This grande dame of the piano world, possessed of an extraordinarily modest, charming personality – focused on the music, devoted to deeply understanding it – has performed three times during the Chopin and His Europe Festival at the invitation of The Fryderyk Chopin Institute. The recordings on this album come from her concerts in 2010 (when she performed the Piano Concerto in F minor op. 21 with the Sinfonia Varsovia orchestra under the baton of Christopher Warren-Green) and 2014 (when she performed a recital including, among other items, the Nocturnes presented here). A presentation of – by nature – completely different interpretations, which nonetheless form an extraordinarily coherent artistic whole. Superb creations displaying the most beautiful side of pianistic art.
Tatiana Shebanova, who also features in the Fryderyk Chopin Institute’s on-going Real Chopin series (see review special, p83), gets her own complete, modern instrument (as opposed to Real Chopin’s historic instruments) cycle on the Polish label Dux. Arranged in opus order, it presents a satisfying survey of Chopin’s development, and it spares the listener from (for example) a lack of variety in the usual hour-long sequence of waltzes.
Frédéric Chopin's music is closely associated with the piano and as a matter of fact most of his music is written for this instrument. French harpist Coline-Marie Orliac did not want to miss playing Chopin?s inspiring music and took the audacious task to transcribe it for harp. Among Chopin's signature works is her arrangement of the Ballade op. 23 No. 1, displaying to the listener her breathtaking virtuosity while always adding a fresh and more transparent sound to Chopin's music.
Vladimir Sofronitsky was among the greatest Russian pianists of the twentieth century, and, while he had become a somewhat less prominent figure following his death, he must be still considered in the company of Richter, Gilels, and Yudina. In his time, Sofronitsky became widely recognized as the leading interpreter of and authority on the music of Scriabin in Eastern Europe. He was also highly praised for his interpretations of the piano works of Robert Schumann and he was a highly respected teacher.
To mark the 50th anniversary of the pianist’s death, EMI has brought out the largest and most comprehensive Cortot collection ever. The set offers nearly every commercial studio recording released under Cortot’s name on 78 shellac, vinyl LP, 45 rpm single, or compact disc, including unpublished takes already released on CD. To be sure, it is not quite “The Complete Cortot”. For example, the collection omits Cortot’s 1903 sessions accompanying soprano Felia Litvinne, plus a 1925 recording containing the second half only of Chopin’s First Ballade coupled on shellac with the same composer’s Second Impromptu. There is no broadcast material, either. However, we do get Cortot’s unpublished 1957 Chopin Preludes and Ballades, along with a few samples from the pianist’s long-rumored, unfinished Beethoven cycle recorded at the Ecole Normale in 1958/59
This two-disc set of Handel's Suites performed by Andrei Gavrilov and Sviatoslav Richter is just as good as their other two-disc set of Handel's Suites but with one big advantage. Here as there, Handel's Suites are models of wit, sensitivity, affection and virtuosity. Here as there, Gavrilov's performances are fluent, muscular, and persuasive and Richter's performances are supremely expressive, wonderfully supple, and overwhelmingly commanding.
When Pogorelich did not make the finals of the 1980 Warsaw Competition (where they play exclusively Chopin), his response was to sign with Deutsche Grammophon for his first recording and he made it an all-Chopin affair. From his stunning opening take on Chopin's Sonata #2, to a Funeral March restored to its grandeur, to the breaktaking final moments of the Scherzo #3, Pogorelich announced to the music world that he'd arrived.