14 Waltzes / Piano Sonata 3 in B Minor Op 58

1. Sonata for piano No. 3 in B minor, Op. 58, CT 203
Composed by Fryderyk Chopin
with Alfred Cortot

2. Waltz for piano in E flat major, Op. 18, CT 207
Composed by Fryderyk Chopin
with Alfred Cortot

3. Waltz for piano in A flat major, Op. 34/1, CT 208
Composed by Fryderyk Chopin
with Alfred Cortot

4. Waltz for piano in A minor, Op. 34/2, CT 208
Composed by Fryderyk Chopin
with Alfred Cortot

5. Waltz for piano in F major, Op. 34/3, CT 209
Composed by Fryderyk Chopin
with Alfred Cortot

6. Waltz for piano in A flat major, Op. 42, CT 211
Composed by Fryderyk Chopin
with Alfred Cortot

7. Waltz for piano in D flat major ("Minute"), Op. 64/1, CT 212
Composed by Fryderyk Chopin
with Alfred Cortot

8. Waltz for piano in C sharp minor, Op. 64/2, CT 213
Composed by Fryderyk Chopin
with Alfred Cortot

9. Waltz for piano in A flat major ("L'adieu") Op. 69/1, CT 215
Composed by Fryderyk Chopin
with Alfred Cortot

10. Waltz for piano in G flat major, Op. 70/1, CT 217
Composed by Fryderyk Chopin
with Alfred Cortot

11. Waltz for piano in F minor, Op. 70/2, CT 218
Composed by Fryderyk Chopin
with Alfred Cortot

12. Waltz for piano in D flat major, Op. 70/3, CT 219
Composed by Fryderyk Chopin
with Alfred Cortot

13. Waltz for piano in E minor, KK IVa/15, CT 222
Composed by Fryderyk Chopin
with Alfred Cortot

Tracks:

24 Preludes, Op.28: I - C Major
24 Preludes, Op.28: II - A Minor
24 Preludes, Op.28: III - G Major
24 Preludes, Op.28: IV - E Minor
24 Preludes, Op.28: V - D Major
24 Preludes, Op.28: VI - B Minor
24 Preludes, Op.28: VII - A Major
24 Preludes, Op.28: VIII - F Sharp Minor
24 Preludes, Op.28: IX - E Major
24 Preludes, Op.28: X - C Sharp Minor
24 Preludes, Op.28: XI - B Major
24 Preludes, Op.28: XII - G Sharp Minor
24 Preludes, Op.28: XIII - F Sharp Major
24 Preludes, Op.28: XIV - E Flat Minor
24 Preludes, Op.28: XV - D Flat Major 'Raindrop'
24 Preludes, Op.28: XVI - B Flat Minor
24 Preludes, Op.28: XVII - A Flat Major
24 Preludes, Op.28: XVIII - F Minor
24 Preludes, Op.28: XIX - E Flat Major
24 Preludes, Op.28: XX - C Minor
24 Preludes, Op.28: XXI - B Flat Major
24 Preludes, Op.28: XXII - G Minor
24 Preludes, Op.28: XXIII - F Major
24 Preludes, Op.28: XXIV - D Minor
Prelude In C Sharp Minor, Op.45
Prelude In A Flat Major
Impromptu In A Flat Major, Op.29
Impromptu In F Sharp Major, Op.36
Impromptu In G Flat Major, Op.51
Fantaisie-Impromptu In C Sharp Minor, Op.66

Tracks:

Ballade No.1 In G Minor, Op.23
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
Scherzo No.1 In B Minor, Op.20
Scherzo No.2 In B Flat Minor, Op.31
Scherzo No.3 In C Sharp Minor, Op.39
Scherzo No.4 In E Minor, Op.54

Tracks:

3 Nocturnes, Op.9: I - B Flat Minor
3 Nocturnes, Op.9: II - E Flat Major
3 Nocturnes, Op.9: III - B Major
3 Nocturnes, Op.15: I - F Major
3 Nocturnes, Op.15: II - F Sharp Major
3 Nocturnes, Op.15: III - G Minor
2 Nocturnes, Op.27: I - C Sharp Minor
2 Nocturnes, Op.27: II - D Flat Major
2 Nocturnes, Op.32: I - B Major
2 Nocturnes, Op.32: II - A Flat Major
2 Nocturnes, Op.37: I - G Minor
2 Nocturnes, Op.37: II - G Major

Tracks:

2 Nocturnes, Op.48: I - C Minor
2 Nocturnes, Op.48: II - F Sharp Minor
2 Nocturnes, Op.55: I - F Minor
2 Nocturnes, Op.55: II - E Flat Major
2 Nocturnes, Op.62: I - B Major
2 Nocturnes, Op.62: II - E Major
Nocturne In E Minor, Op.72 No.1
Nocutrne In C Sharp Minor
Nocturne In C Minor

Tracks:

12 Etudes, Op.10: I - C Major
12 Etudes, Op.10: II - A Minor
12 Etudes, Op.10: III - E Major
12 Etudes, Op.10: IV - C Sharp Minor
12 Etudes, Op.10: V - G Flat Major 'Black Key'
12 Etudes, Op.10: VI - E Flat Minor
12 Etudes, Op.10: VII - C Major
12 Etudes, Op.10: VIII - F Major
12 Etudes, Op.10: IX - F Minor
12 Etudes, Op.10: X - A Flat Major
12 Etudes, Op.10: XI - E Flat Major
12 Etudes, Op.10: XII - C Minor 'Revolutionary'
12 Etudes, Op.25: I - A Flat Major
12 Etudes, Op.25: II - F Minor
12 Etudes, Op.25: III - F Major
12 Etudes, Op.25: IV - A Minor
12 Etudes, Op.25: V - E Minor
12 Etudes, Op.25: VI - G Sharp Minor
12 Etudes, Op.25: VII - C Sharp Minor
12 Etudes, Op.25: VIII - D Flat Major
12 Etudes, Op.25: IX - G Flat Major
12 Etudes, Op.25: X - B Minor
12 Etudes, Op.25: XI - A Minor 'Winter Wind'
12 Etudes, Op.25: XII - C Minor

Tracks:

2 Polonaises, Op.26: I - C Sharp Minor
2 Polonaises, Op.26: II - E Flat Minor
2 Polonaises, Op.40: I - A Major
2 Polonaises, Op.40: II - 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: I - D Minor
3 Polonaises, Op.71: II - B Flat Major
3 Polonaises, Op.71: III - F Minor
Polonaise In B Flat Minor
Polonaise In G Flat Major
Polonaise In G Minor
Polonaise In B Flat Major
Polonaise In A Flat Major
Polonaise In G Sharp Minor

Tracks:

Waltz In E Flat Major, Op.18
3 Waltzes, Op.34: I - A Flat Major
3 Waltzes, Op.34: II - A Minor
3 Waltzes, Op.34: III - F Major
Waltz In A Flat Major, Op.42
3 Waltzes, Op.64: I - D Flat Major
3 Waltzes, Op.64: II - C Sharp Minor
3 Waltzes, Op.64: III - A Flat Major
2 Waltzes, Op.69: I - A Flat Major
2 Waltzes, Op.69: II - B Minor
3 Waltzes, Op.70: I - G Flat Major
3 Waltzes, Op.70: II - F Minor
3 Waltzes, Op.70: III - D Flat Major
Waltz In E Minor (1830)
Waltz In E Major (1829)
Waltz In A Minor (?1843)
Waltz In A Flat Major (1827)
Waltz In E Flat Major ('Sostenuto', 1840)
Waltz In E Flat Major (1829 - 1830)

Tracks:

4 Mazurkas, Op.6: I - F Sharp Minor
4 Mazurkas, Op.6: II - C Sharp Minor
4 Mazurkas, Op.6: III - E Major
4 Mazurkas, Op.6: IV - E Flat Minor
5 Mazurkas, Op.7: I - B Flat Major
5 Mazurkas, Op.7: II - A Minor
5 Mazurkas, Op.7: III - F Minor
5 Mazurkas, Op.7: IV - A Flat Major
5 Mazurkas, Op.7: V - C Major
4 Mazurkas, Op.17: I - B Flat Major
4 Mazurkas, Op.17: II - E Minor
4 Mazurkas, Op.17: III - A Flat Major
4 Mazurkas, Op.17: IV - A Minor
4 Mazurkas, Op.24: I - G Minor
4 Mazurkas, Op.24: II - C Major
4 Mazurkas, Op.24: III - A Flat Major
4 Mazurkas, Op.24: IV - B Flat Minor
4 Mazurkas, Op.30: I - C Minor
4 Mazurkas, Op.30: II - B Minor
4 Mazurkas, Op.30: III - D Flat Major
4 Mazurkas, Op.30: IV - C Sharp Minor
4 Mazurkas, Op.33: I - G Sharp Minor
4 Mazurkas, Op.33: II - D Major
4 Mazurkas, Op.33: III - C Major
4 Mazurkas, Op.33: IV - B Minor
4 Mazurkas, Op.41: I - C Sharp Minor
4 Mazurkas, Op.41: II - E Minor
4 Mazurkas, Op.41: III - B Major
4 Mazurkas, Op.41: IV - A Flat Major

Tracks:

3 Mazurkas, Op.50: I - G Major
3 Mazurkas, Op.50: II - A Flat Major
3 Mazurkas, Op.50: III - C Sharp Minor
3 Mazurkas, Op.56: I - B Major
3 Mazurkas, Op.56: II - C Major
3 Mazurkas, Op.56: III - C Minor
3 Mazurkas, Op.59: I - A Minor
3 Mazurkas, Op.59: II - A Flat Major
3 Mazurkas, Op.59: III - F Sharp Minor
3 Mazurkas, Op.63: I - B Major
3 Mazurkas, Op.63: II - F Minor
3 Mazurkas, Op.63: III - C Sharp Minor
4 Mazurkas, Op.67: I - G Major
4 Mazurkas, Op.67: II - G Minor
4 Mazurkas, Op.67: III - C Major
4 Mazurkas, Op.67: IV - A Minor
4 Mazurkas, Op.68: I - C Major
4 Mazurkas, Op.68: II - A Minor
4 Mazurkas, Op.68: III - F Major
4 Mazurkas, Op.68: IV - F Minor
Mazurka In A Minor ('a Emile Gaillard', 1840)
Mazurka In A Minor ('Notre temps', 1840)
Mazurka In B Flat Major (1826)
Mazurka In G Major (1826)
Mazurka In A Flat Major (1834)
Mazurka In C Major (1833)
Mazurka In B Flat Major (For Alexandra Wolowska, 1832)
Mazurka In D Major (1832)
Mazurka In D Major (?1820)
Mazurka In F Minor, Op.68 No. 4 - Vladimir Ashkenazy

Tracks:

Piano Sonata No.2 In B Flat Minor, Op.35: I - Grave - Doppio movimento
Piano Sonata No.2 In B Flat Minor, Op.35: II - Scherzo
Piano Sonata No.2 In B Flat Minor, Op.35: III - Marche funebre
Piano Sonata No.2 In B Flat Minor, Op.35: IV - Finale: Presto
Piano Sonata No.3 In B Minor, Op.58: I - Allegro maestoso
Piano Sonata No.3 In B Minor, Op.58: II - Scherzo: Molto vivace
Piano Sonata No.3 In B Minor, Op.58: III - Largo
Piano Sonata No.3 In B Minor, Op.58: IV - Finale: Presto, non tanto
Fantaisie In F Minor, Op. 49

Tracks:

Piano Sonata No.1 In C Minor, Op.4: I - Allegro maestoso
Piano Sonata No.1 In C Minor, Op.4: II - Minuetto - Trio
Piano Sonata No.1 In C Minor, Op.4: III - Larghetto
Piano Sonata No.1 In C Minor, Op.4: IV - Finale: Presto
Variations sur un air national allemand - E Major (1826)
Rondo In C Minor, Op.1
3 Ecossaises, Op.72 No.3: I - D Major; II - G Major; III - D Flat Major
Rondo 'a la Mazur' In F Major, Op.5
Marche funebre In C Minor, Op.72 No.2
Contredanse In G Flat Major (?1827) - Vladimir Ashkenazy
Rondo In C Major, Op.73 - Vladimir Ashkenazy
Variations In D Major For Piano Duet (1826) - Vladimir Ashkenazy

Tracks:

Variations In A Major ('Souvenir de Paganini', 1829)
Variations brillantes In B Flat Major, Op.12
Rondo In E Flat Major, Op.16
Bolero In A Minor, Op.19
Cantabile In B Flat Major
Variation In E Major
Largo In E Flat Major
Allegro de concert In A Major, Op.46
3 Nouvelles Etudes (1837): I - F Minor
3 Nouvelles Etudes (1837): II - A Flat Major
3 Nouvelles Etudes (1837): III - D Flat Major
Tarentelle In A Flat Major, Op.43
Fugue In A Minor (1841 - 42)
Albumblatt in E Major (1843)
Op.74 No.2: Wiosna - Spring
2 Bourrees (1846): I - G Minor; II - A Major
Galop Marquis
Berceuse In D Flat Major, Op.57
Barcarolle In F Sharp Major, Op.60

Customer Reviews:

My experience of this CD.......2007-04-04

My hats off to this CD collection! It was worth it!!! Chopin is a true genius for the piano, on this collection.

Beautiful!.......2006-08-18

This is a beautifully played collection of Chopin's work. It was a birthday gift,
and I listen to bits of it every day. I have yet to find a favorite
CD, as each is so lovely. It is well worth the price.

Well worth the money. Wonderful! Wonderful!.......2006-06-10

I am not a classical music expert but I am an expert when it comes to a great product. I have listened to the works of rubenstein and Horowitz, but nothing is comparable to this great collection of polands favorite son. The nocturnes are dreamy and romantic. The other pieces though not as mesmerizing have plenty of depth and feeling. This is a collection that you will listen to over and over again. Although this music is great anytime, it's especially meaningful during a light rainfall. Go ahead and make this investment. It's only $100.00. For the next 100 days save a dollar and you will have it paid for. I promise you won't be sorry. Excellent! Excellent!

Best investment to make.......2006-05-21

In my opinion, this is the apex of classical music. You will not find a better CD for Chopin or any piano recordings. There may be plenty of comparable CDs, but nothing can claim to surpass this.

Although some pieces are not as good as those by other artists, Ashkenazy's interpretations of Chopin are the best I've ever heard. Add in his amazing technical performance and you've got some sublime music.

Listening to these pieces have immensely helped my own Chopin reportoire. I don't play to mimic Ashkenazy, but I use his insights and apply my own style over that and end up with something exponentially better than what I could produce on my own.

The price is something you have to seriously consider. A hundred bucks. Yeah, that's a lot of money, but that's 48 cents per song. And you'll listen to these songs dozens of times, at least, I guarantee. Plus it's a great deal... if you were to get all the Ashkenazy-Chopin CDs available on Amazon, overlapping pieces as little as possible, you'd pay $30 more and still not have everything.

This is an investment for life and will definitely remain one of my favorite CD sets for decades. Decades. A hundred bucks for decades of amazing music. This stuff is larger than today, larger than life.. music this good is something you can't afford to pass up because of temporary financial difficulties.

A great pianist interpreting the most inspired composer ever !.......2005-09-15

Lets imagine that Chopin himself has recorded his own compositions in a perfectly clear CD. I am sure that some classical music reviewers would say "This is not the way Chopin is meant to be played". These classical music "pundits" are very intolerant.

Interpretation and emotion feeling is also a matter of taste, so that the only one who can give a final answer is Franois (Frederic).

Ashkenazy is gifted with a phenomenal technique, a great pianist. So that this collection is for sure 5 stars. Enjoy it.

Ah, if you like to see piano technique in action, listen to Georgy Cziffra's interpretation of Etude op. 10 no. 4. (Search the album in my reviews.)

Average customer rating:

Story Of Chopin In Words And Music

Manufacturer: Vox (Classical)
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

Etudes | 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 | Children's Music | Styles | Music

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

4-for-3 All Music | 4-for-3 Music | Stores | Music
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The Story of Mozart
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ASIN: B000001KCP
Release Date: 1995-04-16

Tracks:

Piano Concerto No. 1 In E Minor, Op. 11 (Allegro maestoso)
Scherzo No. 2 In B-Flat Minor, Op. 31
Polonaise In A-Flat Major, Op. 53, 'Heroic'
Mazurka No. 39 In B Major, Op. 63, No. 1
Variations On A German Theme
Valse brillante No. 1 In E-Flat Major, Op. 18
Mazurka No. 23 In D Major, Op. 33, No. 2
Ballade No. 4 In F Minor, Op. 52
Prelude No. 20 In C Minor, Op. 28, No. 20
Piano Concerto No. 1 In E Minor, Op. 11 (Rondo-Vivace)
Polonaise No. 5 In F-Sharp Minor, Op. 44
Etude No. 12 In C Minor, Op. 10 'Revolutionary'
Valse No. 7 In C Minor, Op. 64, No. 2
Nocturne No. 2 In E-Flat Major, Op. 9, No. 2
Valse No. 6 In D-Flat Major, Op. 64, No. 1 'Minute'
Fantasie-Impromptu No. 4 In F-Sharp Minor, Op. 66
Etude No. 3 In E Major, Op. 10
Nocturne No. 5 In F-Sharp Minor, Op. 15, No. 2
Prelude No. 15 In D-Flat Major, Op. 28, No. 15 'Raindrop'
Polonaise No. 3 In A Major, Op. 40, No. 1 'Polonaise Militaire'
Ballade No. 1 In G Minor, Op. 23
Piano Concerto No. 2 In F Minor, Op. 21 (Maestoso)
Piano Sonata No. 2 In B-Flat Minor, Op. 35 (Marche funebre-lento)
Piano Sonato No. 3 In B Minor, Op. 58 (Presto ma non tanto)
Op. 34, No. 2 In A Minor
Op. 34, No. 3 In F Major
Op. 42 In A-Flat Major
Op. 64, No. 1 In D-Flat Major
Op. 64, No. 2 In C-Sharp Minor
Op. 64, No. 3 In A-Flat Major
Op. 69, No. 1 In A-Flat Major
Op. 69, No. 2 In B Minor
Op. 70, No. 1 In G-Flat Major
Op. 70, No. 2 In F Minor
Op. 70, No. 3 In D-Flat Major

Average customer rating:

breakdown by cd.
I'm not a music expert

Dvorák: The Masterworks [Box Set]

Manufacturer: Brilliant Classics
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Quartets | Chamber Music | Classical | Styles | Music

Quintets | Chamber Music | Classical | Styles | Music

Trios | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Romantic (c.1820-1910) | Historical Periods | Opera & Vocal | Styles | Music

Czech | Languages | Opera & Vocal | Styles | Music

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

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

Blowout Box Sets | Classical Music Blowout | Stores | Music

More Titles at Least 20% Off | Classical Music Blowout | Stores | Music

All Classical Music Blowout | Classical Music Blowout | Stores | Music

Opera & Vocal | Classical Music Blowout | Stores | Music

Brilliant Classics | Amazon.com Label Stores | Stores | Music
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Mendelssohn: The Masterworks [Box Set]
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Brahms: The Masterworks (Box Set)
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ASIN: B00062FLJW
Release Date: 2004-11-30

Customer Reviews:

breakdown by cd........2007-01-14

CD1-7:SYMPHONIES 1-9

CD8:PIANO CONCERTO

CD9:VIOLIN CONCERTO & CELLO CONCERTO

CD10-11:REQUIEM

CD12-13:STABAT MATER

CD14:PIANO TRIOS OP.90 "DUMKY" & 21

CD15:PIANO TRIOS OP.65 & 26

CD16:PIANO QUARTETS

CD17:PIANO QUINTETS

CD18:STRING QUINTETS

CD19-20:MUSIC FOR VIOLIN AND PIANO

C21:SERENADE/HAUSMUSIK

CD22-31:THE COMPLETE STRING QUARTETS

CD32:SLAVONIC DANCES OP.46 & 72

CD33:PIANO DUET SLAVONIC DANCES

CD34:PIANO DUET LEGENDS FROM THE BOHEMIAN FOREST

CD35:PIANO WORKS

CD36-37:RUSALKA

CD38-40:SYMPHONIC POEMS

I'm not a music expert.......2005-08-25

I don't know too much about music. I own over 700 cds, but I don't play music and I don't have much experience with this music. My only point of reference was the ninth symphony, seeing as every other piece in this box set was new to me. It sounds fine, nothing wrong with it as far as I can see.

Now, here's what you'll get in this box set, seeing as Amazon does not give it a description. 40 cds! no joke, you get 40 cds in this box set. It features:
1. Complete symphonies
2. Complete symphonic poems
3. Cello concerto
4. Piano concerto
5. Violin concerto
6. Requiem
7. Stabat Mater
8. Slavonic Dances
9. Complete String quartets
10. Chamber music
11. Piano Works (solo and duet)
12. Rusalka

As far as I can tell, the only things missing are The Spectre's Bride and Jacobin. Seeing as it is 40 cds, i have not had an opportunity to listen to it, however what i have heard i have been quite satisfied with.

Average customer rating:

The "Clinker" of the bunch

Brahms: The Masterworks (Box Set)

Manufacturer: Brilliant Classics
ProductGroup: Music
Binding: Audio CD

Quartets | Chamber Music | Classical | Styles | Music

Quintets | Chamber Music | Classical | Styles | Music

Sextets | Chamber Music | Classical | Styles | Music

Trios | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Ballads | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Sacred & Religious | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

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

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

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

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

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All Classical Music Blowout | Classical Music Blowout | Stores | Music

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ASIN: B00062FLIS
Release Date: 2004-11-30

Customer Reviews:

The "Clinker" of the bunch.......2006-12-19

Having collected the entire "The Masterworks" series (including the Bach and Mozart Complete Works) this set is the 'clinker' of the bunch. First off... 6 CD's of Lieder 'historic' (pre-historic) recordings. No Overtures, No Orchestral Seranades, No Haydn Variations?? The performances of the Symphonies and the Concertos are shakey and not very well recorded. Brilliant Classics, who has done such a wonderful job with the Hadyn Complete Symphonies (licensed from Nimbus), the Mozart and Bach Complete sets, has stumbled a bit with this release.

Average customer rating:

Very touched
In Memorium
Priceless Souvenirs from a Rare Genius: Ave Atque Vale
Poetry without words
What Is Technically Difficult Is Not Always Pleasant To Hear

William Kapell Edition (Box Set)

Manufacturer: RCA
ProductGroup: Music
Binding: Audio CD

Ecossaises | Ballets & Dances | Classical | Styles | Music

Mazurkas | Ballets & Dances | Classical | Styles | Music

Polonaises | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

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ASIN: B00000B9MR
Release Date: 1998-09-29

Tracks:

Mazurkas: Op. 6, No. 2
Mazurkas: Op. 7, No. 2
Mazurkas: Op. 7, No. 5
Mazurkas: Op. 17, No. 2
Mazurkas: Op 17, No 3
Mazurkas: Op. 17, No. 4
Mazurkas: Op. 24, No. 1
Mazurkas: Op. 24, No. 3
Mazurkas: Op. 30, No. 3
Mazurkas: Op. 33, No. 1
Mazurkas: Op. 33, No. 3
Mazurkas: Op. 33, No. 4
Mazurkas: Op. 41, No. 1
Mazurkas: Op. 41, No. 2
Mazurkas: Op. 50, No. 2
Mazurkas: Op. 50, No. 3
Mazurkas: Op. 56, No. 3
Mazurkas: Op. 59, No. 1
Mazurkas: Op. 59, No. 2
Mazurkas: Op. 63, No. 2
Mazurkas: Op. 63, No. 3
Mazurkas: Op. 67, No. 2
Mazurkas: Op. 67, No. 3
Mazurkas: Op. 67, No. 4
Mazurkas: Op. 68, No. 2
Mazurkas: Op. 68, No. 3
Mazurkas: Op. 68, No. 4
Mazurkas: Op posth. - 'Notre temps'
Mazurkas: Op posth - In B Flat

Tracks:

Sonata No. 3, Op. 58 In B Minor: Allegro maestoso
Sonata No. 3, Op. 58 In B Minor: Scherzo: Molto vivace
Sonata No. 3, Op. 58 In B Minor: Largo
Sonata No. 3, Op. 58 In B Minor: Finale: Presto, non tanto
Waltz, Op. 18 In E Flat Major
Sonata No. 2, Op. 35 In B-Flat Minor: Grave; Doppio movimento
Sonata No. 2, Op. 35 In B-Flat Minor: Scherzo
Sonata No. 2, Op. 35 In B-Flat Minor: Marche funebre
Sonata No. 2, Op. 35 In B-Flat Minor: Presto
Nocture, Op. 9, No. 1 In B Flat Minor
The Sheperd's Complaint: No. 5, Songs Without Words, Op. 67
Romance, Op. 28, No. 2 In F Sharp
Sonata No. 16, K. 570 In B Flat: II. Adagio

Tracks:

Rhapsody On A Theme Of Paganini, Op. 43: Introduction: Allegro vivace; Variation I: (Precedente)
Rhapsody On A Theme Of Paganini, Op. 43: Tema: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Varation II: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Varation III: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Varation IV: Piu Vivo
Rhapsody On A Theme Of Paganini, Op. 43: Varation V: Tempo precedente
Rhapsody On A Theme Of Paganini, Op. 43: Varation VI: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Varation VII: Meno mosso, a tempo moderato
Rhapsody On A Theme Of Paganini, Op. 43:: Varation VII: Tempo 1
Rhapsody On A Theme Of Paganini, Op. 43: Varation IX: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Varation X: Poco marcato
Rhapsody On A Theme Of Paganini, Op. 43: Varation XI: Moderato
Rhapsody On A Theme Of Paganini, Op. 43: Varation XII: Tempo di minuetto
Rhapsody On A Theme Of Paganini, Op. 43: Varation XIII: Allegro
Rhapsody On A Theme Of Paganini, Op. 43: Varation XIV: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43:: Varation XV: Piu vivo scherzando
Rhapsody On A Theme Of Paganini, Op. 43: Varation XVI: Allegretto
Rhapsody On A Theme Of Paganini, Op. 43: Varation XVII: [Allegretto]
Rhapsody On A Theme Of Paganini, Op. 43: Varation XVIII: Andante cantabile
Rhapsody On A Theme Of Paganini, Op. 43: Varation XIX: A tempo vivace
Rhapsody On A Theme Of Paganini, Op. 43: Varation XX: Un poco piu vivo
Rhapsody On A Theme Of Paganini, Op. 43: Varation XXI: Un poco piu vivo
Rhapsody On A Theme Of Paganini, Op. 43: Varation XXII: Un poco piu vivo (Alla breve)
Rhapsody On A Theme Of Paganini, Op. 43: Varation XXIII: L'istesso tempo
Rhapsody On A Theme Of Paganini, Op. 43: Varation XIV: A tempo un poco meno mosso
Concero No. 2, Op. 18 In C Minor: Moderato; Allegro
Concero No. 2, Op. 18 In C Minor: Adagio sostenuto
Concero No. 2, Op. 18 In C Minor: Allegro scherzando
Prelude, Op. 3, No. 2 In C Sharp Minor
Preludes, Op. 34: No. 24 In D Minor
Preludes, Op. 34: No. 10 In C Sharp Minor
Preludes, Op. 34: No. 5 In D Major

Tracks:

Concerto No. 3, Op. 26 In C: Andante; Allegro
Concerto No. 3, Op. 26 In C: Tema: Andantino
Concerto No. 3, Op. 26 In C: Variation I: Listesso tempo
Concerto No. 3, Op. 26 In C: Variation II: Allegro
Concerto No. 3, Op. 26 In C: Variation III: Allegro moderato (poco meno mosso)
Concerto No. 3, Op. 26 In C: Variation IV: Andante meditativo
Concerto No. 3, Op. 26 In C: Variation V: Allegro giusto
Concerto No. 3, Op. 26 In C: Tema: Listesso tempo
Concerto No. 3, Op. 26 In C: Allegro ma non troppo
Concerto: Allegro mastoso
Concerto: Andante con anima
Concerto: Allegro brillante
Preludes, Op. 34: No. 14 In E Flat Minor
Preludes, Op. 34: No. 10 In C Sharp Minor
Preludes, Op. 34: No. 5 In D Major

Tracks:

Concerto No. 2, Op. 19 In B Flat Major: Allegro con brio
Concerto No. 2, Op. 19 In B Flat Major: Largo
Concerto No. 2, Op. 19 In B Flat Major: Rondo: Allegro scherzando
Moment Musical: Moment Musical In F Minor, D. 780, No. 3
Waltz: Waltz In B Major, D. 145, No. 2
Waltz: Waltz In B Major, D. 145, No. 6
Waltz: Waltz In E Major, D. 365, No. 26
Waltz: Waltz In F Major, D. 365, No. 32
German Dances: German Dance In B Flat Major, D. 783, No. 6
German Dances: German Dance In B Flat Major, D. 783, No. 7
Waltz: Waltz, In F Major, D. 365, No. 34
Landler: Landler, In G Major, D. 734, No. 1
Landler: Landler, In D Major, D. 734, No. 2
Impromptu: Impromptu In A Flat Major, D. 935, No. 2
Romance: Romance In F Sharp Major, Op. 28, No. 2
Intermezzo: Intermezzo In E Major, Op. 116, No. 6
Sonetto No. 104 del Petrarca - Liszt
Hungarian Rhapsody No. 11 - Liszt
Mephisto Waltz No. 1 - Liszt

Tracks:

Partita No. 4 In D Major, BWV 828: Ouverture
Partita No. 4 In D Major, BWV 828: Allemande
Partita No. 4 In D Major, BWV 828: Courante
Partita No. 4 In D Major, BWV 828: Aria
Partita No. 4 In D Major, BWV 828: Sarabande
Partita No. 4 In D Major, BWV 828: Menuet
Suite In A Minor, BWV 818: Allemande
Suite In A Minor, BWV 818: Courante
Suite In A Minor, BWV 818: Sarabandes 1 & 2
Suite In A Minor, BWV 818: Gigue
Sonata In E Flat Major, K. 380 - L. 23
Sonata In B Flat Major, K. 570: 2. Adagio
From Iberia: Evocacion
Piano Playtime: No. 1: Waltz Of The Rainbow
Piano Playtime: No. 4: By The Brook
Piano Playtime: No. 5: Dancing Bagpipes
Piano Playtime: No. 6: Tricky Trumpet
Children's Corner: Dr. Gradus ad Parnassum
Children's Corner: Jimbo's Lullaby
Children's Corner: Serenade For The Doll
Children's Corner: The Snow Is Dancing
Children's Corner: The Little Shepherd
Children's Corner: Golliwog's Cakewalk
Toccata ostinato

Tracks:

Sonata In G Minor, Op. 19: Lento; Allegro moderato
Sonata In G Minor, Op. 19: Allegro scherzando
Sonata In G Minor, Op. 19: Andante
Sonata In G Minor, Op. 19: Allegro mosso; Meno mosso; Moderato; Piu vivo
Sonata In F Minor, Op. 120, No. 1: Allegro appassionato
Sonata In F Minor, Op. 120, No. 1: Andante un poco adagio
Sonata In F Minor, Op. 120, No. 1: Allegretto grazioso
Sonata In F Minor, Op. 120, No. 1: Vivace
Sonata In D Minor, No. 3, Op. 108: Allegro
Sonata In D Minor, No. 3, Op. 108: Adagio
Sonata In D Minor, No. 3, Op. 108: Un poco presto e con sentimento
Sonata In D Minor, No. 3, Op. 108: Presto agitato

Tracks:

Piano Sonata (1941): Molto moderato
Piano Sonata (1941): Vivace
Piano Sonata (1941): Andante sostenuto
Nocturne In E - Flat - Op 55, 2
Mazurka In C - Op 33, 3
Polonaise-Fantasie In A - Flat - Op 61
Pictures At An Exhibition: Promenade
Pictures At An Exhibition: The Gnome
Pictures At An Exhibition: Promenade
Pictures At An Exhibition: The Old Castle
Pictures At An Exhibition: Promenade
Pictures At An Exhibition: Tuileries
Pictures At An Exhibition: Bydlo
Pictures At An Exhibition: Promenade
Pictures At An Exhibition: Ballet Of The Unhatched Chicks
Pictures At An Exhibition: Samuel Goldenberg And Schmuyle
Pictures At An Exhibition: Promenade
Pictures At An Exhibition: Limoges - The Market
Pictures At An Exhibition: Catacombs
Pictures At An Exhibition: Con mortuis In lingua Mortua
Pictures At An Exhibition: The Hut On Fowl's Legs
Pictures At An Exhibition: The Great Gate At Kiev
No 1 - Kinderszenen: About Foreign Lands And People
Sonata In E (K 380) - L. 23

Tracks:

Partita No. 4 In D Major, BWV. 828: Allemande (Beginning)
Sonata No. 10 In C Major, K. 330: 1. Allegro moderato (Beginning)
Sonata No. 3 In B Minor, Op. 58: 1. Allegro maestoso (Beginning)
Sonata No. 3 In B Minor, Op. 58: 3. Largo
Mazurka In A Flat Major, Op. 17, No. 3
Sonata No. 3 In D Minor, Op. 108: 2. Adagio
No. 4, Songs Without Words, Op. 67: Spinning Song
Interview With William Kapell

Amazon.com essential recording

Blessed with transcendent technique and an affinity for big, bold Romantic works, William Kapell has been hailed as America's greatest homegrown pianist. This comprehensive collection of his complete recorded output, previously unreleased recordings, and broadcast tapes adds luster to a reputation that's become legendary since his tragic death in a plane crash at age 31. The earliest recordings, from the mid-1940s, bristle with raw energy and virtuosic flourishes tempered by an innate musicality that rises above mere display.

The disc coupling Khachaturian and Prokofiev concertos is charged with excitement; the Rachmaninoff pairing of the Paganini Variations and the Concerto No. 2 weds the Grand Romantic style to poetic lyricism; and an inspired Liszt group is charged with dynamic energy. Best may be the two Chopin discs: spontaneous, rhythmically flexible sonatas and mazurkas. The later recordings demonstrate the repose that comes with artistic maturity, and the "live" broadcasts reveal Kapell's warmth and spontaneity in concert. Splendid transfers help make this long-awaited set appealing to music lovers in general, as well as piano buffs. --Dan Davis

Customer Reviews:

Very touched.......2006-09-24

I wrote my doctoral dissertation on William Kapell (we share the same school, and my teacher was a student of his), and to still see the outpouring of admiration and love for Kapell's art is still very moving for me.

In Memorium.......2005-10-29

I heard William Kapell play the Rachmaninov Rhapsody on a Theme by Paganini with the fledgling Atlanta Symphony Orchestra in the late 1940's or very early 1950's. My only memory of the occasion is that I was enthralled. Kapell has held me in thrall ever since.

A few years later, in the middle 50's, I bought Kapell's recording of the same work, with Fritz Reiner and the Robin Hood Dell Orchestra (alias of The Philadelphia Orchestra). I still have that LP, though I wore it out long ago. It was the beginning of my musical education. But since 1998, we have had this wonderful box of reissues from the vaults of RCA. The sound is mostly excellent, considering the age of the monophonic originals. To this day, Kapell's Rachmaninov Rhapsody remains-in my opinion-the most impassioned, yet the most musical, reading of the piece ever recorded. No one had, or has, Kapell's combination of white-hot temperament, technical brilliance, and musical insight. We have had musical geniuses; technical wizards abound. It is the combination of these gifts, as Kapell possessed them in particular, married to his incendiary passion, that made him unique.

He was still learning, and he was learning at such an astounding rate! He had moved from Khachaturian to the most unforgettable Chopin B minor Sonata ever recorded in little more than a decade. His deep throated, noble, and articulate Bach has caused some to speculate that Glenn Gould might have found his inspiration in Kapell. One Gould biographer, and a New York critic, wrote that the reverse was true. The critic acknowledged the error, in print, noting that Kapell could not have been influenced by Gould's style since he had been dead for two years by the time of Gould's debut recital in New York City in 1955.

The lyrical side of romantic music is not what Kapell was or is known for, not his "style" as people remember him now. But listening to the lyrical music in this set shows a side of him that was, nevertheless, as real as any, and perhaps more revealing. It also gives us a notion of what we might have expected of William Kapell had he lived a normal span of years and played a normal variety of music. In a live performance, he plays Chopin's Nocturne, Op. 9, No. 1, with melting legato and exquisite timing: his innate sense about when to tug on the beat and when to surge forward makes the music breathe. His use of dynamic variety demands the greatest respect: at one point, the repetition of a melodic phrase is but a pale echo of its first statement. His tonal palette is no less wondrous. When a deep bass note suddenly appears, early in the A section of the ABA structure, it sounds-not loud nor quiet, not muffled nor distinct-but awesomely subterranean. Kapell begins the piece without much sustaining pedal, but in the B section, he subtly adds more and more. Then, when the A section returns near the end, the pedal disappears. This dramatic change in color-along with Chopin's change of key-seems like the parting of clouds. We are in the hands of two masters here, Chopin and Kapell. Kapell gave this performance in Carnegie Hall in February of 1945, when he was twenty-two years old.

In the Bach and Chopin works I've discussed, the steely, percussive tone that some speak of is nowhere to be heard. Rather, we hear a full, rich, and complex piano tone. In the Chopin Sonatas, the Debussy pieces, and the Schubert, Schumann, Mendelssohn, Debussy, and Albeniz, the sound Kapell produces is beautiful and varied.

He was a chamber musician of the first order, as his collaborations with Heifetz prove. (He was one of the very few musicians who had the force of personality to make Heifetz accompany HIM. And you can hear it.) And if you've never heard Rachmaninov's great Cello Sonata, played here with the grand Russian/German cellist Edmund Kurtz, you're in for a treat. There are several fine, modern stereo recordings, but this one is special. The piano part is very important-Rachmaninov did write it, after all-and Kapell is magnificent. This was Rachmaninov's next published work after the 2nd Piano Concerto, to give you an idea of its melodic grandeur. If there is a flaw here, it is that the piano is recorded too far back, relative to the cello.

Kapell died on October 30, 1953. He had just turned thirty-three. He played his last recital in Geelong, Australia, on the 22nd. It included the Chopin 2nd Piano Sonata which contains the well-known "Marche funèbre." That performance is included here, transferred from the original acetates. It is a great performance but very hard to listen to now, in light of what was to follow just over a week later. I am writing this one day short of the 52nd anniversary of Kapell's death. Had he lived until today, he would be younger than either Earl Wild or Ivan Moravec, both of whom are still making magnificent music. For those of us who love William Kapell's music, it is heartbreaking to consider, and fruitless. Thank Heaven we have recordings like the ones in this set. They are essential for any lover of good music.

John Pendley

Priceless Souvenirs from a Rare Genius: Ave Atque Vale.......2005-10-28

During the last century we have had many tragic losses in the arts, often affecting men and women who are at the peak of their careers, shimmering with excellence, only to be silenced by death and all too often, by accidental death. The names of Anton Webern, Fritz Wunderlich, WG Sebald, Sylvia Plath, Dinu Lipatti, and so many others arise, but none as tragic as the death of William Kapell in 1953.

William Kapell is still considered by most as the America's greatest pianist, even fifty odd years after his death at the age of 31 in a plane crash. Those who heard him perform still rhapsodize over the magic he created. Those of us who are left with only recordings, such as this spectacular boxed set of all of his recordings, can only be uplifted by the man's genius, his extraordinary technical facility, and his intuitive, profound approach to the great works of music.

All styles of music were easily accessible to Kapell. Listen to the Mozart, Bach, Scarlatti, Paganini and Mendelssohn and try to imagine performances of more clarity and finesse than these. His Chopin is well represented in this set and glows with the uncanny power and tenderness that Chopin combined in his works. His works for solo piano by Rachmaninov and Shostakovich are the gold standard, and yet his Schubert, Schumann, Brahms, Mussorgsky and Liszt raise the bar for excellence that has since not been excelled. Joyously this set includes concerti including Prokofiev, Beethoven, Khachaturian, and Rachmaninov with the various conductors who saw Kapell's gifts and championed them.

The memory of this great artist is felt throughout the year, but never as acutely as on October 29th which marks the date of his cruel death. The world was brightened for too short a time by William Kapell, yet because of his recorded legacy his legend lives on. This is an impossibly fine box set of treasures. Highly Recommended. Grady Harp, October 05

Poetry without words.......2004-12-14

In listening ot this collection, I think of the other 20th century pianistic genius who died tragically young: Dinu Lipatti (d. 1950). Both men excelled at Chopin but each had a thoroughly individual sound. In addition to Chopin, the Rachmaninoff and Prokofiev are especially fine. Highly recommended.

What Is Technically Difficult Is Not Always Pleasant To Hear.......2004-10-02

Piano enthusiasts might find this set incredible, but I prefer my music to be pleasant. Consider your tastes before buying.

Average customer rating:

At least 16 / 19 well spent hours
Enlightening but slighly blemished
Chopin - Luisada, Jean-Marc
Chopin - Luisada, Jean-Marc
Learn, learn, learn!

Chopin: Complete Edition
Krystian Zimerman , Claudio Arrau , Stefan Askenase , Anatol Ugorski , Maurizio Pollini , Jean-Marc Luisada , and Zilberstein, Lilya
Manufacturer: Deutsche Grammophon
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

Trios | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Ballads | Forms & Genres | Classical | Styles | Music

Etudes | 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

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

Liszt: Piano Works
Bach: Complete Works - 155 CD Box Set
Wolfgang Amadeus Mozart: Complete Works (170 CD Box Set)
Chopin: The Piano Works
Haydn: The Masterworks [Box Set]

ASIN: B00001X58Z
Release Date: 1999-10-12

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:

Berceuse En Rl Majeur In D Flat Major, Op.57
Chant Plonais N 12 'Moja Piesczotka'
Etude En Sol Bl Majeur In G Flat, Op.10 N 5
Etude En Sol Bl Majeur In G Flat, Op.25 N 9
Etude En La Mineur In A Minor, Op.25 N 11
Impromtu N 1 En La Bl Majeur In A Flat Major, Op.29
Impromtu N 2 En Fa Di Majeur In F Sharp, Op.36
Etude En La Bl Majeur In A Flat Major, Op.25 N 1
Valse N 7 En Ut Diineur In C Sharp Minor, Op.64 N 2
Berceuse En Rl Majeur In D Flat, Op. 57
Ballade N 1 En Sol Mineur In G Minor, Op.23
Prdes Op.28 N 1 En Ut Majeur In C
Prdes Op.28 N 4 En Mi Mineur In Minor
Prdes Op.28 N 8 En Fa Di Mineur In F Sharp
Prdes Op.28 N 12 En Sol Di Mineur In G Sharp Minor
Prdes Op.28 N 17 En La Bl Majeur In A Flat Major
Prdes Op.28 N 19 En La Bl Majeur In E Flat Major
Prdes Op.28 N 24 En Rineur In D Minor
Sonate N 3 En Si Mineur In B Minor, Op.58 I Allegro Maestoso
Sonate N 3 En Si Mineur In B Minor, Op.58 II Scherzo (Allegro vvace)
Sonate N 3 En Si Mineur In B Minor, Op.58 III Largo
Sonate N 3 En Si Mineur In B Minor, Op.58IV Finale (Presto Non Tanto)

Tracks:

Prde En Sol Di Mineur In G Sharp Minor, Op.28 N 12
Nocturne En Mi Bl Majeur In E Flat, Op.9 N 2
Sonate N 2 En Si Bl Majeur In B Flat Major, Op.35: I Grave-Allegro
Sonate N 2 En Si Bl Majeur In B Flat Major, Op.35: II Scherzo
Sonate N 2 En Si Bl Majeur In B Flat Major, Op.35: III Marche Fune
Sonate N 2 En Si Bl Majeur In B Flat Major, Op.35: IV Finale (Presto)
Polonaise N 6 En La Bl Majeur In A Flat Major, Op.53
4 Ballades N 1 En Sol Mineur In G Minor, Op.23
4 Ballades N 2 En Fa Majeur In F MajorOp, 38
4 Ballades N 3 En La Bl Majeur In A Flat Major Op,47
4 Ballades N 4 En Fa Mineur In F Minor, Op.52
Fantaisie En Fa Mineur In F Minor, Op.49
Tarentelle En La Bl Majeur In A Flat, Op.43

Tracks:

Barcarolle En Fa Di Majeur In F Sharp, Op.60
12 Etudes Op.10 N 1 In C
12 Etudes Op.10 N 2 In A
12 Etudes Op.10 N 3 In E
12 Etudes Op.10 N 4 In c Sharp
12 Etudes Op.10 N 5 In G Flat
12 Etudes Op.10 N 6 In G Flat
12 Etudes Op.10 N 7 In E Flat
12 Etudes Op.10 N 8 In F
12 Etudes Op.10 N 9 In f
12 Etudes Op.10 N 10 In A Flat
12 Etudes Op.10 N 11 E Flat
12 Etudes Op.10 N 12 In C
12 Etudes Op.25 N 1 In A Flat
12 Etudes Op.25 N 2 In f
12 Etudes Op.25 N 3 In F
12 Etudes Op.25 N 4 In a
12 Etudes Op.25 N 5 In e
12 Etudes Op.25 N 6 In g Sharp
12 Etudes Op.25 N 7 In c Sharp
12 Etudes Op.25 N 8 In D Flat
12 Etudes Op.25 N 9 In G Flat
12 Etudes Op.25 N 10 In B Flat
12 Etudes Op.25 N 11 In a
12 Etudes Op.25 N 12 In c
Valses N 1 In E Flat, Op.18
Valses N 5 In A Flat, Op.42
Valses N 10 In b, Op.69 N 2
Valses N 14 In e, Op. Posth.

Tracks:

Piano Con No. 2 En f Op.21 I Allegro
Piano Con No. 2 En f Op.21 II Larghetto
Piano Con No. 2 En f Op.21 III Allegro Vivace
Impromptu No.3 In G Flat, Op.51
14 Valses No.1 In E Flat, Op.18
14 Valses No.2 In A Flat, Op.34 No.1
14 Valses No.3 In a, Op.34 No.2
14 Valses No.4 In F, Op.34 No.3
14 Valses No.5 In A Flat, Op.42
14 Valses No.6 In D Flat, Op.64 No.1
14 Valses No.7 In c Sharp, Op.64 No.2
14 Valses No.8 In A Flat, Op.64 No.3
14 Valses No.9 In A Flat, Op.69 No.1
14 Valses No.10 In b, Op.69 No.2
14 Valses No.11 In G Flat, Op.70 No.1
14 Valses No.12 In f, Op.70 No.2
14 Valses No.13 In D Flat, Op.70 No.3
14 Valses No.14 In e, Op. Posth.

Tracks:

24 Prdes Op.28 No.1 In C
24 Prdes Op.28 No.2 In a
24 Prdes Op.28 No.3 In G
24 Prdes Op.28 No.4 In e
24 Prdes Op.28 No.5 In D
24 Prdes Op.28 No.6 In b
24 Prdes Op.28 No.7 In A
24 Prdes Op.28 No.8 In f Sharp
24 Prdes Op.28 No.9 In E
24 Prdes Op.28 No.10 In c Sharp
24 Prdes Op.28 No.11 In B
24 Prdes Op.28 No.12 In g Sharp
24 Prdes Op.28 No.13 In F Sharp
24 Prdes Op.28 No.14 In e Flat
24 Prdes Op.28 No.15 In D Sharp
24 Prdes Op.28 No.16 In B Flat
24 Prdes Op.28 No.17 In A Flat
24 Prdes Op.28 No.18 In f
24 Prdes Op.28 No.19 In E Flat
24 Prdes Op.28 No.20 In c
24 Prdes Op.28 No.21 In B Flat
24 Prdes Op.28 No.22 In g
24 Prdes Op.28 No.23 In F
24 Prdes Op.28 No.24 In d
12 Etudes Op.10 No.1 In C
12 Etudes Op.10 No.2 In a
12 Etudes Op.10 No.3 In E
12 Etudes Op.10 No.4 In c Sharp
12 Etudes Op.10 No.5 In G Flat
12 Etudes Op.10 No.6 In e Flat
12 Etudes Op.10 No.7 In C
12 Etudes Op.10 No.8 In F
12 Etudes Op.10 No.9 In f
12 Etudes Op.10 No.10 In A Flat
12 Etudes Op.10 No.11 In E Flat
12 Etudes Op.10 No.12 In c

Tracks:

12 Etudes Op.25 No.1 In A Flat
12 Etudes Op.25 No.2 In f
12 Etudes Op.25 No.3 In F
12 Etudes Op.25 No.4 In a
12 Etudes Op.25 No.5 In e
12 Etudes Op.25 No.6 In g Sharp
12 Etudes Op.25 No.7 c Sharp
12 Etudes Op.25 No.8 In D Flat
12 Etudes Op.25 No.9 In G Flat
12 Etudes Op.25 No.10 In b
12 Etudes Op.25 No.11 In a
12 Etudes Op.25 No.12 in c
2 ChantsPolonais Op.75 (Transcription F.Liszt):Printemps ('Wiosna')
2 ChantsPolonais Op.75 (Transcription F.Liszt):L'Anneau ('Pierscien')
Nocturnes No.4 In F, Op.15 No.1
Nocturnes No.5 In F Sharp, Op.15 No.2
Nocturnes No.7 In c Sharp, Op.27 No.1
Nocturnes No.15 In f, Op.55 No.1
Nocturnes No.16 In E Flat, Op.55 No.2
3 Nouvelles Etudes Pour La Mode De Moscheles & Fs No.1 In f
3 Nouvelles Etudes Pour La Mode De Moscheles & Fs No.2 In D Flat
3 Nouvelles Etudes Pour La Mode De Moscheles & Fs No.3 In A Flat
Prde In c SHarp, Op.45

Customer Reviews:

hmmmmm.......2005-11-28

I have not purchased the CD but listened to the one minute sample of the first etude opus ten. I am not a fanatic diehard stickler for technique but there were at least 30 or so mistakes/slips. This makes me reluctant to purchase the disc.

Be prepared for lesser quality recording.......2005-11-15

I purchased this CD set on the advice of other reviewers because I wanted a collection of Chopin works and it seemed that Cortot was one of the best pianists who performed Chopin's works.

I cannot write about his musicianship compared with other artists--please read the other reviews. But I will say that if you're planning to purchase this set, be prepared that the quality of the recording is really not that good. I did not heed the warnings of the other reviewers. It sounds like Cortot is performing in the middle of a waterfall.

Perhaps this recording will grow on me, but I'm going to look elsewhere for a set of Chopin works that I would listen to on a regular basis.

Thanks for reading.

You haven't really heard Chopin if you haven't heard Cortot!.......2005-09-21

Well, that may well be the case.

Cortot had won open admiration of Schiff, Cziffra, Michelangeli, Arrau, Solti... just to name a few. His pianism and his Chopin included is so incisive, with myriad of hues from coming from his subtle touch. And the poignancy is such that it is pure poetic ecstasy all through.

Talking about this album, despite the fact that Cortot had a long performing and recording career, the real obstacle is the archive sound. In this album we can have almost the best recording possible, with better transfer than most other trade names by far, be it Naxos or Aura, or whatever for the price of something like Naxos!

Note however that there is some grumble that EMI should instead chose his Preludes recorded in the 30s rather than those of the 40s, and EMI shouldn't have chosen his B Minor Sonata of recorded in the 50s when Cortot was declining... But in the latters we have better recordings and they are more bewitching even if slightless less staggering. Likewise, Barbirolli's accompaniment here may not be the most ideal, yet it is so fresh and so alive to say the least. On the whole, the recording and transfer is much better than what we have in Rachmaninov's box set by RCA.

Enormously enjoybale with so much to learn. And for those find the archive sound hard to bear with, do bear in mind that the pianist whom Schiff listen to most is Cortot, and before Cortot, it was Schnabel!

A must for both Chopin lovers and piano enthusiasts.......2004-10-17

This box set, something very difficult to find in the real world, is a must(!) for anyone interested, historically speaking, in how these works should sound along with their evolution from the early 1900's to the present. Why is Cortot qualified for this role? His teacher was Louis Dermier, one of Chopin's last pupils and supposed one of his favourites. This means Cortot is in fact the grandson of the Chopin technique, learning from one who was directly intructed how to play these works. Beyond that, he is one of the most remarkable pianists of his or any time, often criticized from an overextensive rubato, but this is the essence of Cortot. He may be the most informed pianist of all time, not only dissecting the notes on the page, but the mind of the composer and the life at the time that each composition was invented.
Any enthusiast of Chopin must listen to these recordings with an open mind. At first you will shun them, unaccustomed to the way the pieces differ from today, but soon they will grow on you and you hear each piece as if for the first time, and yo realize how far off our modern pianists are from the truth of the music. Most are more tachnically perfect than Cortot, he was often missing or hitting wrong notes, but the emotion behind those notes is what is the real importance of the music, something lost in todays pianists. Someone once said I would rather hear a good pianists wrong notes than a bad pianists right ones. And I cannot think of a more perfect personification of that comment than Cortot. In my mind he ranks as one of the top five pianists of the recording era, along with Hofmann, Richter, Horowitz, Gilels, and Moiseiwitsch. But honestly, I find more enjoyment listening to Cortot than any other single pianist on record, and this cortot box set covers almost three fourths of his Chopin output, so if you enjoy this find his Emi References of the Impromptus, the two great pianists disc are wonderful transfers, the chamber music trio with Thibaudet and Casals, and for the real enthusiast with money, the prades festival contains his last recording which a perfectly flawed rendition of the Third Cello Sonata by Beethoven and a version of Bei Mannern(different than the naxos.)

Must have!.......2003-07-24

This collection includes about 75% of Cortot's Chopin Recordings, which makes it the best value for anyone who doesn't already have these recordings. Several redundant recordings of works provide a glimpse into Cortot's mental makeup, and shows us just how much of his musical ideas change over time. Add to that the fact that most of the recordings are wonderful to listen to, and you have a must have recordings!

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

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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:

Pno Conc No.1 in e, Op.11. I: Allegro Maestoso - Monte Carlo National Opera Orch/Luis Fremaux
Pno Conc No.1 in e, Op.11: II. Romanze: Larghetto - Monte Carlo National Opera Orch/Luis Fremaux
Pno Conc No.1 in e, Op.11: III. Rondo: Vivace - Monte Carlo National Opera Orch/Luis Fremaux
Pno Conc No.2 in f, Op.21: I. Maestoso - Monte Carlo National Opera Orch/Luis Fremaux
Pno Conc No.2 in f, Op.21: II. Larghetto - Monte Carlo National Opera Orch/Luis Fremaux
Pno Conc No.2 in f, Op.21: III. Allegro Vivace - Monte Carlo National Opera Orch/Luis Fremaux

Tracks:

Polonaise No.1 in c#, Op.26 No.1 - Pierre Barbizet
Polonaise No.2 in e flat, Op.26 No.2 - Pierre Barbizet
Polonaise No.3 in A 'Militaire', Op.40 No.1 - Pierre Barbizet
Polonaise No.4 in c, Op.40 No.1 - Pierre Barbizet
Polonaise No.5 in f#, Op.44 - Pierre Barbizet
Polonaise No.6 in A flat 'Heroique', Op.53 - Pierre Barbizet
Polonaise No.7 in A flat 'Polonaise Brillante', Op.61 - Pierre Barbizet
Andante Spianato Et Grande Polonaise in E flat, Op.22 - Pierre Barbizet

Tracks:

Polonaises Posthumes in d, Op.71 No.1 - Pierre Barbizet
Polonaises Posthumes in B flat, Op.71 No.2 - Pierre Barbizet
Polonaises Posthumes in f, Op.71 No.3 - Pierre Barbizet
Fant in f, Op.49 - Pierre Barbizet
Tarentelle in a flat, Op.43 - Pierre Barbizet
Barcarolle in F#, Op.60 - Pierre Barbizet
Rondo in C, Op.73 - Pierre Barbizet

Tracks:

Ballade No.1 in g, Op.23
Ballade No.2 in F, Op.38
Ballade No.3 in A flat, Op.47
Ballade No.4 in f, Op.52
Scherzo No.1 in b, Op.20
Scherzo No.2 in b flat, Op.31
Scherzo No.3 in c#, Op.39
Scherzo No.4 in E, Op.54

Tracks:

Valse No.1 in E flat 'Grande Valse Brillante', Op.18
Valse No.2 in A flat 'Valse Brillante', Op.34 No.1
Valse No.3 in a, Op.34 No.2
Valse No.4 in F 'Valse Brillante', Op.34 No.3
Grande Valse No.5 in A flat, Op.42
Valse No.6 in D flat, Op.64 No.1
Valse No.7 in c#, Op.64 No.2
Valse No.8 in A flat, Op.64 No.3
Valse No.9 in A flat, Op.69 No.1
Valse No.10 in b, Op.69 No.2
Valse No.11 in G flat, Op.70 No.1
Valse No.12 in f, Op.70 No.2
Valse No.13 in D flat, Op.70 No.3
Valse No.14 in e, Op. posth
Impromptu No.1 in A flat, Op.29
Impromptu No.2 in F#, Op.36
Impromptu No.3 in G flat, Op.51
Impromptu No.4 in c# 'Fant-Impromptu', Op.66

Tracks:

Son No.2 in b flat, Op.35: I. Grave - Doppio Movt
Son No.2 in b flat, Op.35: II. Scherzo: Presto, Ma Non Troppo - Piu Lento - Tempo I
Son No.2 in b flat, Op.35: III. Marche Funebre: Lento
Son No.2 in b flat, Op.35: IV. Finale: Presto
Son No.3 in b, Op.58: I. Allegretto Maestoso
Son No.3 in b, Op.58: II. Scherzo: Molto Vivace
Son No.3 in b, Op.58: III. Largo
Son No.3 in b, Op.58: IV. Finale: Presto, Ma Non Tanto
Mazurka No.1 in f#, Op.6 No.1
Mazurka No.2 in c#, Op.6 No.2
Mazurka No.3 in E, Op.6 No.3
Mazurka No.4 in e flat, Op.6 No.4
Mazurka No.5 in B flat, Op.7 No.1
Mazurka No.6 in a, Op.7 No.2
Mazurka No.7 in f, Op.7 No.3
Mazurka No.8 in A flat, Op.7 No.4
Mazurka No.9 in C, Op.7 No.5
Mazurka No.10 in B flat, Op.17 No.1
Mazurka No.11 in e, Op.17 No.2
Mazurka No.12 in A flat, Op.17 No.3
Mazurka No.13 in a, Op.17 No.4
Mazurka No.14 in g, Op.24 No.1
Mazurka No.15 in C, Op.24 No.2
Mazurka No.16 in A flat, Op.24 No.3
Mazurka No.17 in b flat, Op.24 No.4

Tracks:

Mazurka No.18 in c, Op.30 No.1
Mazurka No.19 in b, Op.30 No.2
Mazurka No.20 in D flat, Op.30 No.3
Mazurka No.21 in c#, Op.30 No.4
Mazurka No.22 in g#, Op.33 No.1
Mazurka No.23 in D, Op.33 No.2
Mazurka No.24 in C, Op.33 No.3
Mazurka No.25 in B, Op.33 No.4
Mazurka No.26 in c#, Op.41 No.1
Mazurka No.27 in e, Op.41 No.2
Mazurka No.28 in B, Op.41 No.3
Mazurka No.29 in A flat, Op.41 No.4
Mazurka No.30 in G, Op.50 No.1
Mazurka No.31 in A flat, Op.50 No.2
Mazurka No.32 in c#, Op.50 No.2
Mazurka No.33 in B, Op.56 No.1
Mazurka No.34 in C, Op.56 No.2
Mazurka No.35 in c, Op.56 No.3
Mazurka No.36 in a, Op.59 No.1
Mazurka No.37 in A flat, Op.59 No.2
Mazurka No.38 in f#, Op.59 No.3
Mazurka No.39 in B, Op.63 No.1
Mazurka No.40 in f, Op.63 No.2
Mazurka No.41 in c#, Op.63 No.3
Mazurka No.42 in G, Op.67 No.1
Mazurka No.43 in g, Op.67 No.2
Mazurka No.44 in C, Op.67 No.3
Mazurka No.45 in a, Op.67 No.4
Mazurka No.46 in C, Op.68 No.1
Mazurka No.47 in a, Op.68 No.2
Mazurka No.48 in F, Op.68 No.3
Mazurka No.49 in f, Op.68 No.4
Mazurka No.50 in a
Mazurka No.51 in a

Tracks:

Etudes, Op.10: No.1 in C
Etudes, Op.10: No.2 in a
Etudes, Op.10: No.3 in E
Etudes, Op.10: No.4 in c#
Etudes, Op.10: No.5 in G flat
Etudes, Op.10: No.6 in e flat
Etudes, Op.10: No.7 in C
Etudes, Op.10: No.8 in F
Etudes, Op.10: No.9 in f
Etudes, Op.10: No.10 in A flat
Etudes, Op.10: No.11 in E flat
Etudes, Op.10: No.12 in c
Etudes, Op.25: No.1 in A flat
Etudes, Op.25: No.2 in f
Etudes, Op.25: No.3 in F
Etudes, Op.25: No.4 in a
Etudes, Op.25: No.5 in e
Etudes, Op.25: No.6 in g#
Etudes, Op.25: No.7 in c#
Etudes, Op.25: No.8 in D flat
Etudes, Op.25: No.9 in G flat
Etudes, Op.25: No.10 in b
Etudes, Op.25: No.11 in a
Etudes, Op.25: No.12 in c
Nouvelles Etudes, Op.Posth: No.1 in f
Nouvelles Etudes, Op.Posth: No.2 in D flat
Nouvelles Etudes, Op.Posth: No.3 in A flat

Tracks:

Nocturne No.1 in b flat, Op.9 No.1
Nocturne No.2 in E flat, Op.9 No.2
Nocturne No.3 in B, Op.9 No.3
Nocturne No.4 in F, Op.15 No.1
Nocturne No.5 in F#, Op.15 No.2
Nocturne No.6 in g, Op.15 No.3
Nocturne No.7 in c#, Op.27 No.1
Nocturne No.8 in D flat, Op.27 No.2
Nocturne No.9 in B, Op.32 No.1
Nocturne No.10 in A flat, Op.32 No.2
Nocturne No.11 in g, Op.37 No.1
Nocturne No.12 in g, Op.37 No.2
Nocturne No.13 in c, Op.48 No.1

Tracks:

Nocturne No.14 in f#, Op.48 No.2
Nocturne No.15 in f, Op.55 No.1
Nocturne No.16 in E flat, Op.55 No.2
Nocturne No.17 in B, Op.62 No.1
Nocturne No.18 in E, Op.62 No.2
Nocturne No.19 in e, Op.72 No.1
Prlds, Op.28 No.1 in C
Prlds, Op.28 No.2 in a
Prlds, Op.28 No.3 in G
Prlds, Op.28 No.4 in e
Prlds, Op.28 No.5 in D
Prlds, Op.28 No.6 in b
Prlds, Op.28 No.7 in A
Prlds, Op.28 No.8 in f#
Prlds, Op.28 No.9 in E
Prlds, Op.28 No.10 in c#
Prlds, Op.28 No.11 in B
Prlds, Op.28 No.12 in g#
Prlds, Op.28 No.13 in F#
Prlds, Op.28 No.14 in e flat
Prlds, Op.28 No.15 in D flat
Prlds, Op.28 No.16 in b flat
Prlds, Op.28 No.17 in A flat
Prlds, Op.28 No.18 in f
Prlds, Op.28 No.19 in E flat
Prlds, Op.28 No.20 in c
Prlds, Op.28 No.21 in B flat
Prlds, Op.28 No.22 in g
Prlds, Op.28 No.23 in F
Prlds, Op.28 No.24 in d

Customer Reviews:

The idiosyncratic gaze! .......2006-08-17

Samson Francois' Chopin has overtly overtopped and even redefined the whole concept around Chopin's universe.

As a matter of fact, Alfred Cortot, Dinu Lipatti, Arturo Benedetti Michelangeli brought not only a refreshing vision but still better, new perspectives of interpretation, leaving behind the romanticism and approaching him under the idiosyncratic emblem of a bygone era. That's what the previous reviewers have denominated eccentric rather than interpretative renovation, where the dimension of every piece is considered in its own individuality and specific weight, where the concept of miniaturist composer has been substituted by the thinker poet, earning an organic quality and major dramatic scope.

I cannot think about another pianist who may phrase Chopin as Francois did it. So, please do me a favor and firmly decide to acquire it. You will surprise yourself!

Fascinating Chopin.......2006-02-17

I understand Francois was somewhat of an eccentric, and in a way his playing of these familiar great works are sometimes eccentric, for instance in the tempos of the first movement of the First Concerto and the first movement of the B-flat minor sonata. He is a great magician and poet, however, and these well-recorded readings have given me immense pleasure. Great for a more non-traditional look at Chopin, a composer that allows the performer a lot of leeway to engage in fluctuations of line and tempo without diminishing the works. The Noctures, Ballades, Concerti, Sonatas, Preludes, Polonaises and Etudes are wonderful. The Mazurkas seem pretty cold-hearted and are the low point of the set. However, the highs far outweigh the lows, and I highly recommend this modestly priced set as a very interesting alternative to more traditional approaches. A unique artist.

The One and Only One Chopinist?.......2005-01-25

Samson Francois is more well-known in Europe (or even in Asia) than in US.

Philips, advised by Alfred Brendel among others, presented Samson Francois as one of the greatest pianists of the century. In Philips' list, we do have some extraordinary Chopinists. Fridedman's Mazurkas are said to be unsurpassble, so are Cortot's Preludes & Etudes (or all his Chopin), or Lipatti's Waltzes. Or else, Hofmann's or Rachmaninov's Chopin are just marvelous. But those are historic recordings. While some prefer Moravec or even Arrau's Nocturnes, Rubinstein's Nocturnes, and particularly his Polonaises, like Agerich's Preludes are a sensation. Cziffra's Chopin is superb, so is Freire in general. But we can't leave out Samson as a leading Chopin interpreter.

Samson was perhaps the greatest of Cortot's pupils. From his Chopin Ballades, there are all-embracing colours (by the subtlety of using the pedal among other things) creating rainbow after rainbow. The harmonic suspensions as the nub of the Ballades adds so much to the potency of music. His Nocturnes, darkening the colours in the background creating the right atmostphere together with the poignancy of his narrative power, compare favourably with Arrau's. His Preludes may not be a fiery as Agerich's, but they are more bitter, so bitter that he is a type of his own...

The Nocturnes are recorded in '66. And in any event the earliest recording in the boxset was made in '54 and the re-mastering is so good that unless you make an effort, you won't be able to tell them from modern recordings and yet they are sold at bargain price. Grap it while it is still available.

Excellent, Eccentric Chopin.......2004-01-18

The Chopin "Piano Works" featured in this 10 CD set from EMI's "Budget Box Series" are excellent, yet eccentric. Those used to the romance and poetry of Rubinstein, the deliberateness and precision of Horowitz, or the power and grace of Pollini may well be in for a shock when it comes to Samson Francois' Chopin. The Piano Concertos, performed with Louis Fremaux conducting the Monte Carlo National Opera Orchestra from 1965 (and available as a single disc in EMI's "Great Recordings of the Century" series) are strikingly different from accounts I am more familiar with by Argerich, Bachauer and Gilels. To say their defining characteristic is that they are more French sounding is an understatement. The highlight of this set, which by the way is not a "complete" volume of all of Chopin's piano music, has to be the Ballades (though, like much of the material in this set they are in mono) and the Nocturnes (in stereo from 1966). In turn, the low point is most certainly the Mazurkas -- Artur, where are you when we need you? In all, this is certainly an amazing musical document, and at this budget price, a nice alternative to more accepted readings. But my five-star rating comes with the caveat that this Box Set is not for those looking for there one and only Chopin collection.

Average customer rating:

THE BIG LEAGUE

Chopin: uvres pour piano

Manufacturer: EMI Classics Imports
ProductGroup: Music
Binding: Audio CD

Dances | Ballets & Dances | Classical | Styles | Music

Polonaises | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Ballads | Forms & Genres | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Barcarolles | Vocal Non-Opera | Opera & Vocal | Styles | Music
Similar Items:

Liszt: Works For Piano
Les introuvables de Cziffra
Rendez-vous de Senlis

ASIN: B00008LLIS
Release Date: 2004-02-10

Tracks:

19 Valses
Polonaise Op. 53 - Heroique
Polonaise Op. 40 No.1 - Militaire
Polonaise Op. 40 No.2
Polonaise Op. 44
Polonaise-Fantasy Op. 76
Bolero Op. 19
Tarentelle Op. 43
Barcarolle Op. 60
Impromptu No. 1 Op. 29
Impromptu No. 2 Op. 36
Impromptu No. 3 Op. 51
Fantasie-Impromtu Op. 66
Ballade No. 4
Sonata No. 2 Op. 35
Sonata No. 3 Op. 58
12 Etudes Op. 10
12 Etudes Op. 25
Concerto Pour Piano No. 1 Op. 11
Krakowiak Op. 14
2 Chants Polonais (Trans. Liszt)
Fantasie Op. 49

Customer Reviews:

THE BIG LEAGUE.......2004-11-19

Cziffra, unlike Horowitz, took days off from being a showman. His Grieg concerto is not at all showy nor, I believe, is his Tchaikovsky, and nothing on these two discs of Chopin has anything like the flamboyance of his set of the studies. He is probably the most likeable super-virtuoso of them all, and there is a certain innocence about him (Horowitz is much 'badder'). His lyric manner has an unaffected naturalness that propels some of his interpretations to the top of my preferences, there is a sense of sky and air about much of his playing that has the rest sounding laboured or contrived, and occasionally he is oddly low-key -- the military polonaise ends in a slightly apologetic 'er, that's it' way, and the two pieces in F# (the second impromptu and the Barcarolle) are definitely too restrained in my opinion. The F# impromptu is an odd and very original piece, and I liked Cziffra's imaginative pedalling in the two little fanfare passages, but in the middle section the voltage is far too low. I'll stick with Rubinstein for this and also with Rubinstein and Horowitz for the celestial Barcarolle, my own outright favourite of all Chopin's works. Rubinstein's urbane manner suits it very well, but he is not afraid to let himself go when the big tune surges out in all its magnificence. Cziffra, even more than Lipatti, seems overly concerned not to be virtuosic, and he even plays the entire opening phrase quietly, where my edition and every other performance I know has it starting loudly followed by a diminuendo. Horowitz has no such inhibitions of course, and his is my favourite version of all with his superlative double-trills, the thrilling way be blazes out into forte in the second section and the touch of suffused sparkle in the quiet right-hand runs just before the end. Much of Chopin's work has a feel of etude about it, not just the 27 pieces that he gave that name to, and the Barcarolle seems to me to be in part a study in pedalling and trills. Cziffra was a master among masters of pedalling, but if I have one criticism of his almighty technique it is that his trilling is often casual-sounding, here and elsewhere. His pedalling is another matter altogether, a miracle of alertness, sensitivity and imagination.

Of the other smaller pieces, I would say that this version of the A flat polonaise is not as good as the one on his record of the studies, nor as the one on the Senlis disc. Here Cziffra doesn't use that ultimate technical command, that Rubinstein hasn't quite got, to give the middle section the treatment it deserves -- slip the gears the way Horowitz and Ashkenazy do. His Polonaise-fantasy is good but not as searching as Rubinstein's still less Richter's, nor as defiant as Horowitz's if that is the way you prefer it. There is little to choose between him and Rubinstein in the other 3 polonaises, but I prefer his touch in the central mazurka in the F# minor and in the Fantasy-impromptu. In the Bolero he has the edge on Rubinstein for easy-going virtuosity, and in the Tarantella he easily outshines him without even bothering with virtuosity. In the first and third impromptus there is little between them, both taking a fairly relaxed speed as opposed to the old-fashioned high-velocity treatment of the first impromptu by Moiseivitsch or the not-very-convincing in-between approach adopted by Horowitz.

In both the sonatas he is my new top choice. In the B flat minor he mercifully spares us the repeats -- the work's intense 'dwarf-star' quality comes over better without them -- his funeral march is the best I ever heard, and he has a very original way, bleak indeed, with the finale, even if he doesn't dislodge Michelangeli from first place in that. In the B minor he makes more sense, to my ears, of the first movement development than Rubinstein or Lipatti -- it all coheres as one consistent process for once. His simple lyric style keeps the Largo from sounding too long, the trio of the scherzo comes over as music not as an exercise, and the piece as a whole is less intellectually-driven than by Lipatti and has, for me anyway, just an indefinable edge in freshness over Rubinstein.

For completeness, there are 2 of Chopin's Polish songs messed about with by Cziffra's beloved Liszt but played as superbly as you would expect.

Track Listings:

Track Listings

track listings

Track Listings

Alannah

Classical Treasures: Concert Under the Stars

Bright Lights Big City [Import]

Country Legends [Box set]

Coleccion de Oro [Box set]

Deep Fried Fanclub

Epode [EP]

Electronic Summer in Corsica, Vol. 1 [Import]

Paradise

Put Up or Shut Up