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Classical - Released October 28, 2008 | PentaTone

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Classical - Released March 20, 2020 | RUBICON

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In her seminal release for Rubicon Classics, Sonya Bach turns to Chopin’s masterworks. Over 170 years since the composer’s death, Chopin’s Etudes remain cemented in history as feats of technical ingenuity and melodic invention, which makes them core repertoire for any major pianist. Romantic in their nature and yet forward looking with bold harmonies and cross-rhythms paving the way for Impressionism, the Etude is synonymous with Chopin. Sonya Bach’s nimble fingered precision and expressive touch makes this fresh interpretation of old classics a delight for any listener. © Rubicon Classics
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Classical - Released November 3, 2017 | La Musica

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Classical - Released January 20, 2017 | RUBICON

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Classical - To be released October 23, 2020 | Paraty

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The life and career of Frederic Chopin, whom Claude Debussy described as a “man of generous ideas,” have elicited many writings, and have been the source of many legends, excessive tales, and caricatures. Chopin’s genius, expressed in many different manners, reveals the complex personality of a secretive musician who kept to himself but was also driven by an all-encompassing passion. “Externally I am joyful,” Chopin would confide, “but internally I am consumed. (...) The pleasure of living, and immediately thereafter a desire for death”. In articles dedicated to Chopin in La France Musicale starting in February 1851, less than two years after the composer’s death, Liszt would speak to that effect: “Even tempered and jovial, he seldom let on to the secret convulsions that racked him”. Aside from exceptional virtuosity, Chopin’s music – which does not stem from any literary source – evokes in turn feelings of passion or enthusiasm, emotion or melancholy, perhaps owing to his estrangement from his native Poland, which he left in 1830 never to return. In the words of his friend Henri Heine, “his real homeland was the enchanted kingdom of fantasy”. Chopin dedicated the quasi-totality of his efforts to the piano, an instrument to which he gave a new voice, because he did not wish to dissipate his inspiration in the “hubbub” of the orchestra. He preferred concentrating on the delicate tonality of the keyboard instrument, with which he thoroughly identified. According to George Sand, “his creation was spontaneous, miraculous. He found it without looking for it, with no planning. It would come to his piano suddenly, complete and sublime. (...) He never needed expansive means to express his genius”. Pianist George Mathias, a former student of Chopin’s, would say that his piano only ever existed under his fingers. It is no surprise that composer Charles Koelchin considered Chopin to be one the most authentic creators of modern music. Aimo Pagin performs here the 19 Waltzes of the composer. © Paraty
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Classical - Released September 9, 2014 | ATMA Classique

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Solo Piano - Released March 5, 2018 | Universal Music Ltd.

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

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

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Classical - Released September 4, 2012 | ATMA Classique

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Classical - Released January 27, 2017 | Deutsche Grammophon (DG)

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Concertos - Released February 22, 2019 | Groupe Analekta, Inc

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Concertos - Released October 28, 2008 | Chandos

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Classical - Released November 19, 2013 | BIS

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Classical - Released October 6, 2017 | Claves Records

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One of Ireland’s most successful musicians, pianist Finghin Collins was born in Dublin in 1977 and studied piano at the Geneva Conservatoire with Dominique Merlet. Winner of the RTÉ Musician of the Future Competition in 1994, he went on to take first prize at the Clara Haskil International Piano Competition in Switzerland in 1999. Since then he has continued to enjoy a flourishing international career that takes him all over the world. Collins has performed with such orchestras as the Chicago and Houston Symphony Orchestras, London Philharmonic Orchestra, Royal Philharmonic Orchestra, Rotterdam Philharmonic Orchestra, Budapest Festival Orchestra, Orchestre de la Suisse Romande, Gulbenkian Orchestra, Seoul Philharmonic Orchestra, BBC Symphony and BBC Philharmonic Orchestras, Royal Liverpool Philharmonic Orchestra, and the City of Birmingham Symphony Orchestra, garnering consistent praise from critics and public alike. Chamber music plays a significant role in his musical life. In 2013 he completed his three-year tenure as Associate Artist of the RTÉ National Symphony Orchestra in Dublin, completing a cycle of the complete Mozart and Beethoven piano concertos. Over the past two decades Collins has developed a close relationship with Claves Records, recording two double albums of Schumann’s piano music in 2006 and 2009 which won numerous awards including Gramophone’s Editor’s Choice. The current Chopin recording is a judicious medley of famous – a Prélude, the Fourth Ballade, the Polonaise-fantaisie – and more confidential works among which a handful of Mazurkas and Nocturnes. © SM/Qobuz
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Classical - Released October 4, 2011 | BIS

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Charismatic St. Petersburg-born pianist Yevgeny Sudbin released a highly acclaimed Rachmaninov album, and now that he turns to Chopin the results are about what might be expected, and highly effective in many places. Sudbin structures his program around three large works, the Fantaisie in F minor, Op. 49; Ballade No. 3 in A flat major, Op. 47; and Ballade No. 4 in F minor, Op. 52, which come respectively at the beginning, in the middle, and at the end save for a short paraphrase of his own on the "Minute Waltz," which very much has the character of an encore. These are muscular works of Chopin's maturity, with nationalistic overtones, considerable technical difficulties, and a big, public quality, Chopin at his most Lisztian, perhaps. And Sudbin is very much at home here, with plenty of flair and confidence in connecting the sections of the intricately shaped Ballades. In the connective tissue, consisting of nocturnes and mazurkas, he is less confident. It's not so much that there's anything annoying about his readings, which are technically sharp and carefully shaped; it's just that a work like the Nocturne in C minor, Op. 48/1 (track 3), doesn't seem to cohere. Mileage may vary, and there's no question that Sudbin is a promising new figure in the great Russian school. © TiVo
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Classical - Released September 25, 2015 | Groupe Analekta, Inc

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Classical - Released April 21, 2017 | Edition Classics

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Solo Piano - Released June 2, 2017 | Signum Records

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