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

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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/Qobuz
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Solo Piano - Released May 17, 2019 | Evidence

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In his first recording, Pianist Jean-Paul Gasparian had shown a healthy technique that is essential to play the music of Russian giants. But his strong play is also sensible. In his second disc that is now dedicated to Chopin, the young performer confirms these qualities. Especially in the four Ballads, true bravura pieces in which Jean-Paul Gasparian never fails. And if he shows rigor, he also gives himself the lyricism and beauty of these pages, from Nocturnes to Waltzes and Polonaises. His elegant expression and full sound make this new album a second essential milestone in the discography of the young pianist and more generally in that of Chopin. © Little Tribeca
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Classical - Released February 1, 2013 | Sony Classical

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Classical - Released January 1, 1984 | Deutsche Grammophon (DG)

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Classical - Released October 19, 2012 | Sony Classical

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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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Solo Piano - Released March 24, 2017 | Warner Classics

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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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Chamber Music - Released September 20, 2019 | Groupe Analekta, Inc

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Classical - Released January 4, 2010 | Deutsche Grammophon (DG)

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Classical - Released December 18, 2019 | Warner Classics

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Pianist Yundi, formerly Yundi Li, might have several reasons for trying something new with Chopin. It was with Chopin that he became the youngest and the first Chinese winner of the International Frédéric Chopin Piano Competition in Warsaw, at age 18 in 2000, and he has played Chopin countless times since then. Cynics might recall that a Yundi Chopin concerto performance crashed and burned several years ago owing to miscommunications between pianist and conductor. Whatever the case, Yundi here conducts the Warsaw Philharmonic Orchestra from the keyboard. This isn't a common approach with Chopin, and the world is hardly clamoring for a new recording of the youthful composer's two piano concertos, but Yundi makes it all work, even brilliantly. By conducting from the keyboard, he is able to solve the conundrum of how to incorporate the spontaneous rubato essential to Chopin's style into the piano-and-orchestra format. Of course, this can be done with a separate conductor, but Yundi takes liberties with the tempo even in the purely orchestral passages, and the results bring a strong sense of drama to these works, which too often have a by-the-numbers approach. Yundi's entrances (listen to the first movement of the Piano Concerto No. 2 in F minor, Op. 21) really pop, and the slow movements build up to passages that give an idea of the impact Chopin must have made when he first appeared on the scene in Paris. Fétis wrote of the Piano Concerto No. 1 in E minor, Op. 11, that "there is fantasy in these passages, and everywhere there is originality," and with Yundi, more than in the great majority of other performances, the listener understands why Fétis chose those words. © TiVo
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Classical - Released September 28, 2018 | Deutsche Grammophon (DG)

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Classical - Released April 24, 2020 | Naxos

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Chopin turned the Scherzo into a new form of piano composition: an independent virtuoso work which he laced with drama, Polish folk song, tranquillity and nuance. With their rhythmic lilt and filigree ornamentation the Impromptus are infused with Romantic freedom, while the Allegro de concert, Op. 46 was originally conceived as a movement for a projected piano concerto but was instead revised for solo piano. © Naxos
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Keyboard Concertos - Released January 1, 2012 | Deutsche Grammophon (DG)

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Classical - Released September 4, 2012 | ATMA Classique

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Classical - Released January 1, 2013 | Deutsche Grammophon (DG)

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Classical - Released November 30, 2018 | BnF Collection

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

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Classical - Released January 1, 1986 | Deutsche Grammophon (DG)

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Solo Piano - Released September 7, 2018 | Sony Classical

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The four ballades of Chopin, more than the somewhat inaccurately named piano sonatas, are the composer's most complex works, both structurally and emotionally, and performances of them differ in substantial ways. They may emphasize sheer virtuosity, leading with Motorik rhythms in the big tunes toward blazing passages like the coda of the Ballade No. 4 in F minor, Op. 52. The Norwegian pianist Leif Ove Andsnes takes a different direction. He says that he has avoided playing the Ballades until he felt ready, and indeed his work here differs from his rather cool, clean way with Chopin in the past. "This is very personal music," he told Joshua Barone. "It’s not so often that you hear such a confessional quality: Give space for that when you listen to it." It's good advice: Andsnes' Ballades are ongoing monologues, with meter deemphasized and the virtuoso passages coming as explosions of passion that, as often as not, don't lead anywhere. This is arch-Romantic pianism of the best kind, even if it's rather low-key, and it's enhanced by the structure of the program: nocturnes serve as entr'actes between the four ballades. Sample one of these (perhaps the Nocturne in C minor, Op. 48, No. 1) to hear Andsnes' ability to put you in a state of suspended linear time here. Sony's sound from the studios of Radio Bremen is beautifully suited to Andsnes' reflective, intimate aims. The omission of the Ballade No. 4 from the booklet track list in the CD copy is a notable editorial flaw, but this is highly recommended. © TiVo
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Classical - Released November 25, 2016 | Deutsche Grammophon (DG)

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Following his debut album on Deutsche Grammophon, where he offered a live recital of solo piano pieces by Chopin, Seong-Jin Cho presents his first studio recording on the label, again featuring works by the Polish master. First up is Chopin's Piano Concerto No. 1 in E minor, which Cho performed when he won the 17th International Fryderyk Chopin Piano Competition and which is still fresh in his repertoire. Accompanied here by Gianandrea Noseda and the London Symphony Orchestra, Cho dispenses with the layers of sentimentality that have accreted around the work and gives a vigorous but light performance that focuses on brilliant technical displays and the transparent solo part. The orchestral textures are subdued and the feeling of the concerto is almost Mozartean, due to Cho's clarity and the lively tempos that keep the music moving forward. The rest of the program consists of the four Ballades, where Cho is given a greater opportunity to stretch out and indulge in elastic tempos and fluid expressions. The performance of the Piano Concerto No. 1 doesn't quite prepare the listener for this dreamier side of Cho, and his generous use of rubato may come as a surprise after the control he showed earlier in the program. Listeners who prefer a leaner style in Chopin may favor Cho in the concerto, but there's plenty of introspection and poetry in his rapt readings of the Ballades. © TiVo
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Classical - Released April 7, 2015 | Deutsche Grammophon (DG)

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