Chopin: Étude Op. 10 No. 3 in E major 'Tristesse'

As early as 1948 Richter recorded a Polonaise Op.25 No.1, and in 1950 the Ballade No.2 Op.38, few Studies… An avowed enemy of 'completism' the present programme is a fabulous example of his choices, excluding the famous Funeral Sonata, Walzes or First Piano Concerto…, leaving these to Gilels: ‘far better than me' in his opinion!

Recorded September 1960.

This outstanding recording of the complete Chopin Études by Maurizio Pollini is being published for the first time by Testament.

It was made by EMI at Abbey Road a few months after Pollini had won the Chopin Competition in Warsaw. Pollini had already recorded for EMI the Chopin Piano Concerto No.1 in E minor with the Phiharmonia Orchestra conducted by Paul Kletzki, a recording universally acclaimed as a classic. Peter Andry, who produced the recording of the Études, later recalled Pollini’s play-through of the first set as a spine-tingling experience: “This was pianism of the very finest kind” he said. “Rarely had I heard such perfection. He seemed to play these demanding works effortlessly. I remember the occasion even now as one of my greatest musical experiences.”

The recording reproduces with striking immediacy and clarity a performance that captures the 18-year-old pianist’s sensitive and sympathetic emotional response to these works. It is very different to the large-scale and grandiose DG recording made a decade or so later by Pollini as a more mature artist in a venue with a more reverberant acoustic.

Critics and pianists who have already heard this recording by the young Pollini have all been astonished by its musicality and spontaneity, qualitities that go right to the heart of Chopin’s genius in writing these challenging but musically inspired compositions. It is a unique addition to Pollini’s extensive recorded catalogue and shows this great artist at the very beginning of his professional career as a musician of the highest calibre.

The life and career of Frédéric Chopin (“a man of noble ideas”, according to Debussy) have been much written about, and have given rise to numerous legends and exaggerated stories. The hackneyed clichés of the fragile and ailing artist, of the worldly seducer, and the unfortunate circumstances of his break-up with George Sand are all too well known to need re-telling here. Heinrich Heine said of Chopin that he was “the kindest, the most reserved and the most modest of men of genius”. The composer himself was notably reticent, but summed up his own complex personality with the words: “On the outside I am cheerful, but inside I am in turmoil.”

In addition to its staggering virtuosity, Chopin’s music is pervaded by an indefinable sadness that combines suffering, sensuousness and melancholy – characteristics that may owe something to his exile from his native Poland, which he left in 1830, never to return. The Nocturnes and some of the Preludes – several of which acquired sub-titles that the composer detested – give off a mysterious aura of poetry and comtemplation. “What emotions he was able to embody in music! And what passionate and melancholy reveries he liked to indulge in!” Berlioz recalled. Whatever sentiment is expressed in the music of Chopin, sensuousness remains one of the dominant elements of his aesthetic palette and of a musical style that was completely new and inimitable.

Canada’s “First Lady of Chopin” has embarked on an incredible year of recitals, orchestral concerts and master-classes and will be performing at the Cadogan Hall and Fairfield Hall in May. Her previous Chopin recital CD on ATMA (ACD22597) has received excellent reviews.

When Nobuyuki Tsujii rose from the piano, having completed his performance at the Thirteenth Van Cliburn International Piano Competition, audience members leapt to their feet and jurors were moved to tears by his passionate interpretation of Chopin’s Piano Concerto No.1. Already known in his home country for his refined and effortless playing, his spell-binding performances brought Mr. Tsujii to the attention of hundreds of thousands of new fans throughout the world, while raising his status in Japan to superstar. Gold medalist , Nobu is heard here in a captivating all-Chopin programme of his competition performances.

“Through all three rounds, he played with unfailing assurance, and his unforced, utterly natural Chopin E-minor Piano Concerto was an oasis of loveliness amid too much point-making from other contestants.” Dallas Morning News

Idealised by romantic myth, Frédéric Chopin is one of the most celebrated composers in history. This virtuoso pianist devoted his whole output to his instrument and developed a unique style which made him “an extraordinary artist” (Berlioz). Here the musicians of harmonia mundi present some of his most famous pieces, a glimpse of the inner world of this genius who “made use of art solely to fulfil his own tragic destiny” (Liszt).

Every four years, the Van Cliburn Competition offers the opportunity for a select group of outstanding young musicians to showcase their talent while challenging themselves to reach new standards of artistic excellence.This year's three winners raise the bar once again. 20-year-old Japanese pianist Nobuyuki Tsujii claimed the Gold Medal. Already known in his home country for his refined and effortless playing, a webcast of his spellbinding performances at the 2009 Cliburn brought Tsujii to the attention of hundreds of countless new fans throughout the world, while raising his status in Japan to superstar. Blind since birth,Tsujii states his firm belief that, "there are no barriers in the field of music."

The youngest participant in the competition, 19-year-old joint-Gold Medalist Haochen Zhang gave his debut recital at the Shanghai Music Hall at the age of five. He moved to the United States at 15 to attend the Curtis Institute of Music where he is pursing a Bachelor of Music degree. 23-year-old Silver Medalist Yeol Eum Son is considered among the most important artists of her generation in South Korea. She has been a featured soloist with the New York Philharmonic on several occasions, most recently as part of the orchestra's historic visit to Seoul.

"Tsujii kept the audience spellbound from start to completion." FORT WORTH STAR-TELEGRAM