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The 50 greatest Chopin recordings – part 5 | leoberhandthernprec.ml

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Waltzes Nos. Ecossaises Nos. Waltz in A - Flat Major, D. Ecossaise in E - Flat Major, D.

Tchaikovsky : Waltz Op. 39, No. 9

Cotillon in E - Flat Major, D. Total Playing Time: Composition Title. Disc Title. Catalogue No.

Frédéric Chopin: Walzer: Piano

For U. For Canada only:. For Germany:. The nine securely authenticated pieces immediately follow the published ones here, a further three of more doubtful provenance being added after that.


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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. In many other versions they do not get it, however, the moderately paced pieces being played too slowly and infected with a generalised wistfulness or, worse still, languor.

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. And what a lovely sound he makes — on a Yamaha, excellently recorded in a concert-hall acoustic. In textural terms he is up to the minute with current thinking, accepting that the interpreter should make choices among the variants existing for some of these pieces, in the same spirit as Chopin created them.

Chopin, Fryderyk Franciszek [or Frйdйric Franзois]

More freshness, again. The recital is rounded off with the most waltz-like of the Nocturnes, the E flat major, Op 9 No 2 — a nice touch. 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. 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. Like the solitary Mazurka, they were recorded in Geneva during his remarkable renewal of strength in the summer of Just once or twice in the Waltzes you might feel tempted to question his sharp tempo changes for mood contrast within one and the same piece — as for instance in No 9 in A flat, Op 69 No 1.

However, for the most part his mercurial lightness, fleetness and charm are pure delight. His Nocturnein D flat has long been hailed as one of the finest versions currently available. 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. This is at once demonstrated by his direct interpretation of Op 18, its elegance explicit. In Op 34 No 2 Rubinstein judges everything faultlessly, distilling the sorrowful yet cannily varied grace of this piece.

Frédéric Chopin

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. The sole fault of this issue is that conventional programming leads to the mature Waltzes, which were published by Chopin himself, coming first, the lesser, posthumously printed items last. Not all of these are early but they have less substance than Opp , and should come first. 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.

Here in particular you note an elegance and insinuation devoid of all sentimentality, neurosis or self-serving idiosyncrasy. His way with the bardic Second Impromptu is a poetic ultimate; here the Chopin of our dreams becomes a reality. There is not a single contemporary pianist who comes within distance of such playing. The Hollywood-based recordings are tight and dry.

Chopin - Waltz no.10 in B minor op.69 no.2 sheet music for Piano

Everything is arrestingly personal yet never exaggerated or inflated, and his way with five Mazurkas, in particular, is very much at the heart of their confessional nature. 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. Just listen to the opening Barcarolle, the selection of four Mazurkas, two Nocturnes and the closing Berceuse.

It seems to cry out for lyrics and a soprano. The connection between Bowler, Rothko and Chopin is the subject of a thought-provoking essay by the pianist. This is Chopin presented with a difference. One mystery remains. This is sufficiently piquant and startling to raise eyebrows. Everything is beautifully recorded on a light-toned instrument quite without alien heaviness or texture.


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