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. Borrow it. Our lists of the50 greatest Mozart,Beethovenand Bach recordings have proved phenomenally successful, and so we are proud to present 50 of the finest recordings of Chopin's music. Romantic period. 50 Songs. What he does with the slow movement of K280, for instance, gives it a kind of operatic reach and breadth, though never does it lapse into histrionics. My admiration for him as an artist increases, too, as one senses how responsive he is to Chopins variety, in a corpus of music not generally recognised as being so various. In the G major (No 3), the right hand floats spacious and serene over the bubbling cascade of left-hand figuration. Format: piano solo single. His delight in the chewy harmonies of the opening movement of K332 is palpable, his phrasing iridescent in its range. The composer titled it Variations, but upon it first publishing (by J. Meissonnier in 1844) the title was changed to Berceuse. Yet overall it is the luminous quality of his musicianship that strikes you at every turn. Berceuse, Op. There is not a single contemporary pianist who comes within distance of such playing. The 50 greatest Chopin recordings Gramophone Sunday, October 10, 2021 Complete with the original Gramophone reviews of 50 of the finest Chopin recordings available. We have included, where possible, the complete originalGramophone reviews, which are drawn from Gramophone's Reviews Database of more than 45,000 reviews. Price Match Guarantee. If you compare Rubinsteins readings here with those he recorded on 78rpm discs in 1938-39, you immediately notice that an element of fantasy and caprice has given way to a more sober view of the music. His reading of Op 34 No 1 isbrillante, as per Chopins title. In Fliters readings you truly feel the complexity and ambiguity of works once described by Schumann as sketches, beginnings of tudesruinsall disorder and wild confusion. Listen immediately in My Library. But these are minor cavils. 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. Arthur Rubinstein is said to have thrown RCA's master tape of his 1961 Carnegie Hall performance into the fireplace. KK IIa/3, perhaps the earliest, is lithe and spry with the unselfconsciousness of youth. 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. Re: "Best" recording of Chopin's Berceuse. 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. In the Sixth Prelude, for instance, the upward curling arpeggio has a rare poignancy, while the Tenth glistens but also has an unexpected hesitancy about it. Berceuse. Others speak with seductive charm. The recording beautifully captures his instantly recognisable, glistening sound world. Truly innate Chopin players are rarer than you might think. When all the coruscating bustle finally runs up against a solid wall, Budu resists violent assault, the default choice of most pianists. Vlado Perlemuter (piano) Here, simply and assuredly, is one of the most magisterial talents in the entire history of piano playing. A Brazilian of Romanian descent who studied at the University of So Paulo and the New England Conservatory, Budu is a stunningly original pianist with musical insight and maturity that could inspire envy in colleagues twice his age. 2. Of those Ive heard, including the sets by Goerner, Cho, Yundi and Sokolov, Budus are the most enduringly satisfying. Other pianists may be more outwardly beguiling, but Pollinis magnificently unsettling Chopin can be as imperious and unarguable as any on record. Such a formal contraction can contribute to the momentum with which the movement unfolds. 4 suites / Georg Boehm. 9.0x12.0x0.172 inches. 57, in 1844. The music may be sent smartly on its way by both conductor and soloist, but the patrician ease, nonchalant glitter and authority of Rubinsteins playing are uniquely his to command. After the first movement of the B minor Sonata (without the exposition repeat), Hough takes theScherzoat a conservativemolto vivace, while the finale, after one of those long-spuncantilenamovements that Hough does so well, is an acutely executed studio recording. George Copeland ca. 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. 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. He may relish left-hand counter-melody in the return of the second subject and elsewhere, yet such detail is offered within the context of the whole. Her B minor Sonata is as thoughtful as it is masterly and if one occasionally misses the seductive tonal allure and magicalcantabileof a Cortot or Perahia (most notably in theLargo), theres admiration aplenty for such clarity, strength of purpose and musical integrity. Before Chopin, the etude was an exercise designed to explore a particular technical skill. Garrick Ohlsson was the first American to win the Chopin Competition in 1970. Benno Moiseiwitsch, rec. Like the solitary Mazurka, they were recorded in Geneva during his remarkable renewal of strength in the summer of 1950. The recorded sound has the warmth, fullness and immediacy typical of this series, with a nice bloom to the piano tone. Rubinsteins Mazurkas are equally the stuff of legends. These are both extraordinary performances by an extraordinary pianist, though of the two, the First Concerto is the more affecting. Love him or hate him, Pogorelich guarantees a response. EMI. Berceuse in D flat, Op. He is able to focus attention on the tiniest details while leaving proportions perfectly intact. Liszt said it: A wind plays in the leaves, life unfolds and develops beneath them, but the tree remains the same that is the Chopin rubato. Kolesnikov does it. 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. Db Major. Yet moving ahead, one has no hesitation in declaring Maria Joo Pires among the most eloquent master-musicians of our time. 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. Right from the opening C major study, as in many others, she finds some extramusical narrative beyond the text that I find profoundly moving. Hough is always doing something, though sometimes you might wish he were doing less. Find album reviews, track lists, credits, awards and more at AllMusic. What albums would you add to the list? But overall Freire is at his finest in readings which are pensive and conciliatory. The recital is rounded off with the most waltz-like of the Nocturnes, the E flat major, Op 9 No 2 a nice touch. MA Music, Leisure and Travel At once their striking individuality embraces a sweep and cohesion that leave the impression that the entire set could have been captured in a single take. What quiet, scintillating charm in No 5 (the black keys etude), what intuition in the agitated short-long-short phrases of No 9. What a glittering and assured curtain-raiser to the Op 10 Etudes; and if she can command with the best of them she can just as easily take you into her confidence. Ignaz Friedman, 1928 (pupil of Leschetitzky) at 15:30\r6. Where many a player is content to let recurring sections and paragraphs register simply as the music we heard before, with him they sound different in some degree, affected by whats come in between. He is exceptionally glittering and stylish in ChopinsFantasie-impromptu(later making a ghostly reappearance in CrumbsDream Images) and offers a tantalising glimpse of Balakirevs extensive but little-recorded repertoire in his Second Nocturne, music enriched with the composers elegant and conversational brilliance. In addition, the superbly voiced piano is realistically recorded, neither too distant in that impersonal back-of-an-empty-hall way nor so close that the instrument is not allowed to sing. 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. MP3 $40.00. Chopin wrote polonaises from his youth to his later years. Likewise in the three Mazurkas Op 59, discovered in the vaults of West German Radio (WDR) in Cologne, she captures their intimacy and lightning changes of mood to perfection. True, there are moments when a once legendary and impeccable technique stiffens (in the double-note flow of the G major Nocturne), yet this is less than marginal in music-making so personal and reflective. One mystery remains. My favourite is the C major (No 5), which scurries about with amazingly precise urgency. Personally speaking, I dont recall not recognising at least a couple of mazurkas. 57. He was simply in his element, and never more so than in Chopin. Good news for pianophiles everywhere that Grigory Sokolov has, as DG put it, now signed an exclusive contract. For his debut recording, Budu chooses an entire disc of miniatures. In the scintillating coda Rubinstein takes his bravura to a spine-tingling edge, but in, for example, theLarghettos central storms there is a brusque, streamlined indifference to the musics finer qualities. 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. When Arthur Rubinstein made the first complete recording of the Mazurkas in the 1930s, its said that he demonstrated to his producers the steps of the dances that influenced Chopin. The CD ends with a rippling and yet slightly aggressive reading of the Second Scherzo. The Waltzes are merciless in showing up the limitations of an interpreter's personality, and not just in the rhythm department. The disc ends with a powerfully glittering performance of the Second Scherzo. The discs striking cover has the Bowler-hatted Hough gazing at a Rothko abstract. Theres an air of spontaneity, yet the expressive weight of each phrase is carefully considered, by York as well as by Wallfisch, giving the whole work a powerful sense of unity. Gramophone is brought to you by Mark Allen Group I dont know; but it is certainly one of the most consistently inspired, masterfully executed and beautiful-sounding versions I can recall. And where else have you heard a more impassioned or articulateRevolutionaryEtude? The 24 Etudes of Chopins Opp 10 and 25, although dating from his twenties, remain among the most perfect specimens of the genre ever known, with all technical challenges and they are formidable dissolved into the purest poetry. Predictably, Hamelin is wonderful in such things as theScherzoof the Third and the visceral finale of the Second, though perhaps slower than you might expect in the neuroticScherzoof No 2. 55-58. The answer came back immediately: Martha Argerich. . From the playing here, its no wonder she won the Chopin Competition. Vladimir Ashkenazy made his integral set of the Mazurkas over a decade. 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. It's a little rubato, the key seems rather to keep an unchanging rhythm, and we lack a little poetry and clarity despite some eloquence. Naturally, Rubinsteins legendary cycles possess a graciousness, an ease and elegance reflecting, perhaps, a long-vanished Belle Epoque. 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. . The two big Polonaises, Opp 44 and 53, are offered with a fearless bravura (you can almost hear the audiences uproar after Rubinsteins thunderous conclusion to the latter), rhythmic impetus and idiomatic command beyond criticism. The implacable tragedy of Op 56 No 3 is so pervasive, you may find yourself, as I did, clinging to the contrasting middle section as though to a life raft. For Freire the Nocturnes are tirelessly experimental, an opalescent world of shifting moods and colours. 50, Frederic Chopin, 51 Mazurkas on Alliance. Amazingly, the harmonic underpinning consists mainly of a simple alternation of tonic and dominant chords. He doesnt, however, take an improvisatory approach. Listen to the First Ballades second subject and youll hearrubatolike the most subtle pulsing or musical breathing. The two finest here are Opp 42 and 64 No 2, and with the former Rubinstein excels in the unification of its diverse elements, its rises and falls of intensity, its hurryings forward and holdings back. No single interpretation of Chopins Preludes will ever be enough but just as she demonstrated in her previous disc of the two Chopin concertos (3/14) the Argentinian Ingrid Fliter seems to be able to achieve individuality seemingly effortlessly, with cherishable and memorable results. And in No 4 Fliter lays bare with utter naturalness the insistent falling semitone, forming a piquant contrast with the following Prelude, in which she gives Cortot a run for his money in terms of shimmery, shadowy elusiveness. Maurizio PollinipfPhilharmonia Orchestra / Paul Kletzki. Only just out of her teens, Alice Sara Ott half-German and half-Japanese gives us a performance of the Waltzes as touching, piquant and scintillating as on any modern recording. As compositions, the nine may not be as sophisticated as the concert waltzes, but are no less characteristic of him, and Hough shows they repay treatment as detailed and thoughtful as the rest require. The recording is first rate. Perahias is the finest of all modern discs of the Etudes, and Sonys sound captures all his artistry. Home | Stories | Playlist: 8 Chopin Recordings Every Music Lover Should Own. 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.. A truly extraordinary disc. In the Second Sonata, Pollini unites what Schumann called four of [Chopins] wildest children into a family, a feat managed by few pianists, the first movement (with ada caporepeat) leading quite naturally into theScherzoand so on. 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. Son interprtation des tudes, telle qu'on peut l'entendre sur ce disque, montre un souci de la solution des problmes techniques et rvle sa matrise complte du clavier. Some may find Pogorelichs probing individualism too overwhelming. 1913.Audio. DG has struck gold and I can only hope that such a perceptive, natural and unforced talent will remain untarnished by commercial pressures. Composed by Frederic Chopin (1810-1849), edited by Rafael Joseffy. Tell us in the comments below. This reading is among the most darkly imaginative and pianistically refined on disc. Chopin The Noctures on Deutsche Grammophon. Finely recorded, this is an original and exemplary addition to Chopins bicentenary year. The 8 recordings below feature 8 different pianists performing 8 different genres, giving you an appreciation for the diversity of Chopins works and the musicians who perform them. 2012 Midwest Clinic: Alpharetta High School Symphony Orchestra. 3 and the Opus 53 Polonaise No. There are echoes of Les Six, Stravinsky and Ravel, whose G major Violin Sonata surely provided the model for the languid, bluesy middle movement. And here, arguably, is the oblique but telling influence of Horowitz whom Perahia befriended during the last months of the old wizards life. Too serious to be overtly glamorous or heart-stopping, his warm-hearted performances eschew a concert-hall brio in favour of intimacy, almost as if played in the privacy of ones own room. The C minor Polonaises denouement, too, emerges with a chilling sense of finality, and Pollinis way with the pounding audacity commencing at 3'00" in the epic F sharp minor Polonaise is like some ruthless prophecy of every percussive, anti-lyrical gesture to come. Frankly, Grosvenor is too interesting and too individual to win any of them. In his published conversations with Joseph Horowitz, Claudio Arrau startled his interviewer by claiming Chopin's greatest achievement to be the Nocturnes. Before these, there is a quite dazzling performance of the Op 10 C sharp minor Etude, not the fastest on disc (though fairly brisk) but one of the fastest that also makes musical sense. Rubinstein tackles the F minor Fantasie in rather a heavy-handed manner, with more power than searching drama. Martha Argerichs first commercially released recordings of the Chopin concertos were for DG; No 1 in 1968, No 2 in 1978. If you want your Chopin sonatas balanced and formally cohesive, then Rubinstein is for you. The closing pages of No 1, on the other hand, have an exemplary finish and allure. BTW, (forgive the name-dropping) I was at Perahia's Carnegie Hall recital when he "returned" after his absence due to a hand injury. 1 in E minor, Concerto No 2. in F minoron RCA. 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. Item Number: HL.348234 ISBN 9781540097262. 1916 . 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 sound quality is a bit reverberant, an effect heightened by the fact that Argerich has a tendency to overpedal. 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