Chopin: Fantasia in F minor, Op. 49

This page lists all recordings of Fantasia in F minor, Op. 49, by Frédéric François Chopin (1810-49) on CD, SACD, DVD, Blu-ray & download (MP3 & FLAC). Generally, more recent releases are listed first, but with priority given to those that are in stock.

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Imogen Cooper’s Chopin

Imogen Cooper’s Chopin


Chopin:

Polonaise No. 7 in A flat major, Op. 61 'Polonaise-fantaisie'

Two Nocturnes Op. 62

Fantasia in F minor, Op. 49

Ballade No. 4 in F minor, Op. 52

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

Ballade No. 1 in G minor, Op. 23

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

Berceuse in D flat major, Op. 57


Having explored the music of Schumann in three previous much-lauded recordings, Imogen Cooper now turns to the music of Chopin. Combining some of his greatest works, this album is a recital in itself. The experience and emotional wisdom that complement her prodigious virtuosity has brought her to re-explore this often-played repertoire. As she explains: ‘Chopin is surely one of the most intriguing composers we know. Fabulous writing for the piano, a complex and rich harmonic world, melody, garlands of sensuous and quicksilver sound, passion – and of course the perfect vehicle for showing off pianism.

For all these reasons, but above all for the last, we go through a crash course in our student years, his huge body of work keeping us constant company and teaching us the ropes as we take our first steps in becoming a pianist. The challenge comes in adult years when, as in all repertoire, we need to rethink, and to find solutions that probably eluded us earlier.’

On top of several concerts in Europe’s most prestigious venues, Imogen Cooper will tour all over the world this year, giving recitals that will include this recorded repertoire.

“Atmospheres are intense, intimate, turbulent and dreamlike by turns; and Cooper injects every note with strength of personality…[her] sense of authority becomes vast in the Polonaise-Fantasie and Ballades, yet is always tempered with tenderness in the tone quality and wisdom in structural understanding. The Nocturnes are pure-hearted and subtly coloured; and to conclude, the Berceuse is five minutes of hushed, filigree meditation” BBC Music Magazine, September 2016 *****

“In the quieter lyrical passages she finds a rare poignancy that I find most affecting – and indeed it is this element that is a constant feature of Cooper’s playing. She has always been rightly lauded for her luminous, rich tone and it is deployed tellingly in Op. 61 and the two late Nocturnes which follow” Gramophone Magazine, July 2016

“This is intelligent music-making of the hihest order and, with a total duration of 80 minutes, real value for money” International Piano, September 2016 *****

Chandos - CHAN10902

(CD)

$14.00

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In stock - usually despatched within 1 working day.

Chopin: Piano Concerto No. 1 & Mazurkas Op. 33

Chopin: Piano Concerto No. 1 & Mazurkas Op. 33


Chopin:

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

Warsaw Philharmonic Orchestra, Jacek Kaspszyk

Mazurkas (4), Op. 33

Étude Op. 10 No. 1 in C major

Étude Op. 10 No. 10 in A flat major

Fantasia in F minor, Op. 49

Ballade No. 2 in F major, Op. 38

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


When does an eventual competition winner emerge as the leading contender from a pack of around 80 contestants? Seong-Jin Cho arrived at the 17th International Fryderyk Piano Competition with something of a prizewinning streak, since he had already enjoyed success at both the Rubinstein and Tchaikovsky Competitions in 2014 and 2011 respectively. Although his was not the first name on everyone’s lips during the long and tense wait for the final results, few were surprised when the announcement was made and he became South Korea’s first gold medalist in the history of the competition. His playing throughout each stage had been unfailingly cultivated, his sound always beautifully focused and poised.

These qualities had indeed singled him out for attention right from the beginning of the competition. Reporting on one of the First Stage sessions for the Chopin Courier, Andrzej Sulek noted that ‘Seong-Jin Cho brought a clear jump in quality relative to those before him: he revealed himself to be a refined, intelligent pianist’. He also made a comparison with one of the greatest of all Warsaw winners when he singled out a short piece for special comment: ‘The Etude in C major from Op. 10 was worthy of the model created by Pollini’. By the start of the Third Stage, Sulek was still able to claim that ‘the best impression was made by Cho. This is a monolithic personality, a proper pianist, in perfect control of the instrument, almost flawlessly precise’.

This recording traces the pianist through all stages of the competition.

He captured unequivocally the brilliance of the Concerto in E minor, Op. 11, a work that dazzles with the youthful spirit of a composer who completed it in August 1830, just three months before his departure from Warsaw. From the moment of piano’s entry with fortissimo octaves, attention is focused on the soloist, and Cho proved that he deserved that limelight.

Frederick Chopin Institute - NIFCCD625

(CD)

$14.00

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Kempff plays Chopin

Kempff plays Chopin


Chopin:

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

Impromptus Nos. 1-4

Berceuse in D flat major, Op. 57

Barcarolle in F sharp major, Op. 60

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

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

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

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

Andante spianato & Grande Polonaise, Op. 22

Fantasia in F minor, Op. 49

Polonaise No. 7 in A flat major, Op. 61 'Polonaise-fantaisie'


Australian Eloquence Wilhelm Kempff Edition - ELQ4806642

(CD - 2 discs)

$11.75

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Stephen Kovacevich - Chopin: Fantasia in F minor, Op. 49

Stephen Kovacevich - Chopin: Fantasia in F minor, Op. 49


Chopin:

Fantasia in F minor, Op. 49


Stephen Kovacevich's international reputation as a pianist has been built both on his concert appearances, renowned for their thoughtfulness and creative intensity, and on the highly acclaimed recordings he has made throughout his career. He is considered as one of the most searching interpreters of the core classical repertoire and he has won great admiration for his recordings of Mozart, Beethoven, Brahms, Schubert and Chopin. In this masterclass he works with a student on Chopin's F Minor Fantasy

DVD Video

Region: 0

Format: NTSC

Masterclass Media Foundation - MMF2033

(DVD Video)

$13.75

In stock - usually despatched within 1 working day.

Jeunesses Musicales du Canada

Jeunesses Musicales du Canada

60 Years - Looking to the Future


Bach, J S:

Violin Sonata in G major, BWV1021

James Ehnes (violin), Luc Beauséjour (piano), Benoit Loiselle (cello)

Brahms:

Two songs for contralto with viola obbligato, Op. 91

Marie-Nicole Lemieux (contralto), Michael MacMahon (piano), Nicolò Eugelmi (viola)

Chopin:

Fantasia in F minor, Op. 49

André Laplante (piano)

Duparc:

Chanson triste

Jean-François Lapointe (baritone), Louise-Andre Baril (piano)

Dvorak:

Mesícku na nebi hlubokém 'Song to the Moon' (from Rusalka)

Marianne Fiset (soprano)

Orchestre de la Francophonie, Jean-Pjilippe Tremblay

Piazzólla:

Cuarto Estaciones Porteñas

Gryphon Trio

Rachmaninov:

Piano Sonata No. 2 in B flat minor, Op. 36

Nareh Arghamanyan (piano)

Salzedo:

Scintillation, Op. 31

Valérie Milot (harp)

Schubert:

Sonata (Sonatina) for violin & piano in D major, D384 (Op. posth. 137 No. 1)

Angèle Dubeau (violin), Anton Kuerti (piano)

Strauss, R:

Don Juan, Op. 20

Orchestre de la Francophonie, Jean-Pjilippe Tremblay

Verdi:

Elle ne m'aime pas! (from Don Carlos)

Joseph Rouleau (bass)

Orchestra of the Royal Opera House, Covent Garden

Cortigiani, vil razza dannata (from Rigoletto)

Louis Quilico (baritone)

Edmonton Symphony Orchestra

Vivaldi:

Concerto for 2 Flutes, Strings and Continuo in C, R533

Ensemble Caprice


This anniversary collection by Jeunesses Musicales marks 60 years of service to the young: 60 years of excellence. The compilation presents some of the best recordings made at ANALEKTA by artists who toured under the aegis of JMC or have been associated with the Montreal International Musical Competition, founded in 2002. Discover some of the great performers of the Canadian music scene.

Analekta - AN299278

(CD - 2 discs)

$28.50

(also available to download from $20.00)

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Chopin - Journal Intime

Chopin - Journal Intime


Chopin:

Mazurka No. 41 in C sharp minor, Op. 63 No. 3

Ballade No. 1 in G minor, Op. 23

Mazurka No. 11 in E minor, Op. 17 No. 2

Mazurka No. 47 in A minor, Op. 68 No. 2

Fantasia in F minor, Op. 49

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

Mazurka No. 6 in A minor, Op. 7 No. 2

Ballade No. 2 in F major, Op. 38

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

Largo, Prelude Op. 28 No. 4

Écossaises (3), Op. 72 No. 3

Contredanse in G flat major, KKAnh.Ia/4

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

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


Already established as one of today’s most individual and thoughtful pianists, Alexandre Tharaud makes his debut on Virgin Classics with this collection of pieces by Chopin, ‘Journal intime’ (Private diary). Each of the chosen pieces – mazurkas, nocturnes, ballades, the famous Fantaisie-impromptu and a number of other, lesser-known works – has a special importance or association for Tharaud, who cites the pianism of Vlado Perlemuter and Sergey Rachmaninov as a particular influence in the music of Chopin.

Many of these pieces have been in Tharaud’s repertoire since his student days: “I let time work for me. It is extraordinarily enriching to study a work when you are young and then revisit it in the course of your life. It becomes part of you.”

Tharaud, born in Paris in 1968, takes a discerning approach to repertoire, highlighting and often juxtaposing composers such as Bach, Rameau, Couperin, Chabrier, Satie, Ravel, Poulenc and Thierry Pécou (b.1965). His catalogue of recordings for Harmonia Mundi has contributed substantially to his reputation:

“Alexandre Tharaud [is] a young aristocrat of the keyboard. Cool, supple and elegant, all his performances are in the best French tradition; a fine union of sense and sensibility ... each phrase bringing a renewed sense of delight … the inwardness and grace one associates with true artists ... All these performances suggest a fastidious musical intelligence with an immaculate technique, the music's character and fragrance made light yet pervasive ... these scrupulously modern and sensitive performances are among the finest available." Gramophone

"Alexandre Tharaud plays Chopin with superlative technique. (...) He has recorded a breathtaking disc … This is intelligent playing that matches its clarity with perception and sensitivity, and variety of touch with sonic beauty. Tharaud is unfailingly responsive to melodic nuance and seems to relish every new twist of the texture. But there is also immense power when the dark energy beneath is unleashed. His concept plumbs the depths of Chopin's musical psyche with humility … a brilliant and original performance." BBC Music Magazine

“Alexandre Tharaud has dedicated his reading of Chopin’s Préludes to the memory of Vlado Perlemuter, and it is as unhistrionic and clearly articulated as the versions left by the late pianist … Tharaud is immediately persuasive with his uncontrived musicality. The more serene pages unfold gracefully … [but] shadows often assert their menacing presence: the pianist has spoken of the darkness he finds in the cycle, and it makes itself felt, though with no suggestion of artificiality or overstatement.” Diapason

" … New discs of Chopin's waltzes are invariably compared to Dinu Lipatti's ethereal 1950 recording, which still inspires cult-like devotion. But even die-hard Lipatti fans will be impressed with the powerfully evocative musicianship of the superb young French pianist Alexandre Tharaud. Languid, wistful and dignified, his spontaneous and imaginative interpretations reinforce the enchanting, otherworldly quality of Chopin's miniatures …” Time Out, New York

“His vision [of the Chopin waltzes] is completely personal – sensitive, but unaffected, sovereign in its pianism and always mobile, winged, in search of a multiplicity of voices and views.” ClassicToday

“Alexandre Tharaud plays Chopin’s waltzes with the naturalness that comes when one’s wishes have been fulfilled … a wish to play, to speak, to sing, to be carried like a child on the momentum of the waltzes and to take private pleasure in these little things from a time when everything seemed simpler … Chopin’s nostalgia is not just a Romantic cliché … there is a sense that music is taking the place of narrative, the better to tell the story of a lost land … Alexandre Tharaud surpasses every expectation … making this an indispensable disc.” Arte

Tharaud takes a quietly unconventional approach to performance and to study. For instance, he gives concerts with the score to hand – he finds this liberating rather than restrictive, since he does not have to worry about possible lapses of memory – and he does not have his own piano, preferring to practise on friends’ instruments. ”It is by digging, by chipping away [at the score] that I find the answers, that I reach the colours I am searching for. Then, when it comes to the concert, the particularities of the instrument become secondary to some degree, since I am so used to engaging in a dialogue with any type of piano.” Tharaud also feels that this approach maintains the freshness of his relationship with the piano: “It is rather like being part of a long-established couple: there comes a time where you need to be able to leave a little space, to manage the desire so that you can appreciate it all the more.”

Alexandre Tharaud’s personal text

Why this private diary…

My life has been mapped out by Chopin; more than any other composer, he has accompanied me at every stage. Some of his works take me back ineluctably to a particular event or meeting, and I wanted to put them all together in a single programme, like an album of personal memories.

What was your first encounter with this music?

When I was four I was not allowed to touch the family record-player, but I would ask my parents to put on the LPs of Samson François and Tamás Vásáry – so my first Chopin had dash and dazzle. I also took in the coarse, hammered-out Chopin of Mireille, the old lady pianist who played for my mother’s dancing-classes, to which I went every week. I adored Mireille – she introduced me to a fair number of composers – but I really have to say she massacred Chopin, to the extent of adding a beat to his waltzes, making them waltzes in 4/4 time. I was lulled to sleep by the Écossaises and the Op. 9 Nocturne played by her quirky fingers.

How did you first come to play Chopin?

Right from my first years on the piano, Carmen Taccon-Devenat, a teacher of genius, readily understood that I “needed” Chopin to give me pleasure. Straight away she introduced me to that little gem the Contredanse, which has so seldom been recorded, then to some mazurkas, waltzes and études. Some years later came the Fantaisie-Impromptu, a showy piece but not beyond a child’s hands, which I played all the time, to whoever would listen. She was by my side at each of these discoveries, a twinkle in the corner of her eye, her hand on my arm to stop me from racing away. For her, Chopin had to speak: “Tone above all!” We put words or syllables to each note. I have never forgotten what she taught me.

And at the conservatoire?

The piano was the secret garden of my adolescence, and it was through Chopin that I gave myself up to it. The second Ballade is indissolubly linked with my entry into the Conservatoire National. On the day of the audition, Carmen Taccon-Devenat and I were in panic, my hands trembling in hers as I waited my turn outside the room. We had spent a month at her house in the country, working intensively to prepare ourselves for this moment.

At the Conservatoire the Fantaisie was my party-piece. I dreamt of the first Ballade, and I would have given anything to play it, but it was consistently denied me. The years passed and I ended up being convinced we were not made for one another. I was twenty before I got my hands on it. And then I pounced on it!

What about the other pieces in this album?

These pieces remind me of certain rather private moments in my life, of people I have loved or friends I have lost. Once, at the funeral of a close friend, I heard a terrific funeral march on the organ; much later, I was amazed to learn that it was from the Largo in C minor, a practically unknown piece, written originally for piano. The Mazurkas, Op.17 No.4, Op.7 No.2 and Op. 63 No.3, and the Nocturne in C sharp minor, Op. posth., take me back to Warsaw, Montreal, Munich and Senigallia…

How did the recording go?

Cécile Lenoir and I chose a Steinway piano with a clear tone, and a warm, ample recording which gave a sense of the hall, to approximate as closely as possible to a concert ambience. We opted for a generous, natural reverberation.

In the course of recording, the personal memories to which each of these pieces is linked came to the forefront, blending together and completely suffusing me. In a way, they became the real performers of this “Private Diary”…

“He clearly has qualms about the emotional involvement he brings to Chopin's miniatures, executing an evocative transformation from languid self-absorption to high drama in the 'Ballade no. 1 op. 23', and navigating the turbulent, oceanic depths of the 'Fantaisie op. 49'.” The Independent, 19th February 2010 ****

“He plays the music with palpable affection and sensitivity, gilded with a panache and passion in the more tempestuous moments...Tharaud’s feel for tonal colouring and his eloquence of expression are a perfect match for this inspiring, kaleidoscopic music.” The Telegraph, 26th February 2010 *****

“this sequence of carefully chosen pieces makes for a satisfying listen. Tharaud lifts the music across the bar-lines with deft rubato, his sound clear, shining and sensuous; altogether breathtakingly beautiful.” The Observer, 7th March 2010

“memorably refined and stylish performances...Here, as so often with Tharaud, there is an aristocratic balance of sense and sensibility, though his brilliant fury in the Second Ballade's Presto storm is breathtaking” Gramophone Magazine, April 2010

“Tharaud's playing is never less than elegant.” The Independent on Sunday, 7th March 2010

“We can almost take for granted Tharaud's virtuosity, his sensitivity of touch and his satisfying mixture of imagination, intuition and good sense. But he is extraordinary in one very special area: for him quietness speaks more than loudness...there is as much music in the silences as in the notes...It's breathtaking.” BBC Music Magazine, April 2010 *****

BBC Music Magazine

Instrumental Choice - April 2010

Erato - 4578452

(CD)

$9.00

(also available to download from $10.00)

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Chopin: Piano Sonata No. 1 in C minor, Op. 4, etc.

Chopin:

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

Études (12), Op. 25

Fantasia in F minor, Op. 49

Études (12), Op. 10

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

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


“An exciting and fiery interpretation of the Etudes. Ashkenazy's magnificent rendition of the famous Revolutionary Study (Op. 10 No. 12) is one of the best - rhythmically well-grounded and strong-pulsed.” BBC Music Magazine, November 2006

2CD and 3CD Bargains

Decca - Double Decca - 4662502

(CD - 2 discs)

Normally: $12.50

Special: $8.12

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Chopin: Preludes (24), Op. 28, etc.

Chopin:

Preludes (24), Op. 28

Ballade No. 2 in F major, Op. 38

Ballade No. 4 in F minor, Op. 52

Fantasia in F minor, Op. 49


Jorge Bolet (piano)

“Bolet's aristocratic refinement and cultivated, deep-in-the-keys sonority resonate with gentle yet indisputable authority” Classics Today

Australian Eloquence - ELQ4581722

(CD)

$8.50

In stock - usually despatched within 1 working day.

Solomon - The Complete Recordings of Chopin

Solomon - The Complete Recordings of Chopin


Chopin:

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

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

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

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

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

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

Fantasia in F minor, Op. 49

Mazurka No. 47 in A minor, Op. 68 No. 2

Ballade No. 4 in F minor, Op. 52

Berceuse in D flat major, Op. 57

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

Étude Op. 10 No. 8 in F major

Étude Op. 10 No. 9 in F minor

Étude Op. 25 No. 1 in A flat major 'Aeolian Harp'

Étude Op. 25 No. 2 in F minor

Étude Op. 25 No. 3 in F major


Solomon (piano)

Testament Solomon - SBT1030

(CD)

$12.75

In stock - usually despatched within 1 working day.

Chopin: The Four Ballades

Chopin: The Four Ballades


Chopin:

Ballades Nos. 1-4

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

Fantasia in F minor, Op. 49


Bryce Morrison: Today it is difficult to appreciate the impact Chopin’s music had on his first listeners. His mix of Slavonic passion and Gallic precision (his father was of French ancestry) created a world of such imaginative daring that it left his audiences bewitched, bothered and bewildered. Enigmatic to the last Chopin held aloof from such comments and left the more fancifully inclined to draw their own subjective conclusions. Like Faure after him, Chopin disdained his published tempting tell-tale additions. More pragmatically, Piano Sonata No.2 is Chopin’s darkest, large-scale masterpiece, ranking among the composer’s supreme creations. Remarkably you are left with a work of an astonishing, if wholly novel coherence. The shock of the new continues with the Four Ballades. Finally, the F minor Fantaisie.

I should add that Chopin’s stature is sometimes questioned by those who claim he composed no operas, symphonies or oratorios. But the answer by this ‘dreamer in strange places’ is that he wrote all of these, but for the piano. As he himself put it, ‘the piano is my solid ground, on that I stand the strongest.’

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Challenge Classics - CC72728

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