Great Pianists - Moiseiwitsch 11

Naxos: 8111117

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Great Pianists - Moiseiwitsch 11

Label:

Naxos

Catalogue No:

8111117
(8.111117)

Discs:

1

Release date:

2nd July 2007

Barcode:

0747313311729

Length:

68 minutes

Medium:

CD

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Great Pianists - Moiseiwitsch 11

Chopin Recordings 1916-1927


Chopin:

Berceuse in D flat major, Op. 57

Acoustic Recordings - 1916-1922

Prelude Op. 28 No. 20 in C minor

Acoustic Recordings - 1916-1922

Waltz No. 6 in D flat major, Op. 64 No. 1 'Minute Waltz'

Acoustic Recordings - 1916-1922

Waltz No. 11 in G flat major, Op. 70 No. 1

Acoustic Recordings - 1916-1922

Impromptu No. 2 in F sharp major, Op. 36

American and English versions. Acoustic Recordings - 1916-1922

Nocturne No. 19 in E minor, Op. 72 No. 1

Acoustic Recordings - 1916-1922

Mazurka No. 51 in A minor 'Émile Gaillard'

Acoustic Recordings - 1916-1922

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

Electrical Recordings - 1925-1927

Impromptu No. 1 in A flat major, Op. 29

Electrical Recordings - 1925-1927

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

Electrical Recordings - 1925-1927

Etude Op. 10 No. 11 in E flat major

Electrical Recordings - 1925-1927

Étude Op. 10 No. 4 in C sharp minor

Electrical Recordings - 1925-1927

Étude Op. 25 No. 3 in F major

Electrical Recordings - 1925-1927

Étude Op. 10 No. 10 in A flat major

Electrical Recordings - 1925-1927

Polonaise No. 9 in B flat major, Op. 71 No. 2

Electrical Recordings - 1925-1927

Ballade No. 3 in A flat major, Op. 47

Electrical Recordings - 1925-1927

Liszt:

Chants Polonais after Chopin (6), S480

Arranged Chopin. Acoustic Recordings - 1916-1922

Meine Freuden (Nocturne)

Arranged Chopin. Acoustic Recordings - 1916-1922


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Fryderyk Chopin: Berceuse in D flat major, Op. 57

Berceuse in D flat major, Op. 57

Fryderyk Chopin: 24 Preludes, Op. 28

Prelude No. 20 in C minor, Op. 28, No. 20

Fryderyk Chopin: Waltz No. 6 in D flat major, Op. 64, No. 1, "Minute"

Waltz No. 6 in D flat major, Op. 64, No. 1, "Minute"

Fryderyk Chopin: Waltz No. 11 in G flat major, Op. 70, No. 1

Waltz No. 11 in G flat major, Op. 70, No. 1 (take 1)

Waltz No. 11 in G flat major, Op. 70, No. 1 (take 2)

Fryderyk Chopin: Impromptu No. 2 in F sharp major, Op. 36

Impromptu No. 2 in F sharp major, Op. 36 (take 6)

Impromptu No. 2 in F sharp major, Op. 36 (take 7)

Fryderyk Chopin: Nocturne No. 19 in E minor, Op. 72, No. 1

Nocturne No. 19 in E minor, Op. 72, No. 1

Fryderyk Chopin: Mazurka No. 51 in A minor, Op. posth., "A Emile Gaillard"

Mazurka No. 51 in A minor, Op. posth., "A Emile Gaillard"

Franz Liszt: Chopin - 6 Chants polonais, S480/R145

Chopin - 6 chants polonais, S480/R145 (Chopin, from Op. 74): No. 5. Meine Freuden (My Joys)

Fryderyk Chopin: Scherzo No. 2 in B flat minor, Op. 31

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

Fryderyk Chopin: Impromptu No. 1 in A flat major, Op. 29

Impromptu No. 1 in A flat major, Op. 29

Fryderyk Chopin: Waltz No. 14 in E minor, Op. posth.

Waltz No. 14 in E minor, Op. posth.

Fryderyk Chopin: Etudes, Op. 10

Etude No. 11 in E flat major, Op. 10, No. 11

Etude No. 4 in C sharp minor, Op. 10, No. 4

Fryderyk Chopin: Etudes, Op. 25

Etude No. 15 in F major, Op. 25, No. 3

Etudes, Op. 10

Etude No. 10 in A flat major, Op. 10, No. 10

Fryderyk Chopin: Polonaise No. 9 in B flat major, Op. 71, No. 2

Polonaise No. 9 in B flat major, Op. 71, No. 2

Fryderyk Chopin: Ballade No. 3 in A flat major, Op. 47

Ballade No. 3 in A flat major, Op. 47

Gramophone Magazine

October 2007

“The little B flat Polonaise (a Moiseiwitsch speciality) is spun off with all his charm and virtuosity, and his selection of four Etudes crosses the Rubicon from pragmatism to poetry with a wealth of colour, grace and nuance unknown to all but the finest pianists.”

Gramophone Classical Music Guide

2010

“Ward Marston has done his best with Vol 11 of Naxos's invaluable Moiseiwitsch series where the pianist's legendary magic somehow surfaces through recordings dating from 1916-22 and 1925-27. Moiseiwitsch's Chopin remains indelibly his own, and if his frequent desynchronisation of the hands, expressive dalliance, the odd clinker and a naughty, twinkly delight in tampering with the text are old-fashioned, they are often attributes rather than failings. True, there were days when, overstretched by an unnerving schedule, Moiseiwitsch could sound diffident and workaday, but at his finest he could lighten even the most serious gesture or idea with a nonchalant wit and sparkle. The little B flat Polonaise (a Moiseiwitsch speciality) is spun off with all his charm and virtuosity, and his selection of four Etudes crosses the Rubicon from pragmatism to poetry with a wealth of colour, grace and nuance unknown to all but the finest pianists. The Second Scherzo may bristle with confusions and approximations but it is never less than brilliantly alive and, most generously, there are two performances of both the G flat Waltz and F sharp Impromptu for comparison and enlightenment.”

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