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

This is Volume 2 in our series of solo piano works by Chopin, played by the French-Canadian pianist Louis Lortie.

Recording exclusively for Chandos, Lortie is recognised as one of the finest interpreters of Chopin today. He first recorded Chopin’s Études for Chandos more than twenty years ago; the disc was named as one of the ‘50 great performances by superlative pianists’ by BBC Music. Volume 1 of his current Chopin series also has received excellent reviews: the magazine Pianist wrote: ‘He is a pianist of our time when it comes to speed, energy and an unfussy approach to Chopin. His way of playing is like a sharply cut steel sculpture, super elegant and with not one single smudge.’ And in the words of International Piano: ‘These are full-blooded and eloquent performances, an auspicious start to what looks likely to become one of the finest of Chopin surveys.’

The ballade was associated with French poetry up until the mid-nineteenth century, when Chopin was among the first to transform the genre into a purely musical form for solo piano. His four ballades, recorded here, are among his most extraordinary and powerful works, full of dramatic contrasts, with moments of lyrical tenderness followed by passages of rambunctious energy.

The Irish composer John Field invented the piano nocturne as a lyrical and dreamy short piece, a charming and languorous creation that was later transformed and extended by Chopin into something with a much wider emotional range, and a general sense of wistfulness. This ‘Chopin’ style of nocturne soon came to replace the Fieldian style as the preferred model of the genre. The simplicity and directness of expression found in the nocturnes have made them the most popular of all Chopin’s works.

Composed towards the end of his life, the Barcarolle (originally a Venetian gondolier’s song) for solo piano is a melancholy, but sweepingly romantic work that conjures up strong images of Venetian boats, water, and oars. Also on this disc is the Berceuse (inspired by the traditional mood of the lullaby), based around a single four-bar theme which Chopin ornaments in increasingly elaborate ways as the piece develops.

Chopin Liszt Ravel is the debut album from the incredible Benjamin Grosvenor. Decca Classics’ new signing made his name as an 11 year old prodigy when he performed at the BBC Young Musician Final, (narrowly missing out to winner, violinist Nicola Benedetti). Still only aged 18, Benjamin has burst onto the performance scene. His debut album, Chopin Liszt, Ravel is out this July.

Benjamin is due to receive nationwide media attention when he performs at the First Night of the Proms, which will be followed by a BBC Breakfast News appearance. He will also tour this season with the National Youth Orchestra (and play at their BBC Prom) showing his relevance and support to young classical musicians today.

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.

YUNDI - Live In Beijing, a spectacular concert in the extraordinary new venue of the National Centre of the Performing Arts in Beijing. Here he gives a live recital, recorded for EMI Classics, of works by Chopin, including his great Sonata no.2. His encores are Chinese works which have been incredibly popular in his recitals around the world.

Yundi is famed throughout his homeland since his win in the Chopin Competition in Warsaw in 2000, where he was the first Chinese pianist to win the competition, as well as the youngest ever winner.

The first live performance available commercially globally from Beijing’s latest performing arts venue

A unique live recording of one of the great young Chopin pianists, performed in his homeland where he is a superstar. This recording will capture the energy and thrill of a very special live performance in a sensational new venue.

Since the competition that catapulted Yundi onto the international stage, his recitals and appearances with orchestras in Europe, Asia and the United States have been hailed by critics extolling his precise, crystalline technique, keyboard fluidity and boundless enthusiasm. His personality and artistry appeal to audiences of all ages and he is an icon in his native China, where he has inspired millions of young people, who refer to him as the "Prince of the Piano."

The Latvian pianist Dina Yoffe is a professor at the Anton Rubinstein International Academy in Germany and has worked with many celebrated orchestras and conductors. She has made numerous recordings for radio, television and phonographic companies including Chopin’s 24 Preludes, Fantasy in F minor and 19 Waltzes. She performs here on a 1848 Pleyel fortepiano.

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.