Cziffra first recorded Chopin's Waltzes 1-14 along with his electrifying account of the Etudes Op.10 & 25 (now on EMI's recent CZIFFRA plays CHOPIN 5 CD box set 5 85012 2) when he moved from EMI to Philips in 1962. This recording for EMI which includes the additional five posthumous Waltzes, was recorded in 1977/78. In many ways Cziffra's account reflects the style of the so called `Golden Age' of piano playing in that he sometimes plays the left hand slightly before the right to emphasise the melody, adds extra tonic chords at the end of a piece, and plays with some personal rubato, especially in the slower Waltzes such as Op.69 No.1 (L'Adieu), C sharp minor Op.64 No.2, and the A minor (Lento) Op.34 No.2).
Though Luisada is by no means old, his playing takes us back to another age.
Arthur Rubinstein boasted that he changed the way Chopin was perceived, making him more masculine and straightforward than romantic players like de Pachmann and Paderewski did. Rubinstein's Chopin was in fact a reflection of his own more literal time – a time that also produced Backhaus and Toscanini – as well as Rubinstein's own love for the classiciam of Brahms which, under the influence of Joachim, pre-dated the Polish expatriate's love for Chopin.
Rubinstein clearly felt uncomfortable with the feminine, salon qualities that cannot be divorced from Chopin's sensibility. Descriptions of the composer's own playing make it clear that he was improvisatory, ethereal in his dynamics and that he reveled in rubato; Chopin was even accused of not being able to play in time. These qualities are rarely evident in modern players, who imagine they present a "greater" Chopin by robbing him of his true personality.
Luisada is not a modern player. His Chopin evokes memories of some of the greatest interpreters of earlier ages – especially de Pachmann and Maryla Jonas (whose rare recordings are available from Pearl). Luisada's rubato will seem willful and wayward to those raised to believe Rubinstein was the last word on Chopin, but it will delight those who would like to hear something closer to the first word.
–Amazon.com [5-star] review
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.
Pieter Wispelwey and his gut-string cello partner for a second time with Paolo Giacometti in a programme of Chopin and Mendelssohn. But there is a another great musical figure on this disc – the cellist and composer Karl Davidoff, who studied with Moscheles and Mendelssohn’s violinist and composer friend Ferdinand David. Davidoff’s brilliant arrangements of the Chopin Waltzes Op. 64 form a sparkling interlude between Mendelssohn’s brilliant 2nd sonata, and Chopin’s late and great sonata for cello and piano.
“…an exciting technique and keen intelligence animated by an impetuous temperament…a remarkable talent.”(The New York Times)