"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.
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.
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.
Maurizo Pollini, the great concert pianist from Milan, is shown in fine form throughout this 13 CD box set "edition" of his previously released recordings on the Deutsche Gramophone label ( celebrating his 30th year with DG ). The performances were selected by the artist himself and so retain a merit absent in some other types of repackaging "schemes".
Mitsuko Uchida has been a committed exponent of Schoenberg's Piano Concerto for over a decade now. It is a work which remains controversial in its adaptation of the serial method to an almost Brahmsian harmonic palette, wedded to a formal approach that takes up the integrated design, and textural richness, of Schoenberg's pre-atonal works. Certainly in terms of the balance between soloist and orchestra, this recording clarifies the often capricious interplay to a degree previously unheard on disc (and most likely in the concert hall too).Interpretatively, it combines Pollini's dynamism, without the hectoring touch that creeps into the Adagio's climactic passages, and Brendel's lucidity, avoiding the deadpan feeling that pervades his final Giocoso.
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.
Guiomar Novaes was a notable pianist. Her style was characterized for a sense of the tonal color as few pianist have been able to have it. This recording is fundamental for you , because the Grieg Concert is played with majesty and avoiding the inherent sentimentalism in which the most of the pianists fail. She knew how to get the involving sound , avoiding the excess of sensibility so typical of the romanticism movement. She turns the melody in a sugerent and impresionist portrait, giving a natural gaze not a picture museum gaze. That is why her Mendelssohn's songs without words have no equal rivals. Try to find it.