of Pogorelichs musical personality subtly and irrevocably shapes ones view of the music. Istvan Szekely. But in a guessing game perhaps it would be the two finales that would most betray the identity of the soloist. Home Page hough is unfailingly thoughtful ; there isnt a note that hasnt been cared for with such ravishing, A theme and variations, but such playing makes a mockery of standards Details for feedback and questions, please contact Victor Gomersall and final release of Cortots 78rpm Chopin?! Hidden beneath every thorny, relentlessly focused problem, emerges with an almost scary intensity of focus, Budus the. 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