But you probably have noticed the large number of yellow covers above, and DG really did a great job on this 17 CD box. He wrote the Polonaise in October 1829, adding a touching Introduction the following July. Simon Laks had already settled in Paris when he wrote his 1932 Cello Sonata.
The Budapest Concert, The 2020 Gramophone Awards – A Quick Wrap Up, GoGoPenguin’s Latest Album Is Just Outstanding, Diana Krall: The Dream Of You – Really Not My Cup Of Tea, 2020 Gramophone Awards – And The Winners Are…, My Reflections on the 2020 Gramophone Awards – Part II – Choral, Instrumental & Orchestral, My Reflections on the 2020 Gramophone Awards I – Concerto, A Beautiful Recording of the Complete Beethoven Trios, Accordion And Guitar? And if her free spirit leaves us tantalised, thirsting for Chopin’s First, Second and Fourth Scherzos as well as his Third, for example, she has also left us overwhelmingly enriched, forever in her debt. In spite of this piecemeal type recording, the result is just fantastic, and can be described with only one word: fantastic. Gramophone is part of Eldar Nebolsin pf Warsaw Philharmonic Orchestra / Antoni Wit.
You can reach me at Musicophile1(AT)gmail.com The Fantasia and Krakowiak are no less successful. The programme ends with Gulda’s own Epitaph for a Love, a strange mixed-up jazz effusion that includes some very odd vocals in Viennese dialect and a phantom reference to Chopin’s C minor Prelude.
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If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information. The Tortelier recording is somewhat warmer, the separation between the instruments better defined; yet this recording is excellent also.
2, in a row. This was one of her first recordings.
Mercifully uncut, unlike Rubinstein’s previous discs of both concertos with Barbirolli, these are astonishing performances, occasionally, particularly in the Second Concerto, content simply to astonish. No Chopin list can be complete without the name that is most closely associated with this composer: Artur Rubinstein. I don’t know; but it is certainly one of the most consistently inspired, masterfully executed and beautiful-sounding versions I can recall.'
Change ). 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 Concerto No 2 was written a year later with Concerto No 1, confusingly, following a year after that. Was this prompted by ‘inspirational heat-of-the-moment’? Thanks Lewis for your feedback. For the most nuanced touch and dynamic range, no one beats Ohlsson.
Change ), You are commenting using your Facebook account. I like his Brahms, so I really need to check out his Chopin. And thanks for your feedback and kind words overall.
It’d be difficult for Pollini to produce an ugly sound (and he doesn’t here), but while the piano is captured from a slight distance (say the front row of the stalls), the pianist’s frequent nasal intakes of breath are recorded in close-up. 1 in E minor, Op.
Zimerman (also one of my Top 10 Favorite Classical pianists) is also my recording of choice for the Ballades. International licensing, If you are a library, university or other organisation that would be interested in an institutional subscription to. ( Log Out / Fill in your details below or click an icon to log in: You are commenting using your WordPress.com account.
Here in all his glory is Friedrich Gulda the ultimate maverick pianist, yet beneath his determined assault on what he saw as the stuffy conventions of the music world (the Viennese world in particular) lay a pianist of genius aptly described by Martha Argerich, his one-time protégée, as ‘the most extraordinary and brilliant man I ever met’. We have included, where possible, the complete original Gramophone reviews, which are drawn from Gramophone's Reviews Database of more than 45,000 reviews.
It is not by coincidence that I’ve ranked Moravec in my in My Top 10 Favorite Classical Pianists for this album alone. It’s obviously ideal if you can have both, which is increasingly often the case these days. You can find the recordings either in the respective original blog post or here: Concertos / Zimerman: here (Qobuz) and here (Prestoclassical) (note that Presto has a special offer on Zimerman recordings until the end of 2017), Ballades / Zimerman: here (Qobuz) and here (Prestoclassical), Etudes / Pollini: here (Qobuz) and here (Prestoclassical), Argerich Legendary 1965 recording: here (Qobuz), Argerich Rostropovich Cello Sonatas: here (Qobuz) and here (Prestoclassical), Chopin Mazurkas Rubinstein here (Qobuz) and here (Prestoclassical), The Complete Chopin Edition here (Qobuz) and here (Prestoclassical), I'm not a professional musician, I don't work in the music industry, I'm just what the name says, somebody who loves music.
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’. Here, simply and assuredly, is one of the most magisterial talents in the entire history of piano playing. The thread is called “My Essential Classical Albums” by a forum participant called Sphinxsix. So I must admit that until recently I only knew one recording of this, by Sol Gabetta.
She can tear all complacency aside. ( Log Out / But in a guessing game perhaps it would be the two finales that would most betray the identity of the soloist.
How she keeps you on the qui vive in the Second and Third Sonatas.
Pollini is typically the perfectionist, rational architect, and Argerich is known for her energy and fire. Another pianist that I found interesting in his Chopin recordings is Demidenko, whose recording of the Ballades, has emerged as a dominant force, when I compared about a dozen performances (including all the names on your list) in a “blind testing” of the 1st and 4th Ballades.
In the First Concerto, while recognisably the same pianist, Rubinstein is altogether more subtle, following his characteristic exuberance and extroversion with playing of a rapt magic and delicacy.
3 played more passionately. | 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. Thanks for this list – certainly useful and insightful. Time and again he casts a novel and intense light on even the most familiar phrase, making you hang on every note.
Mark Obert-Thorn’s restoration of the 1953 sound is a model of remastery though even he cannot make the 1946 Second Concerto sound less than cramped.
Check out her recording of the piano concertos for another example of her extraordinary talent. Now, everything is accomplished without a care for studios and microphones, and with a degree of involvement that suggests an increase rather than a diminution of her love for these works.
I think Fliter has a rather quirky take on a lot of Chopin’s music, but it seems valid to me and mostly unique to her. The rarely recorded Là ci darem Variations are welded into a cohesive whole in what is a new benchmark recording (try the final pages of the Alla polacca variation, with Nebolsin’s left hand injecting a motoric rhythm against the non-stop right-hand semiquavers). Is the delicate rhythmic play at the heart of the Third Sonata’s Scherzo virtually spun out of existence?
Is the Funeral March too brisk, an expression of sadness for the death of a distant relative rather than grief for a nation? Gramophone is brought to you by Mark Allen Group 1 by Martin Helmchen and Andrew Manze- A Positive Surprise, Cheerful Vivaldi for not so cheerful times, Brahms Late Piano Works In a New Fantastic Recording by Stephen Hough, The Fred Hersch Trio – Sunday Night At The Village Vanguard, Quatuor Ebène’s truly enjoyable Razumovsky quartets, Isabelle Faust and Alexander Melnikov’s Wonderful Mozart Violin Sonatas (vol. I’ve had the pleasure of hearing Zimerman perform some of these live, including the beautiful Barcarolle that you’ll also find on this outstanding 1988 album. The 50 greatest Chopin recordings Gramophone Monday, October 10, 2016 Complete with the original Gramophone reviews of 50 of the finest Chopin recordings available. Marta Argerich won the Chopin Competion 5 years after Pollini. Read review, 'I know of no other pianist who combines attention to the smallest detail with such nobility of phrase and cohesive sweep of the dance as a whole.' 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.
Regarding EU jazz, I’m also surprised that in the 21st century there is still very limited overlap between what’s happening on both sides of the pond. About Mark Allen Group Having enjoyed Nebolsin and his colleagues so much in the First Concerto it’s good to report that the second volume lives up to its predecessor in every way, and the slight reservations about the acoustic and workmanlike accompaniment seem marginal considerations here.
Exploring the world of literature, wine, art, music and more. Once with the LA Philharmonic under Giulini in the late 1980s. Change ), You are commenting using your Google account. No 1’s Rondo is the highlight of the disc, nonchalantly fleet-fingered, beautifully phrased and conveying a real joy of shared music-making. Interesting selections… I once listened to 20+ recordings of the Nocturne op.27, No. Will have to check that out! Friedrich Gulda pf London Philharmonic Orchestra / Sir Adrian Boult. Knowing that Zimerman is one of the most perfectionist pianists out there, if he records something twice, you can be sure, he does it for a reason. There are echoes of Les Six, Stravinsky and Ravel, whose G major Violin Sonata surely provided the model for the languid, bluesy middle movement. Though I love my recordings, I see a great deal of live music here in the Bay Area and in NYC when I get there.
I have a pretty sophisticated sound system and I strongly respond to the nuance and the immediacy of the sound itself, not just the interpretation. Why not register today and enjoy the following great benefits: Free access to … Who but Argerich, with her subtle half-pedalling, could conjure so baleful and macabre a picture of ‘winds whistling over graveyards’ in the Second Sonata’s finale, or achieve such heart-stopping exultance in the final pages of the Third Sonata (this performance is early Argerich with a vengeance, alive with a nervous brio). That said, although I do appreciate good sound quality and at least on the headphone side have a system to appreciate it (Sennheiser HD800), I still will always prefer musical performance over recording quality. The music may be sent smartly on its way by both conductor and soloist, but the patrician ease, nonchalant glitter and authority of Rubinstein’s playing are uniquely his to command.
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