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Classical - Released February 21, 2020 | Decca Music Group Ltd.

Hi-Res Distinctions Diapason d'or - 4F de Télérama - Le Choix de France Musique - Choc de Classica
The unconventional character that is Benjamin Grosvenor delivers us a very personal version of these two essential works of the piano repertoire. The first Brit to have signed an exclusive contract with Decca Classics in sixty years, he first made his name in 2004 when he won the Keyboard section of BBC Young Musician of the Year, thus throwing the doors open to an international career. Produced alongside the talented young conductor from Hong Kong Elim Chan, the musical director of the Royal Scottish National Orchestra, this new album dedicated to Chopin revisits the young British prodigy’s first musical loves. It was following a very successful concert with Elim Chan that they decided to record the Piano concertos by Chopin together. In this fifth album (for Decca), it’s Grosvenor’s virtuosity and ability to make the instrument sing that allow him to fully express his favourite music. “Chopin was the first composer to whom I felt a strong connection to as a child. I have always been drawn to his music, and his piano concertos are among some of the finest in the repertoire”, he says. Other than his already legendary sound and the expert way he strikes a balance between the different acoustic levels, his vision underlines the dreamy romanticism that delicately envelops the two concertos by the then-20-year-old Polish composer. © François Hudry/QobuzThis album was named "Gramophone Recording of the Year 2020" in the"Concerto" category. 
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Classical - Released August 13, 2021 | Deutsche Grammophon (DG)

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At only 26 years of age, Jan Lisiecki already boasts an astonishingly extensive and prolific discography. So it should come as no surprise that he is releasing his eighth Deutsche Grammophon album, just one year after his last set of recordings. With Chopin's Nocturnes, the Canadian pianist returns to his beginnings as a piano player, back to simplicity.The recent lockdown period has allowed many artists to flourish in the studio, and Jan Lisiecki is among them. Recording his album last autumn in Berlin's famed Meistersaal, the pianist described how the social standstill has given him a new understanding of time, work and his relationship with music: "They were the most pleasant and relaxed recording sessions I've ever experienced; they were perfect for the Nocturnes. I was able to engage with each piece at my own pace and live with them all in a way that felt completely natural and organic."From an early age, Lisiecki found himself intrigued by the Polish composer’s work in a special way. It was the Nocturnes - especially Op.9 No.1 - that first sparked his connection with Chopin, and they remain significant to him to this day. Over 21 pieces, written by the composer between 1829 and 1847, the Canadian takes us into a world of emotions, timbres and those enchanted melodic-cantabile phrases so typical of Chopin, underpinned by rich harmonization. The genre was relatively new at the time, dedicated to the evening and the night and allowing each performer to evolve their personal emotions and creative freedom, something to which Lisiecki completely surrenders. Extremely simple, soulful and astonishingly slow, the individual nocturnes glide along the keys, almost as if the pianist were too modest to show his virtuosity, but entirely in the spirit of Chopin, who once said himself about music: "Simplicity is the final achievement." © Lena Germann/Qobuz
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Solo Piano - Released March 24, 2017 | Warner Classics

Hi-Res Booklet Distinctions 5 de Diapason - 4 étoiles Classica - Exceptional Sound Recording
Fazil Say, who made his debut on this label with a very, very well-received work on Mozart’s Complete Piano Sonatas, is now turning his attention to Chopin, but a more confidential side of Chopin, much less virtuoso, the Chopin Nocturnes, the almost complete work of which he recorded in the Mozarteum Salzburg in March 2016. An “almost complete work” because the Nocturne in C-Sharp minor Op. 71/1 is missing, most likely due to CD running time restrictions as the total exceeded the limit by just a handful of seconds… Regardless the interpretation is dazzling and almost symphonic, taking these Nocturnes out of the hyper-romantic state of torpor they are so frequently plunged in by musicians. In addition to Chopin’s music, a few of Say’s short-lived grunts can also be heard who, much like Gould (albeit to a lesser extent), sometimes enjoys humming in the background. © SM/Qobuz
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Classical - Released August 27, 2021 | Deutsche Grammophon (DG)

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Seong-Jin Cho is not only an outstanding pianist, he is also the lucky winner of the 17th Warsaw Chopin Competition in 2015, the "Olympics of pianists" - at least concerning Chopin’s repertoire. Five years after his great success and the recording of Chopin's Piano Concerto No.1 (Deutsche Grammophon), now comes his successor in F minor, the Piano Concerto No.2. Cho spends once again time in the studio with the London Symphony Orchestra and Gianandrea Noseda, completing the romantic concerto series. The year is 1830, and 19-year-old Frédéric Chopin, makes his concerto debut in Warsaw, including his Piano Concerto No. 2 in F minor. Two years later, he was to perform it in Paris, with notables including Franz Liszt and Felix Mendelssohn in the audience. It is a piece dedicated to his unhappy love story with singer Konstancja Gładkowska, and not only this heartbreak but also his brilliant compositional skills come out here. Chopin presents a work that, for the first time, truly highlights and focuses on the soloist as virtuoso. In keeping with this, Cho presents us with his outstanding technical skills as the virtuoso par excellence on this recording. Especially the recitative part in the slow middle movement which resembles an instrumental monologue, in which the pianist wants to give us his own understanding of Chopin and which the listeners follow eagerly. Together with the London Symphony Orchestra this creates a sonorous experience, and although it is flattering and lyrical, the tempo also seems a bit sluggish at times. Cho complements the Piano Concerto this time with the four Scherzos, which, compared to the ballads from the 2016 disc, bring a lot of energy to the album. He himself has often played them as a cycle in concert and reports that, despite their heterogeneity, they form a beautiful unity as a whole. We can only agree with that! The performer manages to give each piece its own unique character and shows his ability - even without much symphonic sensation. In case you thought that was already the end - on the digital edition there is even a little encore. With three bonus tracks, including the famous "Revolutionsetüde" Op.10 No.12, Cho gives us one more final treat. © Lena Germann/Qobuz
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Classical - Released January 1, 1972 | Deutsche Grammophon (DG)

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Both sets of Chopin's etudes can be as fiendishly difficult for the performer as they are mesmerizing for the listener, yet Maurizio Pollini makes them sound as if they pose no problems whatsoever for him in this 1972 recording. Every one of the etudes is played with easy precision, energy, and an entirely enjoyable musicality that demonstrates why Chopin's etudes are no mere exercises and are as suited to the recital hall as to the practice room. The melody of the famous Etude No. 3 in E major is lyrical and warm, which highlights precisely the challenge posed by Chopin in these brief pieces: bring out an effective melody while mastering an exact technique through repetition. The recording also shows why Pollini is one of the most respected Chopin interpreters of all time. © TiVo
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Classical - Released October 21, 2013 | Deutsche Grammophon (DG)

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice - 4 étoiles Classica - Hi-Res Audio
Rafal Blechacz has established an international reputation as a winner of piano competitions, and he has repeatedly demonstrated his strengths in the concerto repertoire. Yet several of his recordings for Deutsche Grammophon show him in a more intimate role as a recitalist, playing solo piano music by such masters of the keyboard as Haydn, Mozart, Beethoven, Debussy, and Chopin. For this 2013 release, Blechacz has chosen seven of Chopin's published Polonaises, character pieces based on the traditional Polish dance form that became important statements of national pride. Blechacz undoubtedly pours his own feelings about his native country in these pieces, since the performances are unabashedly passionate and stirring, and the amount of rubato he uses suggests that he plays with intense emotional involvement. This is an openly Romantic style of playing Chopin that, for a time, fell out of favor in the late 20th century, but Blechacz seems to play in his own considered manner, free of trends and expectations, and he shapes these polonaises with a highly personal expression that isn't found in any other interpretations. Some might feel that Blechacz exaggerates effects at times, making the music more extraverted or theatrical than is necessary, but the grand style works for him, and his consistency shows that he has weighed his options carefully and found that the Polonaises especially require the bravura treatment. © TiVo
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Classical - Released September 24, 2021 | Warner Classics

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Beatrice Rana is back with a Chopin album to enchant listeners like never before. A musical prodigy recognised at an young age, the Italian pianist took to the stage early on, interpreting the great composers. However, entering Chopin's world was to take until she was 16: “My relationship with Chopin began relatively late – my teacher, Benedetto Lupo, did not want to introduce me to the composer early in my studies. At the time I was disappointed and frustrated, but now I can understand his reasoning. I began playing the Preludes at 16, and tackling them before then would not have been right for me. Chopin is reserved, visionary and mysterious – certainly not an easy composer for performers to deal with, requiring a huge amount of preparation and thorough research. There are Romantic elements to his work, but it is never sweet or sugary – it has powerful musical substance, even ferocious in places.” Following her first recordings of Chopin's Préludes in 2012 (on ATMA Classique), Chopin's 12 Etudes Op. 25 and four Scherzi now follow - almost ten years later - on her trusted label Warner Classics. It is an album that is particularly distinguishable as Rana has a unique understanding of the Polish-French composer, and a profound engagement with his compositional style. Rana knows how to interpret Chopin in the context of his epoch, being careful not to reduce him to romantic clichés. In his 12 Etudes she develops - despite their respective autonomy - a common thread that runs through her recordings. Both the harmonic and vocal lightness of the first part and the emotional severity of the latter are reproduced here not in contrast but as a cohesive musical unit. The four Scherzi that follow on from this probably form the crowning conclusion of this disc. Rana's virtuosity and technical skills are on full display here, with her fingers gliding over the keys at lightning speed and at the same time, with enormous precision, as for example in the extremely rapid Scherzo No. 1, Op. 20. Rana claims that Chopin made the piano sing. On this album, we can say the same about her. © Lena Germann/Qobuz
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Classical - Released September 17, 2012 | Sony Classical

Hi-Res Booklet Distinctions 4 étoiles Classica - Hi-Res Audio
Georgian pianist Khatia Buniatishvili is a phenomenon, and kudos to Sony Classical for snagging her! This is Chopin of the old school, with massive interposition of the performer between music and listener. And it's glorious. The Piano Sonata No. 2 in B flat minor, Op. 35, is an absolutely original reading, with that black belt of classical pianism, a fresh rendition of the famous funeral march, with real involvement in the emotional content of the movement. This is a Chopin funeral march played after someone actually died, and the moment of chilly nihilism that serves as the finale is really a bit scary here. The big Ballade No. 4 in F minor, Op. 52, is hardly less stirring. Buniatishvili races forward at times, delays as if in torture at other times, and has the skills and the raw power to pull it all off. Are there problems? Sure. It's true that a 19th-century virtuoso recital would have freely mixed orchestral and solo music, but the live performance of the Piano Concerto No. 2 in F minor, Op. 21, doesn't quite fit here, partly because the acoustic of the Salle Pleyel in Paris is nothing like that of the Jesus-Christus-Kirche in Berlin, where the other pieces were recorded. And a few of Buniatishvili's dynamic contrasts go beyond anything Chopin could have accomplished with his own piano or even intended. But these are the flaws that serve only to point up the considerable accomplishments elsewhere. This is the kind of Chopin playing that people used to line up to hear. © TiVo
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Classical - Released June 25, 2021 | harmonia mundi

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His Debussy and Chopin recordings for harmonia mundi already offer ample evidence that Alain Planès is highly adept at selecting a period instrument best suited for the repertoire. For this complete recording of the Chopin Nocturnes, he has chosen a superb 1836 Pleyel – dating from the same decade during which many of these masterpieces saw the light of day. With this instrument’s unique colour palette at his fingertips, our poet of the keyboard deftly recreates the delicate magic of these immortal pages in which the composer, fascinated by the art of bel canto, developed a new approach to making the piano sing. © harmonia mundi
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Classical - Released May 15, 2000 | Deutsche Grammophon (DG)

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Classical - Released January 1, 1972 | Deutsche Grammophon (DG)

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Classical - Released July 5, 2010 | Deutsche Grammophon (DG)

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German-Japanese pianist Alice Sara Ott is a performer who appears to care more about the score and the composer than about her image and interpretations. After promoting Lang-Lang, a pianist of maximal technique but debatable taste, DG has given Ott an exclusive recording contract, and her first release, the complete waltzes of Chopin, shows her to be a pianist of taste and restraint. That is not to say that her performances here are ever less than dazzling, because she plays with supreme ease, or any less than affecting, because she brings out everything in the scores, from sparkling wit to darkest melancholy. But Ott is not interested in demonstrating her technique or in grandstanding her interpretations. Everything here is in the score: the tender countermelodies, the long legato phrasing, the exquisite harmonic balances, and the lilting rubato. It sounds fresh and natural because Ott herself seems fresh and natural, and apparently not at all a showoff. Though by no means the greatest performances of the waltzes ever recorded -- Dinu Lipatti's EMI recording is now and likely always will be the most beautiful, the most masterful, and the most moving version of these works -- Ott's recording is well worth hearing by anyone who loves the music. The sound of DG's digital recording is limpid. © TiVo
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Classical - Released May 21, 2021 | Warner Classics

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Solo Piano - Released May 5, 2017 | Berlin Classics

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Classical - Released October 22, 2012 | Sony Classical

Hi-Res Booklet Distinctions Choc de Classica - Hi-Res Audio
The Chopin Album is Lang Lang's first recording for Sony devoted entirely to the solo piano music of the Romantic master, focused on the Études, Op. 25, with three of the most popular Nocturnes and a handful of other pieces included for good measure. While Lang Lang's phenomenal popularity guarantees this CD's success, and his ability to play the technically demanding Études will impress his fans, devotees of Chopin's music may be skeptical of the pianist's interpretations, which at their best are flashy and extroverted. While it's not necessary to play Chopin close to the vest, with the expressive reticence of a wallflower, Lang Lang is no introvert, and it shows in the pieces where sensitivity and poetic refinement are desirable. He plays with his customary bravado in the loudest Études, the Grande Valse Brillante, the Grande Polonaise, and even in the inaccurately nicknamed "Minute" Waltz, but his expression at softer levels seems affectless, uninvolved, and rather uninteresting. While connoisseurs may balk at this fairly showy album, it is sure to appeal to a wide audience, perhaps most especially because of the inclusion of Lang Lang's duet with Danish singer Oh Land, "Tristesse," which is based on Chopin's Étude in E major, Op. 10/3, and taken from the soundtrack for the film The Flying Machine. Sony's sound is generally good, though Lang Lang's dynamic range is wide enough to make setting the volume a little tricky. © TiVo
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Classical - Released January 1, 1978 | Decca Music Group Ltd.

Distinctions Diapason d'or - The Qobuz Ideal Discography
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Classical - Released September 4, 2012 | ATMA Classique

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Classical - Released July 9, 2021 | harmonia mundi

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Beyond the celebrated Funeral March, Chopin’s Second and Third Sonatas testify to their composer’s astounding ease in musical structures on a much larger scale than waltzes, nocturnes – and mazurkas, such as the three that make up his Op. 63, cunningly used here to frame Javier Perianes’s latest musical project. Whether in small or large forms, the most famous of all Romantic piano composers was an absolute master of musical dramaturgy. © harmonia mundi
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Classical - Released January 1, 1976 | Deutsche Grammophon (DG)

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Solo Piano - Released January 25, 2019 | Deutsche Grammophon (DG)

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