EMI invited Daniel Barenboim to record the complete series, with the English Chamber Orchestra, as conductor and soloist. The recordings were made at London's Abbey Road Studios between 1967 and 1974.
For the 200th anniversary of the birth of Frédéric Chopin, the renowned Ruhr Piano Festival in Essen invited the Staatskapelle Berlin to give a truly special program: the rare combination of Chopin‘s two piano concertos in one concert. For this purpose Daniel Barenboim, the orchestra‘s principal conductor, handed over the reins of „his“ ensemble to up-and-coming young conductor Andris Nelsons, assuming the role of piano soloist instead. The press raved: „Storms of applause for a dream couple: Daniel Barenboim and Andris Nelsons won over the audience […] with their rousing Chopin interpretations“.
The pianist on this CD, Yulliana Avdeeva, is the winner of the Chopin piano competition in 2010. Checking the internet, you will find that the decision by the jury was controversial. Her playing was considered not to display the proper Chopin style, and too cool. I wasn't present at the competition, so I cannot write much about this. But having bought this CD, mainly because of use of old instruments, and the direction by the recently deceased icon of old music Frans Brüggen, I must say that I was totally blown away by the playing of Yulianna Avdeeva.
Recorded live at the Moscow Conservatory, this is a truly legendary performance. Any experienced veteran could be proud of it; that a boy of 12 should possess the necessary technique, the musical understanding and maturity, and the sustained concentration, is almost beyond belief. Reveling in his own limitless virtuosity, Kissin seems to be playing with as well as on the piano with elfin grace and delicacy; yet his command of the keyboard his warm, singing, powerful, varied tone are only tools for expressing his spontaneous response to the music.
It was an eminently sensible decision to couple Zimerman's previously separate Chopin concertos on a single CD. The Ax/Ormandy/RCA disc is the only rival as a coupling, so let me say at once that in different moods I would be equally happy with either.
Uzbek-born pianist Anna Malikova is best known for her interpretations of music by Chopin. She has performed and recorded both concertos, the complete etudes, preludes, and impromptus, and numerous individual solo works. But Malikova is hardly a specialist: she plays a wide range of compositions, taking in large segments of the outputs of J.S. Bach, Soler, Mozart, Beethoven, Schubert, Liszt, Saint-Saëns, Rachmaninov, Prokofiev, and Shostakovich. She has toured extensively throughout Europe, Asia, Australia, and South America, and has performed with many of the world's leading ensembles, including the Academy of St. Martin-in-the-Fields, and the major orchestras of Warsaw, Moscow, Sydney, Oslo, Tashkent, and others.
Chopin's two piano concertos have long been admired more as pianistic vehicles than as integrated works for piano and orchestra. But in his revelatory new recording, Krystian Zimerman suggests otherwise: The opening orchestral tuttis have so much more light, shade, orchestral color, and detail, you wonder if they've been rewritten. Every gesture, every instrumental solo is so specifically characterized that by the time the piano makes a dramatic entrance, the pieces have become operas without words.
It was an eminently sensible decision to couple Zimerman's previously separate Chopin concertos on a single CD. The Ax/Ormandy/RCA disc is the only rival as a coupling, so let me say at once that in different moods I would be equally happy with either. The main difference, I think, is the actual sound. From DG we get a closer, riper sonority, with Zimerman's piano much more forwardly placed. Both orchestra and piano are more distanced on the RCA recording, especially Ax's piano. This, together with Ax's lighter, more translucent semiquaver figuration (and sometimes his greater willingness to stand back and merely accompany—as in certain episodes in the F minor Concerto's finale) often conjures up visions of Chopin himself at the keyboard, and we know he was often criticized for insufficiently strong projection.
Award-winning pianist Ingrid Fliter makes her Linn debut with a distinctive performance of Chopin’s notoriously difficult piano concertos, featuring the Scottish Chamber Orchestra conducted by Jun Märkl. Since winning the silver medal at the 2000 Frederic Chopin Competition in Warsaw, Ingrid has built a reputation as a first-rate Chopin interpreter.