Chopin Solo Piano, Vol 2
Chopin playing of the old school, when the ‘poetic’ approach really flourished
View record and artist detailsRecord and Artist Details
Composer or Director: Fryderyk Chopin
Genre:
Instrumental
Label: Andante
Magazine Review Date: 9/2005
Media Format: CD or Download
Media Runtime: 0
Mastering:
Stereo
Catalogue Number: AN1190

Tracks:
Composition | Artist Credit |
---|---|
(27) Etudes, Movement: C, Op. 10/1 |
Fryderyk Chopin, Composer
Edward Kilenyi, Piano Fryderyk Chopin, Composer |
(27) Etudes, Movement: A minor, Op. 10/2 |
Fryderyk Chopin, Composer
Edward Kilenyi, Piano Fryderyk Chopin, Composer |
(27) Etudes, Movement: E, Op. 10/3 |
Fryderyk Chopin, Composer
Edward Kilenyi, Piano Fryderyk Chopin, Composer |
(27) Etudes, Movement: C sharp minor, Op. 10/4 |
Fryderyk Chopin, Composer
Edward Kilenyi, Piano Fryderyk Chopin, Composer |
(27) Etudes, Movement: G flat, 'Black Keys', Op. 10/5 |
Fryderyk Chopin, Composer
Edward Kilenyi, Piano Fryderyk Chopin, Composer |
(27) Etudes, Movement: E flat minor, Op. 10/6 |
Fryderyk Chopin, Composer
Edward Kilenyi, Piano Fryderyk Chopin, Composer |
(27) Etudes, Movement: C, Op. 10/7 |
Fryderyk Chopin, Composer
Edward Kilenyi, Piano Fryderyk Chopin, Composer |
(27) Etudes, Movement: F, Op. 10/8 |
Fryderyk Chopin, Composer
Edward Kilenyi, Piano Fryderyk Chopin, Composer |
(27) Etudes, Movement: F minor, Op. 10/9 |
Fryderyk Chopin, Composer
Edward Kilenyi, Piano Fryderyk Chopin, Composer |
(27) Etudes, Movement: A flat, Op. 10/10 |
Fryderyk Chopin, Composer
Edward Kilenyi, Piano Fryderyk Chopin, Composer |
(27) Etudes, Movement: E flat, Op. 10/11 |
Fryderyk Chopin, Composer
Edward Kilenyi, Piano Fryderyk Chopin, Composer |
(27) Etudes, Movement: C minor, 'Revolutionary', Op. 10/12 |
Fryderyk Chopin, Composer
Edward Kilenyi, Piano Fryderyk Chopin, Composer |
(27) Etudes, Movement: A flat, 'Harp Study', Op. 25/1 |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer Jeanne-Marie Darré, Piano |
(27) Etudes, Movement: F minor, Op. 25/2 |
Fryderyk Chopin, Composer
Francis Planté, Piano Fryderyk Chopin, Composer |
(27) Etudes, Movement: F, Op. 25/3 |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer Vladimir Sofronitzky, Piano |
(27) Etudes, Movement: A minor, Op. 25/4 |
Fryderyk Chopin, Composer
Edward Kilenyi, Piano Fryderyk Chopin, Composer |
(27) Etudes, Movement: E minor, Op. 25/5 |
Fryderyk Chopin, Composer
Alfred Cortot, Piano Fryderyk Chopin, Composer |
(27) Etudes, Movement: G sharp minor, Op. 25/6 |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer Jeanne-Marie Darré, Piano |
(27) Etudes, Movement: C sharp minor, Op. 25/7 |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer Raoul Koczalski, Piano |
(27) Etudes, Movement: D flat, Op. 25/8 |
Fryderyk Chopin, Composer
Alfred Cortot, Piano Fryderyk Chopin, Composer |
(27) Etudes, Movement: G flat, 'Butterfly's Wings', Op. 25/9 |
Fryderyk Chopin, Composer
Alfred Cortot, Piano Fryderyk Chopin, Composer |
(27) Etudes, Movement: B minor, Op. 25/10 |
Fryderyk Chopin, Composer
Alfred Cortot, Piano Fryderyk Chopin, Composer |
(27) Etudes, Movement: A minor, 'Winter Wind', Op. 25/11 |
Fryderyk Chopin, Composer
Alexander Brailowsky, Piano Fryderyk Chopin, Composer |
(27) Etudes, Movement: C minor, Op. 25/12 |
Fryderyk Chopin, Composer
Emil von Sauer, Piano Fryderyk Chopin, Composer |
Nocturnes, Movement: No. 2 in E flat, Op. 9/2 |
Fryderyk Chopin, Composer
Arthur Rubinstein, Piano Fryderyk Chopin, Composer |
Nocturnes, Movement: No. 4 in F, Op. 15/1 |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer Vladimir Sofronitzky, Piano |
Nocturnes, Movement: No. 5 in F sharp, Op. 15/2 |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer Ignace Jan Paderewski, Piano |
Nocturnes, Movement: No. 7 in C sharp minor, Op. 27/1 |
Fryderyk Chopin, Composer
Alfred Cortot, Piano Fryderyk Chopin, Composer |
Nocturnes, Movement: No. 8 in D flat, Op. 27/2 |
Fryderyk Chopin, Composer
Dinu Lipatti, Piano Fryderyk Chopin, Composer |
Nocturnes, Movement: No. 12 in G, Op. 37/2 |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer Vladimir Sofronitzky, Piano |
Nocturnes, Movement: No. 13 in C minor, Op. 48/1 |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer Vladimir Sofronitzky, Piano |
Nocturnes, Movement: No. 15 in F minor, Op. 55/1 |
Fryderyk Chopin, Composer
Arthur Rubinstein, Piano Fryderyk Chopin, Composer |
Nocturnes, Movement: No. 17 in B, Op. 62/1 |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer Raoul Koczalski, Piano |
Nocturnes, Movement: No. 19 in E minor, Op. 72/1 |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer Maryla Jonas, Piano |
Nocturnes, Movement: No. 20 in C sharp minor, Op. posth |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer Maryla Jonas, Piano |
(16) Polonaises, Movement: No. 1 in C sharp minor, Op. 26/1 |
Fryderyk Chopin, Composer
Arthur Rubinstein, Piano Fryderyk Chopin, Composer |
(16) Polonaises, Movement: No. 2 in E flat minor, Op. 26/2 |
Fryderyk Chopin, Composer
Arthur Rubinstein, Piano Fryderyk Chopin, Composer |
(16) Polonaises, Movement: No. 3 in A, Op. 40/1, 'Military' |
Fryderyk Chopin, Composer
Arthur Rubinstein, Piano Fryderyk Chopin, Composer |
(16) Polonaises, Movement: No. 4 in C minor, Op. 40/2 |
Fryderyk Chopin, Composer
Arthur Rubinstein, Piano Fryderyk Chopin, Composer |
(16) Polonaises, Movement: No. 5 in F sharp minor, Op. 44 |
Fryderyk Chopin, Composer
Arthur Rubinstein, Piano Fryderyk Chopin, Composer |
(16) Polonaises, Movement: No. 6 in A flat, Op. 53, 'Heroic' |
Fryderyk Chopin, Composer
Arthur Rubinstein, Piano Fryderyk Chopin, Composer |
(16) Polonaises, Movement: No. 9 in B flat, Op. 71/2 |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer Maryla Jonas, Piano |
Mazurkas (Complete), Movement: No. 7 in F minor, Op. 7/3 (1831) |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer Vladimir Horowitz, Piano |
Mazurkas (Complete), Movement: No. 20 in D flat, Op. 30/3 (1836-37) |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer Vladimir Horowitz, Piano |
Mazurkas (Complete), Movement: No. 21 in C sharp minor, Op. 30/4 (1836-37) |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer Vladimir Horowitz, Piano |
Mazurkas (Complete), Movement: No. 26 in C sharp minor, Op. 41/1 (1838-40) |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer Vladimir Horowitz, Piano |
Mazurkas (Complete), Movement: No. 32 in C sharp minor, Op. 50/3 (1842) |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer Vladimir Horowitz, Piano |
Mazurkas (Complete), Movement: No. 38 in F sharp minor, Op. 59/3 (1845) |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer Vladimir Horowitz, Piano |
Mazurkas (Complete), Movement: No. 40 in F minor, Op. 63/2 (1846) |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer Vladimir Horowitz, Piano |
Mazurkas (Complete), Movement: No. 41 in C sharp minor, Op. 63/3 (1846) |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer Vladimir Horowitz, Piano |
Mazurkas (Complete), Movement: No. 17 in B flat minor, Op. 24/4 (1834-35) |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer Ignaz Friedman, Piano |
Mazurkas (Complete), Movement: No. 25 in B minor, Op. 33/4 (1837-38) |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer Ignaz Friedman, Piano |
Mazurkas (Complete), Movement: No. 31 in A flat, Op. 50/2 (1842) |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer Ignaz Friedman, Piano |
Mazurkas (Complete), Movement: No. 44 in C, Op. 67/3 (1835) |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer Ignaz Friedman, Piano |
Mazurkas (Complete), Movement: No. 47 in A minor, Op. 68/2 (1827) |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer Ignaz Friedman, Piano |
Mazurkas (Complete), Movement: No. 3 in E, Op. 6/3 (1830) |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer Vladimir Sofronitzky, Piano |
Mazurkas (Complete), Movement: No. 4 in E flat minor, Op. 6/4 (1830) |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer Vladimir Sofronitzky, Piano |
Mazurkas (Complete), Movement: No. 10 in B flat, Op. 17/1 (1832-33) |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer Vladimir Sofronitzky, Piano |
Mazurkas (Complete), Movement: No. 22 in G sharp minor, Op. 33/1 (1837-38) |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer Vladimir Sofronitzky, Piano |
Mazurkas (Complete), Movement: No. 27 in E minor, Op. 41/2 (1838-40) |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer Vladimir Sofronitzky, Piano |
Mazurkas (Complete), Movement: No. 39 in B, Op. 63/1 (1846) |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer Vladimir Sofronitzky, Piano |
Mazurkas (Complete), Movement: No. 45 in A minor, Op. 67/4 (1846) |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer Vladimir Sofronitzky, Piano |
Mazurkas (Complete), Movement: No. 46 in C, Op. 68/1 (1829) |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer Vladimir Sofronitzky, Piano |
Mazurkas (Complete), Movement: No. 48 in F, Op. 68/3 (1829) |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer Vladimir Sofronitzky, Piano |
Mazurkas (Complete), Movement: No. 9 in C, Op. 7/5 (1831) |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer William Kapell, Piano |
Mazurkas (Complete), Movement: No. 14 in G minor, Op. 24/1 (1834-35) |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer William Kapell, Piano |
Mazurkas (Complete), Movement: No. 19 in B minor/F sharp minor, Op. 30/2 (1836-37 |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer Maryla Jonas, Piano |
Mazurkas (Complete), Movement: No. 24 in C, Op. 33/3 (1837-38) |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer William Kapell, Piano |
Mazurkas (Complete), Movement: No. 35 in C minor, Op. 56/3 (1843) |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer William Kapell, Piano |
Mazurkas (Complete), Movement: No. 43 in G minor, Op. 67/2 (1849) |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer Maryla Jonas, Piano |
Mazurkas (Complete), Movement: No. 49 in F minor, Op. 68/4 (1849) |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer Maryla Jonas, Piano |
Mazurkas (Complete), Movement: No. 52 in D, Op. posth (1820) |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer Maryla Jonas, Piano |
(16) Polonaises, Movement: No. 7 in A flat, Op. 61, 'Polonaise-fantaisie' |
Fryderyk Chopin, Composer
Arthur Rubinstein, Piano Fryderyk Chopin, Composer |
Author: Bryce Morrison
Volume 2 of Andante’s invaluable series traces a multifaceted tradition, a bewildering mix of paste and diamonds. What was once seen as poetic, ‘from the horse’s mouth’, is now often dismissed as sentimental. What is now seen as impeccable and faithful to the letter of the score would once have been seen as cold and insensitive to its spirit. As Ashkenazy put it, his eyes and ears firmly fixed on vainglorious excess: ‘Once we were music’s masters, now we are its servants.’
Yet what really emerges from this four-disc album is that there are as many ways of playing Chopin as there are people to play him. Francis Planté’s trudge through the Op 10 No 7 Etude (his ‘toccata’ if you like) is comically inept, ending in an inaccurate cascade and a well-earned expletive (‘merde,’ surely, rather than ‘bien’?). To think that such playing comes from the same stable as Jeanne-Marie Darré, whose way with the Op 25 Etudes Nos 1 and 6 provides such a precise, scintillating and poetic contrast.
Edward Kilenyi, father of a more famous son, is able rather than illuminating in the Op 10 Etudes, with the odd scrimmage to remind us that he recorded before the days of scissors-and-glue editing. Busoni’s legendary austerity gives way to some open mischief-making in Op 10 No 5 and Paderewski reminds us of the extent of Rubinstein’s hygienic undertaking, his vow to present a Chopin of virile strength and passion, a far cry from weak and salonish effusion. Indeed, Rubinstein’s early Chopin recordings (unforgivably, there are no examples quoted from the Mazurkas) remain unique in their poetic allure, their heroic sweep and total stylistic assurance. In the Nocturnes every bar declares him the greatest of all singers of the keyboard, a pianist after Maria Callas’s own heart. In the Polonaises his dazzle and aplomb tell us that, despite his mock-modesty, he knew he could play virtually every other pianist under the carpet.
Then there is Cortot, less fettered in his early years by an erratic technique, who allowed his playing to take wing and soar into an ecstatic realm of poetry (try the Op 25 No 5 Etude); a pianist who, in Barenboim’s words, ‘discovered the opium in Chopin’. Horowitz, with his lavishly distended phrasing and neurotic sense of fantasy, created a different, often lurid but mesmeric charisma, and Friedman’s way with the Mazurkas is the stuff of legends. Alternately subtle and rumbustious, he remembers their earthy ethnic origins, the reverse of Lipatti’s patrician perfection in the D flat Nocturne.
Several performances of the same work are placed side by side to provide an often instructive and revealing experience. Admirably presented, these records should form an indispensable part of any Chopin collection.
Yet what really emerges from this four-disc album is that there are as many ways of playing Chopin as there are people to play him. Francis Planté’s trudge through the Op 10 No 7 Etude (his ‘toccata’ if you like) is comically inept, ending in an inaccurate cascade and a well-earned expletive (‘merde,’ surely, rather than ‘bien’?). To think that such playing comes from the same stable as Jeanne-Marie Darré, whose way with the Op 25 Etudes Nos 1 and 6 provides such a precise, scintillating and poetic contrast.
Edward Kilenyi, father of a more famous son, is able rather than illuminating in the Op 10 Etudes, with the odd scrimmage to remind us that he recorded before the days of scissors-and-glue editing. Busoni’s legendary austerity gives way to some open mischief-making in Op 10 No 5 and Paderewski reminds us of the extent of Rubinstein’s hygienic undertaking, his vow to present a Chopin of virile strength and passion, a far cry from weak and salonish effusion. Indeed, Rubinstein’s early Chopin recordings (unforgivably, there are no examples quoted from the Mazurkas) remain unique in their poetic allure, their heroic sweep and total stylistic assurance. In the Nocturnes every bar declares him the greatest of all singers of the keyboard, a pianist after Maria Callas’s own heart. In the Polonaises his dazzle and aplomb tell us that, despite his mock-modesty, he knew he could play virtually every other pianist under the carpet.
Then there is Cortot, less fettered in his early years by an erratic technique, who allowed his playing to take wing and soar into an ecstatic realm of poetry (try the Op 25 No 5 Etude); a pianist who, in Barenboim’s words, ‘discovered the opium in Chopin’. Horowitz, with his lavishly distended phrasing and neurotic sense of fantasy, created a different, often lurid but mesmeric charisma, and Friedman’s way with the Mazurkas is the stuff of legends. Alternately subtle and rumbustious, he remembers their earthy ethnic origins, the reverse of Lipatti’s patrician perfection in the D flat Nocturne.
Several performances of the same work are placed side by side to provide an often instructive and revealing experience. Admirably presented, these records should form an indispensable part of any Chopin collection.
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