Pianist Dong Hyek Lim, a bit older than the youthful face in the graphics might suggest, has gained a reputation as a Chopin specialist, with restrained, often exquisitely detailed performances made for the small recital hall rather than for the concert hall. This was, of course, the kind of venue for which Chopin wrote most of his music, and this is a very fine tour through the much-recorded 24 Preludes, Op. 28, which form the centerpiece of this album. Lim does well to introduce things with the flashier and rarely played Variations brillantes in B flat major, Op. 12, commanding the listener's attention before delving into the Preludes, some of the most harmonically intricate music Chopin wrote. Sample any of the really famous Preludes, such as the Prelude in E minor, Op. 28, No. 4, for an idea of what Lim is up to here: he not only lingers over dissonances, but explores their potential directions with sensitivity and intelligence, all while keeping the top of the dynamic range not very high. Lim takes you back to the public world with the Berceuse in D flat major, Op. 57, and Barcarolle in F sharp major, Op. 60, which show him to be capable of a more brilliant style. London's Henry Wood Hall fits these pieces well, but Warner's engineers might have gone with even a more intense, intimate space for the preludes. In any event, the performance of those is one of the most absorbing to have come along in quite some time.
For while it would be idle to pretend that this 70-year-old virtuoso, struck down at the height of his career with psoriatic arthritis, still commands the velocity and reflex of his earlier years, his later Chopin and Liszt are a tribute to a devotion and commitment gloriously enriched by experience. The First Impromptu is piquantly voiced and phrased while the C sharp minor Etude, Op. 25 No. 7, could hardly be more hauntingly confided, more ‘blue’ or inturned. How you miss the repeat in the C sharp minor Mazurka, Op. 50 No. 3 (not Op. 15, as the jewel-case claims), given such cloudy introspection and if there are moments when you recall how Rubinstein – forever Chopin’s most aristocratic spokesman – can convey a world of feeling in a scarcely perceptible gesture, Janis’s brooding intensity represents a wholly personal, only occasionally overbearing, alternative; an entirely different point of view. Time and again he tells us that there are higher goods than surface polish or slickness and in the valedictory F minor Mazurka, Op. 68 No. 4 he conveys a dark night of the soul indeed, an emotion almost too desolating for public utterance… Janis is no less remarkable in Liszt, whether in the brief but intriguing Sans mesure (a first performance and recording), in a Sonetto 104 del Petrarca as tear-laden as any on record and in a final Liebestod of an exhausting ardour and focus.
Daniele Pollini is famous Italian pianist Maurizio Pollini’s son. He was born in 1978. He made his debut as a pianist at the Rossini Opera Festival in Pesaro in the summer of 1997. He also participated in the Salzburg Festival and the Ruhr Piano Festival and made his successful debut in Paris and in the United States.
Esteemed for almost 60 years as one of the greatest Chopin interpreters, Maurizio Pollini confirms his preeminence with this 2017 release on Deutsche Grammophon, and offers his first all-Chopin disc since 2012. Chopin's late works were composed between 1845 and 1849, and include the Barcarolle in F sharp major, Op. 60, the 3 Mazurkas, Op. 59, the Polonaise-Fantaisie in A flat major, Op. 61, the 2 Nocturnes, Op. 62, the 3 Mazurkas, Op. 63, the 3 Waltzes, Op. 64, and the Mazurka in F minor, Op. Posth. 68, No. 4; they are notable for their harmonic richness and freedom of melodic embellishment, characteristics that made them especially influential among his Romantic contemporaries. Pollini's fluid phrasing and control of expression and dynamics have always given his performances sophistication and a feeling of balance, though these are engaging renditions that are far from cerebral or clinical, claims that critics have sometimes laid at Pollini's door. Yet listeners can hear for themselves how polished and deeply felt these performances are, and appreciate the artistic wholeness of Pollini's conceptions, from the elegance of the "Minute" Waltz to the sublime melancholy of the posthumous Mazurka in F minor. Highly recommended for fans of great piano 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.
Following his successful 2012 release of the Tchaikovsky Piano Concerto No. 1 with Valery Gergiev and the Mariinsky Orchestra, Russian pianist Daniil Trifonov tries on the more intimate role of recitalist for this live Decca album of solo piano pieces by Frédéric Chopin. Trifonov is a powerhouse in the Lisztian mold, and his incredible technique seems better suited to fast, flashy fingerwork than to more subdued music. Certain pieces, such as the Rondo in F major, Op. 5, "À la Mazur," the Étude in F major, Op. 10/8, and the Grande Valse Brillante, Op. 18, allow feats of prestidigitation, and there's no denying that he can perform with dazzling virtuosity.
Voici réunie en 12 CD une intégrale magistrale de Chopin. Le pianiste franco-libanais a choisi d'enregistrer cette œuvre dans l'ordre chronologique. Le résultat crée une mosaïque impressionnante de partitions qui s'ordonnent naturellement. Ainsi, des influences perméables des unes aux autres ressortent avec pertinence depuis les œuvres de jeunesse, claires et lumineuses jusqu'à celle du Chopin révolutionnaire qui annonce déjà Debussy et une certaine atonalité.
When Pogorelich did not make the finals of the 1980 Warsaw Competition (where they play exclusively Chopin), his response was to sign with Deutsche Grammophon for his first recording and he made it an all-Chopin affair. From his stunning opening take on Chopin's Sonata #2, to a Funeral March restored to its grandeur, to the breaktaking final moments of the Scherzo #3, Pogorelich announced to the music world that he'd arrived.