Categories :

Similar artists

Albums

HI-RES£16.49
CD£11.99

Keyboard Concertos - 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/Qobuz
HI-RES£10.99£17.49(37%)
CD£7.99£12.49(36%)

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

Hi-Res Booklet Distinctions 5 de Diapason - Gramophone Editor's Choice - 4 étoiles Classica - Hi-Res Audio
HI-RES£13.99
CD£11.99

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
HI-RES£11.99
CD£7.99

Classical - Released May 25, 2010 | Chandos

Hi-Res Booklet Distinctions 5 de Diapason - 4 étoiles Classica - Hi-Res Audio
This first volume of Chandos' series of the piano music of Frédéric Chopin offers an interesting arrangement of works, pairing selected Nocturnes with each of the four Scherzos, which are then followed by the Sonata No. 2 in B flat minor as a closer. At first blush, pianist Louis Lortie appears to have chosen the pieces primarily for their obvious key relationships -- E minor, B minor; E flat major, B flat minor; E major, C sharp minor; B major, E major -- yet as transparent as these correspondences may be to a theoretician, and as pleasing to the ear as they undoubtedly are, the match-ups actually have more to do with the substance of the music. Each of the Scherzos is passionate, expansive, and intense in expression, so placing shorter Nocturnes of contrasting character before them, rather like preludes, necessitates some kind of organizational logic. Lortie has wisely chosen pieces that complement each other in content and expressions, but he has also created a broader grouping that has a natural tonal arc, beginning and ending on E. Theoretically, then, the Sonata No. 2 in B flat minor should stand apart from the first part of the program, because its key is as far removed from E as possible. Yet the contrasting moods and keys that are established in the Nocturnes and Scherzos prepare the ear for similar contrasts in the sonata. Lortie's Chopin is by turns reflective and flamboyant, dark and dazzling, and this emotional balance is underscored throughout the recital by the alternation of moods, which Lortie carefully establishes from the beginning. Chandos' sound is clear and vibrant, and the 24-bit/96 kHz recording gives the music an almost palpable presence. © TiVo
HI-RES£16.99
CD£14.49

Classical - Released October 19, 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
HI-RES£14.99
CD£8.99

Solo Piano - Released September 20, 2019 | Groupe Analekta, Inc

Hi-Res Booklet Distinctions 5 de Diapason - 4F de Télérama
HI-RES£18.99
CD£13.49

Classical - Released March 10, 2017 | Deutsche Grammophon (DG)

Hi-Res Booklet Distinctions 4 étoiles Classica - 5 Sterne Fono Forum Klassik
HI-RES£19.49
CD£18.49

Solo Piano - Released October 29, 2015 | La Musica

Hi-Res Booklet Distinctions Pianiste Maestro - 4 étoiles Classica
HI-RES£17.49
CD£12.49

Classical - Released September 11, 2015 | Mercury (Universal France)

Hi-Res Booklet Distinctions 5 de Diapason - 4 étoiles Classica
HI-RES£14.99
CD£12.99

Solo Piano - Released October 17, 2014 | Sony Music Labels Inc.

Hi-Res Booklet Distinctions 5 de Diapason - Choc de Classica
HI-RES£13.49
CD£9.49

Classical - Released September 23, 2013 | La Dolce Volta

Hi-Res Booklet Distinctions 5 de Diapason - Hi-Res Audio
HI-RES£8.39£11.99(30%)
CD£5.59£7.99(30%)

Solo Piano - Released March 6, 2012 | Chandos

Hi-Res Booklet Distinctions 5 de Diapason - Hi-Res Audio
Much as he did with his first volume of the piano music of Frédéric Chopin, Louis Lortie has arranged the second volume by alternating pieces in specific forms and linking them by tonal relationships, thus creating a unifying effect. The pairs of pieces in G minor, F major, and F minor, with a triptych of pieces in the related keys of E flat major, C minor and A flat major, followed by another group in D flat major and F sharp major, are logical and more pleasing to the ear than a random arrangement. Furthermore, by pairing the Nocturnes with the Ballades, Lortie follows the same procedure he used with the Nocturnes and Scherzos in the previous volume; this method of organization will likely hold true for future installments, wherever practical. By treating the Nocturnes somewhat like preludes, and giving the Ballades strongly contrasting characters, Lortie maintains a high degree of interest throughout the album and avoids aural fatigue, a risk of planning a program in the abstract. In the end, what counts more than his tonal framework are the varieties of moods, which Lortie offers in a wide range. In his hands, Chopin's music is by turns calm and flashy, brooding and brilliant, somber and sentimental, though never too much of a feeling at any given time. This remarkable expressive range is essential to the success of this package and the series. Recorded in 2011, Chandos' sound is clear and crisply defined, and the digital recording gives the piano credible presence. © TiVo
HI-RES£13.49
CD£8.99

Solo Piano - Released May 17, 2019 | Evidence

Hi-Res Booklet Distinctions 5 de Diapason
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
HI-RES£11.99
CD£7.99

Classical - Released September 4, 2012 | ATMA Classique

Hi-Res Booklet Distinctions Hi-Res Audio
HI-RES£13.99
CD£11.99

Classical - Released December 18, 2019 | Warner Classics

Hi-Res Booklet Distinctions 5 de Diapason
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
HI-RES£14.99
CD£12.99

Solo Piano - Released September 7, 2018 | Sony Classical

Hi-Res Booklet Distinctions 5 de Diapason
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
HI-RES£10.49£17.49(40%)
CD£7.49£12.49(40%)

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

Hi-Res Distinctions Hi-Res Audio
HI-RES£16.49
CD£11.99

Classical - Released November 25, 2016 | Deutsche Grammophon (DG)

Hi-Res Booklet Distinctions Choc de Classica
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
HI-RES£17.49
CD£12.49

Classical - Released February 26, 2016 | Mercury (Universal France)

Hi-Res Booklet Distinctions 4 étoiles Classica
Yundi Li (In Chinese, the first name comes second), Li Yundi to Western world and Yundi for short, is (regardless of moniker) now a famous Chinese pianist. Born in 1982, he won the prestigious Warsaw Chopin Competition in 2000 - First Prize - with a bonus of winning the Chopin Society Prize in Warsaw for the best interpretation of a Polish composer! At this point he was the youngest ever winner of the prize and the first of Chinese heritage - it’s clear to see that Chopin repertoire is his favorite field. Here is his full and romantic interpretation of the four Ballades, probably the most "symphonic" works of the composer © SM/Qobuz
HI-RES£11.99
CD£7.99

Concertos - Released October 28, 2008 | Chandos

Hi-Res Booklet Distinctions Hi-Res Audio