"Refined accounts by Pollini that vividly illuminate Chopin's genius." ― Gramophone
Not surprisingly, the veteran virtuoso dives far beneath surface pleasures in this recital of popular Chopin. Pollini claws deep inside each note: haltingly tender in the mazurkas, subtlest of dance partners for the waltzes, limpid and furious in the second Ballade, piercingly sober in the funeral march.
¤ Ever since winning first prize at the International Chopin Competition in Warsaw in 1960 Maurizio Pollini has been considered as one of the world’s finest Chopin interpreters
¤ Along with Chopin’s two piano concertos, Pollini has recorded many other Chopin's compositions exclusively for DG. These include: Complete Etudes and Préludes, Scherzi, Polonaises, Sonatas No. 1 & 2. The most recent Chopin disc, released in 1999, included the four ballads, the Fantasia op. 49 and the Prélude in C sharp minor op. 45
¤ At present Pollini has recorded all Nocturnes by Frédéric Chopin which were published during the composer's lifetime. The Nocturnes demonstrate a great diversity and difficulty of Chopin’s art, and this recording highlights many a refinement of Pollini’s playing.
¤ Pollini described his ability to play Chopin with more freedom than before with the following: “After I won the First Prize of the Chopin Composition in Warsaw, Chopin became an important part of my life.” This recording inextricably marks a milestone in the history of Chopin’s Nocturnes.
Deutsche Grammophon has another excellent Schumann Concerto in its catalog, the Pollini/Abbado, with the Berlin Philharmonic, coupled with a good but not great Schoenberg Piano Concerto. Not surprisingly, Pollini is more muscular and evenly balanced in the Schumann, even if he is, as usual, a bit straitlaced. Pires is always the sensitive and probing artist, or so it seems. Here, she is alert from the opening descending chords to the expressive potential in every bar. She puts much more thinking and feeling in her interpretation than Pollini and most others I've heard.
This 9-disc set pulls together Chopin recordings made between 1972 and 2008 by Maurizio Pollini. Works included are the etudes, the two familiar sonatas, the ballades, the scherzi, the preludes, the polonaises, and the nocturnes. Please note that this is far from a complete set of Chopin's piano works - missing are the concertos, most of the waltzes, most of the mazurkas, and most of the impromptus.
Maurizio Pollini's late 1970s film recordings of Beethoven Piano Concertos 3 and 5; Mozart Piano Concertos 19 and 23; and Brahms Piano Concerto 2 have it all: great pianism, beautiful playing by the Vienna Philharmonic, magnificent conducting by Karl Bohm (Beethoven, Mozart) and Claudio Abbado (Brahms), all adding up to one thing: a beautiful experience. These DVDs are a feast for the ears: great audio, and the eyes: great video. The 1970s Unitel films used in this DG release have held up very well in the vaults: there are no glitches or imperfections in the picture. The camera work is also excellent, and serves the music being performed.
There is no audience, and the recording venue: Vienna's Musikvereien, has wonderful acoustics - one of the best concert halls in the civilized world. It was worth alot to me to see Karl Bohm smile at Maurizio Pollini at the beginning of I, of Mozart's Piano Concerto 19 with it's humorous, scherzo like theme which begins the concerto. Highly recommended!
This disc strikes me as an ideal introduction to the music of Turkey’s greatest composer. Ahmed Adnan Saygun’s style might be described as “Szymanowski with a primal rhythmic feel.” If you love the composer’s First Violin Concerto then you will find here a very similar exoticism, nocturnal atmosphere, and love of voluptuous textures. The harmonic style is intensely chromatic, but also highly melodic. Like Bartók in his last period, Saygun’s handling of tonality mellowed toward the end of his life, which makes the Cello Concerto more consonant than the Viola Concerto, but both works are absolutely gorgeous and masterpieces of their kind. It’s positively criminal that no one plays these pieces regularly in concert. The performances here are excellent. Tim Hugh is a well-known cellist, and he pours on the tone with all of the rhapsodic abandon that Saygun requires. Mirjam Tschopp also is a superb violist, with a big, beefy tone that never gets swamped by the intricate orchestration. It’s also very rewarding to hear a Turkish orchestra in this music–and to find that it plays beautifully under Howard Griffiths.
Recordings of Beethoven's Triple Concerto, Op. 56, by a piano trio rather than by a group of virtuosi (a configuration that almost always misunderstands the work) are not abundant. Still rarer are those like the present release by the Storioni Trio, a Dutch group that takes its name from the maker of the 1790s instrument played by the violinist (and strung, like the viola, with gut strings). Pianist Bart van de Roer plays an 1815 Lagasse fortepiano. This recording is part of a series devoted to Beethoven's piano trios, but the Triple Concerto actually is more comfortable in those surroundings than when forced to keep company with the likes of the Violin Concerto in D major, Op. 61.