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
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.
Clearly born for Chopin, her playing is a marvel of the most refined fluency and affection . . . Fliter will make lesser pianists wonder at her effortless musical grace and unfaltering command.
Documentary which follows young pianist James Rhodes on a journey to Warsaw, Paris and London to discover the women whose voices had such a powerful influence on the composer Chopin. These included Konstancja, a young soprano and the object of his teenage affections; Delfina, the sexually notorious Polish Parisian emigre countess; fellow composer and opera singer Pauline Viardot; and Swedish opera star Jenny Lind, who so affected Chopin in the final years of his life.
"German-Japanese pianist Alice Sara Ott is a performer who appears to care more about the score and the composer than about her image and interpretations. After promoting Lang-Lang, a pianist of maximal technique but debatable taste, DG has given Ott an exclusive recording contract, and her first release, the complete waltzes of Chopin, shows her to be a pianist of taste and restraint…" ~allmusicguide