Is the delicate rhythmic play at the heart of the Third SonatasScherzovirtually spun out of existence? Although Kissin may be a little unsmiling in the three Waltzes, at least he has admirable sophistication in being able to add interest to the interpretations. Lisiecki gives us tone-poems first and studies second, his technique as unobtrusive as it is effortlessly fluent, lissom and precise. This new performance is easily the best I have ever heard and one particularly enjoys the counterpoint of slow cello and fast piano, of ardent lyricism and exuberant virtuosity. When all the coruscating bustle finally runs up against a solid wall, Budu resists violent assault, the default choice of most pianists. Chopin: Piano Concertos Nos. We are located on the University Park Campus of the University of Southern California. Chopin: Ballades, Berceuse, Mazurkas | Frdric Chopin by Yundi Li - Download and listen to the album Listening to his impressive new recording, its easy to understand why Cristian Budu won the Clara Haskil Competition in Vevey three years ago this September. The 24 Etudes of Chopins Opp 10 and 25, although dating from his twenties, remain among the most perfect specimens of the genre ever known, with all technical challenges and they are formidable dissolved into the purest poetry. Her B minor Sonata is as thoughtful as it is masterly and if one occasionally misses the seductive tonal allure and magicalcantabileof a Cortot or Perahia (most notably in theLargo), theres admiration aplenty for such clarity, strength of purpose and musical integrity. He prefers a subtly chosen programme to complete sets of the Mazurkas, Ballades or Polonaises, and his often phenomenally acute and sensitive awareness of Chopins constantly shifting perspective has you reliving every bar of such incomparable music. Published by Hal Leonard. Tim Ward Stephen Houghs accounts offer plenty of refreshment to spirit and senses. In the three Op 59 Mazurkas (a notably rich part of Chopins deeply confessional diary) he achieves a rare sense of brooding introspection, close to neurosis, with bittersweet mood-swings that shift from resignation to flashes of anger. International licensing, If you are a library, university or other organisation that would be interested in an institutional subscription to. In the Barcarolle theres no relaxed base on which the melodies of the right hand are constructed, as is conventional, but more the piece emerges as a stormy odyssey through life, with moments of visionary awareness. Arthur Rubinstein is said to have thrown RCA's master tape of his 1961 Carnegie Hall performance into the fireplace. Not that Kolesnikov lacks pliancy. Alfred Cortot, 1926 (pupil of Louis-Joseph Dimer) at 11:08\r5. A momentary failure of concentration in theScherzocomes as reassuring evidence of human fallibility but elsewhere one can only marvel at a manner so trenchant, musicianly and resolutely unsentimental. One misses the Berceuse, surely the most magical of all Chopins intimate creations, but relishes the variety achieved by including such grand works as the Fantasie and the First and Second Ballades. He commands an immense colour palette and moves from a robustfortissimoto a scarcely audiblepianissimoin a nanosecond. Never for a moment would I want to be without celebrated recordings by Cortot, early Pollini and Ashkenazy and Perahia, but for a memorable musical recreation Lisiecki stands alone. No 4, so often tossed off as a finger sprint (Richter, Cziffra), is given room to breathe while still being playedprestoandcon fuoco. When I learned this piece i had never heard it before, and after I performed it I heard Rubinsteings and I played it almost exactly like he did, yay. bored: contrast it with Kissins approach, which ruffles the melody rather too insistently. Composed by Frederic Chopin (1810-1849), edited by Rafael Joseffy. Here, as so often with Tharaud, there is an aristocratic balance of sense and sensibility, though his brilliant fury in the Second BalladesPrestostorm is breathtaking, the left-hand octaves hurtling towards their apex like guided missiles. - 3'18" The Pianist "Centaur", half man, half piano Prone to lose its way in rhetorical excess, Op 30 No 2 here remains shapely, proportionate. Their grand gestures carry complete conviction and sweep us along, even over the finales obsessive repetitions. Who but Argerich, with her subtle half-pedalling, could conjure so baleful and macabre a picture of winds whistling over graveyards in the Second Sonatas finale, or achieve such heart-stopping exultance in the final pages of the Third Sonata (this performance is early Argerich with a vengeance, alive with a nervous brio). Another of Houghs strengths is to be found in the shape and direction he gives all the Waltzes, and in the freshness of his tone of voice. And in No 4 Fliter lays bare with utter naturalness the insistent falling semitone, forming a piquant contrast with the following Prelude, in which she gives Cortot a run for his money in terms of shimmery, shadowy elusiveness. Offer, Chopin: Nocturnes, Mazurkas, Berceuse, Sonata, Opp. Our lists of the50 greatest Mozart,Beethovenand Bach recordings have proved phenomenally successful, and so we are proud to present 50 of the finest recordings of Chopin's music. . No 19 is a particular highlight, its delicacy quite heart-stopping. But in a guessing game perhaps it would be the two finales that would most betray the identity of the soloist. The disc ends with a powerfully glittering performance of the Second Scherzo. Bolstered by a vital and intelligent Beethoven, they strongly suggest that Cristian Budu is an artist well be eager to hear more of the sooner the better. Hamelins playing is refreshingly free from the inverted comma school of profundity, and he lets the music speak through him most eloquently; he doesnt get carried away with the subtext of the Seconds Funeral March, keeping it flowing (with desynchronisation of the hands subtly done) and all the more effective as a result. Son interprtation des tudes, telle qu'on peut l'entendre sur ce disque, montre un souci de la solution des problmes techniques et rvle sa matrise complte du clavier. More intimately, in Op 15 No 3 (where the musics wavering sense of irresolution led to the sobriquet the Hamlet Nocturne) Pires makes you hang on to every note in the codas curious, echoing chimes, and in thedolcissimoconclusion to No 8 (Op 27 No 2) theres an unforgettable sense of all passion spent, of gradually ebbing emotion. However, for the most part his mercurial lightness, fleetness and charm are pure delight. Yet overall it is the luminous quality of his musicianship that strikes you at every turn. Just about any Rubinstein recording of Chopin can be relied on to be good. As compositions, the nine may not be as sophisticated as the concert waltzes, but are no less characteristic of him, and Hough shows they repay treatment as detailed and thoughtful as the rest require. Its an overused word, but he is inimitable. Mstislav RostropovichvcMartha Argerichpf. Here is a recording from summer this year, the Berceuse from Chopin. His delight in the chewy harmonies of the opening movement of K332 is palpable, his phrasing iridescent in its range. His rendering of the "Berceuse" during that recital was memorable if not mesmerizing. Such qualms or queries tend to be whirled into extinction by more significant felicities. And what a lovely sound he makes on a Yamaha, excellently recorded in a concert-hall acoustic. MLA citation style: Godowsky, Leopold, and Frdric Chopin. In other words the vividness and immediacy are as remarkable as the finesse. More freshness, again. This is of course not taking him into the studio or anything as workaday as that. The composer titled it Variations, but upon it first publishing (by J. Meissonnier in 1844) the title was changed to Berceuse. Chopin: Preludes, Berceuse & Fantasia. It took William Kapell two years before he could record the work to his satisfaction (still my favorite recording of the piece). The tension and menace at the start of No 2 are almost palpable, its storming and disconsolate continuation made a true mirror of Polands clouded history. The sole fault of this issue is that conventional programming leads to the mature Waltzes, which were published by Chopin himself, coming first, the lesser, posthumously printed items last. Here in particular you note an elegance and insinuation devoid of all sentimentality, neurosis or self-serving idiosyncrasy. It is not at all a perfect recording, and my grand piano was also not in perfect tuning. Whether its in the haunting, dark melancholy of No 2 in A minor or the lightning turmoil of No 16 in B flat minor, shes profoundly impressive. With his own transcendental technique (and there are few living pianists who can rival it), Pollini makes you unaware that problems even exist as for instance in Op 10 No 10 in A flat, where the listener is swept along in an effortless stream of melody. BTW, (forgive the name-dropping) I was at Perahia's Carnegie Hall recital when he "returned" after his absence due to a hand injury. 10. Argerich has the technical equipment to do whatever she wishes with the music. The two slow movements are distinguished by exquisitely limpidcantabileand superfine delicacy of decorative detail while again conveying urgent undercurrents. Kolesnikov takes these repetitions at face value, as integral to Chopins expressive intent. The poise of Op 17 No 2 is maintained without a trace of maudlin sentimentality. It clocks in at 808, compared with Rubinsteins fast 820 (his 1932 recording), a tempo that reduces the first subject to the verge of incoherence. Recommended. The recording by Paul Tortelier and Aldo Ciccolini of the last work Chopin published (Paris, 1847), which they couple with Rachmaninov's Sonata, has been a favourite of mine since it appeared. Read the biography of host Jan Weller and find out more about all WFMT hosts.View all >, Privacy Policy | Terms of Use | Public File | 2022 WWCI, Playlist: 8 Chopin Recordings Every Music Lover Should Own, Grammys 2022: See All the Classical+ Nominees (And Winners), Decade in Review: The 2010s and Classical Music, Playlist: 11 Lithuanian Composers You Should Know, Musical Tails: 6 Composers Who Wrote Music for Pets. Arthur RubinsteinpfLos Angeles Philharmonic Orchestra / Alfred Wallenstein; NBC Symphony Orchestra / William Steinberg. From beginning to end, this is among the finest Chopin recordings of recent years. Pollini begins with a magnificent account of the Ballade No 2, the maelstrom that erupts after the pastoral first page sounding like a howl of despair. The Nocturnein C sharp minor is a jewel. The two finest here are Opp 42 and 64 No 2, and with the former Rubinstein excels in the unification of its diverse elements, its rises and falls of intensity, its hurryings forward and holdings back. Maurizio . Personally speaking, I dont recall not recognising at least a couple of mazurkas. Here in all his glory is Friedrich Gulda the ultimate maverick pianist, yet beneath his determined assault on what he saw as the stuffy conventions of the music world (the Viennese world in particular) lay a pianist of genius aptly described by Martha Argerich, his one-time protge, as the most extraordinary and brilliant man I ever met. Tell us in the comments below. Along the way there are some lovely individual touches like the way Lortie varies the dynamics in the exposition repeat of the First Scherzo, and the way he tiptoes querulously into the minor-key episode of the Third Scherzo. How she keeps you on thequi vivein the Second and Third Sonatas. In any event, Arrau's Nocturnes are likely the greatest achievement among his Chopin recordings. It's a little rubato, the key seems rather to keep an unchanging rhythm, and we lack a little poetry and clarity despite some eloquence. Responses to him are so deeply and inevitably personal that, in a way, the Mazurkas, Chopins preferred dance form, belong to everyone, whether they first experienced them listening to performances or recordings by Rubinstein or Pollini, watching choreography of Fokine or Robbins, or through their own hands. At 7'59" Chopins flame-throwing interjections are volcanic, and if theres ample poetic delicacy and compensation (notably in thePolonaise-fantaisie, always among Chopins most profoundly speculative masterpieces), its the more elemental side of his genius, his cannons rather than flowers that are made to sear and haunt the memory. . How superb and unfaltering is his mastery in No 1, that magnificent curtain-raiser to Op 10, how magical his improvisatory touch in its closing page. He ends as he began, with a tempo for No 24 that has gravitas (not to be confused with heaviness), the effect granitic, magisterial. Listen to the First Ballades second subject and youll hearrubatolike the most subtle pulsing or musical breathing. From a short life, Lipatti's Chopin recordings have become classics, his studio recordings of the Barcarolle, the B minor Sonata and the 14 Waltzes (which he played in a nonchronological order of his own) in particular. Lesser mortals may well weep with envy at such unfaltering authority and one hesitates even to imagine the hours of work behind such magnificence. The final Nocturne on the disc (Op 27 No 2) takes nothing for granted in spite of its fame, less lushly beautiful than some but altogether more complex, more intriguing. When, if ever, have you heard the Chopin Etudes played as pure music, given as naturally as breathing yet recreated from an entirely novel perspective? Liszt said it: A wind plays in the leaves, life unfolds and develops beneath them, but the tree remains the same that is the Chopin rubato. Kolesnikov does it. Shorn of all virtuoso compromise or indulgence, the majestic force of his command is indissolubly integrated with the seriousness of his heroic impulse. Gramophone is part of This is astonishing piano playing; Chopin interpretation that, at its best, fully measures up to the greatness of these pieces. Few pianists have gone to the heart of the matter with such assurance (always excepting Arthur Rubinstein). . The expressive range of the Philharmonia on top form under Kletzki is exceptional, as is the accord between soloist and conductor in phrasing and shading. 1918. Having said that, I think he misjudges the first of the Four Scherzos (he orders them 1, 4, 3 and 2). When things grow desperate, depicting fight or flight, as in Nos 12, 16, 18 or 22, the dramatic tension is breathtaking. He has the sort of hands that used to be called velvet paws, which are seemingly incapable of making an ugly sound at the instrument. Try the centralmeno mossofrom the First Polonaise and witness an imaginative freedom that can make all possible rivals sound stiff and ungainly by comparison. One of the aspects that particularly compels about this CD on repeated listening is the way Fliter encompasses the diversity, the sometimes shocking juxtaposition of the Preludes, but within a range that gives them a coherence, a sense of an interpretation as a whole. Not that he is immune to those sudden flashes of anger never far from Chopins always volatile nature. In No 13, the glorious melody of the middle section is given with a freedom that would simply not work in a lesser musician; while in the infamous Raindrop, Sokolov replaces the constant dripping with a shifting pulse that has a real urgency, albeit an unconventional one. The Waltzes are merciless in showing up the limitations of an interpreter's personality, and not just in the rhythm department. Chopin The Noctures on Deutsche Grammophon. Berceuse, Op. Shes hardly a comfortable companion, confirming your preconceptions. Argerichs light burns brighter than ever. And here, arguably, is the oblique but telling influence of Horowitz whom Perahia befriended during the last months of the old wizards life. Berceuse in D-Flat Major, Op. One is given a sense of something completely new having entered music. The booklets note from the performer for this first volume of a planned series of Chopin discs by Lortie raised a silent cheer. Not all of these are early but they have less substance than Opp 18-64, and should come first. Of those Ive heard, including the sets by Goerner, Cho, Yundi and Sokolov, Budus are the most enduringly satisfying. Only just out of her teens, Alice Sara Ott half-German and half-Japanese gives us a performance of the Waltzes as touching, piquant and scintillating as on any modern recording. Chopin would have had a fit at the thought of us listening to his eight published Waltzes together on the trot, or the unpublished ones which follow them here. All of these lists are, of course, subjective, but every recording here has recieved the approval of Gramophone's critics and are artistic and musical benchmarks. Among the highlights of Ohlssons recordings of Chopins complete works are his brilliant and elegant performances of the waltzes. Perahia brings order and lucidity to the heart of Chopins most audacious fire-storms and in, for example, Etudes Nos 1 and 4 from Op 10, youre made aware of an incomparable mix of poetry and precision. Chopin wrote polonaises from his youth to his later years. You will go a long way to hear the A minor Waltz confided with a greater sense of its intimacy or the following F major Waltz given with such contrasting brio and expressive freedom. KK IIa/3, perhaps the earliest, is lithe and spry with the unselfconsciousness of youth. Then compare her with Trifonov, whose live Preludes from Carnegie Hall provide a thrill a minute but who seems altogether too fast here. No single interpretation of Chopins Preludes will ever be enough but just as she demonstrated in her previous disc of the two Chopin concertos (3/14) the Argentinian Ingrid Fliter seems to be able to achieve individuality seemingly effortlessly, with cherishable and memorable results. He is able to focus attention on the tiniest details while leaving proportions perfectly intact. Some of the larger set pieces, Op 59 No 3, Op 24 No 4 or Op 50 No 1, for instance, come to life almost cinematically. If you are a library, university or other organisation that would be interested in an institutional subscription toGramophoneplease click herefor further information. Social. No 3 is, for once, trulyLentothough with a marked sense of character in the centralPoco pi animato, while in No 6 Fialkowska is hauntingly responsive to Chopins nameless malaise. Grammy Awards, 45th Awards (2002), Best Classical Instrumental Solo Recording. Presenting them in their published order, followed by the 11 posthumous waltzes with and without opus numbers, Ingrid Fliter sets a new benchmark for the complete Waltzes. The demand for a special kind of virtuosity, directed towards the natural exuberance of the dance, he meets here to perfection, and he meets another challenge which the merely accomplished virtuoso may not even be aware of: to use sound to command precise musical character. But lets not knock that: its difficult to imagine just how much negotiation that must have taken. No more life-affirming Chopin exists. Completely relaxed but with an almost scary intensity of focus, Budus every motion is directed towards the production of sound. But this isnt superficial playing the performances catch fire. The Mozart is treasurable too, though of course you have to take it on its own terms. Indeed, she sets your heart and mind reeling so that you positively cry out for respite from her dazzling and super-sensitive enquiry. Yet there is surely no living pianist who could or would attempt to emulate such heart-stopping poetry. His discs of minor Chopin (EMI, 3/10), his highly praised unofficial debut (This and That, 4/10), live recordings circulated privately over the past few years and this new one are evidence of an awesome talent, a pianist with fantastic natural reflexes in the Cziffra class and, more excitingly, a musician with purpose and imagination, whose playing transcends the sterile confines of the studio. The Hollywood-based recordings are tight and dry. Its not just in slower preludes that Fliter flouts received wisdom (something she did so gloriously in the concertos, scotching the notion, aided and abetted by Jun Mrkls charismatic way with the Scottish Chamber Orchestra, that these are little more than a pianistic vehicle); she does it too in the 16th Prelude, where the tude-likemoto perpetuoof the right hand is effortless but suitably notey thanks to her pinpoint phrasing, while the muscular left hand gains in power rather than steamrollering its way in, as can happen in some readings (Kissin, for instance, who is relentless in his strength). In the G major (No 3), the right hand floats spacious and serene over the bubbling cascade of left-hand figuration. Fliter stays faithful to the spirit of the composer without denying her own keyboard personality. Just a few of them (Third Ballade, for example) are picked out of the texture and strung together for our delectation in a way that might strike you as otiose if youre in a sober-sides kind of mood. But whereas in less imaginative hands the results could seem mannered or overly drawn out, here its mesmerising. It's a kind of thorough textural organicism to every note its place - that Beethoven or Schoenberg would have envied. One easily imagines a large drawing room cleared of furniture and rugs, its floors swept clean and sprinkled in preparation for a dozen couples whose dancing skill is a joy to behold. The recording is first rate. Chopins final composition, Op 68 No 4, becomes a valediction encouraging rather than forbidding weeping, Rubinsteinsrubatothe caressing magic that created a furore at his unforgettable recitals. Make no mistake, Pogorelichs playing is astounding, from the imperious opening to the lingering and ravishing middle -section, where his sublime lyrical simplicity is of the deepest inward poetry. The first and last of the same set in C major and C minor have an imperious strength and drive; likewise the last three impassioned outpourings of Op 25. If you love the music of Frdric Chopin and are looking to expand your recording collection, here are a few albums you might want to consider. Gramophone is brought to you by Mark Allen Group The many repeated sections in the Waltzes can derail even cultivated pianists, who may keep your attention for a while but who then become predictable. The recording captures well Fliters innate beauty of sound, encompassing the dynamic range with ease. In fuller contexts theres just a trace of plumminess in the recorded sound. Before these, there is a quite dazzling performance of the Op 10 C sharp minor Etude, not the fastest on disc (though fairly brisk) but one of the fastest that also makes musical sense. This is a disc that takes you by stealth. The most famous and popular edition of Chopin's works prepared by I. J. Paderewski, L. Bronarski and J. Turczynski. This is music-making with a smile on its face. Rarely will you be compelled into such awareness of the underlying malaise beneath the outward and nationalist defiance of the Polonaises. I could go on picking out highlights from each study the question-and-answer voicing in No 9, the subtlerubatoin Op 25 No 1, the infamous studies in thirds and sixths in which, simultaneously, Chochieva reminds us of Chopin the contrapuntalist moments and passages which made me listen afresh to these familiar works and, in some cases, hear things of which I had been previously unaware. Mercifully uncut, unlike Rubinsteins previous discs of both concertos with Barbirolli, these are astonishing performances, occasionally, particularly in the Second Concerto, content simply to astonish. Only a pedant will underline the odd mis-hit or pock-mark in the context of such sky-rocketing bravura and poetic impulse. Of the remaining works, the two Nocturnes are particularly fine, the Mazurkas sometimes a degree less inevitable-sounding than some, though she bewitches in the quick-shifting moods of Op 6 No 1, which prefaces the third Op 9 Nocturne very effectively. Brilliance and allure are required, of course, and so are reflective, interior qualities. Predictably, the outer sections of the B minor Scherzo are incredibly fast, possessed of an almost demonic drive, while the central Polish carol (Sleep little Jesus) is unusually slow and luxuriously sustained. Not all major pianists play Chopin but many who do have expressed a good deal of themselves through the Waltzes. Included here are Gramophone Award-winning albums, Recordings of the Month and Editor's Choice discs from Rubinstein, Argerich, Pollini, Perahia, Cortot, Grosvenor, and many more. His control in the tricky A flat, Op 42, is quite amazing. Finally, in the evergreen E flat Nocturne, Op 9 No 2, Tharaud may be less enchanting than, say, Cherkassky but it is also a salutary reminder that Chopin was the most classically biased of the great keyboard composers. No 4 is brilliantly articulate rather than manic or blistering (re Cziffra and, it has to be said, Richter and Argerich). The strikingly different characters of Op 33 No 3, ingratiating, delicate, and the sensual melancholy of Op 68 No 2 share a sense of confiding intimacy. Learn more about advertising and sponsorship on WFMT. Chopin's Sonata in B minor, Op. Her recordings of the sonatas showcase playing of fearless virtuosity that has thrilled audiences ever since. In the scintillating coda Rubinstein takes his bravura to a spine-tingling edge, but in, for example, theLarghettos central storms there is a brusque, streamlined indifference to the musics finer qualities. The ScriabinPomesare more than usually clear descendants of Chopin in Sokolovs hands and the filigree is out of this world. And even though we know he himself (one of the greatest perfectionists) was not completely happy about the Barcarolle, for the rest of us this glowing performance has a strength of direction and shapeliness all its own. The Mazurkas are so intricate in their variety of moods that the successful pianist has to be able to treat each one as an entity, contrasting the emotional content within the context of that particular piece. He convinces one that he has made this music his own. Why was Arrau so important in this music? It starts innocently enough; but what is striking is the way she grounds it with the deep left-hand notes, the repeated A flat at the end tolling like some great bell but never overshadowing the interplay of the other lines, which Fliter balances to perfection. Great Chopin interpreters include: Krystian Zimerman, Artur Rubinstein, Vladimir Ashkenazy, Maurizio Pollini, Dinu Lipatti, Solomon, Seong Jin-Cho, Moiseiwitsch, Ivan Moravec, Fialkowska, Jorge Bolet, Samson Francois, Rafal Blechacz, Dang Thai Son, and Maria Joao Pires. For here Kevin Kenner follows a reeling path, moving effortlessly from Chopin through related composers (Scriabin, Szymanowski et al) to Bill Evans and George Crumb. But I find myself hypnotised rather than (perish the thought!) Take Op 10 No 1, from Lisiecki a grand maestoso curtain-raiser that transcends a more familiar and determinedly virtuoso rush. My admiration for him as an artist increases, too, as one senses how responsive he is to Chopins variety, in a corpus of music not generally recognised as being so various. But these are minor cavils. The engineers have captured Kolesnikovs sound silvery, deeply resonant perfectly. Vladimir Ashkenazy is among the great pianists bold enough to take on the challenge of recording Chopins complete etudes. In the familiar Op 6 No 1, the contrasting middle section borders on the terrifying. One mystery remains. Argerich is on firmer ground in the Polonaise, where her power and technical security reign triumphant. Mark Hambourg, 1928 (pupil of Leschetitzky) at 18:57\r7. I have never heard the filigree runs in the Nocturnes and twoChants polonaisdelivered with such innate improvisatory nonchalance, or a second part of the B flat minor Scherzo that can match Grosvenors delicious insouciance. Yet moving ahead, one has no hesitation in declaring Maria Joo Pires among the most eloquent master-musicians of our time. Maria Callas herself would have been among the first to pay tribute to Cortotscantabile, an unequalled singing at the piano. His tone doesnt have much luxuriance, being quite chiselled; yet a finely tuned sensibility is evident throughout. The work was dedicated to Elise Gavard. You know the programme will have been carefully considered and nurtured, every aspect of the performance and recording attended to in the finest detail, matched by Hyperions exacting standards of presentation. Consider, for example, the delicacy and untrammelled spontaneity with which he approaches these works. shawshank redemption stoic theme Pay Per Click; from the continent crossword clue Web Development; servicenow hrsd training Search Engine Optimization; bershka straight fit cargos Lead Generation; wood fired steam boiler Event Marketing; living room furniture trends 2023 Social Media Marketing She has that magical way of creating an easefulrubatowithout ever sounding studied, and holds Classicism and freedom in perfect accord. Buy CD or download online. A Brazilian of Romanian descent who studied at the University of So Paulo and the New England Conservatory, Budu is a stunningly original pianist with musical insight and maturity that could inspire envy in colleagues twice his age. He is exceptionally glittering and stylish in ChopinsFantasie-impromptu(later making a ghostly reappearance in CrumbsDream Images) and offers a tantalising glimpse of Balakirevs extensive but little-recorded repertoire in his Second Nocturne, music enriched with the composers elegant and conversational brilliance. Somewhere on the internet is a website with all* of the pre-1950 recordings of the Berceuse listed; some energetic person may wish to Google it up. As Schoenberg said of Webern's music, so one could say of Chopin's Nocturnes when Arrau plays them: 'a glance can be spun out into a poem, a sigh into a novel'.
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