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

“Judging by this recording of a perennial favourite, Kern has more than enough virtuosity, poise and interpretative charm to enchant British audiences.” The Observer

“These performances, in DG's beautifully refurbished sound, remain as fanciful and coruscating as the day they were made. Argerich's fluency and re-creative spark dazzle and dumbfound to a unique degree but, given her reputation for fireeating virtuosity, it's perhaps necessary to say that both performances quiver with rare sensitivity as well as drama. Time and again she gives a telling and haunting poetic counterpoint to her, arguably, more familiar way of trailing clouds of virtuoso glory. Abbado partners his mercurial soloist as to the manner born, finding (in the Chopin in particular) a burgeoning sense of wonder where others sound dry and foursquare.” Gramophone Classical Music Guide, 2010

“Martha Argerich's first commercially released recordings of the Chopin concertos were for DG; No 1 in 1968, No 2 in 1978. Here she revisits both concertos and offers an act of re-creative daring, of an alternating reverie and passion that flashes fire with a thousand different lights. Indeed, her earlier performances are infinitely less witty, personal and eruptive, less inclined to explore, albeit with the most spontaneous caprice and insouciance, so many new facets, angles and possibilities.
Now, everything is accomplished without a care for studios and microphones and with a degree of involvement that suggests an increase rather than a diminution of her love for these works. The recordings are impressively natural and if Dutoit occasionally seems awed if not cowed into anonymity by his soloist (the opening tuttis to the slow movements of both concertos are less memorable than they should be) he sets off Argerich's charisma to an exceptional degree. Argerich's light burns brighter than ever. Rarely in their entire history have the Chopin concertos received performances of a more teasing allure, brilliance and idiosyncrasy.” Gramophone Classical Music Guide, 2010

Diapason d'Or Award

Recorded just after the Warsaw triumph, Pollini's is a masterly performance that reveals a Chopin player of real class - James Jolly, Gramophone 1000th issue

“This disc is a classic. The concerto was recorded shortly after the 18-year-old pianist's victory at the Warsaw competition in 1959. Nowadays we might expect a wider dynamic range to allow greater power in the first movement's tuttis, but in all other respects the recording completely belies its age, with a near perfect balance between soloist and orchestra. This is very much Pollini's disc, just as the First Concerto is very much the soloist's show, but effacing as the accompaniment is, Pollini's keyboard miracles of poetry and refinement could not have been achieved without one of the most characterful and responsive accounts of that accompaniment ever committed to tape. The expressive range of the Philharmonia on top form under Kletzki is exceptional, as is the accord between soloist and conductor in phrasing and shading. The solo items are a further reminder of Pollini's effortless bravura and aristocratic poise.” Gramophone Classical Music Guide, 2010