Janina Fialkowska

Piano

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Chopin Recital, Vol. 3

Chopin Recital, Vol. 3


Chopin:

Polonaise No. 7 in A flat major, Op. 61 'Polonaise-fantaisie'

Nocturne No. 3 in B major, Op. 9 No. 3

Nocturne No. 5 in F sharp major, Op. 15 No. 2

Impromptu No. 3 in G flat major, Op. 51

Waltz No. 10 in B minor, Op. 69 No. 2

Waltz No. 5 in A flat major, Op. 42

Scherzo No. 4 in E major, Op. 54

Prelude Op. 28 No. 14 in E flat minor

Prelude Op. 28 No. 15 in D flat major ‘Raindrop'

Ballade No. 4 in F minor, Op. 52


On December 15, 1842, Frederic Chopin wrote to Breitkopf and Haertel, his publishers in Leipzig, offering them a newly composed Ballade and a Scherzo, and mentioning a new Impromptu. The pieces involved were the 4th Scherzo, the 4th Ballade, and the 3rd Impromptu, without a doubt three of the composer’s greatest works.

Janina Fialkowska’s third Chopin Recital album is built around these late works. Also included is Chopin’s final major work, the Polonaise-Fantaisie, a piece which stirs up wild and wishful speculations over the direction in which his compositional genius was heading before his fragile life came to its tragically premature end

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Au fil de l'art en musique

Au fil de l'art en musique


John Dunstable: Quam pulchra es, JD 44

Giovanni Gabrieli: Sacrae symphoniae, Book 1: Christus natus est a 10

Michael Praetorius: Terpsichore: 4 Branles et 2 Gavottes

Bellerofonte Castaldi: Quagliotta canzone

Heinrich Schütz: Erbarm dich mein, O Herre Gott, SWV 447

Jean Daniel Braun: Sonate for 2 Bassoons in D Major, Op. 6 No. 6: Ciaccona

Jacques Duphly: Pieces de clavecin, Book 3: La de Guyon

Hyacinthe Jadin: String Quartet in F Minor, Op. 1 No. 3: IV. Polonaise

Frédéric Chopin: 4 Mazurkas, Op. 41: No. 28 in B Major, Op. 41, No. 2

Richard Wagner: 5 Gedichte fur eine Frauenstimme, "Wesendonck Lieder": No. 5. Traume (arr. for violin and orchestra)

Claude Debussy: Suite bergamasque, L. 75: III. Clair de lune (arr. L. Stokowski for orchestra)

Kurt Weill: The Threepenny Opera(The Threepenny Opera), Act I: Fiancee du pirate "Seerauber-Jenny" (Sung in French)

Ástor Piazzolla: 5 Tango Sensations: No. 2. Loving

Nino Rota: La strada: III. Il circo

Javier Farías: Arauco (Por fuerte, principal y poderosa), por fuerte, principal y poderosa …: V. Ataca tempo vivo

Daniel Göritz: Silhouettes: No. 2.


Maxine Eilander (harp), Stephen Stubbs (chitarrone), Daniel Taylor (counter-tenor), Jivko Georgiev (cello), Margaret Little (viola), Esteban La Rotta (theorbo), Yves-G. Préfontaine (harpsichord), Janina Fialkowska (piano), Daniel Kobyliansky (violin), Denis Plante (bandoneon), David Jacques (guitar), Julie-Anne Derome (violin)

Les Voix Baroques, Studio de Musique Ancienne de Montréal, Concerto Palatino, Les Boréades de Montréal, Theatre of Early Music, Quatuor Franz Joseph, Orchestre Symphonique Bienne, Orchestre symphonique de Québec, Orchestre Métropolitain, Forestare, Christopher Jackson, Francis Colpron, Thomas Rösner, Yoav Talmi, Yannick Nézet-Séguin

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Schubert: Piano Sonata No. 8 & 4 Impromptus, D935

Schubert: Piano Sonata No. 8 & 4 Impromptus, D935


Schubert:

Piano Sonata No. 8 in E flat major, D568

4 Impromptus, D935


Lauded by the critics for her first Schubert album in 2013, Janina Fialkowska returns to the Viennese composer’s music with performances of his Four Impromptus, Op. 142, D.935 and the Piano Sonata No. 7 in E flat major, Op. 122, D. 568.

May 7, 2016 marks Janina Fialkowska’s 65th birthday, a milestone she will celebrate with a major, year-long concert tour that takes her to Japan, the United Kingdom, Germany, Austria, Switzerland, Poland, Spain, and Portugal. In 2016, she will perform more than 30 concerts in 15 cities across Canada.

“[Fialkowska’s] playing was prized by Artur Rubinstein, the ultimate authority in Chopin playing. Listening to her in Schubert, one can see what he loved about her art…the Impromptus D935 [are given] as lovely and radiant an account as I have ever heard…it’s well worth getting this disc for them alone, indeed imperative for a lover of them.” BBC Music Magazine, July 2016 ****

“[Fialkowska’s] is a quiet kind of pianism that doesn’t shout ‘look at me’ yet yields more rewards than many more interventionist players. The slow movement, for instance, has less rhetorical freedom than Barenboim’s but to these ears is all the more effective for it…Fialkowska lets the music speak for itself, and that brings its own rewards” Gramophone Magazine, June 2016

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Grieg: Lyric Pieces

Grieg: Lyric Pieces


Grieg:

Lyric Pieces Op. 12: No. 1 - Arietta

Lyric Pieces Op. 12: No. 5 - Folk Tune

Lyric Pieces Op. 38: No. 1 - Berceuse

Lyric Pieces Op. 38: No. 7 - Waltz

Lyric Pieces Op. 38: No. 8 - Canon

Lyric Pieces Op. 43: No. 1 - Butterfly

Lyric Pieces Op. 47: No. 2 - Album Leaf

Lyric Pieces Op. 47: No. 3 - Melody

Lyric Pieces Op. 47: No. 4 - Norwegian Dance

Lyric Pieces Op. 54: No. 3 - March of the Trolls

Lyric Pieces Op. 54: No. 4 - Nocturne

Lyric Pieces Op. 57: No. 2 - Gade

Lyric Pieces Op. 62: No. 1 - Sylph

Lyric Pieces Op. 62: No. 4 - Brooklet

Lyric Pieces Op. 62: No. 6 - Homeward

Lyric Pieces Op. 65: No. 4 - Salon

Lyric Pieces Op. 65: No. 6 - Wedding Day at Troldhaugen

Lyric Pieces Op. 68: No. 3 - At your feet

Lyric Pieces Op. 68: No. 4 - Evening in the mountains

Lyric Pieces Op. 68: No. 5 - At the cradle

Lyric Pieces Op. 71: No. 1 - Once upon a Time

Lyric Pieces Op. 71: No. 2 - Summer's Eve

Lyric Pieces Op. 71: No. 3 - Puck

Lyric Pieces Op. 71: No. 7 - Remembrances


Written after Grieg returned to settle in Norway, the Lyric Pieces, a total of 66 short pieces for piano, were published in ten volumes between 1867 and 1901. Canadian pianist Janina Fialkowska performs a selection of 25 of these pieces with delicacy and refinement. Among these are the Romantic pieces, which earned him the nickname of the “Nordic Chopin”: Berceuse (Op. 38, No. 1), Vals (Waltz, Op. 38, No. 7), Albumblad (Albumleaf, Op. 47, No. 2), Melodi (Op. 47, No. 3), and Notturno (Op. 54, No. 4). Other works include peasant and patriotic marches, dances, songs, and evocations of the Norwegian landscape.

Beloved the world over for her exquisite pianism, Janina Fialkowska has enchanted audiences for over thirty years with her glorious lyrical sound, her sterling musicianship and her profound sense of musical integrity. Blending her vast experience with her refreshingly natural approach, "Fialkowska has become an artist of rare distinction as well as retaining all the virtuosity of her youth." (La Presse, Montréal)

“Janina Fialkowska is one of today's most dependable pianists - bold, poetic, virtuosic and very much more…[the] cornucopian approach poses special challenges to the imagination, and technique, of the player. That Fialkowska has both in rich supply is abundantly clear in her recordings of Chopin's mazurkas, and much else besides.” BBC Music Magazine, November 2015

“[Fialkowska] has a temperament and style ideally suited to these miniature tone-poems.” Gramophone Magazine, September 2015

“The Canadian-Polish pianist’s Grieg selection...focuses on Chopin-influenced pieces...which she plays with the flexibility and song-like cantilena of her acclaimed real Chopin. She is as vivid in the character pieces...Her nimble-fingered Puck girdles the earth in a dizzying minute and 49 seconds.” Sunday Times, 5th July 2015

“the elegant poise of her playing is all the explanation you’d need for why so many great pianists are seduced by the seemingly simple pieces...Fialkowska is a Chopin interpreter at heart, and she could make these melodies sing on anything.” The Guardian, 18th June 2015 ***

“a musician of extraordinary sensibility and captivating, artless purity...There is a blend of affection and freshness to her playing that gives these well-known numbers new life, and across the whole spectrum of the familiar and unfamiliar she is an interpreter of sublime inspiration.” The Telegraph, 4th July 2015 *****

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Mozart: Concertos Nos. 11 & 12 (chamber versions)

Mozart: Concertos Nos. 11 & 12 (chamber versions)


Mozart:

Piano Concerto No. 11 in F major, K413

chamber version

Piano Concerto No. 12 in A major, K414

chamber version


Janina Fialkowska (piano)

Chamber Players of Canada

A one-time protégé of Arthur Rubinstein, pianist Janina Fialkowska’s artistry is all the more astonishing considering her return to the concert stage in 2004 following the removal of an aggressive tumour in her left arm. For this recording, she joins the Chamber Players of Canada to perform arrangements of Mozart’s piano concertos K. 413 – 415 for piano and string quintet. Her 2004 recording of Chopin piano concertos with the Chamber Players was greeted with unanimous praise, and her recent performance of the Mozart concertos prompted The Toronto Star’s music critic John Terauds to declare, “ Fialkowska and her partners lent the evening intimacy … they breathed into the music a lithe vibrancy that can often elude the big orchestra … Reducing the players to six … highlighted every effect that Mozart had penned into the score. These performers are scheduled to sit down and record these concertos soon. If the concert is any indication, this will be a Mozart disc to treasure.”

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Chopin: Complete Mazurkas

Chopin: Complete Mazurkas


Chopin:

Five Mazurkas, Op.6

Mazurkas (5), Op. 7

Mazurkas (4), Op. 17

Mazurkas (4), Op. 24

Mazurkas (4), Op. 30

Mazurkas (4), Op. 33

Mazurkas (4) Op. 41

Mazurkas (3), Op. 50

Mazurkas (3), Op. 56

Mazurkas (3), Op. 59

Mazurkas (3), Op. 63

Mazurka No. 51 in A minor 'Émile Gaillard'

Mazurka No. 50 in A minor 'Notre Temps'

Mazurka No. 56 in B flat major, K.IIa/3

Mazurka No. 55 in G major, K.IIa/2

Mazurkas (4), Op. 68

Mazurka No. 62 in A flat major, Op. posth.

Mazurka No. 43 in G minor, Op. 67 No. 2

Mazurka No. 44 in C major, Op. 67 No. 3

Mazurka No. 45 in A minor, Op. 67 No. 4


Unlike his close contemporaries Schumann and Liszt, Chopin was not prone to putting his innermost thoughts and emotions on display for general public consumption; doing so was aesthetically alien to his nature. Not for him were the conflicts of Florestan and Eusebius, so eloquently portrayed in the troubled Schumann’s compositions, or the Faustian dilemma ever-present in Liszt’s outpourings. No, Chopin kept his feelings close to his heart and most definitely not on his sleeve. He was only reluctantly a participant in the Romantic Era, but in spite of his personal reticence, the feelings of this tragic genius eventually found their way into his compositions, and nowhere more so than in his mazurkas.

Through the mazurkas the essence of Chopin is revealed. In these compositions we find him at his most original and daring, and in them he ranges over the widest possible spectrum of emotion and pianistic color. Chopin did not invent the mazurka. A 16th-century peasant dance originating in the province of Mazowsze in Poland and accompanied usually by the dudy (a bagpipe), the mazurka had a delightfully syncopated rhythm in 3/4 time and could be either sung o danced. Originally, mazurkas comprised three kinds of folk dance: the fast accented oberek, the elusive kujawiak (the predecessor of what we know as mazurka form), and the mazur, filled with Slavic sentiment and zal— a unique Polish word describing nostalgia verging on despair.

By the early 19th century, the mazurka dance form had spread across Europe, reaching both Paris — where it was much appreciated by the aristocracy—and England.

The great French composer Hector Berlioz, after hearing his friend Chopin play some of his mazurkas wrote the following:

“There are unbelievable details in his mazurkas and he has found how to render them doubly interesting by playing them with the utmost degree of softness, piano in the extreme, the hammers merely brushing the strings, so much so that one is tempted to go close to the instrument and put one’s ear to it as if to a concert of sylphs or elves”

The legendary Arthur Rubinstein called Janina Fiakowlska “a born Chopin interpreter.” On this recording, she returns with a two CD set devoted to the complete mazurkas of Frédéric Chopin.

This recording by one of the world’s great Chopin interpreters at the culmination of her long and celebrated career will be a milestone for music lovers, and especially for connoisseurs of Chopin’s works.

Fialkowksa’s 2012 Chopin Recital II recording on ATMA Classique won a prestigious BBC Music Magazine Award for Best Instrumental Recording.

“At her best, she is truly among the truly great. In this latest release her authority, imagination, pianistic command and stylistic flexibility are profoundly impressive...Texturally translucent, melodically compelling, formally gripping, expressively comprehensive - keeping all this in balance, without cost to the music's spontaneity and variety, is a major achievement.” BBC Music Magazine, February 2015 *****

“[Fialkowska] says that in playing the mazurkas of Chopin she has been afforded “a glimpse of paradise” — in which case the other world must be for her a place of unvarnished beauty and simple truth...There is little searching for exaggerated effects in her playing, or even the reverential intimacy some pianists have favoured in recordings.” Financial Times, 13th December 2014 ***

“Rubinstein, her longtime mentor, would have been the first to admire her unfailing musical honesty, her refreshing alternative to self-conscious sophistication...you will find an impressive blend of sense and sensibility from Fialkowska, who is well recorded and presented.” Gramophone Magazine, January 2015

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Schubert: Piano Sonatas Nos. 13 & 18

Schubert: Piano Sonatas Nos. 13 & 18


Schubert:

Piano Sonata No. 13 in A major, D664

Piano Sonata No. 18 in G major, D894


Janina Fialkowska’s Chopin Recital II, previous recording on ATMA Classique has won a prestigious BBC Music Magazine Award for Best Instrumental Recording of 2012!

Beloved the world over for her exquisite pianism, Janina Fialkowska has enchanted audiences for over thirty years with her glorious lyrical sound, her sterling musicianship and her profound sense of musical integrity. Blending her vast experience with her refreshingly natural approach, "Fialkowska has become an artist of rare distinction as well as retaining all the virtuosity of her youth." (La Presse, Montreal)

Celebrated for her interpretations of the classical and romantic repertoire, Janina Fialkowska is particularly distinguished as one of the great interpreters of the piano works of Chopin and Mozart. With this new ATMA recording, she immerses into Franz Schubert’s music with two of his great piano sonatas.

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Mozart: Concertos Nos. 13 & 14 (chamber version)

Mozart: Concertos Nos. 13 & 14 (chamber version)


Mozart:

Piano Concerto No. 13 in C major, K415

(arr. for piano and string quintet)

Janina Fialkowska (piano)

Chamber Players of Canada

Piano Concerto No. 14 in E flat major, K449

(arr. for piano and string quintet)

Janina Fialkowska (piano)

Chamber Players of Canada

Variations (12) on ‘Ah, vous dirai-je, Maman' in C major, K265

Janina Fialkowska (piano)

Serenade No. 13 in G major, K525 'Eine kleine Nachtmusik'

Chamber Players of Canada


Recently awarded Canada’s prestigious Governor General’s Performing Arts Award 2012 for Lifetime Achievement in Classical Music, pianist Janina Fialkowska presents her second Mozart CD on ATMA with two rarely heard Mozart concertos.

Based in Ottawa, The Chamber Players of Canada is a group made up of some of the best musicians from across Canada.

“Fialkowska's canny combination of rhetorical splendour and individual exuberance is beguiling - this is not delicate, decorative Mozart...Fialkowska is at her invigorating best in the highly contrapuntal weave of the finale, where her unobtrusive enlivening of inner voices, most particularly in the bass, is simply exhilarating. Few performers capture so engagingly the sheer fun in Mozart.” BBC Music Magazine, May 2013 *****

“Fialkowska’s treatment is crystalline and unsentimentalised, lending the music a spontaneous fluency that is invigorating” Financial Times, 23rd February 2013

“If Fialkowska occasionally slips into some tensionless playing in the fast movement, her performances of the slow equivalents are insightful...Virtues are to be found in these performances of the concertos but they don't compensate for reductions in scale brought on by the absence of woodwind and brass (plus timpani in K415)” Gramophone Magazine, May 2013

“Fialkowska's refined delicacy suits this arrangement admirably, forcing us to revisit the music afresh and listen again to the clean lines of accompaniment delineated so strikingly by string quartet and double bass.” The Observer, 3rd March 2013

BBC Music Magazine

Chamber Choice - May 2013

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Beyond Chopin

Beyond Chopin


Idil Biret (piano), Hubert Rutkowski (piano), Benjamin Frith (piano), Markus Pawlik (piano), Konstantin Scherbakov (piano), Christopher Hinterhuber (piano), Guillermo Gonzalez (piano), Douglas Riva (piano), Xiayin Wang (piano), Dmitry Feofanov (piano), Hae Won Chang (piano), Francois Xavier Poizat (piano), Joseph Banowetz (piano), Oxana Yablonskaya (piano), Daniel Blumenthal (piano), Peter Ritzen (piano), Janina Fialkowska (piano)

Slovak State Philharmonic Orchestra, Kosice, Polish National Radio Symphony Orchestra, Joachim Trio, Gavle Symphony Orchestra, Razumovsky Symphony Orchestra, Poznan Philharmonic Orchestra, Moscow Symphony Orchestra, Robert Stankovsky, Antoni Wit, Uwe Grodd, Lukasz Borowicz, Dmitry Yablonsky

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Chopin Recital 2

Chopin Recital 2


Chopin:

Polonaise No. 2 in E flat minor, Op. 26 No. 2

Waltz No. 14 in E minor, Op. post., KKIVa:15, B 56

Waltz No. 3 in A minor 'Grande Valse Brillante', Op. 34 No. 2

Waltz No. 8 in A flat major, Op. 64 No. 3

Ballade No. 2 in F major, Op. 38

Prelude Op. 28 No. 10 in C sharp minor

Prelude Op. 28 No. 11 in B major

Prelude Op. 28 No. 13 in F sharp major

Fantasia in F minor, Op. 49

Nocturne No. 16 in E flat major, Op. 55 No. 2

Mazurka No. 5 in B flat major, Op. 7 No. 1

Mazurka No. 50 in A minor 'Notre Temps'

Mazurka No. 32 in C sharp minor, Op. 50 No. 3

Scherzo No. 2 in B flat minor, Op. 31


Janina Fialkowski’s first Chopin recital received marvellous reviews and ATMA is delighted to release a second collection.

“This is some of Chopin’s greatest music and the playing is sheer bliss.” Sunday Times. “Her technical brilliance is matched by the vivid originality of her interpretations.” Independent – Album of the Week.

“you only have to listen to the Scherzo No 2 to realise she remains a supreme Chopin stylist, combining temperament with an unsentimental touch.” Financial Times, 19th May 2012 ****

“to an even greater extent than before, her performances blaze and challenge with a potent and highly individual sense of drama...For Fialkowska, Chopin can take on something of the dark-hued austerity of late Liszt...there is never any doubting her strength of purpose. All this is a striking advance on earlier recordings, with their earlier recordings, with their more conventional notion of interpretation, and to crown it all Fialkowska has been superbly recorded.” Gramophone Magazine, August 2012

“This is a rich and illuminating find. From the outset you sense Janina Fialkowska's innate, developmental grasp of drama - of the connection between phrases and their dynamic character. Then there's the sheer life in her playing, reflected in the perfectly nourished and shrewdly apportioned sound...her pacing and exceptional graps of musical narrative is a masterclass in the art of pianistic rhetoric.” BBC Music Magazine, August 2012 *****

GGramophone Magazine

Editor's Choice - August 2012

BBC Music Magazine Awards 2013

Instrumental Award Winner

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