Chopin: Prelude Op. 28 No. 2 in A minor

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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.

“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

“[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

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

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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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Piano Recital: Paweł Wakarecy

Piano Recital: Paweł Wakarecy

Works by Chopin, Zarębski and Paderewski


Chopin:

Prelude Op. 28 No. 1 in C major

Prelude Op. 28 No. 2 in A minor

Prelude Op. 28 No. 3 in G major

Prelude Op. 28 No. 4 in E minor

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

Prelude Op. 28 No. 9 in E major

Prelude Op. 28 No. 10 in C sharp minor

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

Polonaise No. 5 in F sharp minor, Op. 44

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

Polonaise No. 16 in G sharp minor, BI 6

Paderewski:

Au soir, Op. 10, No. 1

Polonaise, Op. 9

Zarebski:

Grande Polonaise in F sharp minor, Op. 6


Paweł Wakarecy (piano)

The selection of compositions on this CD, and the order in which they appear, form a clear progression: from works inspired by Chopin to the source of their inspiration, focusing the listener’s attention on those latter compositions as the most accomplished and original. Chopin’s music, which inspired later generations of composers, not only in Poland – continues to exert a more and more powerful influence on people. The multitude of interpretations reveals its depth and captivating beauty. The music carries the listeners “into a poetic state in which they become aware of the sense of existence and of their longing for the infinite”.

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Nick Van Bloss plays Chopin

Nick Van Bloss plays Chopin


Chopin:

Preludes (24), Op. 28

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


The last of Chopin’s three sonatas for piano was finished in 1844. The piano writing is at once perfect for the instrument and taxing for the pianist because everything is so clear that even the smallest fluff or misjudgement of dynamics makes itself heard.

Chopin’s Preludes have come to be regarded as one of the monuments of the early Romantic movement in music, he worked on the Preludes between 1836 and 1839 but it’s possible some of them were in his mind before that. The idea of a set of 24 pieces in all keys obviously stems from Bach’s ‘48’, but Chopin has gone about the task in his own way.

Nick Van Bloss’s early musical training began as a chorister at Westminster Abbey and was followed by studies at the Royal College of Music with Yonty Solomon. In 1994, aged 26, Nick van Bloss played a televised recital in Poland at the Chopin Festival. This proved to be his last public appearance before he retired from playing completely for 15 years. In April 2009, van Bloss made a 'comeback' concert at London's Cadogan Hall, playing a concerto by Bach and Beethoven's 'Emperor' Concerto with the English Chamber Orchestra. The concert, uniformly reviewed as a 'Triumph' by London's critics, attracted massive media interest from all over the globe. Since then, Nick van Bloss has performed in the United States, Japan, Sweden, Austria, with the English Chamber Orchestra, and conducted concertos from the keyboard. His recording schedule, as part of a long-term relationship with Nimbus Records, will include Beethoven’s ‘Diabelli Variations’ and selected Sonatas, a CD of Sonatas by Mozart, and a recording of several Piano Concertos by Mozart with the Vienna Symphony Orchestra, directed by van Bloss from the piano. A feature film about his life is currently in development.

“His tone, while more varied by degrees than in kind, is beautifully moderated, unmarred by the stridency that Chopin abhorred. His phrasing is admirably clear...but the Achilles' heel here is a want of rhythmic and tonal variety.” BBC Music Magazine, February 2014 ***

“He reveals himself as the complete Chopin interpreter by meeting all the multifarious pianistic challenges embodied in these extraordinarily diverse ‘miniatures’...Van Bloss proves himself as much a master of controlled rage as gentle lyricism... it takes its place among the most recommendable.” MusicWeb International, 28th October 2013

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Chopin: Preludes (24), Op. 28

Chopin: Preludes (24), Op. 28


Grigory Sokolov: a living legend of the piano whose public performances and recordings are as rare as the man is secretive. He stepped away from the limelight years ago, refusing to be idolised by a society avid for imagery. Under the winged fingers of the giant you hear the vibrancy of an inner song, wordless but not illegible. June 7 1990: concert and recording of Chopin’s Preludes by Grigory Sokolov, still relatively unknown in France.

The record receives high praise from the critics.

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Chopin through Text and Sound (2CD)

Chopin through Text and Sound (2CD)


Chopin:

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

Piano Concerto No. 1 in E minor Op. 11: Romance

Fantasia in F minor, Op. 49

Andante spianato & Grande Polonaise, Op. 22

Preludes (24), Op. 28

Berceuse in D flat major, Op. 57

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

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

Prelude Op. 28 No. 15 in D flat major ‘Raindrop'

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

Mazurka No. 2 in C sharp minor, Op. 6 No. 2

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


Amongst all the composers whom Horszowski played, his Chopin stood out. Able to project a tone that filled space, the piano and music became transformed. Decades of global searching have brought to light these once lost performances, released here for the first time. Also discovered was a Chopin biography that Horszowski notated and translations of each passage are provided in the accompanying booklet.

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