Composer: W. A. Mozart. The music may be sent smartly on its way by both conductor and soloist, but the patrician ease, nonchalant glitter and authority of Rubinstein’s playing are uniquely his to command. This is very much Pollini’s disc, just as the First Concerto is very much the soloist’s show, but effacing as the accompaniment is, Pollini’s keyboard miracles of poetry and refinement could not have been achieved without one of the most characterful and responsive accounts of that accompaniment ever committed to tape. The legendary Polish pianist Krystian Zimerman, himself also winner of the famous Chopin competition, has recorded the concertos twice. Arthur Rubinstein pf Los Angeles Philharmonic Orchestra / Alfred Wallenstein; NBC Symphony Orchestra / William Steinberg. The programme embraces Chopin’s Opp 33‑38 with the exception of the two Nocturnes, Op 37, though they’re not played in chronological order. I don’t know; but it is certainly one of the most consistently inspired, masterfully executed and beautiful-sounding versions I can recall.' 1 by Martin Helmchen and Andrew Manze- A Positive Surprise, Cheerful Vivaldi for not so cheerful times, Brahms Late Piano Works In a New Fantastic Recording by Stephen Hough, The Fred Hersch Trio – Sunday Night At The Village Vanguard, Quatuor Ebène’s truly enjoyable Razumovsky quartets, Isabelle Faust and Alexander Melnikov’s Wonderful Mozart Violin Sonatas (vol. Here there is an almost arrogant dismissal of all difficulties and a prima donna stance sometimes hard to square with some of Chopin’s more delicate and ornate confidences. Gramophone is part of In fact, both that performance and this one by Mstislav Rostropovich and Martha Argerich are of strongly marked character, acutely, though differently, responsive to the music's every inflection, and both provide deep satisfactions. Right after the Nocturnes, the Preludes are my favorite Chopin, both op. If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information. I just found this thread so forgive my late post. I’ve also mentioned this Album in My 25 Essential Classical Music album, as it is so important to me. However, I wasn’t at all aware of Perlmutter. However I really didn’t have Demidenko on my radar. I haven’t heard yet about Stivin, will check him out. Jazz Journalist, Musician, Songwriter, Lecturer, Reviewing Great Albums and Books, All While Hopefully Keeping a Consistent Posting Schedule, random thoughts about music that matters to me, An Arts-Filled, Tasty And Sometimes-Loopy Jaunt Through Life, Thoughts on my painting and that of others. Read review, 'I doubt if the disc will ever find itself long absent from the catalogue' Read review. Learn how your comment data is processed. Pollini used to be my go to modern pianist for Chopin, but as I get older, I find that speed and precision satisfies me less and touch and emotional resonance is of greater significance. There’s an air of spontaneity, yet the expressive weight of each phrase is carefully considered, by York as well as by Wallfisch, giving the whole work a powerful sense of unity. International licensing, If you are a library, university or other organisation that would be interested in an institutional subscription to. The concerto was recorded shortly after the 18-year-old pianist’s victory at the Warsaw competition in 1959. That said, although I do appreciate good sound quality and at least on the headphone side have a system to appreciate it (Sennheiser HD800), I still will always prefer musical performance over recording quality. In the First Concerto, while recognisably the same pianist, Rubinstein is altogether more subtle, following his characteristic exuberance and extroversion with playing of a rapt magic and delicacy. Murray Perahia pf Israel Philharmonic Orchestra / Zubin Mehta. Add to this the medieval geographic restrictions of music licensing rights, and we’re far from a globalized world in terms of Jazz. Pollini begins with a magnificent account of the Ballade No 2, the maelstrom that erupts after the pastoral first page sounding like a howl of despair. In the Second Sonata, Pollini unites what Schumann called ‘four of [Chopin’s] wildest children’ into a family, a feat managed by few pianists, the first movement (with a da capo repeat) leading quite naturally into the Scherzo and so on.

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