Chopin: The Complete Polonaises

1. Andante spianato and Grande Polonaise for piano, Op. 22.
Composed by Fryderyk Chopin
with Cyprien Katsaris

2. Polonaise for piano in C sharp minor, Op. 26/1, CT 150
Composed by Fryderyk Chopin
with Cyprien Katsaris

3. Polonaise for piano in E flat minor, Op. 26/2, CT 151
Composed by Fryderyk Chopin
with Cyprien Katsaris

4. Polonaise for piano in A major, Op. 40/1, CT 152
Composed by Fryderyk Chopin
with Cyprien Katsaris

5. Polonaise for piano in C minor, Op. 40/2, CT 153
Composed by Fryderyk Chopin
with Cyprien Katsaris

6. Polonaise for piano in F sharp minor, Op. 44, CT 154
Composed by Fryderyk Chopin
with Cyprien Katsaris

7. Polonaise for piano in A flat major, Op. 53, CT 155
Composed by Fryderyk Chopin
with Cyprien Katsaris

8. Polonaise-fantasy for piano in A flat major, Op. 61, CT 156
Composed by Fryderyk Chopin
with Cyprien Katsaris

9. Polonaise for piano in D minor, Op. 71/1, CT 157
Composed by Fryderyk Chopin
with Cyprien Katsaris

10. Polonaise for piano in B flat major, Op. 71/2, CT 158
Composed by Fryderyk Chopin
with Cyprien Katsaris

11. Polonaise for piano in F minor, Op. 71/3, CT 159
Composed by Fryderyk Chopin
with Cyprien Katsaris

12. Funeral march for piano in C minor, Op. 72/2 Autograph Version
Composed by Fryderyk Chopin
with Cyprien Katsaris

13. Funeral march for piano in C minor, Op. 72/2 Fontana Version
Composed by Fryderyk Chopin
with Cyprien Katsaris

14. Polonaise for piano G minor, KK IIa/1, CT 161
Composed by Fryderyk Chopin
with Cyprien Katsaris

15. Polonaise for piano in B flat minor, KK IVa/5, CT 164
Composed by Fryderyk Chopin
with Cyprien Katsaris

16. Polonaise for piano in A flat major, KK IVa/2
Composed by Fryderyk Chopin
with Cyprien Katsaris

17. Polonaise for piano in G sharp minor, KK IVa/3, CT 157
Composed by Fryderyk Chopin
with Cyprien Katsaris

18. Polonaise for piano in B flat minor, KK IVa/5, CT 164
Composed by Fryderyk Chopin
with Cyprien Katsaris

19. Polonaise for piano in G flat major, KK IV/a8, CT 165
Composed by Fryderyk Chopin
with Cyprien Katsaris

20. Funeral march for piano in C minor, Op. 72/2 Ekier Version
Composed by Fryderyk Chopin
with Cyprien Katsaris

21. Funeral march for piano in C minor, Op. 72/2 Fontana Version
Composed by Fryderyk Chopin
with Cyprien Katsaris

22. Funeral march for piano in C minor, Op. 72/2 Ganche Version
Composed by Fryderyk Chopin
with Cyprien Katsaris

Amazon.com

On the 150th anniversary of his death, Deutsche Grammophon released this impressive box set featuring the complete works of Frédéric Chopin. Spread out over 17 CDs, it contains some truly big-name artists--Argerich, Pollini, Barenboim, and Ashkenazy--and a few you've probably never heard of. The majority of the set's nine volumes contain some music newly produced for this undertaking, and a few items (Chopin's songs, for instance) were recorded specifically for this collection. A well-illustrated book is included--it contains an essay, dateline, and illustrations--and each volume in the set gets its own liner notes. The music? It varies from great to less than great, but most of it is worth hearing. Those accustomed to Rubinstein's readings of the Mazurkas will find those played by Jean-Marc Luisada less fluid and lacking Rubinstein's power. Chopin's songs, seldom heard and filled with elements of Polish folk dances and the less-than-stellar lyrics of the composer's friend Stefan Witwicki, get a college try here by soprano Elzbieta Szmytka. They sound as good as you'll hear anywhere (if you can find them). It probably goes without saying that Martha Argerich's rousing 26 Préludes are some of the set's more exciting moments. But, really, the entire collection is solid. It should be noted that budget label Naxos has released its own Chopin edition at less than half the price of this set. With Idil Biret as the only performer on that set, you miss out on some of the diverse performances and personalities found here. Also, to please those of us who already own favorite performances of these works, each two-CD volume in the Complete Chopin Edition can be purchased individually. Bravo. --Jason Verlinde

Customer Reviews:

At least 16 / 19 well spent hours.......2004-10-11

In my opinion there is no more effective way to ruin a great musical performance than to record it in front of an audience who cannot control their coughs. The first disc starts out with a 1979 live recording of Chopin's first piano/orchestra concerto featuring pianist Krystian Zimerman and the Royal Concertgebouw Orchestra of Amsterdam. The performance is good, but doesn't allow the listener full concentration,--and therefore not full enjoyment--as a distracting and annoying audience can be heard coughing, sneezing, and clearing their throats even above the orchestra's playing in mezzo forte - it gets worse, of course, at dynamically quieter musical parts. Other distractions, like chairs creaking, cracking and squeaking, pages being turned probably inches away from a microphone (perhaps to give the page-turner a chance to say "Did you hear that? That was me,") and people stomping/dropping things (?) add to the incapability of the listener's full enjoyment. I've heard much worse, however, but considering that the recording technique is no older than 25 years, this is on the verge of being unacceptable. Sure - there can be a certain charm in hearing such "humanity" on a recording, especially when it's older, but I don't think many would disagree that this is a bit too much. Hearing the opening of piano/orchestra concerto no.2, and knowing that the 18+ hours of music to come aren't going to be interrupted by coughs, is a big relief. My favorite Chopin interpreter is--and might always be--Rubinstein; his playing is straight forward, he cuts to the chase quickly, yet somehow manages to leave room for sensitivity and emotion. His performances, of course--since he never recorded a note for Deutsche Grammophon,--are not included in this "complete edition," so aside from suggestions that certain waltzes are missing, that is something that makes this boxed set incomplete for me. Pollini's general interpretation of Chopin is in my opinion, as in many others', quite weak in comparison to Argerich's, Zimerman's, or the passionate playing of Daniel Barenboim. Here Pollini performs Etudes, Scherzos, Sonatas and Polonaises. At times, during the Etudes of op. 10, I feel like I'm getting more Maurizio than I am getting Fryderyk, even though the performance (especially on no.3) may invite feelings of thriving despite the performer's occasional roaring in the left channel. The Scherzos feature some troublesome factors; first and foremost the sound (of this 1990 recording) isn't at all as good as one would expect. It's far worse than several older recordings of this set - at only six seconds into the first Scherzo (op.20) one can't avoid acknowledging obvious distortion - the recording has clearly been done with too much input level. Clips noises continue throughout the grainy and dull sound picture of these pieces. Second of all, the noises Pollini makes while playing can be quite off putting. At times he sounds like a boy with a voice just breaking experiencing climax of coition, and as we all know, Chopin had a prudish aversion to overt sexuality. One reason why Pollini's performance of the Scherzos being called "troublesome" might be harsh, is that musically he handles them ok, and I'd think that's what's essential, but Deutsche Grammophon has made the odd decision of including Pollini's recording of Sonata no. 2, op.35 (a.k.a. "Funeral March") from 1984 in this set, instead of Argerich's recording from 1975. First of all, Argerich's version has clearer sound (at least on the newly refurbished "The Originals" edition...but then again, that was released in 2002,) but second of all, and more importantly, her playing is far more straight forward during the first part of the Sonata (Grave,) whereas Pollini shows too much mercy both for strong dynamics and tempo throughout. Furthermore he's on the verge of playing parts of the March suggesting "lento," as if it read "rubato" (it's a MARCH!) His performance of Piano Sonata no.3 is also a bit lifeless, but the hour long disc of Polonaises recorded 1975 he handles surprisingly well (the occasional phlegmatic karaoke-roars may need a little time getting used to, though.) Several of these interpreters make some less musical noises while playing - Zimerman, for instance, breathes heavily through the nose after each and every completed phrase throughout all off his performances (although it can't be heard with orchestra.) When listening to his solo performances in head phones, the constant snuffling can distract and annoy quite a bit, but I know that I do the exact same thing when I play, myself, so perhaps I shouldn't complain until I've managed to rid the inconvenient problem myself. Besides Pollini's Polonaise interpretations, there's another (76 minute long) disc of Polonaises featuring mainly Ugorski, but also Argerich. Something that seems odd to me is that the sound quality of Argerich's 1974 recording once again is superior to a newer recording - in this case to the 1999 recording of Ugorski, which doesn't feature much middle in the sound picture, but uneven soughing and clip noises! Both their performances (but especially Argerich's,) are about as enjoyable as Chopin interpretations can be, I'd think, as is the technically and musically perfect, touching and mesmerizing Nocturne interpretations of Daniel Barenboim, recorded in 1981 - his playing here equals close to two hours of pure magic. While being a Rubinstein fan, I'm going to have to say that Barenboim's way of playing the Nocturnes is just how I think they should be played; they call for this somewhat gentle touch mixed in with their brutal sincerity, but I suggest for those who (especially) enjoy the Etudes, Sonatas and Scherzos to listen to Rubinstein's recordings of the works (available on RCA's Rubinstein Collection, vol. 26, vol. 45 and vol. 46.) Pollini is, of course, a fine performer, but I'd suggest listening to his interpretations of Prokofiev's and Stravinsky's work instead.
Rubinstein recorded the preludes (op.28) in their entirety only once, in 1946, which means that they aren't available in RCA's collection with preferable sound quality, but on this set Martha Argerich delivers a great performance of the 26 preludes (no.1-24, op.28, plus 25, op.45, and 26, op. 35,) recorded in 1975. One prelude that in my opinion should always be played as slow and gentle as possible is no.15 (a.k.a. "The Raindrop Prelude.") What I'd like to describe as a prefect version of the piece is performed by--despite my having done a lot of research--a, to me unknown performer, but runs at 6:08 minutes. Argerich rushes the whole piece a bit (the drops fall too closely -) the fact that her version runs at 4:51 should say a lot. Of the approximately 20 different performances I've heard of this particular prelude (obviously one of my favorites,) Argerich's is the shortest, and lays somewhere in the swamp among other "medium integral" versions. She delivers exciting performances of the other preludes, though - the first time I heard them, I hit repeat on my CD player, and listened to nothing else for three days.
The Mazurkas, here performed by Jean-Marc Luisada and Lilya Zilberstein, are performed--while beautifully--quite carefully and loosely. For those who'd like a more restrained performance of the pieces, RCA's Rubinstein Collection, vol. 50, is recommended.
Besides all the music for only piano(s,) Chopin also composed 80 minutes worth of chamber music, which here is performed by Beaux Arts Trio, et al. He also wrote 45+ minutes worth of songs, which here is performed by soprano Elzbieta Szmytka and pianist Malcolm Martineau on a 1999 performance. I don't feel qualified to comment on solo singing in Polish, but while I don't care for the occasional close-to-full effect vibrato, I like Martineau's piano playing and the almost folksy melodies and arrangements. This music distinguishes itself by far from the rest of the music in the set. Translations to several languages of the lyrics to the 19 songs are included.
The stereophony on all recordings is great, the overall sound quality on all discs (when considering the years of the recordings) I'd give a 4/5, but still rate the whole package 9/10 - I'd think that some (both older and newer) recordings could have been transferred better, while some sound superior to what you'd dare dream of. This is definitely the best complete edition of Chopin's music available, and perhaps the best collection of works available on disc by any classical composer. A lot of work has been put into the set's design, the sound, and certainly the amount and accuracy of interesting info given in the enclosed illustrated 140 page hard-cover book (of which a fifth is written in English) and in the 40-60 page booklets (also illustrated) included in each volume; practically everything you'll ever need to know about the composer (and these recordings) is included here along with all the music he wrote. Well worthy of your time and money.

Enlightening but slighly blemished.......2004-07-05

I commend DG on producing this comprehensive and thoughtfully packaged/annotated collection of Chopin's output. In it one can appreciate the wondrous manner in which Chopin at once appeased the conservative appetites of the Paris salon set while revolutionizing the genre of piano music in both traditional and more intimate forms.

The greatest virtue of this collection is the opportunity to hear more obscure elements of Chopin's collected ouevre. He wrote some lovely chamber music and wrote highly effective variations with and without orchestra. Among his 17 songs are a few gems.

As for the strength of the performances, some of them are rightly considered definitive. I love Zimerman in the piano concerti, Argerich owns the Op. 28 preludes, and I find in Pollini's scherzos the unbridled energy and interpretive depth required by these challenging pieces. Even if Daniel Barenboim's nocturnes do not set any records, they are well-done and completely satisfying.

I was less enthusiastic about Pollini's readings of the latter 2 piano sonatas, which I find prosaic on the whole. I was equally underwhelmed by Bunin's impromptus, which again betray interpretive rather than technical deficiencies. My greatest disappointment is Jean-Marc Luisada's controversial readings of the mazurkas. An unwieldy rubato rules the day here, and distorts the harmonic language to the point that it sounds like Debussy or Ravel's frequent (and unshakeably French-sounding) evocations of Spain. I much prefer any of the Rubinstein mazurka sets, which are colorful but rhythmically mindful of their namesakes.

Properly supplemented in the more familiar repertory (mazurkas, impromptus, sonatas, in particular), I believe this set is indispensable to anyone who appreciates or seeks a broader understanding of Chopin the composer. I recommend it highly.

Chopin - Luisada, Jean-Marc.......2002-04-14

I am a professional Pianist and Piano-pedagoge trained at the University of Graz and Vienna (Austria).
It seems as often reviewers/critics/listeners have the same opinions: I wonder if it isn't in some cases the old story of the Emperors new clothes - nobody dares to have a different opinion, as they do not want to appear stupid.
Some of the reviewers here, didn't like Luisadas performances of the Mazurkas. I hold the heretical opinion that Jean-Marc Luisadas performances are much better than Rubinsteins (I possess the three different complete Mazurka recordings of Rubinstein). There are few pianists that like Luisada know how to treat the piano as a truly polyphonic instrument, with absolute control of every line, and at the same time being able to emphasise every harmonic detail - giving every chord its differing and appropriate degree of tension. Furthermore he understands how to display the different moods and characters of the music. All these factors make Luisadas performances extremely colourful. Every Mazurka with Luisada is a unique experience.

Ps. Other recordings do occasionally wet the critical appetite: For instance the everywhere highly acclaimed Chopin recordings with Pollini are often musically awful, the Etudes opus 10 nr. 1 and opus 25 nr. 1 are examples. For the complete Etudes, buy Boris Berezovsky's recording for Teldec, it surpasses Pollini by far. Ds.

Chopin - Luisada, Jean-Marc.......2002-04-14

Learn, learn, learn!.......2000-10-16

This box set is a must for any lover of piano music.

DG deserves praise for coming with an excellent set of records as well as presentation of the booklets. It is breathtaking to have the opportunity to really know Chopin so well.

Performers are first rate and speak for themselves, and for the price of 8 CD's you get the whole collection. Yes, you can get in some cases better performances, but overall you can find a better compilation. Naxos has its own, and I am going to exchange it with a friend, problem will be to get mine back!

Tracks:

Concerto No. 2, Op. 18 In C Minor: Moderato; Allegro
Concerto No. 2, Op. 18 In C Minor: Adagio sostenuto
Concerto No. 2, Op. 18 In C Minor: Allegro scherzando
Concerto No. 3, Op. 30 In D Minor: Allegro ma non tanto
Concerto No. 3, Op. 30 In D Minor: Intermezzo: Adagio
Concerto No. 3, Op. 30 In D Minor: Finale: Alla breve

Tracks:

Concerto No. 1, Op, 1 In F Sharp Minor: Vivace
Concerto No. 1, Op, 1 In F Sharp Minor: Andante
Concerto No. 1, Op, 1 In F Sharp Minor: Allegro vivace
Concerto No. 4, Op. 40 In G Minor: Allegro vivace
Concerto No. 4, Op. 40 In G Minor: Largo
Concerto No. 4, Op. 40 In G Minor: Allegro vivace
Rhapsody On A Theme Of Paganini, Op. 43: Introduction: Allegro vivace
Rhapsody On A Theme Of Paganini, Op. 43: Variation I: (Precedente)
Rhapsody On A Theme Of Paganini, Op. 43: Tema: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Variation II: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Variation III: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Variation IV: Piu vivo
Rhapsody On A Theme Of Paganini, Op. 43: Variation V: Tempo precedente
Rhapsody On A Theme Of Paganini, Op. 43: Variation VI: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Variation VII: Meno mosso, a tempo moderato
Rhapsody On A Theme Of Paganini, Op. 43: Variation VIII: Tempo I
Rhapsody On A Theme Of Paganini, Op. 43: Variation IX: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Variation X: Poco marcato
Rhapsody On A Theme Of Paganini, Op. 43: Variation XI: Moderato
Rhapsody On A Theme Of Paganini, Op. 43: Variation XII: Tempo di minuetto
Rhapsody On A Theme Of Paganini, Op. 43: Variation XIII: Allegro
Rhapsody On A Theme Of Paganini, Op. 43: Variation XIV: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Variation XV: Piu vivo scherzando
Rhapsody On A Theme Of Paganini, Op. 43: Variation XVI: Allegretto
Rhapsody On A Theme Of Paganini, Op. 43: Variation XVII: (Allegretto)
Rhapsody On A Theme Of Paganini, Op. 43: Variation XVIII: Andante cantabile
Rhapsody On A Theme Of Paganini, Op. 43: Variation XIX: A tempo vivace
Rhapsody On A Theme Of Paganini, Op. 43: Variation XX: Un poco piu vivo
Rhapsody On A Theme Of Paganini, Op. 43: Variation XXI: Un poco piu vivo
Rhapsody On A Theme Of Paganini, Op. 43: Variation XXII: Un poco piu vivo (Alla breve)
Rhapsody On A Theme Of Paganini, Op. 43: Variation XXIII: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Variation XXIV: A tempo un poco meno mosso

Tracks:

Isle Of The Dead, Op. 29
Vocalise, Op. 34, No. 14
Symphony No.3, Op. 44 In A Minor: Lento; Allegro moderato
Symphony No.3, Op. 44 In A Minor: Adagio ma non troppo
Symphony No.3, Op. 44 In A Minor: Allegro

Tracks:

Sonata, Op. 30, No. 3 In G: Allegro assai
Sonata, Op. 30, No. 3 In G: Tempo di minuetto, ma molto moderato e grazioso
Sonata, Op. 30, No. 3 In G: Allegro vivace
Sonata D. 574 In A: Allegro moderato
Sonata D. 574 In A: Scherzo: Presto; Trio
Sonata D. 574 In A: Andantino
Sonata D. 574 In A: Allegro vivace
Sonata, Op. 45 In C Minor: Allegro molto ed appassionato
Sonata, Op. 45 In C Minor: Allegretto espressivo alla Romanza
Sonata, Op. 45 In C Minor: Allegro animato

Tracks:

Partita No. 4, BWV 828: Sarabande
Harpsichord Suite No. 5: Air And Variations - 'Harmonious Blacksmith'
Sonata, K. 331: III: Turkish March
32 Variations, WoO 80 In C Minor: Thema: Allegretto
32 Variations, WoO 80 In C Minor: Variation I
32 Variations, WoO 80 In C Minor: Variation II
32 Variations, WoO 80 In C Minor: Variation III
32 Variations, WoO 80 In C Minor: Variation IV
32 Variations, WoO 80 In C Minor: Variation V
32 Variations, WoO 80 In C Minor: Variation VI
32 Variations, WoO 80 In C Minor: Variation VII
32 Variations, WoO 80 In C Minor: Variation VIII
32 Variations, WoO 80 In C Minor: Variation IX
32 Variations, WoO 80 In C Minor: Variation X
32 Variations, WoO 80 In C Minor: Variation XI
32 Variations, WoO 80 In C Minor: Variation XII
32 Variations, WoO 80 In C Minor: Variation XIII
32 Variations, WoO 80 In C Minor: Variation XIV
32 Variations, WoO 80 In C Minor: Variation XIX
32 Variations, WoO 80 In C Minor: Variation XXII
32 Variations, WoO 80 In C Minor: Variation XXIII
32 Variations, WoO 80 In C Minor: Variation XXIV
32 Variations, WoO 80 In C Minor: Variation XXV
32 Variations, WoO 80 In C Minor: Variation XXVI
32 Variations, WoO 80 In C Minor: Variation XXVII
32 Variations, WoO 80 In C Minor: Variation XXVIII
32 Variations, WoO 80 In C Minor: Variation XXXI
32 Variations, WoO 80 In C Minor: Variation XXXII
Return Home
Polish Songs: The Maiden's Wish
Die schone Mullerin: Das Wandern
Schwanengesang: Serenade
Polonaise No. 2 In E
Songs Without Words, Op. 67: Spinning Song
Impromptu, Op. 90, No. 4 In A Flat
Concert Etude No. 2: Gnomenreigen
Orfeo ed Euridice: Melodie
Etude, Op. 104b, No. 2 In F
Etude, Op. 104b, No. 3 In A Minor
Spanisches Liederspeil: The Smuggler
Minuet, Op. 14, No. 1 In G
Liebesfreud

Tracks:

Sonata No. 2, Op. 35 'Funeral March': Grave; Doppio movimento
Sonata No. 2, Op. 35 'Funeral March': Scherzo
Sonata No. 2, Op. 35 'Funeral March': Marche funebre
Sonata No. 2, Op. 35 'Funeral March': Presto
Carnaval, Op. 9: Preambule
Carnaval, Op. 9: Pierrot
Carnaval, Op. 9: Arlequin
Carnaval, Op. 9: Valse noble
Carnaval, Op. 9: Eusebius
Carnaval, Op. 9: Florestan
Carnaval, Op. 9: Coquette
Carnaval, Op. 9: Replique
Carnaval, Op. 9: Sphinxes
Carnaval, Op. 9: Papillons
Carnaval, Op. 9: A. S. C. H. - S. C. H. A. (Letteres dansantes)
Carnaval, Op. 9: Chiarina
Carnaval, Op. 9: Chopin
Carnaval, Op. 9: Estrella
Carnaval, Op. 9: Reconnaissance
Carnaval, Op. 9: Pantalon et Colombine
Carnaval, Op. 9: Valse allemande
Carnaval, Op. 9: Pganini (Intermezzo)
Carnaval, Op. 9: Aveu
Carnaval, Op. 9: Promenade
Carnaval, Op. 9: Pause
Carnaval, Op. 9: Marche des 'Davidsbundler' contre les Philistins
Nocturne, Op. 9, No. 2 In E Flat
Waltz, Op. 64, No. 2 In C Sharp
Waltz, Op. 64, No. 3
Ballade No. 3, Op. 47 In A Flat
Mazurka, Op. 68, No. 2
Waltz, Op. Posth. In E Minor

Tracks:

Partita No. 3, BWV 1006: Preludio
Partita No. 3, BWV 1006: Gavotte
Partita No. 3, BWV 1006: Gigue
A Midsummer Night's Dream: Scherzo
Liebersfreud
Die schone Mullerin: The Brooklet
Polka de V.R.
Etude-tableau, Op. 39, No. 6 In A Minor
Prelude, Op. 3, No. 2 In C Sharp Minor
Sorochintsy Fair: Hopac
Lullaby, Op. 16, No.1
Tsar Saltan: Flight of the Bumblebee
The Ruins Of Athens: Turkish March
Scherzo In A Flat
The Seasons: November: Troika
Prelude No. 8, Op. 11, No. 8 In F Sharp
One Lives But Once
Powder and Paint
Polka italienne (Piano 4 Hands)

Tracks:

Concerto No. 2, Op. 18 In C Minor: Maderato; Allegro
Concerto No. 2, Op. 18 In C Minor: Adagio sostenuto
Concerto No. 2, Op. 18 In C Minor: Allegro scherzando
Prelude, Op. 23, No. 10 In G Flat
Prelude, Op. 32, No. 3 In E Major
Prelude, Op. 32, No. 7 In F Major
Prelude, Op. 32, No. 6 In F Minor
Etude-tableau, Op. 33, No. 2 in C Major
Etude-tableau, Op. 33, No. 7 In E Flat
Daisies, Op. 38, No. 3
Oriental Sketch
Melodie, Op. 3, No. 3 in E
Serenade, Op. 3, No. 5 In B Flat
Humoresque, Op. 10, No. 5 In G
Lilacs, Op. 21, No. 5
Moment Musical, Op. 16, No. 2 In E Flat

Tracks:

Mazurka, Op. 63, No. 3 In C Sharp Minor
Nocturne, Op. 15, No. 2 In F Sharp
Waltz, Op. 18 'Grande valse brilliante' In E Flat
Waltz, Op. 34, No. 3 'Valse brilliante' In F
Waltz, Op. 64, No. 1 'Minute'
Waltz, Op. 69, No. 2 In B Minor
Waltz, Op. 70, No. 1 In G Flat
Scherzo No. 3, Op. 39 In C Sharp Minor
Waltz, Op. 64, No. 1 'Minute' In D Flat
Le coucou
L'Arlesienne Suite No. 1: Minuet
Carnival Of The Animals: The Swan
Songs Without Words, Op. 67: Spinning Song
Waltz
Lyric Pieces, Op. 12: Elfin Dance
Etude, Op. 28, No. 6 In F Minor
If I Were a Bird
La jongleuse
Dr. Gradus ad Parnassum
Children's Corner: Golliwogg's Cakewalk
The Seasons: November: Troika
Humoresque, Op. 10, No. 2 In G
Waltz, Op. 40, No. 8 In A Flat

Tracks:

Prelude, Op. 23, No. 5 In G Minor
Prelude, Op. 32, No. 12 In G Sharp Minor
Prelude, Op. 3, No. 2 In C Sharp Minor
Prelude, Op. 32, No. 5 In G
Serenade, Op. 3, No. 5 In B Flat
Lilacs, Op. 21, No. 5
Polichinelle, Op. 3, No. 4 In F Sharp Minor
Polka de V.R.
Liebesleid
Hungarian Rhapsody No. 2
Pastorale In E Minor
Theme and Variations
Waltz, Op. 42 'Two - Four' In A Flat
Waltz, Op. 64, No. 3 In A Flat
Polka de V.R.
Bacarolle, Op. 10, No. 3 In G Minor
Prelude, Op. 3, No. 2 In C Sharp Minor

Amazon.com

We remember Rachmaninov today mostly for the music he wrote. But as this set quickly reveals, he was one of the greatest pianists of the 20th century, able to play his own music and a great variety of others with tremendous personality and a technique that is still astonishing. There's no point picking highlights from this set, since they are everywhere. But if you've never heard Rachmaninov play Schumann's Carnaval, try starting there for one of the most imaginative recreations of a piece of music ever recorded. The set also includes Rachmaninov's only recordings as a conductor in two of his own major works. --Leslie Gerber

Customer Reviews:

Save some $ money! Get the newer January 2006 reissue set instead........2006-05-17

At the time of this review, whenever you search for a phrase such as "Rachmaninoff Complete", amazon's search engine always lands on this out-of-print recording (ASIN: B000003FB7) . It's also no fun to see that it costs more than a hundred bucks! But if you type "B000A2AD2S" in the search box, you'll see the new reissued set for half the price. It's the exact same 10 CDs. Just the cover art is different.

Unfortunately, this situation is a common pattern with amazon's listing of classical music: when you use your intuition and type in common-sense search phrases for Bach, Mozart, etc, you often get the ultra-expensive out-of-print ships-in-4-weeks items as the default item. It takes a lot of detective work to find the newer reissue recordings. For example, to find the new reissue without knowing the ASIN, I had to enter just "Rachmaninoff" in the search text (deliberately left the word "Complete" out of the search) so it would no longer lock me into this item page that you're looking at and give me a full listing instead. I then sorted the listing by "Original Release Date" and found it on the 2nd page. There's no picture on the new item which doesn't give you any confidence that you found the right one. Don't worry, B000A2AD2S is what you want.

For product research, it's good to have both ASIN product listings because the older out-of-print B000003FB7 has the sound samples (and also all the helpful customer reviews) while the new B000A2AD2S has the better price and availability.

To make things even more confusing, the amazon staff sometimes copies entire customer reviews to the new item which would then make THIS review seem strangely out of place. If that happens and I notice it, I will delete this review for B000003FB7.

(In another strange twist, amazon searches in rock/pop usually points you to the newer cheaper remastered/repackaged/reissued/whatever of a particular recording. I don't know why it works the opposite way in classical music?!?!)

6, or Even 7 Stars!.......2005-06-04

Hofmann hit the nail on the head when he said Rachmaninov had "arms of steel and heart of gold". From this album, we can have a clear picture of Rachmaninov's vison of music, of his musical mind and thoughts and moreover his own playing.

While Kempff's playing would often remind of the protestant church music, Rachmaninov bring to our mind the chanting of the Orthodox church, which is much thicker and darker. On top of that, his playing is orchestral which is so powerful and full colours. Yet, it is nothing like Richter, where often the whole piece is just one phrase.

Here each piece has it's own life and identity each with a focal point. It is water tight compact and yet very much natural and alive, never as hair-raising as Horowitz. But, it is not natural in Arrau's way. It is somewhere in between, closer to Argerich but with more consistency and depth. And like Casals' playing, it keeps our attention from the first note up to its focal point until its very end. But unlike Casals, he touches our hearts. It is very emotional but never to the point of being sentimental-- the performance of his own concertos, for example, can tell you that.

Sure, he did have fingers of steel that helped him to bring out whatever colour or atmostphere as appropriate. And despite that fact that there are some minor alterations on the scores like his Chopin, he is one of the few pianists who could really show you every note on the score counts and, above all, how it counts...

His Chopin may not be as neurotic as Cortot. Nonetheless, he sheds light on the dark and nervous side of Chopin so well: a very throbbing interpretation that is so unique. We also have him accompanying Kreisler on some violin sonatas, something that one could turn to time and again, year after year. What a great chamber musician and accompanist he was...!

The recorded sound of the CDs do vary, and some are more acceptable than the others. But for genuine music lovers, they should be able to get over this very soon: how else would they benefit from one of the greatest legacies of a genuinely great musician!

A must have for Piano and classical music lovers.......2005-04-04

To respond to a review about the sound quality-for those people who have no experience with historical performances i.e cortot-hofmann-etc these discs are for the most part much better recorded. There are the inevitable pops and hisses but if these things disturb you, or you cant get past them, then you shouldnt be listening to this kind of thing anyway. the importance here is in the playing, and the playing is extra ordinary. I you want to buy a disc for the reperatoire then i can think of hundreds of performances that will satisfy, but only people with a true interest to hear and study these pieces will be beyond satisfied. I know that may not sound like a lot of fun, but these discs are fun, great, and for me, almost too good to be true. Again, if sound disturbs you, then you may be listening to the music for the wrong reasons. Take from it the playing, the revelations that Rach provides to his pieces, and how fortunate we are that it sounds as good as it does.

Ah, Rachmaninoff, brilliant star of music, how we adore you.......2003-09-14

The music of Rachmaninoff is beyond words, furthermore, beyond imagination. He was a genius, no doubt, and nobody will ever understand how incredibly lucky we are to be blessed with his compositions. Furthermore, it is truly astonishing to hear Rachmaninoff play his own work. There is nothing so beautiful on this earth and there never will be.

Review from a spoiled modern listener.......2003-07-13

I'll admit that I'm a spoiled modern listener, accustomed to having the bang and hiss edited out of a recording, and it took me a while to warm to these. Rachmaninoff's performances are splendid, but if you can hardly hear them over the cacophony of background noise, what's the use? His performance of his own, often overlooked Concerto No. 4 finally made me sit up and listen, even though I've owned two versions of this piece for a number of years (Ashkenazy & Wild).

Average customer rating:

The Greatest of Music--Certainly Not of Playing
5 stars for value, 4 for performance, 3 for packaging and mastering
Worth the price, but you get what you pay for
Great!
Good Quality for the Price!

Chopin: Complete Piano Music
Idil Biret , Slovak State Philharmonic Orchestra , and Robert Stankovsky
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

Bourees | Ballets & Dances | Classical | Styles | Music

Dances | Ballets & Dances | Classical | Styles | Music

Ecossaises | Ballets & Dances | Classical | Styles | Music

Galops | Ballets & Dances | Classical | Styles | Music

Mazurkas | Ballets & Dances | Classical | Styles | Music

Polonaises | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Ballads | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Fugues | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Rondos | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Lullabies & Berceuse | Vocal Non-Opera | Opera & Vocal | Styles | Music

Barcarolles | Vocal Non-Opera | Opera & Vocal | Styles | Music

Classical | Box Sets | Stores | Music

Rachmaninov: Piano Music (Box Set)
Beethoven: Complete Piano Sonatas
Brahms: Works for Solo Piano
Schubert: The Piano Sonatas
Liszt: Piano Works

ASIN: B00001NTN0
Release Date: 1999-09-28

Tracks:

Ballades - Berceuse - Fantaisie - Trois nouvelles des - Galop Marquis - Largo - Marche fune - Cantabile
Ballade No.2 In F Major, Op.38
Ballade No.3 In A Flat Major, Op.47
Ballade No.4 In F Minor, Op.52
Berceuse In D Flat Major, Op.57
No.1 In F Minor
No.2 In A Flat Major
No.3 In D Flat Major
Fantaisie In F Minor, Op.49
Galop Marquis In A Flat Major
Largo In E Flat Major, BI 109
Marche Funebre
Cantabile In B Flat Major

Tracks:

Etudes
No.2 In A Minor
No.3 In E Major
No.4 In C Sharp Minor
No.5 In G Flat Major, 'Black Keys'
No.6 In E Flat Minor
No.7 In C Major
No.8 In F Major
No.9 In F Minor
No.10 In A Flat Major
No.11 In E Flat Major
No.12 In C Minor, 'Revolutionary'
No.1 In A Flat Major
No.2 In F Minor
No.3 In F Major
No.4 In A Minor
No.5 In E Minor
No.6 In G Sharp Minor
No.7 In C Sharp Minor
No.8 In D Flat Major
No.9 In G Flat Major
No.10 In B Minor
No.11 In A Minor, 'Winter Wind'
No.12 In C Minor

Tracks:

Mazurkas - Volume 1
No.2 In C Sharp Minor, Op.6/2
No.3 In E Major, Op.6/3
No.4 In A Flat Minor, Op.6/4
No.5 In B Flat Major, Op.7/1
No.6 In A Minor, Op.7/2
No.7 In F Minor, Op.7/3
No.8 In A Flat Major, Op.7/4
No.9 In C Major, Op.7/5
No.10 In B Flat Major, Op.17/1
No.11 In E Minor, Op.17/2
No.2 In A Flat Major, Op.17/3
No.13 In A Minor, Op.17/4
No.14 In G Minor, Op.24/1
No.15 In C Major, Op.24/2
No.16 In A Flat Major, Op.24/3
No.17 In B Flat Minor, Op.24/4
No.18 In C Minor, Op.30/1
No.19 In B Minor, Op.30/2
No.20 In D Flat Major, Op.30/3
No.21 In G Sharp Minor, Op.30/4
No.22 In G Sharp Minor, Op.33/1
No.23 In D Major, Op.33/2
No.24 In C Major, Op.33/3
No.25 In B Minor, Op.33/4
No.26 In C Sharp Minor, Op.41/1

Tracks:

Mazurkas - Volume 2
No.28 In B Major, Op.41/3
No.29 In A Flat Major, Op.41/4
No.30 In G Major, Op.50/1
No.31 In A Flat Major, Op.50/2
No.32 In C Sharp Minor, Op.50/3
No.33 In B Major, Op56/1
No.34 In C Major, Op.56/2
No.35 In C Minor, Op.56/3
No.36 In A Minor, Op.59/1
No.37 In A Flat Major, Op.59/2
No.38 In F Sharp Minor, Op.59/3
No.39 In B Major, Op.63/1
No.40 In F Minor, Op.63/2
No.41 In C Sharp Minor, Op.63/3
No.42 In G Major, Op.67/1
No.43 In G Minor, Op.67/2
No.44 In C Major, Op.67/3
No.45 In A Minor, Op.67/4
No.46 In C Major, Op.68/1
No.47 In A Minor, Op.68/2
No.48 In F Major, Op.68/3
No.49 In F Minor, Op.68/4
No.50 In A Minor, Op. Posth.
No.51 In A Minor, Op. Posth.

Tracks:

Nocturnes - Volume 1
E Flat Major, Op.9, No.2
B Major, Op.9, No.3
F Major, Op.15, No.1
F Sharp Major, Op.15, No.2
G Minor, Op.15, No.3
C Sharp Minor, Op.27, No.1
D Flat Major, Op.27, No.2
B Major, Op.32, No.1
A Flat Major, Op.32, No.2
C Minor, B.I. 108
C Sharp Minor, B.I. 49

Tracks:

Nocturnes - Volume 2
G Major, Op.37, No.2
C Minor, Op.48, No.1
F Sharp Minor, Op.48, No.2
F Minor, Op.55, No.1
E Flat Major, Op.55, No.2
B Major, Op.62, No.1
E Major, Op.62, No.2
E Minor, Op.72, No.1 (Posth.)

Tracks:

Piano Sonatas
Menuetto
Larghetto
Fianle
Grave - Doppio Movimento
Scherzo
Marche Funebre: Lento
Finale: Presto
Allegro Maestoso
Scherzo: Molto Vivace
Largo
Finale: Presto, Non Tanto

Tracks:

Polonaises - Volume 1
E Flat Minor, Op.26, No.2
A Major, Op.40, No.1, 'Military'
C Minor, Op.40, No.2
F Sharp Minor, Op.44
A Flat Major, Op.53, 'Heroic'
A Flat Major, Op.61, 'Polonaise-Fantaisie'

Tracks:

Polonaises - Volume 2
B Flat Major, Op.71, No.2
F Minor, Op.71, No.3
G Minor, BI 1
B Flat Major, BI 3
A Flat Major, BI 5
G Sharp Minor, BI 6
B Flat Minor, 'Adieu', BI 13
G Flat Major, BI 36
Andante Spianato
Grande Polonaise

Tracks:

Preludes (Including "The Raindrop) - Barcarolle - Bolero
No.2
No.3
No.4
No.5
No.6
No.7
No.8
No.9
No.10
No.11
No.12
No.13
No.14
No.15
No.16
No.17
No.18
No.19
No.20
No.21
No.22
No.23
No.24
Prelude In A Flat Major, Op. Posth.
Prelude In C Sharp Minor, Op.45
Barcarolle, Op.60
Bolero, Op.19
Bourree I
Bourree II
Wiosna
Feuille D'Album
Fugue

Tracks:

Rondos and Variations
Rondo A La Mazurka, Op.5
Rondo, Op.16
Rondo, Op.73
Mazurka In G Major, BI 16
Mazurka In B Flat Major, BI 16
Mazurka In B Flat Major, BI 73
Mazurka In C Major, BI 82
Mazurka In A Flat Major, BI 7
Mazurka In D Major, BI 4
Variations Brillantes, Op.12
Variations On A German Air
Variations On A March From Bellini's I Puritani
Variations 'Souvenir De Paganini'
Variations In D Major For Two Pianos

Tracks:

Scherzi and Impromptus - Allegro de concert
No.2 In B Flat Minor, Op.31
No.3 In C Sharp Minor, Op.39
No.4 In E Major, Op.54
No.1 In A Flat Major, Op.29
No.2 In F Sharp Major, Op.36
No.3 In G Flat Major, Op.51
No.4 In C Sharp Minor, Op.66, 'Fantaisie-Impromptu'
Allegro De Concert, Op.46

Tracks:

Waltzes - Contredanse - Ecossaises - Tarantelle
In A Flat Major, Op.34/1
In A Minor, Op.34/2
In F Major, Op.34/3
Valse In A Flat Major, Op.42
Valse In D Flat Major, Op.64/1, 'Minute'
Valse In C Sharp Minor, Op.64/2
Valse In A Flat Major, Op.64/3
Valse In A Flat Major, Op.69/1, 'L'adieu'
Valse In B Minor, Op.69/2
Valse In G Flat Major, Op.70/1
Valse In F Minor, Op.70/2
Valse In D Flat Major, Op.70/3
Valse In A Flat Major, BI 21
Valse In E Major, BI 44
Valse In E Minor, BI 56
Valse In A Minor, BI 150
Valse In E Flat Major, BI 133, 'Sostenuto'
Valse In E Flat Major, BI 46
Contredanse In G Flat Major, BI 17
No.1 In D Major
No.2 In G Major
No.3 In D Flat Major
Tarantelle In A Flat Major, Op.43

Tracks:

Piano Concertos Nos. 1 and 2
Romanza: Larghetto
Rondo: Vivace
Maestoso
Larghetto
Allegretto Vivace

Tracks:

Fantasia on Polish Airs - Krakowiak - Variations on "Li darem la mano" Andante spianato and Grande Polonaise
Air: Juz Miesiac Zaszedi: Andantino
Theme De Charles Kurpinski: Allegretto
Kujawiak: Vivace
Allegro Maestoso
Scherzo: Molto Vivace
Introduction: Largo
Tema: Allegretto
Variation I: Brillante
Variation II: Veloce, Ma Accuratamente
Variation III: Sempre Sostenuto
Variation IV: Con Bravura
Variation V: Adagio - Alla Polacca
Introduction: Andantino Quasi Allegretto
Rondo: Allegro Non Troppo

Amazon.com

This 15-disc set, recorded from 1990 to 1992, is a truly complete survey of Chopin's piano music, including juvenilia and the works for piano and orchestra. It may not be quite the triumph of Biret's Brahms set, in which the performances are competitive with the best to be heard anywhere. But all of this playing is thoroughly worthy of the music, and Biret's technique is strong enough to deal with such hurdles as the Études and Scherzi without flinching. Her style is a bit more straightforward than that of the most famous Chopin poets (such as Rubinstein and Cortot), making these recordings a particularly good bet for students and listeners who are first learning to love Chopin. One can often come up with a (more expensive) recording that expresses even more of the poetry of the music than Biret does: Moravec's Nocturnes, Rubinstein's Mazurkas, Zayas's Études, and so on. And occasionally some of the lesser-known music (such as the First Sonata) might be better skipped except by scholars and curious listeners who want to know why these pieces are so obscure. But finding 15 well-filled CDs of such great music, in such excellent performances, so well recorded, for such an absurdly low price becomes an irresistible bargain. Even connoisseurs who know the great Chopin recordings of the past may well find these recordings a refreshing alternate view of the music. --Leslie Gerber

Customer Reviews:

The Greatest of Music--Certainly Not of Playing.......2007-05-11

Having been listening to Chopin's celestial piano music ever since I was a young boy, I will probably never stop marveling at the pure beauty of his unique way of conjuring up those dangerously memorable themes, harmonies and figurations. There are days when one of his Etudes, Preludes, Mazurkas or Nocturnes just starts playing itself inside my head, to the extent that I simply have to get to my hi-fi equipment. Whilst still young, I purchased a large amount of Naxos CDs, of which Chopin's piano music account for a major part. Today, I still find a great deal of pleasure in Szekely's Ballades, Scherzos, Waltzes, Sonatas and Concertos (though not as much in his Etudes), in Szokolay's Barcarolle and Fantaisie-Impromptu as well as in Zartitzkaya's Polonaise-Fantaisie.

Of course, playing any well written piano music is difficult--that is to do it so well that the music emerges as an autonomous being. In the case of Chopin, it is even more difficult as his music is composed with such flexibility and plasticity that the chances of going wrong are so immense. Generally, Ms Biret avoids going so much wrong that the result is less than adequate. Alas, though, there are a number of occasions where her playing is not worthy of preserving on disc--most notably the Allegro de Concert, the Barcarolle, the Nocturnes, the Mazurkas, and most of all the Etudes (this certainly not what the music says!--cf. e.g. Op 10 Nos 1, 8 & 12 or Op 25 Nos 3, 8 & 11). So, what is then the problem with Biret's Chopin playing? Well, it can rather neatly be summed up in that it is driven by her very own erratic will rather than the natural force inherent in the music. This implies highly eccentric tempos and rubatos, exaggerated sforzandos, weird pedaling, stiff keystroke, and a clumsy technique that simply is not refined enough to handle the music.

Considering the fact that the 13-disc Ashkenazy set (Decca--review pending) is available at virtually the same price (even less on amazon.com!), there is really no rational motivation whatsoever acquiring the Biret set. Ashkenazy is always good, sometimes great; Biret is mostly functional, sometimes poor. For Chopin playing of out-and-out excellence, one needs to turn to the likes of Argerich, Ohlsson, Pletnev, Perahia, Zimerman, Demidenko or Rubinstein.

Nowadays, Naxos certainly knows how to record the piano (e.g. for Glemser in Scriabin, Prokofiev and Schumann). The recordings given to Biret are, if consistent, among the ugliest ever given to the instrument. The sound is sharp, boxy and clunky, making the piano sounding more like a digital Yamaha than a Bösendorfer concert grand (indeed it is--not a Steinway).

5 stars for value, 4 for performance, 3 for packaging and mastering.......2006-08-01

I got this box set because I wanted to have all of Chopin's piano music without investing in the redundancies of various artists' recordings. In that respect the price value is unbeatable. Much has been said about Idil Biret's playing and it is fine enough.

The packaging is unimaginative. You get the fifteen individual CDs of the series tucked in a slip case. That's a lot of jewel box plastic and shelf space that could have been cut down to at least half. The booklets give thumbnail analyses of the works, but much of the historical background is repeated. Fifteen iterations of "Iterpreting Chopin" and Biret's biography is just a waste of paper. Naxos has made its name with quality, no-frills, budget releases. They may have done a cost analysis against repackaging but there seems little consideration toward the end user experience.

The mastering is careless. In the Variations and Sonatas, for instance, the attack for one track happens at the tail end of the previous track. This becomes evident and annoying when listening on an mp3 player. You get First movement-S[squib-pause]econd movement resumed. If the track indexing was done by an automated system they should have calibrated it a few milliseconds earlier. If it was done by a human, shame on you.

Worth the price, but you get what you pay for.......2005-07-28

Ms. Gerber sums it up very well above: the playing is not what you'd find from Rubinstein, Cortot, or Ashkenazy, but it is still better than many recordings out there, and is a tremendous bargain.

Chopin only wrote one piece in his entire life that didn't include the piano, so a collection this complete of his piano music is a fascinating look into Chopin's creative life, and as a study in music history, it is worth the time. Nevertheless, people who are searching out definitive performances of more familiar works should probably search elsewhere.

Now, I am not a professional music critic, and I would never say that you should trust me over the critics. In fact, much of the acclaim this set receives is merited. Her first and fourth ballades are fine performances, and the scherzi and polonaise in A flat are well executed. That being said, I personally found several other performances to be large disappointments. (For the record, her recording was not universally praised, and some of the favourable reviews, like mine, are somewhat back-handed, but overall the set was a critical success.)

In particular, I couldn't help but think that the Berceuse, third ballade, several of the preludes, the First Concerto, and the Barcarolle were mediocre. In the Barcarolle, Biret's tempi are erratic and constantly changing, sometimes in the opposite way as Chopin indicated! (Where Chopin writes "poco piu mosso" at the transition to the B section, Biret slows to a crawl) Her dynamics are similarly strange and sometimes backward, and the climax is rushed and unmoving. For the third Opus 28 Prelude in e minor--probably one of the best-known preludes after the Raindrop in D flat--Biret takes almost a full measure's worth to play the opening figure (which is written to last one beat), and then proceeds to choose an allegretto tempo despite Chopin's directions to play slowly. She indulges here, and throughout much of the rest of the CDs, in a rubato that breaks momentum and makes it very difficult to follow the melody. It is as if a singer were to take a breath in the middle of important words--it quickly becomes hard to understand a thing she was saying.

It is true that many performers deviate from the score, sometimes in ways that enhance the musicality of the performance. Indeed, even Chopin was reported to play with dynamics that were different than the ones he himself wrote in the score, but Biret's indulgences take away from, rather than add to, the performances. I personally found many of the interpretative decisions to be distracting, or even unmusical.

I don't mean this to sound at all mean-spirited, but if I were to sum up my feelings of this set in one sentence, it would be this:

It is worth every dollar of its relatively low price.

Great!.......2005-02-13

I really enjoyed listening to Biret's approach of chopin on these 15 discs. I have heard other pianists play and i personally find every one of them comparable and each have their own pros and cons. The price of this influenced me over the grammophon's boxset.

Good Quality for the Price!.......2003-05-26

This 15-CD set, covering all of Chopin's piano solo music, is the only complete set out there, and at a bargain price, it is one of the best sets out there that everyone should have.

Some of the playing and interpretations are controversial, such as the lack of noticable dynamics in the nocturnes and other pieces. However, overall, the quality and the price is hard to beat.

Tracks:

Polonaise In D Minor, Op.71, No.1
Polonasie In B Flat Major, Op. 71, No. 2
Polonaise In F Minor, Op. 71, No. 3
Polonaise In G Minor, BI 1
Polonaise In B Flat Major, BI 3
Polonaise In A Flat Major, BI 5
Polonaise In G Sharp Minor, BI 6
Polonaise In B Flat Minor ('Adieu'), BI 13
Polonaise In G Flat Major, BI 36
Andante spianato And Grande Polonaise In E Flat Major, Op. 22: Andante spianato
Andante spianato And Grande Polonaise In E Flat Major, Op. 22: Grande Polonaise

Average customer rating:

Ups and downs
At last a complete set of Polanaises

Chopin: Polonaises (Complete), Vol. 1

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

Polonaises | Ballets & Dances | Classical | Styles | Music

General | Classical | Styles | Music

Tracks:

Polonaise In C Sharp Minor, Op. 26, No. 1
Polonaise In E Flat Minor, Op. 26, No. 2
Polonaise In A Major, Op. 40, No. 1
Polonaise In C Minor, Op. 40, No. 2
Polonaise In F Sharp Minor, Op. 44
Polonaise In A Flat Major, Op. 53
Polonaise-fantaisie In A Flat Major, Op. 61

Customer Reviews:

Ups and downs.......2000-03-03

As a whole, this is a fine CD. I have usually not been particularly impressed with Biret's recordings, but this one, in my opinion, ranks with her best. My original intention was to discuss "the tracks I don't like" but on second thought there is really only one such track on this disc, namely the "Military" Polonaise in A major. This recording doesn't really live up to its nickname, does it? It sounds a little more like "The Mouse that Roared"! Before, Mr. Behrens asked who knows what Chopin would have wanted. Well, I know what he wanted, to some extent, because he tells us: "Allegro con brio". Surely, there is no "correct" understanding of this or any musical instructions, for that matter, but I feel Biret's interpretation is more Allegretto and without the brio. Please note that I'm not speaking purely in terms of volume or "speed". This recording lacks something in heroism and downright pomposity. The A flat major Polonaise is an average recording, not terrible but certainly not superb. The rest sounds fine to me. I especially like Biret's Polonaise-Fantasie, a remarkable work that Chopin wrote late in life (yet still a young man!). This is the best Biret recording I've heard (although I admit I haven't heard nearly all of them). Her playing is lyrical and atmospheric and dynamic nuances are impeccabe. This recording stands beside the better of my two Richter recordings as my favourite. The F sharp minor Polonaise also deserves commentary, but I think you get the picture. In short: A fine disc well worth owning, but loses one star for the dull A major and so-so A flat major Polonaise

At last a complete set of Polanaises.......1999-09-18

Believe it or not, I could not before now find available in any music shop a complete set of the Chopin . Lots of Etudes, Nocturnes, mixed bags by this and that pianist...but no polonaises. At last Naxos has made a two volume set available (8.550360 and 8.550361)with pianist Idil Biret. My touchstone has always been the "Military" polonaise, which here I find just a touch less spectacular than those of other artists who have committed these works to disc. On the other hand, who knows what Chopin would have thought? Did he expect the pyrotechnics that some put into this piece or did he himself take a gentler approach? So in the long run, this collection will be a constant favorite with me because (1) it is here and (2) it is complete. But those of you who play Chopin yourselves will have, of course, your own opinions. Note: These two CDs are part of an upcoming boxed set of Chopin complete that should be available in October of 1999. At the Naxos price, something to consider for oneself and as a great gift.

Average customer rating:

POLONAISES RESURRECTED!!!!!!!

Chopin: The Complete Polonaises

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Polonaises | Ballets & Dances | Classical | Styles | Music

General | Classical | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music

Classical Instrumental Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
ASIN: B00000296L
Release Date: 1994-06-14

Tracks:

Andante spianato - Grande Polonaise In E-Flat Major, Op. 22
2 Polonaises, op. 26: No. 1 In C-Sharp Minor
2 Polonaises, op. 26: No.2 In E-Flat Minor
2 Polonaises, op. 40: No. 1 In A Major
2 Polonaises, op. 40: No. 2 In C Minor
Polonaise In F-Sharp Minor, Op. 44
Polonaise In A-Flat Major, Op. 53
Polonaise-Fantaisie In A-Flat Major, Op. 61

Tracks:

3 Polonaises, op. 71: No. 1 In D Minor
3 Polonaises, op. 71: No. 2 In B-Flat Major - No. 3 In F Minor
3 Polonaises, op. 71: Autograph Version
3 Polonaises, op. 71: Fontana Version
Polonaise In G Minor, Op. Post.
Polonaise In B-Flat Major, Op. Post.
Polonaise In A-Flat Major, Op. Post.
Polonaise In G-Sharp Minor, Op. Post.
Polonaise In B-Flat Minor, Op. Post.
Polonaise In G-Flat Major, Op. Post.
Marche funebre in C Minor, Op. 72 no. 2: Ekier Version
Marche funebre in C Minor, Op. 72 no. 2: Fontana Version
Marche funebre in C Minor, Op. 72 no. 2: Ganche Version

Customer Reviews:

POLONAISES RESURRECTED!!!!!!!.......2001-07-13

So obvious is it from the majesty, sorrowful intensity, ethereal beauty and eccentric whimsy of the Katsaris performance of the Polonaises that it seems these pieces have merely languished until now. Sure they're popular; sure they're performed regularly, and recorded just as regularly... but never like this, never with such aplomb, breadth or penetration.

Katsaris is no mere pianist. No. He is a magician, a conjurer impossible to resist. Those hidden inner voices Chopin wants us to hear, we finally hear; those harmonic lines Chopin skews to color or disorient come clear; passages of sheer angst we never knew existed--- they, too, come vibrantly to life.

The bravura Polonaises on Disc 1 (Opp. 26, 40, 44, 53, including fabulous readings of the Andante Spianato/Grande Polonaise, Op. 22 and the Polonaise-Fantaisie, Op. 61) that are all so utterly familiar, in Katsaris's hands take on flesh and blood, ring completely true with flashes of ecstasy, pathos, spirituality. As with his recording of the Preludes, I have never heard such soul-stirring playing. Here is a pianist who can reach the innermost part of us, wring our emotions dry... and, then, fling us, like kites, aloft. And the more one listens, the more one truly hears.

On Disc 2, Katsaris gathers Chopin's youthful Op. 71 and Op. Posth. polonaises (e.g. the B-Flat was written when Chopin was seven years old! and the A-Flat when he was eleven!) and brings to them a zest lilting with melody. Yet, even in these so-called "minor" works (which aren't), Katsaris always senses the inherent lyrical melancholy of Chopin--- the foreboding always present in this composer's music, and usually always "submerged" or "diverted" by other performers. Again and again, Katsaris blows the dust off these rareties; inner voices speak to us, harmonic notes are singled out like beacons--- all fabulously thrilling. These youthful works suddenly, and with eerie prescience, evoke the composer Chopin will become.

Sony has given Katsaris a gorgeous "sound world" in which to work his magic.

And magical it is.

[Running time--- CD 1: 71:32 CD 2: 66:39]

Average customer rating:

Average at best

Chopin: Complete Piano Music, Vol. 9

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

Polonaises | Ballets & Dances | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Classical | Box Sets | Stores | Music

4-for-3 Classical | 4-for-3 Music | Stores | Music

4-for-3 All Music | 4-for-3 Music | Stores | Music

Chopin: Complete Piano Music, Vol. 8
Chopin: Complete Piano Music, Vol. 1

ASIN: B00001YVCQ
Release Date: 1999-09-28

Tracks:

Polonaise in d, Op.71, No.1
Polonaise in B flat, Op.71, No.2
Polonaise in f, Op.71, No.3
Polonaise in g, BI 1
Polonaise in B flat, BI 3
Polonaise in A flat,BI 5
Polonaise in g#, BI 6
Polonaise in b flat, 'Adieu', BI 13
Polonaise in G flat, BI 36
Andante Spianato in E flat, Op.22
Grande Polonaise in E flat, Op.22

Customer Reviews:

Average at best.......2004-11-20

Idil's articulation of Chopin's Nocturne's is literally second to none, but her performance in this volume is rather disappointing. Especially in Grande Polonaise, where she comes off sounding like a struggling piano student.

Average customer rating:

Quieter less Histrionic Chopin Playing
Ding an sich
A Poetic View of Chopin

The Complete 1950s Chopin Recordings

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

Mazurkas | Ballets & Dances | Classical | Styles | Music

Polonaises | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Ballads | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Scherzo | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Lullabies & Berceuse | Vocal Non-Opera | Opera & Vocal | Styles | Music

Barcarolles | Vocal Non-Opera | Opera & Vocal | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
Similar Items:

Troubadour of the Piano
The 1950s Concerto Recordings
Complete Recordings on Deutsche Grammophon
The Complete American Decca Recordings
Igor Markevitch

ASIN: B00067GKFG
Release Date: 2005-02-08

Customer Reviews:

Quieter less Histrionic Chopin Playing .......2006-08-29

These performances have always enjoyed a great deal of respect, but I question using them as a benchmark for Chopin playing. In particular, Askenase opens out the structure of the music so methodically that he ends up consistenting refusing Chopin's endless invitations to glitter and pianistic gallantries. One constantly senses Askenase is more comfortable in the role of pedagogue and teacher than performer. In some music, and certain selections of Chopin reserve and inwardness is not only desireable, but very much the point. Yet exhibitionism and theatricality play a major role in much of Chopin's music: they help to balance the innerwardness and bring contrast to the soulfulness. The sparkle illuminates the depth in a way unique with Chopin. These personal and particular musical qualities really do mean more than surface effects - Chopin is above all a composer who wrote for ONE instrument - the piano. And he wrote better than anyone else ever did before or since for the specific soundstage possible with that instrument. There are no wasted extraneous effects for effects sake in mature Chopin. But with Askenase these endless delights are shortchanged. The haunting multi-colored beauty the best Chopin playing always conveys is not projected. (Try following Askenase's recordings with other pianists famous for their Chopin and the other performer will seem overwhelming in his or her coloristic effects.) Too, while listening to these performances I kept remembering other performers way with a section or theme. After listening through a particular piece I constantly found myself getting up to put on another CD by a different composer. And because I love Chopin that's not a good sign. I will try these CDs again another day, but I strongly suggest you not buy this set unless you have heard the performances.
Returning to listen to pianists such as Friedman in the Mazurkas (Naxos) leads me to believe technical limitations as well as personality apply in the case of Askenase and play a part in his disinclination to 'compete' with the glamor boys in this repetoire. (The nice enclosed booklet actually states that after a single hearing of Friedman play the Mazurkas Askenase shied away from them the rest of his career.) Moreover, his disinclination to record the etudes is a clear tip off that even within the music of 'his' composer he had limits. His thoughtful non-showy approach to Chopin may have been pre-determined by factors not germane to the requirements of the music itself. It's incredible to me that someone could prefer these qualities in, say, the brilliant and showy microcosmos that makes up the Waltzes to a host of other pianists who were delighted and reveled in just these qualities. Captivating and flirtatious one moment, sad and wistful the next, petutulant then suddenly exhuberant; these musical embodiments of Shakespeare's Cleopatra convey the very essence of the infinite variety of life. (With Askenase they seem more like mounted butterflies, or, fairer, industrious cabbage butterflies.) Listening to the waltzes we hear why Chopin, like Mozart, was so entranced by the songfullness of Italian bel canto. And it takes a great pianist to 'voice' the many lyric moments. Just as in song even the most thoughtful of performers must be able to rise to the technical level of a Patti or a Caruso if their way with a piece is to be considered the final word, so also in the realm of the piano, and especially Chopin!
This problem of colored memories is certainly not unique to Askenase - the French pianist Samson Francois was equally venerated in Chopin by his peers in France but today his performances reveal some troubling inconsistencies. Yet it only takes a second or so listening to Francois in Chopin's waltzes to hear how much more color and excitement exists in the music than is found by Askenase.
If you must have only one pianist for Chopin buy the Rubinstein CDs. He certainly has far greater technical skills and just as much of an understanding of the music. I think this may be one of those cases where high ratings are partly attributable to fond memories clouding reviewers' better judgement.

Ding an sich.......2006-08-17

I do not have very much to add to the redoubtable Mr. Lipscomb. His always-perceptive summaries speak for themselves. What I will say is that this set is among a handful of artistic miracles in the pantheon of recorded classical music. Even if Chopin is not your thing, I doubt very much if you will not find yourself transported by the first dozen or so staves of--for example--the C Sharp Minor nocturne. Stefan Askenase has a sensibility that transcends Chopin playing, and, for that matter, Chopin: it is as if you are given a glimpse of the great musical beyond, of the musical noumenon.

A Poetic View of Chopin.......2005-03-22

The long-awaited CD issue of these classic recordings is cause for rejoicing. The playing of Stefan Askenase (1896-1985) was a marvel of tender poetry, subtle rubato, and lucid clarity. Contrary to the album's title, these recordings span the period 1951-1971, and there are also works here by Mozart, Schubert, Liszt, Smetana and Mendelssohn. Transfers are uniformly excellent.

As Amazon has not provided a list of this set's contents, here is a brief digest:

CD 1 (all 1951, all Chopin) has 14 Waltzes, Piano Sonata #2, and the Mazurka op. 50/3. CD 2 (1951-52) has Piano Sonata #3, the 2nd Piano Concerto with Fritz Lehmann and the Berlin Phil., and 4 Polkas by Smetana. CDs 3-4 (1952-54) offer 20 Nocturnes, 24 Preludes op. 28 (Chopin) and Mozart's Piano Sonata K. 570. CD 5 has 8 Chopin Polonaises from 1951-52, and from 1968 a delightful 11 minute medley (compiled by Askenase) of Schubert Waltzes & Landler, plus exceptionally lyrical accounts of Liszt's Liebestraum No. 3 and Valse Oubliee No. 1. CD 6 includes Chopin's 1st Piano Concerto & Rondo a la Krakowiak (1959, with Willem van Otterloo and the Hague Phil.), plus Mendelssohn's Scherzo in E minor and 3 of the Songs Without Words. CD 7 features Chopin's Barcarolle, Berceuse, Scherzo #2 (all 1968), the 4 Impromptus, Scherzo #3, 4 Mazurkas, and the 3rd Ballade (all from 1970-71).

It is difficult to describe what makes these recordings so very special. At an early age Askenase's only teacher was his mother, who studied with Karl Mikuli, Chopin's most famous pupil. Askenase's style of playing - intimate, tender, sensitive - tonally most reminds me of Moriz Rosenthal, another Mikuli pupil. I strongly suspect that Askenase, Rosenthal and perhaps Pachmann & Czerny-Stefanska were probably the closest to Chopin's own style of piano playing, particularly with regard to delicacy of touch and tonal color. Like Neuhaus and Horszowski, Askenase spent most of his career teaching rather than concertizing (two of his pupils were Argerich and Uchida).

If your models for piano playing are the cool efficiency of Pollini or the theatrical thunder of Horowitz, you may find Askenase's manner too polite and small-scale. But if you prefer delicate shimmer and sparkle to empty glitter, and if you are seeking lyric grace of enormous subtlety, then Askenase is a must-hear.

As a Chopin player, Askenase is at his best in the wistful elegance of the Waltzes, the improvisationally lyrical Impromptus, the dreamy Nocturnes, and the subtle rhythmic challenges of the dance-like Mazurkas and Polonaises. Next to Askenase's Waltzes, even Rubinstein sounds a shade cavalier and Lipatti a trifle objective. The Waltzes were my first exposure to Askenase in the days of LP, and they remain my favorite version of all. His Impromptus are, along with Vasary's (DG LP), the finest I have heard. For me, Askenase joins Moravec (Nonesuch) and Vasary (DG) at the top of the list in the Nocturnes. His op. 28 Chopin Preludes are among my favorites, along with Moravec, Argerich and Cortot. Askenase's Berceuse ranks with the best (e.g., Solomon and Rubinstein).

Larger-scale, more overtly dramatic works like the Scherzos and Ballades are more successfully conveyed by others, especially Rubinstein (his magnificent stereo Ballades/Scherzos CD on RCA) and Richter (his live accounts of the Scherzos on Olympia and the stunning live Ballades on his 15-disc Praga set). While a fine account, the Barcarolle here strikes me as just a notch below the versions by Rubinstein, Lipatti, and Cherkassky.

I love Askenase's way with both the concertos, though I will admit that they are scaled more to the salon than the concert stage (his #1 is similar to Czerny-Stefanska's in this respect). Otterloo (#1) and Lehmann (#2) provide the finest orchestral support these works have received on disc (conductor Otterloo's large discography is urgently in need of CD reissue). As for the folkish Krakowiak, I think Askenase's is far and away the finest recording this under-rated little gem has ever received. In the Sonatas, Askenase substitutes nuance and subtlety for drama and forward motion. These too are in my personal Chopin pantheon, along with Rubinstein and Rachmaninov (#2), and Kapell & Lipatti (#3). In the latter work, Askenase offers a deeply eloquent account of the Largo, and his last mvt. has an unusual "galop" quality that I find very attractive.

Unfortunately, like Rubinstein, Askenase never recorded the Op. 10 or Op. 25 Etudes. In those works, I love Cortot's grand style (smudges and all) and the very personal readings by Vasary (DG LP). But my "desert island" set would be the long out of print Concert Hall LPs recorded in the 1950's by the Vienna-born Robert Goldsand, who was also primarily a teacher (one of his pupils was the astute music critic Harris Goldsmith). Hopefully some enterprising CD label will re-issue Goldsand's miraculously varied and musical Chopin, which also included a GREAT reading of the rarely heard 1st Sonata and the charming Variations on Mozart's La ci darem la mano.

Space does not permit my going into any detail regarding the lovely Mozart Sonata, the idiomatic Mendelssohn (a delightful Spinning Song) or the Smetana (but listen to the latter's first Polka for Askenase's incredibly liquid passagework, the work of a truly masterful colorist).

Urgently recommended.

Garrick Ohlsson - The Complete Chopin Piano Works Vol. 5 ~ Polonaises & Impromptus

Average customer rating:

A BAD DAY AT BLACK ROCK!!!

Garrick Ohlsson - The Complete Chopin Piano Works Vol. 5 ~ Polonaises & Impromptus
Frédéric Chopin , and Garrick Ohlsson
Manufacturer: Arabesque Recordings
ProductGroup: Music
Binding: Audio CD

Polonaises | Ballets & Dances | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music