chopin berceuse best recording

58, is a challenge even for the best of pianists. Nine pieces in all, they were Chopins first published sets and their piquancy, the richness of their ideas, is here made very apparent. (DGs sound is ideal and their presentation could hardly be more lavish.). 57: Chopin: Help Opus Details For feedback and questions, please contact Victor Gomersall. Not that Kolesnikov lacks pliancy. There are more ideas crammed into under 42 minutes than on many discs almost twice the length, although most collectors will still feel short-changed by the playing time. Of those Ive heard, including the sets by Goerner, Cho, Yundi and Sokolov, Budus are the most enduringly satisfying. This is also true of his reading of Op 64 No 2, the yearning of whose briefpi lentosection is memorable indeed. Thecon fuocoof Op 15 No 1 erupts in a fine fury and in the first Nocturne, Op 9 No 1, Piress sharp observance of Chopinsappassionatomarking comes like a prophecy of the codas sudden blaze. Yet there is surely no living pianist who could or would attempt to emulate such heart-stopping poetry. . 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. Here is a great artist who seized the opportunity to achieve ever greater heights of eloquence and rhetorical verve. 8 Eugen d'Albert (1864-1932) - 19?? The Tortelier recording is somewhat warmer, the separation between the instruments better defined; yet this recording is excellent also. Martha Argerich: The Collection 1 - The Solo Recordings on Deutsche Grammophon. In the finale of the Third he doesnt begin the build-up too soon, as can be a temptation, and even has a skip in his step. The set includes all those published posthumously and the revised version of Op 68 No 4, so this is a comprehensive survey. His delight in the chewy harmonies of the opening movement of K332 is palpable, his phrasing iridescent in its range. 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 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. From beginning to end, this is among the finest Chopin recordings of recent years. The Mazurkas are so intricate in their variety of moods that the successful pianist has to be able to treat each one as an entity, contrasting the emotional content within the context of that particular piece. Learn more about advertising and sponsorship on WFMT. Here, in this great young pianists incomparable hands, and in Eratos excellent sound, is living proof that Chopins music is forever new, forever revelatory. The poise of Op 17 No 2 is maintained without a trace of maudlin sentimentality. His way with the bardic Second Impromptu is a poetic ultimate; here the Chopin of our dreams becomes a reality. Naturally, Rubinsteins legendary cycles possess a graciousness, an ease and elegance reflecting, perhaps, a long-vanished Belle Epoque. 1918. Although there are fine things in all the groups, Op 24 is the first Mazurka set of uniformly high quality and No 4 is Chopins first great work in the genre. 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. Yet moving ahead, one has no hesitation in declaring Maria Joo Pires among the most eloquent master-musicians of our time. Published by Hal Leonard. Chopin: Piano Concertos Nos. This is altogether a recording of magnificent playing. 2 when he was around twenty years old.This well-known nocturne is in rounded binary form (A, A, B, A, B, A) with coda, C.It is 34 measures long and written in 12 8 meter, having a similar structure to a waltz.. Youll sound like a true pro if you can master this. chopin366, Aug 26, 2007 #1. Here she revisits both concertos and offers an act of re-creative daring, of an alternating reverie and passion that flashes fire with a thousand different lights. Before Chopin, the etude was an exercise designed to explore a particular technical skill. The disc ends with a powerfully glittering performance of the Second Scherzo. He commands an immense colour palette and moves from a robustfortissimoto a scarcely audiblepianissimoin a nanosecond. On the other hand, the 19th Prelude eschews itsVivacemarking. 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. Scrupulously observant of the composers agogic indications, the abundant drolleries of these pieces are understated and all the wittier for it. But whereas in less imaginative hands the results could seem mannered or overly drawn out, here its mesmerising. He has an incredibly broad repertoire but is still known as a fine Chopin interpreter. Kissin is among the master-pianists of our time. 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. Then theres the F minor Mazurka, Op 63 No 2, taken for once at a truelento, a dark place indeed for Anderszewski, with only relative light in the central idea to lessen the mood of heart-stopping despondency. Everything unfolds with complete naturalness and authority. As Schoenberg said of Webern's music, so one could say of Chopin's Nocturnes when Arrau plays them: 'a glance can be spun out into a poem, a sigh into a novel'. 820 W. 34 St. BMH 101 - MC 1441 Why? Frederic Chopin: Berceuse, Op. Houghs Chopin can be a little emotionally chilly in a studio-perfect environment but here, for the most part, he transcends the lonely confines of St Georges (Bristol) to offer a masterclass in pianistic command and stylistic poise with the most heartfelt playing of any of his recent recordings. There's no falseness or smoothing-over of detail. Mark Hambourg, 1928 (pupil of Leschetitzky) at 18:57\r7. (Louis Lortie did this on his recent excellent Chopin recital for Chandos; his B minor Scherzo, incidentally, lasts 926.) 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. Borrow it. His own feeling for quiet nuances in theLargoof this work is quite superb, and here too Pollini on DG achieves an innocence thats disarming. 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. Is the delicate rhythmic play at the heart of the Third SonatasScherzovirtually spun out of existence? The final trio of preludes takes us from the proto-Prokofievian toccata figuration of No 22 via the most restrained haloed playing in the daringly withdrawn F major, Fliter really bringing across its tinkling musical-box qualities, which is all the more touching when it is banished by the seismic drama of the final Prelude. This is a record to fascinate even the most blas listener and one can scarcely wait to hear this superb and enterprising artist in further recordings. 50, Frederic Chopin, 51 Mazurkas on Alliance. As enthusiastic audience applause (discreetly rationed on the disc) makes plain, these two concertos were recorded live at Tel Avivs Mann Auditorium. Playing from autograph manuscripts, she relishes the more florid harmony and ornamentation of, for example, Nos 8, 9 and 10, and includes all the posthumous Waltzes, ending with theAllegrettoin A minor and making it a haunting and touching valediction. George Copeland (April 3, 1882 - June 16, 1971) [1] was an American classical pianist known primarily for his relationship with the French composer Claude Debussy in the early 20th century and his interpretations of modern Spanish piano works. 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. 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. Certainly all the live performances on these discs create a towering tribute to Chopin. 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. 57. 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. After this undeniably exciting reading, Grosvenor inserts a single Nocturne as a counterweight between each Scherzo. PREVIEW. 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. Of course, all of this would be beside the point if he didnt produce the goods. 3, the Opus 59 Mazurkas (Nos. Mercifully uncut, unlike Rubinsteins previous discs of both concertos with Barbirolli, these are astonishing performances, occasionally, particularly in the Second Concerto, content simply to astonish. 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. A comprehensivelist of the finest Chopinrecordings has been released in the October issue of the prestigiousGramophone Magazine. To find out more about subscribing to the Database, visit: gramophone.co.uk/subscribe. Not to put too fine a point on it, he helped rescue Chopin from the pianists. Yundi Li (In Chinese, the first name comes second), Li Yundi to Western world and Yundi for short, is (regardless of moniker) now a famous Chinese pianist. Other pianists may be more outwardly beguiling, but Pollinis magnificently unsettling Chopin can be as imperious and unarguable as any on record. His control in the tricky A flat, Op 42, is quite amazing. He convinces one that he has made this music his own. 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. This is very much the playing of a pianist who lives in the fast lane of life. That was Solomon, and the recording is justly respected. Listen immediately in My Library. Receive a weekly collection of news, features and reviews, Gramophone BTW, (forgive the name-dropping) I was at Perahia's Carnegie Hall recital when he "returned" after his absence due to a hand injury. In the Chopin sonatas its difficult to think of which performance to choose as the greatest. In all but the finale of No 1 (where Pollini on EMI beats him by a minute) his timings throughout both works are considerably faster than most of his rivals on disc. A historical comparison: 10 great pianists of the past play Chopin's Berceuse opus 57 in D flat major\rIn chronological order:\r1. The connection between Bowler, Rothko and Chopin is the subject of a thought-provoking essay by the pianist. In the hushed sensuality of KK IIb/5, octaves in the middle contrasting section evoke silver bells, while the trills at the end grip the heart. Just about any Rubinstein recording of Chopin can be relied on to be good. Joined: Jun 19, 2006 Messages: 692 Likes Received: 0 Location: Germany Home Page . Here, in memorably refined and stylish performances, Tharaud is wonderfully enterprising, mixing the familiar and unfamiliar, the large-scale (despite his discs title, Journal intime) and the miniature. In the G major (No 3), the right hand floats spacious and serene over the bubbling cascade of left-hand figuration. 1999 WASBE San Luis Obispo, California: The Youth People's Symphonic Band of North Rhine-Westphalia. 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. But these are minor cavils. If you are a library, university or other organisation that would be interested in an institutional subscription toGramophoneplease click herefor further information. This is Hamelins second recording of the Second Sonata and it shows how much his pianism has developed during the intervening time. The recorded sound has the warmth, fullness and immediacy typical of this series, with a nice bloom to the piano tone. Hours: 9:30 am 4:30 pm (appointments preferred). Eyebrows may be raised in the A flat Polonaise but this is no obvious celebration of triumph over adversity, rather a re-creation of music which lives again in all its initial audacity. Then compare her with Trifonov, whose live Preludes from Carnegie Hall provide a thrill a minute but who seems altogether too fast here. Completely relaxed but with an almost scary intensity of focus, Budus every motion is directed towards the production of sound. Each waltz emerges as if a great actress were reading a short story, each with its own colour and character. 1916 . The edition has been based primarily on Chopin's autograph manuscripts, copies approved by him and first editions. Arthur Rubinstein, 1958 (pupil of Karl Heinrich Barth) at 36:04\r\rTechnical note: the recording of Hambourg is a little high (or maybe it's the tuning? Tell us in the comments below. Rubinsteins Mazurkas are equally the stuff of legends. 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. They have remained popular ever since their first performances. Here, the 1929 rather than the more familiar 1933 set of the Ballades blazes with a passion, brilliance and poetic audacity that set the pulse racing and the mind reeling. Maurizio . Try the centralmeno mossofrom the First Polonaise and witness an imaginative freedom that can make all possible rivals sound stiff and ungainly by comparison. It took William Kapell two years before he could record the work to his satisfaction (still my favorite recording of the piece). In the Barcarolle theres no relaxed base on which the melodies of the right hand are constructed, as is conventional, but more the piece emerges as a stormy odyssey through life, with moments of visionary awareness. 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. The sound may seem dated butNaxoss transfers are excellent, and to think that all this is offered at super-budget price. Berceuse, Op. 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. When all the coruscating bustle finally runs up against a solid wall, Budu resists violent assault, the default choice of most pianists. One mystery remains. In his published conversations with Joseph Horowitz, Claudio Arrau startled his interviewer by claiming Chopin's greatest achievement to be the Nocturnes. Stephen Houghs accounts offer plenty of refreshment to spirit and senses. He is devastatingly honest without being showy. Chopin's Berceuse, composed in 1843 and first published in 1845, is a masterful work for the piano. They reveal a lot about a player and are merciless, it has been said, in showing up the limitations of an interpreters personality, and not just in the rhythm department. The first track on this CD dates from six years earlier, a blistering performance of the G minor Ballade recently unearthed in the archives of Deutschlandradio Kultur (formerly RIAS) in Berlin. Playing with a sensitive, song-like touch, Maria Joo Pires shows how these poetic pieces have come to embody Chopins music. Even Lipatti hardly achieved such an enchanting lilt or buoyancy, such a beguiling sense of light and shade. 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. 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. Rubinstein tackles the F minor Fantasie in rather a heavy-handed manner, with more power than searching drama. He inclines to the accepted view that Chopins large forms have a plot that culminates in a tumult or a whirlwind of activity. 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. Recording in the studio, rather than at a live concert, quite naturally leads to a safe and uniform approach, which doesnt really serve the inspired inventiveness of the music. Chopin - Op.57, Berceuse . His phrasing is free and flexible and he has utter appreciation of the delicacy of Chopins ideas. Bolstered by a vital and intelligent Beethoven, they strongly suggest that Cristian Budu is an artist well be eager to hear more of the sooner the better. 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. No, he has allowed them to release a live recital from the 2008 Salzburg Festival. Listening to this recording over a period of weeks, Wagners description of Beethovens Seventh Symphony as the apotheosis of the dance kept running through my mind. Like the solitary Mazurka, they were recorded in Geneva during his remarkable renewal of strength in the summer of 1950. Take Op 10 No 1, from Lisiecki a grand maestoso curtain-raiser that transcends a more familiar and determinedly virtuoso rush. Martha Argerichs first commercially released recordings of the Chopin concertos were for DG; No 1 in 1968, No 2 in 1978. And in the finale he brings out the main themes stuttering quality superbly, lending the music not just a mercurial quality but a dramatic one too. 57. And what a lovely sound he makes on a Yamaha, excellently recorded in a concert-hall acoustic. Its a deftly composed, attractively varied work and, as with the other items, the performance is exemplary. Just as significantly, this acknowledgement has not come on the back of a major competition. Re: "Best" recording of Chopin's Berceuse. Its a credit to the subtlety of Budus musicianship to say that his Op 33 Beethoven Bagatelles could easily be transferred to an 1804 Streicher with barely an adjustment of the touch he uses on the modern Steinway. The final Nocturne on the disc (Op 27 No 2) takes nothing for granted in spite of its fame, less lushly beautiful than some but altogether more complex, more intriguing. It is, averred my informant, the greatest Ive ever heard. Quite a claim. Truly innate Chopin players are rarer than you might think. Taken as read are a superlative technique and an ideal recorded sound (from engineer Peter Arts). Instead, he recovers from his bewilderment and, to great comic effect, seems to fashion a door, and calmly walk through. 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. If you want your Chopin sonatas balanced and formally cohesive, then Rubinstein is for you. Not only are they faster, but they are also of a more scintillating,scherzando-like lightness. She can tear all complacency aside. Three sets (Opp 17, 24 and 50) are given complete. Berceuse in D-Flat Major, Op. This recording features Chopin's Piano Sonata No. . From obvious examples such as Rubinstein and Cortot via Argerich and Freire (what is it with these South Americans?) The recordings are impressively natural and if Dutoit occasionally seems awed if not cowed into anonymity by his soloist (the opening tuttis to the slow movements of both concertos are less memorable than they should be) he sets off Argerichs charisma to an exceptional degree. Jerzy urawlew, the founder of the Chopin Competition in Warsaw, was once asked which one of the prize-winners he would pick as having been his favourite. He has interesting points to make in the Scherzos, too. Born in 1982, he won the prestigious Warsaw Chopin Competition in 2000 - First Prize - with a bonus of winning the Chopin Society Prize in Warsaw for the best interpretation of a Polish . The Chopin Competition in Warsaw has launched many a pianists career. The 50 greatest Chopin recordings Gramophone Sunday, October 10, 2021 Complete with the original Gramophone reviews of 50 of the finest Chopin recordings available. The Hollywood-based recordings are tight and dry. Thanks. Ashkenazy memorably catches their volatile character, and their essential sadness. Josef Hofmann, 1918 (pupil of Anton Rubinstein) at 4:02\r3. 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. 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. 2 x Winterreise, Schubert. Chopins piano concertos were the work of a young composer looking to show off his virtuosic skills. Their style changed over time, but all were born out of Chopins strong patriotism. Below is a sample of the albums from the list, whose complete, original reviews can be foundhere. More freshness, again. It is Chopins dogged repetitions that can lead the mazurkas most admiring votaries into desperate straits of rhythmic grotesquery. 9.0x12.0x0.172 inches. The work is new to Argerichs discography but, though it will not worry her legions of admirers, neither the recorded sound nor the duff piano are things of aural beauty. Chopin: Ballades, Berceuse, Mazurkas | Frdric Chopin by Yundi Li - Download and listen to the album But such extremes, of character as much as tempo, place enormous -tension on the musical structure, and this is most evident in the B flat minor Scherzo. 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. 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. Few pianists have gone to the heart of the matter with such assurance (always excepting Arthur Rubinstein). 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. 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. 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. York and Wallfisch adopt a no-holds-barred approach to the ultra-romantic Szymanowski, a successful transcription of his early Violin Sonata. 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. The list includes 50 artistic and musical benchmarks, recorded as early as 1929! Downloads What are FLAC and MP3? Listen to the First Ballades second subject and youll hearrubatolike the most subtle pulsing or musical breathing. It is not at all a perfect recording, and my grand piano was also not in perfect tuning. Chopin's Sonata in B minor, Op. As a former pupil of Cortot, it wasnt perhaps surprising that Lipatti always kept a special place in his heart for Chopin. 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