Chopin: Prelude Op. 28 No. 17 in A flat major

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Chopin: 26 Preludes & 4 Impromptus

Chopin: 26 Preludes & 4 Impromptus


Chopin:

Preludes (24), Op. 28

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

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

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

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

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

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


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Chopin: Preludes, Waltzes Nos. 1-14

Chopin: Preludes, Waltzes Nos. 1-14


Chopin:

Preludes (24), Op. 28

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

Waltz No. 2 in A flat major 'Grande Valse Brillante', Op. 34 No. 1

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

Waltz No. 4 in F major 'Grande Valse Brillante', Op. 34 No. 3

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

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

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

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

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

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

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

Waltz No. 12 in F minor, Op. 70 No. 2

Waltz No. 13 in D flat major, Op. 70 No. 3

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


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Chopin: Preludes Op. 28

Chopin: Preludes Op. 28


Chopin:

Preludes (24), Op. 28

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

Prelude in A sharp major KK IVb No. 7

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

Mazurkas Op. 59 Nos. 1-3


Andrew Tyson (piano)

The Zig-Zag Territoires label, like the Outhere Music group of which it is a part, is particularly attentive to the emergence and support of new talents, of which this CD, the first by the young pianist Andrew Tyson, is a good illustration. But it is also much more than that for it bears witness to the interpretation, already enlightening, of a very great talent and to the birth, on disc, of a singular, poetic voice.

Andrew Tyson has chosen to record the cycle of Chopin’s 24 Preludes, which represent so many different worlds to explore and bring to life. He excels therein thanks to the fantastic variety of timbres that he manages to make blossom on the piano of the Teldex studio in Berlin, and also to an extraordinary contrapuntal capacity.

“That he has an affinity with the composer is immediately obvious and one of the most appealing aspects here is his sheer sound. Soulfulness, too, is in plentiful supply...There's no lack of technique either...However, there are times when poetry seems to be too much of a preoccupation.” Gramophone Magazine, March 2015

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Chopin: Works for Piano

Chopin: Works for Piano


includes:

Chopin:

Ballades Nos. 1-4

Scherzi Nos. 1-4

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 Op. 50 Nos. 1-3

Mazurkas Op. 56 Nos. 1-3

Five Mazurkas, Op.6

Mazurkas Op. 59 Nos. 1-3

Mazurkas Op. 63 Nos. 1-3

Mazurka No. 51 in A minor 'Émile Gaillard'

Mazurka No. 50 in A minor 'Notre Temps'

Four Mazurkas, Op.67

Mazurkas, Op. 68

Preludes (24), Op. 28

Nocturnes (3) Op. 9

Nocturne No. 4 in F major, Op. 15 No. 1

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

Nocturne No. 6 in G minor, Op. 15 No. 3

Nocturne No. 7 in C sharp minor, Op. 27 No. 1

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

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

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


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Yulianna Avdeeva play Chopin, Schubert & Prokofiev

Yulianna Avdeeva play Chopin, Schubert & Prokofiev


Chopin:

Preludes (24), Op. 28

Prokofiev:

Piano Sonata No. 7 in B flat major, Op. 83

Schubert:

Klavierstücke (3), D946


Yulianna Avdeeva (piano)

The first woman to win the Warsaw Chopin Competition since Martha Argerich in 1965, Yulianna Avdeeva here presents her first solo recording, featuring three major composers. From Schubertian reverie to the diabolical energy of Prokofiev by way of the implacable trajectory of the 24 Preludes of Chopin, her composer of predilection, the youthful Yulianna Avdeeva deploys a sensational piano technique coupled with a vivid, expressive, and poetic palette.

“thoughtful and finely played … played with elegance and beauty.” Pianist Magazine, December 2014

“[she produces] a wonderful richness of tone, playing to the bed of the note at all times, and a richness of nuance… Avdeeva is a deeply thoughtful musician, who displays remarkable beauty of tone and care in the shaping of every phrase. Certainly this is one of the finest recordings of Chopin’s Preludes that I have heard … an artist of huge promise.” International Record Review, October 2014

“from the first bar Avdeeva makes you sit up and take note. Here is an artist who can truly make the piano sing - and to no greater effect than in the A flat minor Trio of No. 2.” Gramophone Magazine, January 2015

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Chopin: Preludes and Nocturnes

Chopin: Preludes and Nocturnes


Chopin:

Preludes (24), Op. 28

Nocturnes (3) Op. 9

Nocturne No. 4 in F major, Op. 15 No. 1

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

Nocturne No. 6 in G minor, Op. 15 No. 3

Nocturne No. 7 in C sharp minor, Op. 27 No. 1

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

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

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

Nocturne No. 11 in G minor, Op. 37 No. 1

Nocturne No. 12 in G major, Op. 37 No. 2

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

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

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

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

Two Nocturnes Op. 62

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

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


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Chopin: The Complete Works, Vol. 10, 'Knights and Demons'

Chopin: The Complete Works, Vol. 10, "Knights and Demons"


Chopin:

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

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

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

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

Preludes (24), Op. 28


Ian Hobson (piano)

Zephyr Ian Hobson Chopin Complete Works - Z144-12

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Chopin: 24 Preludes & Ravel: La valse

Chopin: 24 Preludes & Ravel: La valse


Chopin:

Preludes (24), Op. 28

Ravel:

La Valse

(version for solo piano)


Giampaolo Stuani (piano)

onClassical - OC1Rv

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Chopin: Piano Concertos & Préludes

Chopin: Piano Concertos & Préludes


Chopin:

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

Elfrun Gabriel (piano)

Nocturne No. 1 in B flat minor, Op. 9 No. 1

Elfrun Gabriel (piano)

Piano Concerto No. 1 in E minor, Op. 11

Paolo Giacometti (piano)

Rotterdam Young Philharmonic Orchestra, Arie van Beck

Piano Concerto No. 2 in F minor, Op. 21

Paolo Giacometti (piano)

Rotterdam Young Philharmonic Orchestra, Arie van Beck

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

Elfrun Gabriel (piano)

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

Elfrun Gabriel (piano)

Preludes (24), Op. 28

Elfrun Gabriel (piano)

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

Elfrun Gabriel (piano)

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

Elfrun Gabriel (piano)

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

Elfrun Gabriel (piano)

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

Elfrun Gabriel (piano)


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Chopin: 24 Preludes & Piano Sonata No. 2

Chopin: 24 Preludes & Piano Sonata No. 2


Chopin:

Preludes (24), Op. 28

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


Jean-Philippe Collard returns to Chopin after 33 years of silence. It has taken him decades to feel comfortable with the composer. Today he is confident in his approach to this repertory and has no qualms about his interpretative options.

Jean-Philippe Collard sees this disc as a break, a renewal. All his previous records were released on EMI. Today he has changed labels, repertoire, sound engineer . . . These developments enable him to escape a certain routine, to put himself on the line. There are countless benchmark versions of these pieces but the French pianist has not sought to measure himself against them and his approach to the composer is honest and totally sincere. Chopin represents a genuine challenge, for which Jean-Philippe Collard has identified a style that is his alone.

With a discography of more than 50 titles under his belt, Jean-Philippe Collard is a regular visitor to the foremost musical venues of the old continent and the other side of the Atlantic – from Carnegie Hall to the Teatro Colón by way of the Théâtre des Champs-Élysées and the Royal Albert Hall. A well-known figure to the French public, a great favourite with audiences in the United States, he can boast of having played with the top conductors and orchestras all over the world.

Still as unaffected as ever, direct and jovial, he’s more likely to talk of his private happiness than his public successes: a fulfilling family life alongside his wife and five children, with close and loyal friendships . . A nature lover, a DIY enthusiast in his spare time, this gentleman pianist cultivates more than one secret garden.

"Whatever the repertory I tackle, my priority has always been piano sound. I look for what the pianist Samson François called the ‘Blue Note’, that is to say, the ideal note at the ideal moment. The note in all its plenitude. Once you gain control of the sound, you can control the discourse, the momentum of the musical phrase. The experience of recording allows you to go still further in that quest. Paradoxically, recordings are responsible for a certain uniformity of sound. When I was young, I could recognise the greatest pianists by their sound. Today, unfortunately, piano playing is dominated by a kind of linearity."

Jean-Philippe Collard

“The Preludes confirm that he has rekindled his early love of the composer...Collard's bracingly unsentimental view of Chopin informs the 'Funeral' Sonata...Everywhere there are lovely touches - listen to the Scherzo, invested with such easeful, elegant phrasing” Gramophone Magazine, January 2014

“These are some of the most rugged performances I've heard of these works and they're not for the faint-hearted. Collard's admirers need not hesitate for this is bold and characterful playing and he remains a force to be reckoned with.” International Record Review, February 2014

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