Chopin: Scherzo No. 3 in C sharp minor, Op. 39

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Adam Harasiewicz plays Chopin

Adam Harasiewicz plays Chopin


Chopin:

Scherzi Nos. 1-4

Piano Sonata No. 1 in C minor, Op. 4

Piano Sonata No. 2 in B flat minor, Op. 35 'Marche funèbre'

Piano Sonata No. 3 in B minor, Op. 58

Ballades Nos. 1-4

Fantasia in F minor, Op. 49

Barcarolle in F sharp major, Op. 60


Adam Harasiewicz (piano)

The Polish pianist Adam Harasiewicz was born in 1932, and had a meteoric rise to fame when he captured first prize at the Fifth Chopin International Competition in Warsaw. Although his name may be unfamiliar to many today, other names at that competition in 1955 included Fou Ts’ong and Vladimir Ashkenazy. Harasiewicz has been mentioned by aficionados in the same breath as Argerich, Rubinstein, Zimmerman and Cortot as one of the leading interpreters of Chopin. He was equally at home with the music of Szymanowski and Brahms, but it was always Chopin that he focused on and his small discography chiefly consists of this composer’s music.

Harasiewicz signed to a major record label in the late 1950s and ’60s and among the notable recordings he made during this period were the complete sonatas, scherzos and ballades included on these two CDs.

He remained active on the concert scene into the 1970s, though he didn’t record again and sadly his reputation faded. These recordings confirm his talent as a Chopin interpreter, with a brilliant, crisp and powerful tone.

‘The Fantasia is even better; here the pianist has complete grasp of the material and the result is magnificent.’ Gramophone, September 1960

‘Adam Harasiewicz is a splendid player of Chopin. Whether because of his Polish blood or of a natural sensibility, he seems to have a special affinity with the quieter and more lyrical moments of the music, especially in their rhythmic shaping. Yet turn the page and there is no lack of sparkle in the more brilliant passages or address in the more thundering.’ Gramophone, August 1964

“Harasiewicz focuses on structural and harmonic lucidity but without sacrificing dramatic intensity” BBC Music Magazine, November 2010 ****

“here is an entirely serious Chopin, musicianly, formidably commanding, without frills or distractions...Yet beneath the poised and aristocratic surface you sense the truest poetic and musical commitment...Harasiewicz mastery of the more demanding pages of the Ballades will arouse the envy of even the most superbly equipped pianist.” Gramophone Magazine, February 2011

Newton Classics - 8802015

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Great Pianists - Moiseiwitsch 13

Great Pianists - Moiseiwitsch 13

Chopin Recordings Volume 3 (1939-1952)


Chopin:

Barcarolle in F sharp major, Op. 60

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

Nocturne No. 2 in E flat major, Op. 9 No. 2

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

Scherzo No. 1 in B minor, Op. 20

Scherzo No. 3 in C sharp minor, Op. 39

Scherzo No. 4 in E major, Op. 54

Mendelssohn:

A Midsummer Night's Dream: Scherzo

arr. Rachmaninov. Appendix


Producer and Audio restoration engineer: Ward Marston

“Supple pianism and poetic sensibility characterise Moiseiwitsch's Chopin” BBC Music Magazine, September 2010 ****

“Benno Moiseiwitsch always ranked among the world's most delectable pianists. And here...he shows himself as gloriously free, mischievous and mercurial. He can be curt, skittish or rhapsodic, seemingly at will...these performances are rarely less than personal and beguiling.” Gramophone Magazine, September 2010

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Louis Lortie plays Chopin Volume 1

Louis Lortie plays Chopin Volume 1


Chopin:

Piano Sonata No. 2 in B flat minor, Op. 35 'Marche funèbre'

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

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

Scherzi Nos. 1-4

Nocturne No. 18 in E major, Op. 62 No. 2

Nocturne No. 17 in B major, Op. 62 No. 1


Louis Lortie (piano)

‘In the era of the great romantic pianists, it used to be the fashion at piano recitals to offer an improvisation in the same key as that of the piece that was scheduled to follow, in order to get the audience ‘in the mood’. To compensate for this lost art, I have thought of always playing one of the nocturnes before a major piano composition by Chopin. It makes these nocturnes appear more like an improvisation, to serve as counterweight to the very dense content of the Ballades, Scherzos, and Sonatas. This practice transfers smoothly the logic of a piano recital to a CD and makes more sense by allowing the listener to enjoy the contents in one stretch’ writes Louis Lortie on his concept for the album.

The immensely respected French-Canadian virtuoso Louis Lortie celebrates the Chopin anniversary with an album of Nocturnes and Scherzos for solo piano. These works stretch the pianist’s technique in every possible way. This Canadian pianist has long had an association with Chandos, and is recognised as one of the finest interpreters of Chopin. He first recorded Chopin’s Études for Chandos more than 20 years ago; it was named as one of the ‘50 great performances by superlative pianists’ by BBC Music Magazine. Since then he’s enjoyed an exceptionally rich performing and recording career. He won First Prize in the Busoni Competition in 1984. He was also a prize-winner at the Leeds Competition. He’s been named an Officer of the Order of Canada, and a Knight of the National Order of Quebec.

A recent performance at Carnegie Hall elicited the following review, ‘Those who bought a ticket to hear Louis Lortie play on Saturday night must have been extremely glad they did so. The pianist from Montreal gave a recital at Carnegie Hall that was filled with beauty, brains, and virtuosity.’

“richly coloured and deftly articulated...Along the way there are some lovely individual touches like the way Lortie varies the dynamic in the exposition repeat of the First Scherzo...This is Chopin playing of a superior order.” Gramophone Magazine, July 2010

“Lortie’s recital-like organisation of the repertoire is particularly appealing...Nothing is overstated dramatically here, which is not to say that the individual character of the pieces is not identified and communicated with taste and a clear expressive intent.” The Telegraph, 1st June 2010 ***

“Lortie's musicianship is imaginative but never eccentric, with a technique that is always at the service of the music.” BBC Music Magazine, July 2010 ****

“It's all tremendously fluent, the technical hurdles easily cleared...Lortie gets the final peroration of the B flat minor Scherzo exactly right – a tremendous performance – and is pretty persuasive throughout the sonata, too” The Guardian, 1st July 2010 ***

Chandos Louis Lortie plays Chopin - CHAN10588

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Chopin Gold

Chopin Gold

Chopin 200th anniversary


Chopin:

Polonaise No. 6 in A flat major, Op. 53 'Héroïque'

Maurizio Pollini (piano)

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

Martha Argerich (piano)

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

Maria João Pires (piano)

Waltz No. 7 in C sharp minor, Op. 64 No. 2

Alice Sara Ott (piano)

Étude Op. 10 No. 12 in C minor ‘Revolutionary'

Vladimir Ashkenazy (piano)

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

Nelson Freire (piano)

Prelude Op. 28 No. 4 in E minor

Rafal Blechacz (piano)

Prelude Op. 28 No. 7 in A major

Rafal Blechacz (piano)

Berceuse in D flat major, Op. 57

Hélène Grimaud (piano)

Polonaise No. 3 in A major, Op. 40 No. 1 'Military'

Emil Gilels (piano)

Impromptu No. 4 in C sharp minor, Op. 66 'Fantaisie-Impromptu'

Maria João Pires (piano)

Nocturne No. 2 in E flat major, Op. 9 No. 2

Daniel Barenboim (piano)

Ballade No. 1 in G minor, Op. 23

Maurizio Pollini (piano)

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

Arturo Benedetti Michelangeli (piano)

Waltz No. 1 in E flat major 'Grande Valse Brillante', Op. 18

Zoltán Kocsis (piano)

Étude Op. 25 No. 11 in A minor 'Winter Wind'

Sviatoslav Richter (piano)

Nocturne No. 8 in D flat major, Op. 27 No. 2

Lang Lang (piano)

Étude Op. 10 No. 4 in C sharp minor

Nelson Freire (piano)

Prelude Op. 28 No. 3 in G major

Martha Argerich (piano)

Prelude Op. 28 No. 6 in B minor

Martha Argerich (piano)

Mazurka No. 13 in A minor, Op. 17 No. 4

Vladimir Horowitz (piano)

Scherzo No. 3 in C sharp minor, Op. 39

Ivo Pogorelich (piano)

Piano Sonata No. 2 in B flat minor, Op. 35 'Marche funèbre': 3rd movement (Funeral March)

Hélène Grimaud (piano)

Prelude Op. 28 No. 11 in B major

Friedrich Gulda (piano)

Prelude Op. 28 No. 20 in C minor

Friedrich Gulda (piano)

Écossaises (3), Op. 72 No. 3

Mikhail Pletnev (piano)

Étude Op. 25 No. 9 in G flat major 'Butterfly'

Vladimir Ashkenazy (piano)

Nocturne No. 10 in A flat major, Op. 32 No. 2

Maria João Pires (piano)

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

Mikhail Pletnev (piano)

Barcarolle in F sharp major, Op. 60

Maurizio Pollini (piano)

Mazurka No. 19 in B minor, Op. 30 No. 2

Arturo Benedetti Michelangeli (piano)

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

Vladimir Ashkenazy (piano)


The essential collection of favourite solo works for Chopin Year 2010!

Over 140 minutes of pure listening pleasure

2CDs for the price of 1

Featuring Argerich, Ashkenazy, Barenboim, Blechacz, Freire, Grimaud, Gulda, Horowitz, Lang Lang, Michelangeli, Ott, Pires, Pollini and many more

“Chopin was the greatest of us all, for he discovered everything through the piano alone”. So wrote Debussy about the Polish master, the 200th anniversary of whose birth is celebrated in 2010. This collection – featuring the world’s greatest pianists – bears out this remark, ranging from the dreamy to the heroic, from the passionate to the playful, with all Chopin’s favourite titles included.

DG - 4778727

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The Chopin Experience

The Chopin Experience


Chopin:

Waltz No. 1 in E flat major 'Grande Valse Brillante', Op. 18

Nocturne No. 2 in E flat major, Op. 9 No. 2

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

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

Impromptu No. 4 in C sharp minor, Op. 66 'Fantaisie-Impromptu'

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

Waltz No. 9 in A flat major, Op. 69 No. 1 'Farewell Waltz'

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

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

Nocturne No. 9 in B major, Op. 32 No. 1

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

Prelude Op. 28 No. 7 in A major

Polonaise No. 3 in A major, Op. 40 No. 1 'Military'

Ballades Nos. 1-4

Polonaise No. 6 in A flat major, Op. 53 'Héroïque'

Étude Op. 10 No. 8 in F major

Nocturne No. 13 in C minor, Op. 48 No. 1

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

Scherzo No. 3 in C sharp minor, Op. 39

Prelude Op. 28 No. 5 in D major

Étude Op. 10 No. 5 in G flat major 'Black Key'

Polonaise No. 4 in C minor, Op. 40, No. 2

Nocturne No. 15 in F minor, Op. 55 No. 1

Étude Op. 10 No. 12 in C minor ‘Revolutionary'

Waltz No. 7 in C sharp minor, Op. 64 No. 2

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

Prelude Op. 28 No. 13 in F sharp major

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


Boris Berezovsky, Francois-Rene Duchable, Nelson Freire, Cyprien Katsaris, Elisabeth Leonskaja, Alexei Lubimov, Nikolai Lugansky, Maria-Joao Pires, Jean Bernard Pommier, Gyorgy Sebok & Alexei Sultanov

With his exceptional gift for melody and his highly sophisticated and subtle sense of harmony, Frederic Chopin created some of the most Romantic piano music ever written. This collection offers a widely varied selection of these beautiful and much loved pieces, from the calm introspective mood of the Nocturnes, through the pure joy of the Waltzes to the grand passion of the “Revolutionary” Etude in C minor, the Fantaisie-impromptu and the “Heroic” Polonaise.

Warner Classics Experience - 2564687266

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Van Cliburn plays Mozart, Chopin, Beethoven, Prokofiev & Liszt

Van Cliburn plays Mozart, Chopin, Beethoven, Prokofiev & Liszt


Beethoven:

Piano Sonata No. 23 in F minor, Op. 57 'Appassionata'

Chopin:

Scherzo No. 3 in C sharp minor, Op. 39

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

Fantasia in F minor, Op. 49

Liszt:

Hungarian Rhapsody, S244 No. 12 in C sharp minor

Mozart:

Piano Sonata No. 10 in C major, K330

Prokofiev:

Piano Sonata No. 6 in A major, Op. 82


Van Cliburn (piano)

1958 was a red-letter year not only in music competition history but in the entire history of performance. For it was then that 23-year-old Van Cliburn of Texas won the first Tchaikovsky Competition in Moscow, taking with him both the hearts of the Russian people and his jury (which included such luminaries as Shostakovich, Kabalevsky, Richter and Gilels). Thawing the political freeze between Russia and America, he went on to achieve a celebrity and charisma unknown since the days of Liszt and Paderewski. But Cliburn’s only London solo concert, given at the Royal Festival Hall one year later, was a no less remarkable event. There I joined a capacity audience (including a bevy of Hollywood stars) on a hot summer afternoon to witness playing of a wholly extraordinary communicative character and power. And, strolling down memory lane and listening once more to one of the most remarkable recitals ever given on the South Bank, one word comes to mind above all others and that is ‘eloquence’. It is surely a truism to say that today, as never before, the world is teeming with pianists whose mechanical skill is unmatched by a convincing musical voice or sound. Cliburn’s technique – something far transcending mere mechanics in its overwhelming range, colour and sonority – was immense and yet was always at the service of a generous spirit, anxious only to celebrate and share great music. Throughout this recital he ‘speaks’ with a voice and sonority uniquely his own. Expectation pulsed at fever pitch, yet Cliburn’s vast audience was taken by surprise when he launched into the National Anthem, milked and thundered for all its worth; a lavish and very Texan tribute to the British people (in today’s parlance, to ‘that special relationship’). But then came Mozart and the Sonata in C, K.330, gently and affectionately confided, alive with that unmistakable full and ‘golden’ Cliburn tone and a legato and cantabile ‘more Russian than the Russians’. Yet at the same time everything was delicately and imaginatively pointed with a special sense of Mozart’s poetic ambiguity, his subtle and melancholic undertow. From the booklet note by Bryce Morrison

“The three Chopin works are carefully phrased and clearly articulated with a full, even tone...while Prokofiev's Sixth Sonata (another Cliburn favourite) provides the outstanding performance of the recital...An unflashy, deftly executed Hungarian Rhapsody No. 12 rounds off proceedings.” Gramophone Magazine, May 2010

“...beginning with a juicily harmonised and affirmatively delivered God, Save the Queen...he then launches into Mozart’s C major Sonata K330, in which his famed full tone is to the fore, before letting a more fiery, individual temperament exert itself in Beethoven, Chopin, Prokofiev and Liszt, vividly coloured and with a commanding presence.” The Telegraph, 29th January 2010 ****

Testament - SBT21445

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Chopin: 4 Impromptus, Scherzo in C sharp minor & other piano works

Chopin: 4 Impromptus, Scherzo in C sharp minor & other piano works


Chopin:

Impromptus Nos. 1-4

Polonaise No. 4 in C minor, Op. 40, No. 2

Scherzo No. 3 in C sharp minor, Op. 39

Nocturne No. 9 in B major, Op. 32 No. 1

Nocturne No. 10 in A flat major, Op. 32 No. 2

Mazurkas Op. 59 Nos. 1-3

Prelude Op. 45 in C sharp minor (No. 25)

Prelude Op. posth. in A flat major (No. 26)


Kevin Kenner (piano)

It is pianist’s first CD on a historic instrument (Pleyel, 1848). Kevin Kenner is the Laureate of the 2nd Price at the 12th International Fryderyk Chopin Piano Competition in Warsaw (1990).

Recordings made on a Playel piano from 1848. Recorded in Witold Lutoslawski Polish Radio Concert Studio, Warsaw, 17-19 March 2008.

Frederick Chopin Institute - The Real Chopin - NIFCCD010

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Chopin - Piano Works

Chopin - Piano Works


Chopin:

Impromptu No. 4 in C sharp minor, Op. 66 'Fantaisie-Impromptu'

Scherzi Nos. 1-4

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

Nocturne No. 13 in C minor, Op. 48 No. 1

Nocturne No. 14 in F sharp minor, Op. 48 No. 2


Elisabeth Leonskja is considered to be one of the great artists of our time and regularly appears in all the musical centres of the world.

Super Audio CD

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Hybrid Multi-channel

MDG Gold - MDG9431558

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Frédéric Chopin Edition Volume 5 - Scherzi, Fantaisie, Berceuse & Barcarolle

Frédéric Chopin Edition Volume 5 - Scherzi, Fantaisie, Berceuse & Barcarolle


Chopin:

Scherzi Nos. 1-4

Fantasia in F minor, Op. 49

Berceuse in D flat major, Op. 57

Barcarolle in F sharp major, Op. 60


Profil’s Frédéric Chopin series has so far featured the Ballads and Impromptus (Vol. 1), Waltzes (Vol. 2), Polonaises (Vol. 3) and the Etudes (Vol. 4), and now the next in the series continues with a selection of more of his finest works.

His previous volumes have all been well received by the press and Eugene Mursky has proved that he is a first-rate pianist definitely worthy of his international competition success. He was awarded 1st Prize in the prestigious World Piano Competition, 1994, and also the Chopin Prize for the best Chopin interpretation.

“Mursky has shown himself to be an artist of potentially wonderful talent.” The Daily Telegraph

“…Mursky's dignity and understatement in the Barcarolle, Fantasie and Berceuse take him a long way on an always elusive journey. His Fantasie is clear-sighted and musicianly, the opening stealthy march and assuaging reply most sensitively nuanced and phrased, the central B major section a movingly simple oasis of calm.” Gramophone Magazine, April 2009

Profil Medien Frédéric Chopin Edition - PH04071

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Sophie Cashell - Debut

Sophie Cashell - Debut


Chopin:

Scherzo No. 3 in C sharp minor, Op. 39

Nocturne No. 20 in C sharp minor, Op. post.

Debussy:

L'isle joyeuse

Préludes - Book 1: No. 10, La cathédrale engloutie

Préludes - Book 1: No. 12, Minstrels

Liszt:

Ballade No. 2 in B minor, S171/R16

Liebesträume, S541 Nos. 1-3

Ballade No. 1 in D flat major S170 ('Le chant du croisé')

Martin, F:

Two Variations On Irish Airs For Piano

Album Version

Ravel:

Pavane pour une infante défunte


Sophie Cashell (piano)

Sophie Cashell, the winner of this year’s BBC talent show Classical Star, launches her recording career with ‘Debut’. This piano recital disc will be available through Universal Classics and Jazz (UCJ), the UK’s leading classical label.

The recital comprises some of Sophie’s favourite piano music, pieces that have been influential in her career so far. Sophie, currently studying at the Royal Academy of Music, won over the Classical Star judges (Charles Hazelwood, Jason Lai, Chi-Chi Nwanoku and Steve Abbott) with an impressive performance of Shostakovich’s Piano Concerto no. 2.

The album was recorded in the Théâtre St Bonnet, Bourges, France, a theatre built just two years ago in an authentic 19th Century salon style similar to those where Chopin and Liszt would have played. The Gothic cathedral in Bourges provided Sophie with further inspiration, hence the choice of Debussy’s La Cathedrale Engloutie which appears on the disc.

“Chopin's Third Scherzo has Cashell setting out her stall: plenty of power, a likeable sound and an excellent refusal to rush and/or show off. Early days, yes. But clearly, a name to watch.” BBC Music Magazine, November 2008 ****

“Sophie Cashell, winner of the BBC's talent show Classical Star and still a student at the RAM, has turned in an impressive debut full of promise.
Not the least of its attractions are beautifully sculpted, poised performances of all three of Liszt's Liebesträume instead of just the evergreen No 3. The last – more in her fingers than the two lesser-known ones – is nicely done.
In addition we have both of Liszt's Ballades: No 1 is rarely performed but Cashell makes a convincing case for it with some compelling flights of bravura; and No 2, if somewhat too fragmentary in the early stages, is played with real fire in the belly. She will almost certainly get more out of the C sharp minor Scherzo and L'islejoyeuse in the future, though they are far from negligible achievements. Two further refreshingly different choices round off the recital – Philip Martin's Two Variations on Irish Airs and Nikolai Kapustin's Motive Force.
The lively, resonant piano sounds rich and natural, though the upper treble floats away in quieter exposed passages, disembodied from the middle and bass registers. Not a big deal. Sophie Cashell, on the other hand, probably is.”
Gramophone Classical Music Guide, 2010

“Miss Cashell, still a student at the RAM, has turned in an impressive debut full of promise. Not the least of its attractions are beautifully sculpted, poised performances of all three of Liszt's Liebesträume…” Gramophone Magazine, December 2008

GGramophone Magazine

Editor's Choice - December 2008

ucj - 4766459

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