Gramophone is brought to you by Mark Allen Group I also think that Alexandre Tharaud and Ingrid Fliter could join this list, as can the sacd recording of the etudes by Murray Perahia. Here there is an almost arrogant dismissal of all difficulties and a prima donna stance sometimes hard to square with some of Chopin’s more delicate and ornate confidences. There are echoes of Les Six, Stravinsky and Ravel, whose G major Violin Sonata surely provided the model for the languid, bluesy middle movement. Change ), You are commenting using your Facebook account. 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.

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’. In the original blog posts, you’ll also find their respective download links.

You are currently viewing our boards as a guest which gives you limited access to view most discussions and access our other features. Read review, 'Among the most eloquent master-musicians of our time' Read review, 'Rubinstein played the piano as a fish swims in water or a bird flies through the air' Read review, 'Recently it seems as if the tap were left running and we’re suddenly knee-deep in Chopin Preludes. In fact, both that performance and this one by Mstislav Rostropovich and Martha Argerich are of strongly marked character, acutely, though differently, responsive to the music's every inflection, and both provide deep satisfactions. Interesting selections… I once listened to 20+ recordings of the Nocturne op.27, No. 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. Friedrich Gulda pf London Philharmonic Orchestra / Sir Adrian Boult. It’s obviously ideal if you can have both, which is increasingly often the case these days. Despite the geographical distance, we have a great deal of overlap in our tastes. To me, the Nocturnes are the quintessential Chopin, even more than the Preludes or the Etudes. Here, simply and assuredly, is one of the most magisterial talents in the entire history of piano playing. A lesser known Chopin work for cello and piano is the Introduction and Polonaise brillante, Op 3 (though it is not so little known as his Grand Duo on themes from Meyerbeer's Robert Ie Diable).

Argerich’s light burns brighter than ever. Add to this the medieval geographic restrictions of music licensing rights, and we’re far from a globalized world in terms of Jazz.

It’s a deftly composed, attractively varied work and, as with the other items, the performance is exemplary. Will have to check that out! Any list of Chopin recordings that omits Garrick Ohlsson’s complete recordings of Chopin has a huge hole in it. The Tortelier recording is somewhat warmer, the separation between the instruments better defined; yet this recording is excellent also.

These are both extraordinary performances by an extraordinary pianist, though of the two, the First Concerto is the more affecting.

I’d like to throw in the wacky giant – Ivo Pogorelich – sadly in recent years he seemed to have disappeared from recording studios , but his recordings for the Preludes and, especially, the 2nd sonata are the perfect way to get a completely different view of how Chopin can sound, and I have to admit that I find his interpretations quite captivating. Time and again he casts a novel and intense light on even the most familiar phrase, making you hang on every note. Indeed, she sets your heart and mind reeling so that you positively cry out for respite from her dazzling and super-sensitive enquiry. Maurizio Pollini pf Philharmonia Orchestra / Paul Kletzki. I don’t know; but it is certainly one of the most consistently inspired, masterfully executed and beautiful-sounding versions I can recall.' In the Second Sonata, Pollini unites what Schumann called ‘four of [Chopin’s] wildest children’ into a family, a feat managed by few pianists, the first movement (with a da capo repeat) leading quite naturally into the Scherzo and so on. Tempi are judged to a nicety and, once again, in the finale of the concerto, Nebolsin’s insouciant playfulness is a real delight. Having Some Trouble Deciding On Chopin Piano Concerto Recording; Welcome to Talk Classical - A community covering every aspect of classical music! Of those I’ve heard, including the sets by Goerner, Cho, Yundi and Sokolov, Budu’s are the most enduringly satisfying.' We have included, where possible, the complete original Gramophone reviews, which are drawn from Gramophone's Reviews Database of more than 45,000 reviews. The 50 greatest Chopin recordings Gramophone Monday, October 10, 2016 Complete with the original Gramophone reviews of 50 of the finest Chopin recordings available. 10 and 25 are oustanding achievements. I guess Jazz is just such a niche genre that only few musicians have sufficient exposure (and funding) to perform on both sides of the Atlantic. But I am at last almost persuaded that it has been supplanted. I like his Brahms, so I really need to check out his Chopin. | From her, Chopin is hardly the most balanced or classically biased of the Romantics.

Simon Laks had already settled in Paris when he wrote his 1932 Cello Sonata. 1 in E minor, Op. A perfect marriage of pianistic poetry and sound quality.

She’s hardly a comfortable companion, confirming your preconceptions. View all posts by Musicophile. In the scintillating coda Rubinstein takes his bravura to a spine-tingling edge, but in, for example, the Larghetto’s central storms there is a brusque, streamlined indifference to the music’s finer qualities. Rivages – A beautiful new ECM release by Jean-Louis Matinier and Kevin Seddiki, A wonderful new Chopin Concerto recording by Benjamin Grosvenor, Beethoven Piano Concerto No. I’ve also mentioned this Album in My 25 Essential Classical Music album, as it is so important to me. Time: 1785.

But there are also quite a number of albums I haven’t featured yet. 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.

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But in a guessing game perhaps it would be the two finales that would most betray the identity of the soloist. 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.

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). By far and away, Leon Fleisher’s version on his album “Two Hands” was the most satisfying. Gramophone is brought to you by Mark Allen Group This site uses Akismet to reduce spam.

Argerich (another member of my Top 10 Favorite Classical Pianists) is in a way the complete opposite of Pollini. I’m a big fan of Fleisher in Brahms and Beethoven, but have never heard his Chopin, will really have to check it out. For the most nuanced touch and dynamic range, no one beats Ohlsson. The performance of the Chopin Sonata is unusually successful.

Apparently even a true master like Pollini needed cuts in recording (hundreds of them if you believe some reports). There’s 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.

York and Wallfisch adopt a no-holds-barred approach to the ultra-romantic Szymanowski, a successful transcription of his early Violin Sonata. Try Prelude No 14 for a virtuoso savagery beyond the world of other more ‘civilised’ pianists, or No 13 where Gulda’s rapture makes the music stretch seemingly to infinity. This disc is a classic. Pollini is typically the perfectionist, rational architect, and Argerich is known for her energy and fire.

A classical music blog by music critic Tim Mangan, Evaporation of my thoughts and observations, Piano Teaching, Playing, Singing and Listening, A brand new journal reviewing books, cinema, music, Creative and Performing Arts: Writing, Classical Music, Photography, I collect jazz on vinyl, I dig the Dave Brubeck Quartet, & I write about it. 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. But I don’t get her. Mstislav Rostropovich vc Martha Argerich pf.

Seriously? As enthusiastic audience applause (discreetly rationed on the disc) makes plain, these two concertos were recorded live at Tel Aviv’s Mann Auditorium. Read review, 'I doubt if the disc will ever find itself long absent from the catalogue' Read review. Much encouragement to continue writing this blog! 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. I ended up liking this version most: Yes, it truly is a historic pre-war recording, but the playing really makes up for it. I know he won the Chopin competition like many of those on my list, but for whatever reason Ohlsson here in Europe is relatively unknown. Blog of Tafelmusik Baroque Orchestra and Chamber Choir, “In the end, only three things matter: how much you loved, how gently you lived, and how gracefully you let go of the things not meant for you.” ~ Buddhist saying.

Check out her recording of the piano concertos for another example of her extraordinary talent. 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 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 Argerich’s charisma to an exceptional degree.

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.' Thanks Markus for the feedback and the kind words. Thanks Lewis for your feedback. Zimerman (also one of my Top 10 Favorite Classical pianists) is also my recording of choice for the Ballades. Arthur Rubinstein pf Los Angeles Philharmonic Orchestra / Alfred Wallenstein; NBC Symphony Orchestra / William Steinberg.

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