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Kathryn Stott|Chopin: Favorite Nocturnes & more

Chopin: Favorite Nocturnes & more

Kathryn Stott

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Language available : english

Previously released on Regis Records, this Alto reissue of Kathryn Stott's 1992 recordings of 12 favorite nocturnes by Frédéric Chopin, along with his Fantaisie Impromptu and the Barcarolle, offers interpretations that are charming in character and fully romantic in expression, though always in the best taste. Stott's polished technique, sensitive touch, and elegant execution are well-suited to Chopin's music, and she takes great care in presenting the nocturnes' melodic lines with a smooth lyicism that resembles the bel canto style that originally inspired them. Stott is also careful to maintain the feeling of a steady rhythmic pulse in the left hand in passages where rubato in the almost independent melody appears to slacken the meter, a paradox that lies at the heart of performing Chopin and is especially apparent in these poetic character pieces. The sound of the recording is clean and natural, though the piano seems a little distant in the resonant space of St. George's Church, Bristol, so to get a fuller piano presence the volume needs to be set fairly high.
© TiVo

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Chopin: Favorite Nocturnes & more

Kathryn Stott

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1
Nocturne in E flat major, Op. 9 no. 2: Nocturne in E flat major, Op. 9 no. 2
00:04:05

Kathryn Stott, MainArtist

2010 Musical Concepts 2010 Musical Concepts

2
Nocturne in F major, Op. 15 no. 1: Nocturne in F major, Op. 15 no. 1
00:05:04

Kathryn Stott, MainArtist

2010 Musical Concepts 2010 Musical Concepts

3
Nocturne in F sharp major, Op. 15 no. 2: Nocturne in F sharp major, Op. 15 no. 2
00:03:16

Kathryn Stott, MainArtist

2010 Musical Concepts 2010 Musical Concepts

4
Nocturne in c sharp minor, Op. 27 no. 1: Nocturne in c sharp minor, Op. 27 no. 1
00:05:05

Kathryn Stott, MainArtist

2010 Musical Concepts 2010 Musical Concepts

5
Nocturne in D flat major, Op. 27 no. 2: Nocturne in D flat major, Op. 27 no. 2
00:06:25

Kathryn Stott, MainArtist

2010 Musical Concepts 2010 Musical Concepts

6
Nocturne in B major, Op. 32 no. 1: Nocturne in B major, Op. 32 no. 1
00:04:41

Kathryn Stott, MainArtist

2010 Musical Concepts 2010 Musical Concepts

7
Nocturne in c minor, Op. 48 no. 1: Nocturne in c minor, Op. 48 no. 1
00:06:27

Kathryn Stott, MainArtist

2010 Musical Concepts 2010 Musical Concepts

8
Nocturne in f minor, Op. 55 no. 1: Nocturne in f minor, Op. 55 no. 1
00:04:35

Kathryn Stott, MainArtist

2010 Musical Concepts 2010 Musical Concepts

9
Nocturne in E flat major, Op. 55 no. 2: Nocturne in E flat major, Op. 55 no. 2
00:05:32

Kathryn Stott, MainArtist

2010 Musical Concepts 2010 Musical Concepts

10
Nocturne in E major, Op. 62 no. 2: Nocturne in E major, Op. 62 no. 2
00:05:38

Kathryn Stott, MainArtist

2010 Musical Concepts 2010 Musical Concepts

11
Nocturne in e minor, Op. 72 no. 1: Nocturne in e minor, Op. 72 no. 1
00:03:27

Kathryn Stott, MainArtist

2010 Musical Concepts 2010 Musical Concepts

12
Nocturne in c sharp minor, Op. posth.: Nocturne in c sharp minor, Op. posth.
00:04:07

Kathryn Stott, MainArtist

2010 Musical Concepts 2010 Musical Concepts

13
Fantasie Impromptu in c sharp minor, Op. 66: Fantasie Impromptu in c sharp minor, Op. 66
00:05:10

Kathryn Stott, MainArtist

2010 Musical Concepts 2010 Musical Concepts

14
Barcarolle in F sharp major, Op. 60: Barcarolle in F sharp major, Op. 60
00:07:56

Kathryn Stott, MainArtist

2010 Musical Concepts 2010 Musical Concepts

Album Description

Previously released on Regis Records, this Alto reissue of Kathryn Stott's 1992 recordings of 12 favorite nocturnes by Frédéric Chopin, along with his Fantaisie Impromptu and the Barcarolle, offers interpretations that are charming in character and fully romantic in expression, though always in the best taste. Stott's polished technique, sensitive touch, and elegant execution are well-suited to Chopin's music, and she takes great care in presenting the nocturnes' melodic lines with a smooth lyicism that resembles the bel canto style that originally inspired them. Stott is also careful to maintain the feeling of a steady rhythmic pulse in the left hand in passages where rubato in the almost independent melody appears to slacken the meter, a paradox that lies at the heart of performing Chopin and is especially apparent in these poetic character pieces. The sound of the recording is clean and natural, though the piano seems a little distant in the resonant space of St. George's Church, Bristol, so to get a fuller piano presence the volume needs to be set fairly high.
© TiVo

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