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

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 first complete recordings of Chopin's Etudes op. 10 and op. 25, recorded in January 1928

Wilhelm Backhaus’s recordings of Liszt and Chopin, Moszkowski, Brahms, Albéniz, Weber, Anton Rubinstein and Smetana revealed great virtuosity. Inexorability, rapid tempos and an almost surly approach characterized his playing. He made the first recordings of a piano concerto in history (Grieg) in 1909 - just four minutes from the first and third movements.

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.

This is the second installment of Géza Anda’s recordings from the archives of the SWR. His early reputation was built upon his unrivaled mastery of the great Romantic repertoire. His infallible sense of form, and understanding of the inner workings of the music and his brilliant, unsentimental performing style have influenced subsequent generations of pianists. These are recordings from 1950, 1951 & 1955.

Jorge Bolet was an avowed Romantic, happy to relax once the serious business of his recital is over. Like Moiseiwitsch, he could be mischievously enterprising, challenging his audience to guess the composer of this or that rare poetic jewel or confection - or, like Rubinstein, he could affectionately confirm and recreate their favourites.

With delightful old world charm, fleet of finger, yet ever conscious of the singing line, Bolet weaves pure magic in this collection of encores. After a long absence from the catalogue, this disc returns, now at budget price.