Chopin: Sonata No. 2; 4 Nocturnes; Scherzo No. 2; Barcarolle

On this CD:

1. Sonata for piano No. 2 in B flat minor, Op. 35, CT 202
Composed by Fryderyk Chopin
Performed by Mikhail Pletnev

2. Nocturne for piano in F minor, Op. 55/1, CT 122
Composed by Fryderyk Chopin
Performed by Mikhail Pletnev

3. Nocturne for piano in E major, Op. 62/2, CT 125
Composed by Fryderyk Chopin
Performed by Mikhail Pletnev

4. Barcarolle for piano in F sharp major, Op. 60, CT 6
Composed by Fryderyk Chopin
Performed by Mikhail Pletnev

5. Fantasy-Impromptu for piano in C sharp minor, Op. 66, CT 46
Composed by Fryderyk Chopin
Performed by Mikhail Pletnev

6. Nocturne for piano in C minor, Op. 48/1, CT 120
Composed by Fryderyk Chopin
Performed by Mikhail Pletnev

7. Scherzo for piano No. 2 in B flat minor, Op. 31, CT 198
Composed by Fryderyk Chopin
Performed by Mikhail Pletnev

Tracks:

24 Preludes, Op.28: I - C Major
24 Preludes, Op.28: II - A Minor
24 Preludes, Op.28: III - G Major
24 Preludes, Op.28: IV - E Minor
24 Preludes, Op.28: V - D Major
24 Preludes, Op.28: VI - B Minor
24 Preludes, Op.28: VII - A Major
24 Preludes, Op.28: VIII - F Sharp Minor
24 Preludes, Op.28: IX - E Major
24 Preludes, Op.28: X - C Sharp Minor
24 Preludes, Op.28: XI - B Major
24 Preludes, Op.28: XII - G Sharp Minor
24 Preludes, Op.28: XIII - F Sharp Major
24 Preludes, Op.28: XIV - E Flat Minor
24 Preludes, Op.28: XV - D Flat Major 'Raindrop'
24 Preludes, Op.28: XVI - B Flat Minor
24 Preludes, Op.28: XVII - A Flat Major
24 Preludes, Op.28: XVIII - F Minor
24 Preludes, Op.28: XIX - E Flat Major
24 Preludes, Op.28: XX - C Minor
24 Preludes, Op.28: XXI - B Flat Major
24 Preludes, Op.28: XXII - G Minor
24 Preludes, Op.28: XXIII - F Major
24 Preludes, Op.28: XXIV - D Minor
Prelude In C Sharp Minor, Op.45
Prelude In A Flat Major
Impromptu In A Flat Major, Op.29
Impromptu In F Sharp Major, Op.36
Impromptu In G Flat Major, Op.51
Fantaisie-Impromptu In C Sharp Minor, Op.66

Tracks:

Ballade No.1 In G Minor, Op.23
Ballade No.2 In F Major, Op.38
Ballade No.3 In A Flat Major, Op.47
Ballade No.4 In F Minor, Op.52
Scherzo No.1 In B Minor, Op.20
Scherzo No.2 In B Flat Minor, Op.31
Scherzo No.3 In C Sharp Minor, Op.39
Scherzo No.4 In E Minor, Op.54

Tracks:

3 Nocturnes, Op.9: I - B Flat Minor
3 Nocturnes, Op.9: II - E Flat Major
3 Nocturnes, Op.9: III - B Major
3 Nocturnes, Op.15: I - F Major
3 Nocturnes, Op.15: II - F Sharp Major
3 Nocturnes, Op.15: III - G Minor
2 Nocturnes, Op.27: I - C Sharp Minor
2 Nocturnes, Op.27: II - D Flat Major
2 Nocturnes, Op.32: I - B Major
2 Nocturnes, Op.32: II - A Flat Major
2 Nocturnes, Op.37: I - G Minor
2 Nocturnes, Op.37: II - G Major

Tracks:

2 Nocturnes, Op.48: I - C Minor
2 Nocturnes, Op.48: II - F Sharp Minor
2 Nocturnes, Op.55: I - F Minor
2 Nocturnes, Op.55: II - E Flat Major
2 Nocturnes, Op.62: I - B Major
2 Nocturnes, Op.62: II - E Major
Nocturne In E Minor, Op.72 No.1
Nocutrne In C Sharp Minor
Nocturne In C Minor

Tracks:

12 Etudes, Op.10: I - C Major
12 Etudes, Op.10: II - A Minor
12 Etudes, Op.10: III - E Major
12 Etudes, Op.10: IV - C Sharp Minor
12 Etudes, Op.10: V - G Flat Major 'Black Key'
12 Etudes, Op.10: VI - E Flat Minor
12 Etudes, Op.10: VII - C Major
12 Etudes, Op.10: VIII - F Major
12 Etudes, Op.10: IX - F Minor
12 Etudes, Op.10: X - A Flat Major
12 Etudes, Op.10: XI - E Flat Major
12 Etudes, Op.10: XII - C Minor 'Revolutionary'
12 Etudes, Op.25: I - A Flat Major
12 Etudes, Op.25: II - F Minor
12 Etudes, Op.25: III - F Major
12 Etudes, Op.25: IV - A Minor
12 Etudes, Op.25: V - E Minor
12 Etudes, Op.25: VI - G Sharp Minor
12 Etudes, Op.25: VII - C Sharp Minor
12 Etudes, Op.25: VIII - D Flat Major
12 Etudes, Op.25: IX - G Flat Major
12 Etudes, Op.25: X - B Minor
12 Etudes, Op.25: XI - A Minor 'Winter Wind'
12 Etudes, Op.25: XII - C Minor

Tracks:

2 Polonaises, Op.26: I - C Sharp Minor
2 Polonaises, Op.26: II - E Flat Minor
2 Polonaises, Op.40: I - A Major
2 Polonaises, Op.40: II - C Minor
Polonaise In F Sharp Minor, Op.44
Polonaise In A Flat Major, Op.53
Polonaise-fantaisie In A Flat Major, Op.61

Tracks:

3 Polonaises, Op.71: I - D Minor
3 Polonaises, Op.71: II - B Flat Major
3 Polonaises, Op.71: III - F Minor
Polonaise In B Flat Minor
Polonaise In G Flat Major
Polonaise In G Minor
Polonaise In B Flat Major
Polonaise In A Flat Major
Polonaise In G Sharp Minor

Tracks:

Waltz In E Flat Major, Op.18
3 Waltzes, Op.34: I - A Flat Major
3 Waltzes, Op.34: II - A Minor
3 Waltzes, Op.34: III - F Major
Waltz In A Flat Major, Op.42
3 Waltzes, Op.64: I - D Flat Major
3 Waltzes, Op.64: II - C Sharp Minor
3 Waltzes, Op.64: III - A Flat Major
2 Waltzes, Op.69: I - A Flat Major
2 Waltzes, Op.69: II - B Minor
3 Waltzes, Op.70: I - G Flat Major
3 Waltzes, Op.70: II - F Minor
3 Waltzes, Op.70: III - D Flat Major
Waltz In E Minor (1830)
Waltz In E Major (1829)
Waltz In A Minor (?1843)
Waltz In A Flat Major (1827)
Waltz In E Flat Major ('Sostenuto', 1840)
Waltz In E Flat Major (1829 - 1830)

Tracks:

4 Mazurkas, Op.6: I - F Sharp Minor
4 Mazurkas, Op.6: II - C Sharp Minor
4 Mazurkas, Op.6: III - E Major
4 Mazurkas, Op.6: IV - E Flat Minor
5 Mazurkas, Op.7: I - B Flat Major
5 Mazurkas, Op.7: II - A Minor
5 Mazurkas, Op.7: III - F Minor
5 Mazurkas, Op.7: IV - A Flat Major
5 Mazurkas, Op.7: V - C Major
4 Mazurkas, Op.17: I - B Flat Major
4 Mazurkas, Op.17: II - E Minor
4 Mazurkas, Op.17: III - A Flat Major
4 Mazurkas, Op.17: IV - A Minor
4 Mazurkas, Op.24: I - G Minor
4 Mazurkas, Op.24: II - C Major
4 Mazurkas, Op.24: III - A Flat Major
4 Mazurkas, Op.24: IV - B Flat Minor
4 Mazurkas, Op.30: I - C Minor
4 Mazurkas, Op.30: II - B Minor
4 Mazurkas, Op.30: III - D Flat Major
4 Mazurkas, Op.30: IV - C Sharp Minor
4 Mazurkas, Op.33: I - G Sharp Minor
4 Mazurkas, Op.33: II - D Major
4 Mazurkas, Op.33: III - C Major
4 Mazurkas, Op.33: IV - B Minor
4 Mazurkas, Op.41: I - C Sharp Minor
4 Mazurkas, Op.41: II - E Minor
4 Mazurkas, Op.41: III - B Major
4 Mazurkas, Op.41: IV - A Flat Major

Tracks:

3 Mazurkas, Op.50: I - G Major
3 Mazurkas, Op.50: II - A Flat Major
3 Mazurkas, Op.50: III - C Sharp Minor
3 Mazurkas, Op.56: I - B Major
3 Mazurkas, Op.56: II - C Major
3 Mazurkas, Op.56: III - C Minor
3 Mazurkas, Op.59: I - A Minor
3 Mazurkas, Op.59: II - A Flat Major
3 Mazurkas, Op.59: III - F Sharp Minor
3 Mazurkas, Op.63: I - B Major
3 Mazurkas, Op.63: II - F Minor
3 Mazurkas, Op.63: III - C Sharp Minor
4 Mazurkas, Op.67: I - G Major
4 Mazurkas, Op.67: II - G Minor
4 Mazurkas, Op.67: III - C Major
4 Mazurkas, Op.67: IV - A Minor
4 Mazurkas, Op.68: I - C Major
4 Mazurkas, Op.68: II - A Minor
4 Mazurkas, Op.68: III - F Major
4 Mazurkas, Op.68: IV - F Minor
Mazurka In A Minor ('a Emile Gaillard', 1840)
Mazurka In A Minor ('Notre temps', 1840)
Mazurka In B Flat Major (1826)
Mazurka In G Major (1826)
Mazurka In A Flat Major (1834)
Mazurka In C Major (1833)
Mazurka In B Flat Major (For Alexandra Wolowska, 1832)
Mazurka In D Major (1832)
Mazurka In D Major (?1820)
Mazurka In F Minor, Op.68 No. 4 - Vladimir Ashkenazy

Tracks:

Piano Sonata No.2 In B Flat Minor, Op.35: I - Grave - Doppio movimento
Piano Sonata No.2 In B Flat Minor, Op.35: II - Scherzo
Piano Sonata No.2 In B Flat Minor, Op.35: III - Marche funebre
Piano Sonata No.2 In B Flat Minor, Op.35: IV - Finale: Presto
Piano Sonata No.3 In B Minor, Op.58: I - Allegro maestoso
Piano Sonata No.3 In B Minor, Op.58: II - Scherzo: Molto vivace
Piano Sonata No.3 In B Minor, Op.58: III - Largo
Piano Sonata No.3 In B Minor, Op.58: IV - Finale: Presto, non tanto
Fantaisie In F Minor, Op. 49

Tracks:

Piano Sonata No.1 In C Minor, Op.4: I - Allegro maestoso
Piano Sonata No.1 In C Minor, Op.4: II - Minuetto - Trio
Piano Sonata No.1 In C Minor, Op.4: III - Larghetto
Piano Sonata No.1 In C Minor, Op.4: IV - Finale: Presto
Variations sur un air national allemand - E Major (1826)
Rondo In C Minor, Op.1
3 Ecossaises, Op.72 No.3: I - D Major; II - G Major; III - D Flat Major
Rondo 'a la Mazur' In F Major, Op.5
Marche funebre In C Minor, Op.72 No.2
Contredanse In G Flat Major (?1827) - Vladimir Ashkenazy
Rondo In C Major, Op.73 - Vladimir Ashkenazy
Variations In D Major For Piano Duet (1826) - Vladimir Ashkenazy

Tracks:

Variations In A Major ('Souvenir de Paganini', 1829)
Variations brillantes In B Flat Major, Op.12
Rondo In E Flat Major, Op.16
Bolero In A Minor, Op.19
Cantabile In B Flat Major
Variation In E Major
Largo In E Flat Major
Allegro de concert In A Major, Op.46
3 Nouvelles Etudes (1837): I - F Minor
3 Nouvelles Etudes (1837): II - A Flat Major
3 Nouvelles Etudes (1837): III - D Flat Major
Tarentelle In A Flat Major, Op.43
Fugue In A Minor (1841 - 42)
Albumblatt in E Major (1843)
Op.74 No.2: Wiosna - Spring
2 Bourrees (1846): I - G Minor; II - A Major
Galop Marquis
Berceuse In D Flat Major, Op.57
Barcarolle In F Sharp Major, Op.60

Customer Reviews:

My experience of this CD.......2007-04-04

My hats off to this CD collection! It was worth it!!! Chopin is a true genius for the piano, on this collection.

Beautiful!.......2006-08-18

This is a beautifully played collection of Chopin's work. It was a birthday gift,
and I listen to bits of it every day. I have yet to find a favorite
CD, as each is so lovely. It is well worth the price.

Well worth the money. Wonderful! Wonderful!.......2006-06-10

I am not a classical music expert but I am an expert when it comes to a great product. I have listened to the works of rubenstein and Horowitz, but nothing is comparable to this great collection of polands favorite son. The nocturnes are dreamy and romantic. The other pieces though not as mesmerizing have plenty of depth and feeling. This is a collection that you will listen to over and over again. Although this music is great anytime, it's especially meaningful during a light rainfall. Go ahead and make this investment. It's only $100.00. For the next 100 days save a dollar and you will have it paid for. I promise you won't be sorry. Excellent! Excellent!

Best investment to make.......2006-05-21

In my opinion, this is the apex of classical music. You will not find a better CD for Chopin or any piano recordings. There may be plenty of comparable CDs, but nothing can claim to surpass this.

Although some pieces are not as good as those by other artists, Ashkenazy's interpretations of Chopin are the best I've ever heard. Add in his amazing technical performance and you've got some sublime music.

Listening to these pieces have immensely helped my own Chopin reportoire. I don't play to mimic Ashkenazy, but I use his insights and apply my own style over that and end up with something exponentially better than what I could produce on my own.

The price is something you have to seriously consider. A hundred bucks. Yeah, that's a lot of money, but that's 48 cents per song. And you'll listen to these songs dozens of times, at least, I guarantee. Plus it's a great deal... if you were to get all the Ashkenazy-Chopin CDs available on Amazon, overlapping pieces as little as possible, you'd pay $30 more and still not have everything.

This is an investment for life and will definitely remain one of my favorite CD sets for decades. Decades. A hundred bucks for decades of amazing music. This stuff is larger than today, larger than life.. music this good is something you can't afford to pass up because of temporary financial difficulties.

A great pianist interpreting the most inspired composer ever !.......2005-09-15

Lets imagine that Chopin himself has recorded his own compositions in a perfectly clear CD. I am sure that some classical music reviewers would say "This is not the way Chopin is meant to be played". These classical music "pundits" are very intolerant.

Interpretation and emotion feeling is also a matter of taste, so that the only one who can give a final answer is Franois (Frederic).

Ashkenazy is gifted with a phenomenal technique, a great pianist. So that this collection is for sure 5 stars. Enjoy it.

Ah, if you like to see piano technique in action, listen to Georgy Cziffra's interpretation of Etude op. 10 no. 4. (Search the album in my reviews.)

Average customer rating:

At least 16 / 19 well spent hours
Enlightening but slighly blemished
Chopin - Luisada, Jean-Marc
Chopin - Luisada, Jean-Marc
Learn, learn, learn!

Chopin: Complete Edition
Krystian Zimerman , Claudio Arrau , Stefan Askenase , Anatol Ugorski , Maurizio Pollini , Jean-Marc Luisada , and Zilberstein, Lilya
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

Bourees | Ballets & Dances | Classical | Styles | Music

Dances | Ballets & Dances | Classical | Styles | Music

Ecossaises | Ballets & Dances | Classical | Styles | Music

Galops | Ballets & Dances | Classical | Styles | Music

Mazurkas | Ballets & Dances | Classical | Styles | Music

Polonaises | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Trios | Chamber Music | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Ballads | Forms & Genres | Classical | Styles | Music

Etudes | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Fugues | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Rondos | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Lullabies & Berceuse | Vocal Non-Opera | Opera & Vocal | Styles | Music

Barcarolles | Vocal Non-Opera | Opera & Vocal | Styles | Music

General | Opera & Vocal | Styles | Music

Classical | Box Sets | Stores | Music

Deutsche Grammophon: Music | Specialty Stores | Music
Similar Items:

Liszt: Piano Works
Bach: Complete Works - 155 CD Box Set
Wolfgang Amadeus Mozart: Complete Works (170 CD Box Set)
Chopin: The Piano Works
Haydn: The Masterworks [Box Set]

ASIN: B00001X58Z
Release Date: 1999-10-12

Amazon.com

On the 150th anniversary of his death, Deutsche Grammophon released this impressive box set featuring the complete works of Frédéric Chopin. Spread out over 17 CDs, it contains some truly big-name artists--Argerich, Pollini, Barenboim, and Ashkenazy--and a few you've probably never heard of. The majority of the set's nine volumes contain some music newly produced for this undertaking, and a few items (Chopin's songs, for instance) were recorded specifically for this collection. A well-illustrated book is included--it contains an essay, dateline, and illustrations--and each volume in the set gets its own liner notes. The music? It varies from great to less than great, but most of it is worth hearing. Those accustomed to Rubinstein's readings of the Mazurkas will find those played by Jean-Marc Luisada less fluid and lacking Rubinstein's power. Chopin's songs, seldom heard and filled with elements of Polish folk dances and the less-than-stellar lyrics of the composer's friend Stefan Witwicki, get a college try here by soprano Elzbieta Szmytka. They sound as good as you'll hear anywhere (if you can find them). It probably goes without saying that Martha Argerich's rousing 26 Préludes are some of the set's more exciting moments. But, really, the entire collection is solid. It should be noted that budget label Naxos has released its own Chopin edition at less than half the price of this set. With Idil Biret as the only performer on that set, you miss out on some of the diverse performances and personalities found here. Also, to please those of us who already own favorite performances of these works, each two-CD volume in the Complete Chopin Edition can be purchased individually. Bravo. --Jason Verlinde

Customer Reviews:

At least 16 / 19 well spent hours.......2004-10-11

In my opinion there is no more effective way to ruin a great musical performance than to record it in front of an audience who cannot control their coughs. The first disc starts out with a 1979 live recording of Chopin's first piano/orchestra concerto featuring pianist Krystian Zimerman and the Royal Concertgebouw Orchestra of Amsterdam. The performance is good, but doesn't allow the listener full concentration,--and therefore not full enjoyment--as a distracting and annoying audience can be heard coughing, sneezing, and clearing their throats even above the orchestra's playing in mezzo forte - it gets worse, of course, at dynamically quieter musical parts. Other distractions, like chairs creaking, cracking and squeaking, pages being turned probably inches away from a microphone (perhaps to give the page-turner a chance to say "Did you hear that? That was me,") and people stomping/dropping things (?) add to the incapability of the listener's full enjoyment. I've heard much worse, however, but considering that the recording technique is no older than 25 years, this is on the verge of being unacceptable. Sure - there can be a certain charm in hearing such "humanity" on a recording, especially when it's older, but I don't think many would disagree that this is a bit too much. Hearing the opening of piano/orchestra concerto no.2, and knowing that the 18+ hours of music to come aren't going to be interrupted by coughs, is a big relief. My favorite Chopin interpreter is--and might always be--Rubinstein; his playing is straight forward, he cuts to the chase quickly, yet somehow manages to leave room for sensitivity and emotion. His performances, of course--since he never recorded a note for Deutsche Grammophon,--are not included in this "complete edition," so aside from suggestions that certain waltzes are missing, that is something that makes this boxed set incomplete for me. Pollini's general interpretation of Chopin is in my opinion, as in many others', quite weak in comparison to Argerich's, Zimerman's, or the passionate playing of Daniel Barenboim. Here Pollini performs Etudes, Scherzos, Sonatas and Polonaises. At times, during the Etudes of op. 10, I feel like I'm getting more Maurizio than I am getting Fryderyk, even though the performance (especially on no.3) may invite feelings of thriving despite the performer's occasional roaring in the left channel. The Scherzos feature some troublesome factors; first and foremost the sound (of this 1990 recording) isn't at all as good as one would expect. It's far worse than several older recordings of this set - at only six seconds into the first Scherzo (op.20) one can't avoid acknowledging obvious distortion - the recording has clearly been done with too much input level. Clips noises continue throughout the grainy and dull sound picture of these pieces. Second of all, the noises Pollini makes while playing can be quite off putting. At times he sounds like a boy with a voice just breaking experiencing climax of coition, and as we all know, Chopin had a prudish aversion to overt sexuality. One reason why Pollini's performance of the Scherzos being called "troublesome" might be harsh, is that musically he handles them ok, and I'd think that's what's essential, but Deutsche Grammophon has made the odd decision of including Pollini's recording of Sonata no. 2, op.35 (a.k.a. "Funeral March") from 1984 in this set, instead of Argerich's recording from 1975. First of all, Argerich's version has clearer sound (at least on the newly refurbished "The Originals" edition...but then again, that was released in 2002,) but second of all, and more importantly, her playing is far more straight forward during the first part of the Sonata (Grave,) whereas Pollini shows too much mercy both for strong dynamics and tempo throughout. Furthermore he's on the verge of playing parts of the March suggesting "lento," as if it read "rubato" (it's a MARCH!) His performance of Piano Sonata no.3 is also a bit lifeless, but the hour long disc of Polonaises recorded 1975 he handles surprisingly well (the occasional phlegmatic karaoke-roars may need a little time getting used to, though.) Several of these interpreters make some less musical noises while playing - Zimerman, for instance, breathes heavily through the nose after each and every completed phrase throughout all off his performances (although it can't be heard with orchestra.) When listening to his solo performances in head phones, the constant snuffling can distract and annoy quite a bit, but I know that I do the exact same thing when I play, myself, so perhaps I shouldn't complain until I've managed to rid the inconvenient problem myself. Besides Pollini's Polonaise interpretations, there's another (76 minute long) disc of Polonaises featuring mainly Ugorski, but also Argerich. Something that seems odd to me is that the sound quality of Argerich's 1974 recording once again is superior to a newer recording - in this case to the 1999 recording of Ugorski, which doesn't feature much middle in the sound picture, but uneven soughing and clip noises! Both their performances (but especially Argerich's,) are about as enjoyable as Chopin interpretations can be, I'd think, as is the technically and musically perfect, touching and mesmerizing Nocturne interpretations of Daniel Barenboim, recorded in 1981 - his playing here equals close to two hours of pure magic. While being a Rubinstein fan, I'm going to have to say that Barenboim's way of playing the Nocturnes is just how I think they should be played; they call for this somewhat gentle touch mixed in with their brutal sincerity, but I suggest for those who (especially) enjoy the Etudes, Sonatas and Scherzos to listen to Rubinstein's recordings of the works (available on RCA's Rubinstein Collection, vol. 26, vol. 45 and vol. 46.) Pollini is, of course, a fine performer, but I'd suggest listening to his interpretations of Prokofiev's and Stravinsky's work instead.
Rubinstein recorded the preludes (op.28) in their entirety only once, in 1946, which means that they aren't available in RCA's collection with preferable sound quality, but on this set Martha Argerich delivers a great performance of the 26 preludes (no.1-24, op.28, plus 25, op.45, and 26, op. 35,) recorded in 1975. One prelude that in my opinion should always be played as slow and gentle as possible is no.15 (a.k.a. "The Raindrop Prelude.") What I'd like to describe as a prefect version of the piece is performed by--despite my having done a lot of research--a, to me unknown performer, but runs at 6:08 minutes. Argerich rushes the whole piece a bit (the drops fall too closely -) the fact that her version runs at 4:51 should say a lot. Of the approximately 20 different performances I've heard of this particular prelude (obviously one of my favorites,) Argerich's is the shortest, and lays somewhere in the swamp among other "medium integral" versions. She delivers exciting performances of the other preludes, though - the first time I heard them, I hit repeat on my CD player, and listened to nothing else for three days.
The Mazurkas, here performed by Jean-Marc Luisada and Lilya Zilberstein, are performed--while beautifully--quite carefully and loosely. For those who'd like a more restrained performance of the pieces, RCA's Rubinstein Collection, vol. 50, is recommended.
Besides all the music for only piano(s,) Chopin also composed 80 minutes worth of chamber music, which here is performed by Beaux Arts Trio, et al. He also wrote 45+ minutes worth of songs, which here is performed by soprano Elzbieta Szmytka and pianist Malcolm Martineau on a 1999 performance. I don't feel qualified to comment on solo singing in Polish, but while I don't care for the occasional close-to-full effect vibrato, I like Martineau's piano playing and the almost folksy melodies and arrangements. This music distinguishes itself by far from the rest of the music in the set. Translations to several languages of the lyrics to the 19 songs are included.
The stereophony on all recordings is great, the overall sound quality on all discs (when considering the years of the recordings) I'd give a 4/5, but still rate the whole package 9/10 - I'd think that some (both older and newer) recordings could have been transferred better, while some sound superior to what you'd dare dream of. This is definitely the best complete edition of Chopin's music available, and perhaps the best collection of works available on disc by any classical composer. A lot of work has been put into the set's design, the sound, and certainly the amount and accuracy of interesting info given in the enclosed illustrated 140 page hard-cover book (of which a fifth is written in English) and in the 40-60 page booklets (also illustrated) included in each volume; practically everything you'll ever need to know about the composer (and these recordings) is included here along with all the music he wrote. Well worthy of your time and money.

Enlightening but slighly blemished.......2004-07-05

I commend DG on producing this comprehensive and thoughtfully packaged/annotated collection of Chopin's output. In it one can appreciate the wondrous manner in which Chopin at once appeased the conservative appetites of the Paris salon set while revolutionizing the genre of piano music in both traditional and more intimate forms.

The greatest virtue of this collection is the opportunity to hear more obscure elements of Chopin's collected ouevre. He wrote some lovely chamber music and wrote highly effective variations with and without orchestra. Among his 17 songs are a few gems.

As for the strength of the performances, some of them are rightly considered definitive. I love Zimerman in the piano concerti, Argerich owns the Op. 28 preludes, and I find in Pollini's scherzos the unbridled energy and interpretive depth required by these challenging pieces. Even if Daniel Barenboim's nocturnes do not set any records, they are well-done and completely satisfying.

I was less enthusiastic about Pollini's readings of the latter 2 piano sonatas, which I find prosaic on the whole. I was equally underwhelmed by Bunin's impromptus, which again betray interpretive rather than technical deficiencies. My greatest disappointment is Jean-Marc Luisada's controversial readings of the mazurkas. An unwieldy rubato rules the day here, and distorts the harmonic language to the point that it sounds like Debussy or Ravel's frequent (and unshakeably French-sounding) evocations of Spain. I much prefer any of the Rubinstein mazurka sets, which are colorful but rhythmically mindful of their namesakes.

Properly supplemented in the more familiar repertory (mazurkas, impromptus, sonatas, in particular), I believe this set is indispensable to anyone who appreciates or seeks a broader understanding of Chopin the composer. I recommend it highly.

Chopin - Luisada, Jean-Marc.......2002-04-14

I am a professional Pianist and Piano-pedagoge trained at the University of Graz and Vienna (Austria).
It seems as often reviewers/critics/listeners have the same opinions: I wonder if it isn't in some cases the old story of the Emperors new clothes - nobody dares to have a different opinion, as they do not want to appear stupid.
Some of the reviewers here, didn't like Luisadas performances of the Mazurkas. I hold the heretical opinion that Jean-Marc Luisadas performances are much better than Rubinsteins (I possess the three different complete Mazurka recordings of Rubinstein). There are few pianists that like Luisada know how to treat the piano as a truly polyphonic instrument, with absolute control of every line, and at the same time being able to emphasise every harmonic detail - giving every chord its differing and appropriate degree of tension. Furthermore he understands how to display the different moods and characters of the music. All these factors make Luisadas performances extremely colourful. Every Mazurka with Luisada is a unique experience.

Ps. Other recordings do occasionally wet the critical appetite: For instance the everywhere highly acclaimed Chopin recordings with Pollini are often musically awful, the Etudes opus 10 nr. 1 and opus 25 nr. 1 are examples. For the complete Etudes, buy Boris Berezovsky's recording for Teldec, it surpasses Pollini by far. Ds.

Chopin - Luisada, Jean-Marc.......2002-04-14

Learn, learn, learn!.......2000-10-16

This box set is a must for any lover of piano music.

DG deserves praise for coming with an excellent set of records as well as presentation of the booklets. It is breathtaking to have the opportunity to really know Chopin so well.

Performers are first rate and speak for themselves, and for the price of 8 CD's you get the whole collection. Yes, you can get in some cases better performances, but overall you can find a better compilation. Naxos has its own, and I am going to exchange it with a friend, problem will be to get mine back!

Tracks:

Pno Conc No.1 in e, Op.11. I: Allegro Maestoso - Monte Carlo National Opera Orch/Luis Fremaux
Pno Conc No.1 in e, Op.11: II. Romanze: Larghetto - Monte Carlo National Opera Orch/Luis Fremaux
Pno Conc No.1 in e, Op.11: III. Rondo: Vivace - Monte Carlo National Opera Orch/Luis Fremaux
Pno Conc No.2 in f, Op.21: I. Maestoso - Monte Carlo National Opera Orch/Luis Fremaux
Pno Conc No.2 in f, Op.21: II. Larghetto - Monte Carlo National Opera Orch/Luis Fremaux
Pno Conc No.2 in f, Op.21: III. Allegro Vivace - Monte Carlo National Opera Orch/Luis Fremaux

Tracks:

Polonaise No.1 in c#, Op.26 No.1 - Pierre Barbizet
Polonaise No.2 in e flat, Op.26 No.2 - Pierre Barbizet
Polonaise No.3 in A 'Militaire', Op.40 No.1 - Pierre Barbizet
Polonaise No.4 in c, Op.40 No.1 - Pierre Barbizet
Polonaise No.5 in f#, Op.44 - Pierre Barbizet
Polonaise No.6 in A flat 'Heroique', Op.53 - Pierre Barbizet
Polonaise No.7 in A flat 'Polonaise Brillante', Op.61 - Pierre Barbizet
Andante Spianato Et Grande Polonaise in E flat, Op.22 - Pierre Barbizet

Tracks:

Polonaises Posthumes in d, Op.71 No.1 - Pierre Barbizet
Polonaises Posthumes in B flat, Op.71 No.2 - Pierre Barbizet
Polonaises Posthumes in f, Op.71 No.3 - Pierre Barbizet
Fant in f, Op.49 - Pierre Barbizet
Tarentelle in a flat, Op.43 - Pierre Barbizet
Barcarolle in F#, Op.60 - Pierre Barbizet
Rondo in C, Op.73 - Pierre Barbizet

Tracks:

Ballade No.1 in g, Op.23
Ballade No.2 in F, Op.38
Ballade No.3 in A flat, Op.47
Ballade No.4 in f, Op.52
Scherzo No.1 in b, Op.20
Scherzo No.2 in b flat, Op.31
Scherzo No.3 in c#, Op.39
Scherzo No.4 in E, Op.54

Tracks:

Valse No.1 in E flat 'Grande Valse Brillante', Op.18
Valse No.2 in A flat 'Valse Brillante', Op.34 No.1
Valse No.3 in a, Op.34 No.2
Valse No.4 in F 'Valse Brillante', Op.34 No.3
Grande Valse No.5 in A flat, Op.42
Valse No.6 in D flat, Op.64 No.1
Valse No.7 in c#, Op.64 No.2
Valse No.8 in A flat, Op.64 No.3
Valse No.9 in A flat, Op.69 No.1
Valse No.10 in b, Op.69 No.2
Valse No.11 in G flat, Op.70 No.1
Valse No.12 in f, Op.70 No.2
Valse No.13 in D flat, Op.70 No.3
Valse No.14 in e, Op. posth
Impromptu No.1 in A flat, Op.29
Impromptu No.2 in F#, Op.36
Impromptu No.3 in G flat, Op.51
Impromptu No.4 in c# 'Fant-Impromptu', Op.66

Tracks:

Son No.2 in b flat, Op.35: I. Grave - Doppio Movt
Son No.2 in b flat, Op.35: II. Scherzo: Presto, Ma Non Troppo - Piu Lento - Tempo I
Son No.2 in b flat, Op.35: III. Marche Funebre: Lento
Son No.2 in b flat, Op.35: IV. Finale: Presto
Son No.3 in b, Op.58: I. Allegretto Maestoso
Son No.3 in b, Op.58: II. Scherzo: Molto Vivace
Son No.3 in b, Op.58: III. Largo
Son No.3 in b, Op.58: IV. Finale: Presto, Ma Non Tanto
Mazurka No.1 in f#, Op.6 No.1
Mazurka No.2 in c#, Op.6 No.2
Mazurka No.3 in E, Op.6 No.3
Mazurka No.4 in e flat, Op.6 No.4
Mazurka No.5 in B flat, Op.7 No.1
Mazurka No.6 in a, Op.7 No.2
Mazurka No.7 in f, Op.7 No.3
Mazurka No.8 in A flat, Op.7 No.4
Mazurka No.9 in C, Op.7 No.5
Mazurka No.10 in B flat, Op.17 No.1
Mazurka No.11 in e, Op.17 No.2
Mazurka No.12 in A flat, Op.17 No.3
Mazurka No.13 in a, Op.17 No.4
Mazurka No.14 in g, Op.24 No.1
Mazurka No.15 in C, Op.24 No.2
Mazurka No.16 in A flat, Op.24 No.3
Mazurka No.17 in b flat, Op.24 No.4

Tracks:

Mazurka No.18 in c, Op.30 No.1
Mazurka No.19 in b, Op.30 No.2
Mazurka No.20 in D flat, Op.30 No.3
Mazurka No.21 in c#, Op.30 No.4
Mazurka No.22 in g#, Op.33 No.1
Mazurka No.23 in D, Op.33 No.2
Mazurka No.24 in C, Op.33 No.3
Mazurka No.25 in B, Op.33 No.4
Mazurka No.26 in c#, Op.41 No.1
Mazurka No.27 in e, Op.41 No.2
Mazurka No.28 in B, Op.41 No.3
Mazurka No.29 in A flat, Op.41 No.4
Mazurka No.30 in G, Op.50 No.1
Mazurka No.31 in A flat, Op.50 No.2
Mazurka No.32 in c#, Op.50 No.2
Mazurka No.33 in B, Op.56 No.1
Mazurka No.34 in C, Op.56 No.2
Mazurka No.35 in c, Op.56 No.3
Mazurka No.36 in a, Op.59 No.1
Mazurka No.37 in A flat, Op.59 No.2
Mazurka No.38 in f#, Op.59 No.3
Mazurka No.39 in B, Op.63 No.1
Mazurka No.40 in f, Op.63 No.2
Mazurka No.41 in c#, Op.63 No.3
Mazurka No.42 in G, Op.67 No.1
Mazurka No.43 in g, Op.67 No.2
Mazurka No.44 in C, Op.67 No.3
Mazurka No.45 in a, Op.67 No.4
Mazurka No.46 in C, Op.68 No.1
Mazurka No.47 in a, Op.68 No.2
Mazurka No.48 in F, Op.68 No.3
Mazurka No.49 in f, Op.68 No.4
Mazurka No.50 in a
Mazurka No.51 in a

Tracks:

Etudes, Op.10: No.1 in C
Etudes, Op.10: No.2 in a
Etudes, Op.10: No.3 in E
Etudes, Op.10: No.4 in c#
Etudes, Op.10: No.5 in G flat
Etudes, Op.10: No.6 in e flat
Etudes, Op.10: No.7 in C
Etudes, Op.10: No.8 in F
Etudes, Op.10: No.9 in f
Etudes, Op.10: No.10 in A flat
Etudes, Op.10: No.11 in E flat
Etudes, Op.10: No.12 in c
Etudes, Op.25: No.1 in A flat
Etudes, Op.25: No.2 in f
Etudes, Op.25: No.3 in F
Etudes, Op.25: No.4 in a
Etudes, Op.25: No.5 in e
Etudes, Op.25: No.6 in g#
Etudes, Op.25: No.7 in c#
Etudes, Op.25: No.8 in D flat
Etudes, Op.25: No.9 in G flat
Etudes, Op.25: No.10 in b
Etudes, Op.25: No.11 in a
Etudes, Op.25: No.12 in c
Nouvelles Etudes, Op.Posth: No.1 in f
Nouvelles Etudes, Op.Posth: No.2 in D flat
Nouvelles Etudes, Op.Posth: No.3 in A flat

Tracks:

Nocturne No.1 in b flat, Op.9 No.1
Nocturne No.2 in E flat, Op.9 No.2
Nocturne No.3 in B, Op.9 No.3
Nocturne No.4 in F, Op.15 No.1
Nocturne No.5 in F#, Op.15 No.2
Nocturne No.6 in g, Op.15 No.3
Nocturne No.7 in c#, Op.27 No.1
Nocturne No.8 in D flat, Op.27 No.2
Nocturne No.9 in B, Op.32 No.1
Nocturne No.10 in A flat, Op.32 No.2
Nocturne No.11 in g, Op.37 No.1
Nocturne No.12 in g, Op.37 No.2
Nocturne No.13 in c, Op.48 No.1

Tracks:

Nocturne No.14 in f#, Op.48 No.2
Nocturne No.15 in f, Op.55 No.1
Nocturne No.16 in E flat, Op.55 No.2
Nocturne No.17 in B, Op.62 No.1
Nocturne No.18 in E, Op.62 No.2
Nocturne No.19 in e, Op.72 No.1
Prlds, Op.28 No.1 in C
Prlds, Op.28 No.2 in a
Prlds, Op.28 No.3 in G
Prlds, Op.28 No.4 in e
Prlds, Op.28 No.5 in D
Prlds, Op.28 No.6 in b
Prlds, Op.28 No.7 in A
Prlds, Op.28 No.8 in f#
Prlds, Op.28 No.9 in E
Prlds, Op.28 No.10 in c#
Prlds, Op.28 No.11 in B
Prlds, Op.28 No.12 in g#
Prlds, Op.28 No.13 in F#
Prlds, Op.28 No.14 in e flat
Prlds, Op.28 No.15 in D flat
Prlds, Op.28 No.16 in b flat
Prlds, Op.28 No.17 in A flat
Prlds, Op.28 No.18 in f
Prlds, Op.28 No.19 in E flat
Prlds, Op.28 No.20 in c
Prlds, Op.28 No.21 in B flat
Prlds, Op.28 No.22 in g
Prlds, Op.28 No.23 in F
Prlds, Op.28 No.24 in d

Customer Reviews:

The idiosyncratic gaze! .......2006-08-17

Samson Francois' Chopin has overtly overtopped and even redefined the whole concept around Chopin's universe.

As a matter of fact, Alfred Cortot, Dinu Lipatti, Arturo Benedetti Michelangeli brought not only a refreshing vision but still better, new perspectives of interpretation, leaving behind the romanticism and approaching him under the idiosyncratic emblem of a bygone era. That's what the previous reviewers have denominated eccentric rather than interpretative renovation, where the dimension of every piece is considered in its own individuality and specific weight, where the concept of miniaturist composer has been substituted by the thinker poet, earning an organic quality and major dramatic scope.

I cannot think about another pianist who may phrase Chopin as Francois did it. So, please do me a favor and firmly decide to acquire it. You will surprise yourself!

Fascinating Chopin.......2006-02-17

I understand Francois was somewhat of an eccentric, and in a way his playing of these familiar great works are sometimes eccentric, for instance in the tempos of the first movement of the First Concerto and the first movement of the B-flat minor sonata. He is a great magician and poet, however, and these well-recorded readings have given me immense pleasure. Great for a more non-traditional look at Chopin, a composer that allows the performer a lot of leeway to engage in fluctuations of line and tempo without diminishing the works. The Noctures, Ballades, Concerti, Sonatas, Preludes, Polonaises and Etudes are wonderful. The Mazurkas seem pretty cold-hearted and are the low point of the set. However, the highs far outweigh the lows, and I highly recommend this modestly priced set as a very interesting alternative to more traditional approaches. A unique artist.

The One and Only One Chopinist?.......2005-01-25

Samson Francois is more well-known in Europe (or even in Asia) than in US.

Philips, advised by Alfred Brendel among others, presented Samson Francois as one of the greatest pianists of the century. In Philips' list, we do have some extraordinary Chopinists. Fridedman's Mazurkas are said to be unsurpassble, so are Cortot's Preludes & Etudes (or all his Chopin), or Lipatti's Waltzes. Or else, Hofmann's or Rachmaninov's Chopin are just marvelous. But those are historic recordings. While some prefer Moravec or even Arrau's Nocturnes, Rubinstein's Nocturnes, and particularly his Polonaises, like Agerich's Preludes are a sensation. Cziffra's Chopin is superb, so is Freire in general. But we can't leave out Samson as a leading Chopin interpreter.

Samson was perhaps the greatest of Cortot's pupils. From his Chopin Ballades, there are all-embracing colours (by the subtlety of using the pedal among other things) creating rainbow after rainbow. The harmonic suspensions as the nub of the Ballades adds so much to the potency of music. His Nocturnes, darkening the colours in the background creating the right atmostphere together with the poignancy of his narrative power, compare favourably with Arrau's. His Preludes may not be a fiery as Agerich's, but they are more bitter, so bitter that he is a type of his own...

The Nocturnes are recorded in '66. And in any event the earliest recording in the boxset was made in '54 and the re-mastering is so good that unless you make an effort, you won't be able to tell them from modern recordings and yet they are sold at bargain price. Grap it while it is still available.

Excellent, Eccentric Chopin.......2004-01-18

The Chopin "Piano Works" featured in this 10 CD set from EMI's "Budget Box Series" are excellent, yet eccentric. Those used to the romance and poetry of Rubinstein, the deliberateness and precision of Horowitz, or the power and grace of Pollini may well be in for a shock when it comes to Samson Francois' Chopin. The Piano Concertos, performed with Louis Fremaux conducting the Monte Carlo National Opera Orchestra from 1965 (and available as a single disc in EMI's "Great Recordings of the Century" series) are strikingly different from accounts I am more familiar with by Argerich, Bachauer and Gilels. To say their defining characteristic is that they are more French sounding is an understatement. The highlight of this set, which by the way is not a "complete" volume of all of Chopin's piano music, has to be the Ballades (though, like much of the material in this set they are in mono) and the Nocturnes (in stereo from 1966). In turn, the low point is most certainly the Mazurkas -- Artur, where are you when we need you? In all, this is certainly an amazing musical document, and at this budget price, a nice alternative to more accepted readings. But my five-star rating comes with the caveat that this Box Set is not for those looking for there one and only Chopin collection.

Average customer rating:

The Greatest of Music--Certainly Not of Playing
5 stars for value, 4 for performance, 3 for packaging and mastering
Worth the price, but you get what you pay for
Great!
Good Quality for the Price!

Chopin: Complete Piano Music
Idil Biret , Slovak State Philharmonic Orchestra , and Robert Stankovsky
Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

Bourees | Ballets & Dances | Classical | Styles | Music

Dances | Ballets & Dances | Classical | Styles | Music

Ecossaises | Ballets & Dances | Classical | Styles | Music

Galops | Ballets & Dances | Classical | Styles | Music

Mazurkas | Ballets & Dances | Classical | Styles | Music

Polonaises | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Ballads | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Fugues | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Rondos | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Lullabies & Berceuse | Vocal Non-Opera | Opera & Vocal | Styles | Music

Barcarolles | Vocal Non-Opera | Opera & Vocal | Styles | Music

Classical | Box Sets | Stores | Music

Rachmaninov: Piano Music (Box Set)
Beethoven: Complete Piano Sonatas
Brahms: Works for Solo Piano
Schubert: The Piano Sonatas
Liszt: Piano Works

ASIN: B00001NTN0
Release Date: 1999-09-28

Tracks:

Ballades - Berceuse - Fantaisie - Trois nouvelles des - Galop Marquis - Largo - Marche fune - Cantabile
Ballade No.2 In F Major, Op.38
Ballade No.3 In A Flat Major, Op.47
Ballade No.4 In F Minor, Op.52
Berceuse In D Flat Major, Op.57
No.1 In F Minor
No.2 In A Flat Major
No.3 In D Flat Major
Fantaisie In F Minor, Op.49
Galop Marquis In A Flat Major
Largo In E Flat Major, BI 109
Marche Funebre
Cantabile In B Flat Major

Tracks:

Etudes
No.2 In A Minor
No.3 In E Major
No.4 In C Sharp Minor
No.5 In G Flat Major, 'Black Keys'
No.6 In E Flat Minor
No.7 In C Major
No.8 In F Major
No.9 In F Minor
No.10 In A Flat Major
No.11 In E Flat Major
No.12 In C Minor, 'Revolutionary'
No.1 In A Flat Major
No.2 In F Minor
No.3 In F Major
No.4 In A Minor
No.5 In E Minor
No.6 In G Sharp Minor
No.7 In C Sharp Minor
No.8 In D Flat Major
No.9 In G Flat Major
No.10 In B Minor
No.11 In A Minor, 'Winter Wind'
No.12 In C Minor

Tracks:

Mazurkas - Volume 1
No.2 In C Sharp Minor, Op.6/2
No.3 In E Major, Op.6/3
No.4 In A Flat Minor, Op.6/4
No.5 In B Flat Major, Op.7/1
No.6 In A Minor, Op.7/2
No.7 In F Minor, Op.7/3
No.8 In A Flat Major, Op.7/4
No.9 In C Major, Op.7/5
No.10 In B Flat Major, Op.17/1
No.11 In E Minor, Op.17/2
No.2 In A Flat Major, Op.17/3
No.13 In A Minor, Op.17/4
No.14 In G Minor, Op.24/1
No.15 In C Major, Op.24/2
No.16 In A Flat Major, Op.24/3
No.17 In B Flat Minor, Op.24/4
No.18 In C Minor, Op.30/1
No.19 In B Minor, Op.30/2
No.20 In D Flat Major, Op.30/3
No.21 In G Sharp Minor, Op.30/4
No.22 In G Sharp Minor, Op.33/1
No.23 In D Major, Op.33/2
No.24 In C Major, Op.33/3
No.25 In B Minor, Op.33/4
No.26 In C Sharp Minor, Op.41/1

Tracks:

Mazurkas - Volume 2
No.28 In B Major, Op.41/3
No.29 In A Flat Major, Op.41/4
No.30 In G Major, Op.50/1
No.31 In A Flat Major, Op.50/2
No.32 In C Sharp Minor, Op.50/3
No.33 In B Major, Op56/1
No.34 In C Major, Op.56/2
No.35 In C Minor, Op.56/3
No.36 In A Minor, Op.59/1
No.37 In A Flat Major, Op.59/2
No.38 In F Sharp Minor, Op.59/3
No.39 In B Major, Op.63/1
No.40 In F Minor, Op.63/2
No.41 In C Sharp Minor, Op.63/3
No.42 In G Major, Op.67/1
No.43 In G Minor, Op.67/2
No.44 In C Major, Op.67/3
No.45 In A Minor, Op.67/4
No.46 In C Major, Op.68/1
No.47 In A Minor, Op.68/2
No.48 In F Major, Op.68/3
No.49 In F Minor, Op.68/4
No.50 In A Minor, Op. Posth.
No.51 In A Minor, Op. Posth.

Tracks:

Nocturnes - Volume 1
E Flat Major, Op.9, No.2
B Major, Op.9, No.3
F Major, Op.15, No.1
F Sharp Major, Op.15, No.2
G Minor, Op.15, No.3
C Sharp Minor, Op.27, No.1
D Flat Major, Op.27, No.2
B Major, Op.32, No.1
A Flat Major, Op.32, No.2
C Minor, B.I. 108
C Sharp Minor, B.I. 49

Tracks:

Nocturnes - Volume 2
G Major, Op.37, No.2
C Minor, Op.48, No.1
F Sharp Minor, Op.48, No.2
F Minor, Op.55, No.1
E Flat Major, Op.55, No.2
B Major, Op.62, No.1
E Major, Op.62, No.2
E Minor, Op.72, No.1 (Posth.)

Tracks:

Piano Sonatas
Menuetto
Larghetto
Fianle
Grave - Doppio Movimento
Scherzo
Marche Funebre: Lento
Finale: Presto
Allegro Maestoso
Scherzo: Molto Vivace
Largo
Finale: Presto, Non Tanto

Tracks:

Polonaises - Volume 1
E Flat Minor, Op.26, No.2
A Major, Op.40, No.1, 'Military'
C Minor, Op.40, No.2
F Sharp Minor, Op.44
A Flat Major, Op.53, 'Heroic'
A Flat Major, Op.61, 'Polonaise-Fantaisie'

Tracks:

Polonaises - Volume 2
B Flat Major, Op.71, No.2
F Minor, Op.71, No.3
G Minor, BI 1
B Flat Major, BI 3
A Flat Major, BI 5
G Sharp Minor, BI 6
B Flat Minor, 'Adieu', BI 13
G Flat Major, BI 36
Andante Spianato
Grande Polonaise

Tracks:

Preludes (Including "The Raindrop) - Barcarolle - Bolero
No.2
No.3
No.4
No.5
No.6
No.7
No.8
No.9
No.10
No.11
No.12
No.13
No.14
No.15
No.16
No.17
No.18
No.19
No.20
No.21
No.22
No.23
No.24
Prelude In A Flat Major, Op. Posth.
Prelude In C Sharp Minor, Op.45
Barcarolle, Op.60
Bolero, Op.19
Bourree I
Bourree II
Wiosna
Feuille D'Album
Fugue

Tracks:

Rondos and Variations
Rondo A La Mazurka, Op.5
Rondo, Op.16
Rondo, Op.73
Mazurka In G Major, BI 16
Mazurka In B Flat Major, BI 16
Mazurka In B Flat Major, BI 73
Mazurka In C Major, BI 82
Mazurka In A Flat Major, BI 7
Mazurka In D Major, BI 4
Variations Brillantes, Op.12
Variations On A German Air
Variations On A March From Bellini's I Puritani
Variations 'Souvenir De Paganini'
Variations In D Major For Two Pianos

Tracks:

Scherzi and Impromptus - Allegro de concert
No.2 In B Flat Minor, Op.31
No.3 In C Sharp Minor, Op.39
No.4 In E Major, Op.54
No.1 In A Flat Major, Op.29
No.2 In F Sharp Major, Op.36
No.3 In G Flat Major, Op.51
No.4 In C Sharp Minor, Op.66, 'Fantaisie-Impromptu'
Allegro De Concert, Op.46

Tracks:

Waltzes - Contredanse - Ecossaises - Tarantelle
In A Flat Major, Op.34/1
In A Minor, Op.34/2
In F Major, Op.34/3
Valse In A Flat Major, Op.42
Valse In D Flat Major, Op.64/1, 'Minute'
Valse In C Sharp Minor, Op.64/2
Valse In A Flat Major, Op.64/3
Valse In A Flat Major, Op.69/1, 'L'adieu'
Valse In B Minor, Op.69/2
Valse In G Flat Major, Op.70/1
Valse In F Minor, Op.70/2
Valse In D Flat Major, Op.70/3
Valse In A Flat Major, BI 21
Valse In E Major, BI 44
Valse In E Minor, BI 56
Valse In A Minor, BI 150
Valse In E Flat Major, BI 133, 'Sostenuto'
Valse In E Flat Major, BI 46
Contredanse In G Flat Major, BI 17
No.1 In D Major
No.2 In G Major
No.3 In D Flat Major
Tarantelle In A Flat Major, Op.43

Tracks:

Piano Concertos Nos. 1 and 2
Romanza: Larghetto
Rondo: Vivace
Maestoso
Larghetto
Allegretto Vivace

Tracks:

Fantasia on Polish Airs - Krakowiak - Variations on "Li darem la mano" Andante spianato and Grande Polonaise
Air: Juz Miesiac Zaszedi: Andantino
Theme De Charles Kurpinski: Allegretto
Kujawiak: Vivace
Allegro Maestoso
Scherzo: Molto Vivace
Introduction: Largo
Tema: Allegretto
Variation I: Brillante
Variation II: Veloce, Ma Accuratamente
Variation III: Sempre Sostenuto
Variation IV: Con Bravura
Variation V: Adagio - Alla Polacca
Introduction: Andantino Quasi Allegretto
Rondo: Allegro Non Troppo

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This 15-disc set, recorded from 1990 to 1992, is a truly complete survey of Chopin's piano music, including juvenilia and the works for piano and orchestra. It may not be quite the triumph of Biret's Brahms set, in which the performances are competitive with the best to be heard anywhere. But all of this playing is thoroughly worthy of the music, and Biret's technique is strong enough to deal with such hurdles as the Études and Scherzi without flinching. Her style is a bit more straightforward than that of the most famous Chopin poets (such as Rubinstein and Cortot), making these recordings a particularly good bet for students and listeners who are first learning to love Chopin. One can often come up with a (more expensive) recording that expresses even more of the poetry of the music than Biret does: Moravec's Nocturnes, Rubinstein's Mazurkas, Zayas's Études, and so on. And occasionally some of the lesser-known music (such as the First Sonata) might be better skipped except by scholars and curious listeners who want to know why these pieces are so obscure. But finding 15 well-filled CDs of such great music, in such excellent performances, so well recorded, for such an absurdly low price becomes an irresistible bargain. Even connoisseurs who know the great Chopin recordings of the past may well find these recordings a refreshing alternate view of the music. --Leslie Gerber

Customer Reviews:

The Greatest of Music--Certainly Not of Playing.......2007-05-11

Having been listening to Chopin's celestial piano music ever since I was a young boy, I will probably never stop marveling at the pure beauty of his unique way of conjuring up those dangerously memorable themes, harmonies and figurations. There are days when one of his Etudes, Preludes, Mazurkas or Nocturnes just starts playing itself inside my head, to the extent that I simply have to get to my hi-fi equipment. Whilst still young, I purchased a large amount of Naxos CDs, of which Chopin's piano music account for a major part. Today, I still find a great deal of pleasure in Szekely's Ballades, Scherzos, Waltzes, Sonatas and Concertos (though not as much in his Etudes), in Szokolay's Barcarolle and Fantaisie-Impromptu as well as in Zartitzkaya's Polonaise-Fantaisie.

Of course, playing any well written piano music is difficult--that is to do it so well that the music emerges as an autonomous being. In the case of Chopin, it is even more difficult as his music is composed with such flexibility and plasticity that the chances of going wrong are so immense. Generally, Ms Biret avoids going so much wrong that the result is less than adequate. Alas, though, there are a number of occasions where her playing is not worthy of preserving on disc--most notably the Allegro de Concert, the Barcarolle, the Nocturnes, the Mazurkas, and most of all the Etudes (this certainly not what the music says!--cf. e.g. Op 10 Nos 1, 8 & 12 or Op 25 Nos 3, 8 & 11). So, what is then the problem with Biret's Chopin playing? Well, it can rather neatly be summed up in that it is driven by her very own erratic will rather than the natural force inherent in the music. This implies highly eccentric tempos and rubatos, exaggerated sforzandos, weird pedaling, stiff keystroke, and a clumsy technique that simply is not refined enough to handle the music.

Considering the fact that the 13-disc Ashkenazy set (Decca--review pending) is available at virtually the same price (even less on amazon.com!), there is really no rational motivation whatsoever acquiring the Biret set. Ashkenazy is always good, sometimes great; Biret is mostly functional, sometimes poor. For Chopin playing of out-and-out excellence, one needs to turn to the likes of Argerich, Ohlsson, Pletnev, Perahia, Zimerman, Demidenko or Rubinstein.

Nowadays, Naxos certainly knows how to record the piano (e.g. for Glemser in Scriabin, Prokofiev and Schumann). The recordings given to Biret are, if consistent, among the ugliest ever given to the instrument. The sound is sharp, boxy and clunky, making the piano sounding more like a digital Yamaha than a Bösendorfer concert grand (indeed it is--not a Steinway).

5 stars for value, 4 for performance, 3 for packaging and mastering.......2006-08-01

I got this box set because I wanted to have all of Chopin's piano music without investing in the redundancies of various artists' recordings. In that respect the price value is unbeatable. Much has been said about Idil Biret's playing and it is fine enough.

The packaging is unimaginative. You get the fifteen individual CDs of the series tucked in a slip case. That's a lot of jewel box plastic and shelf space that could have been cut down to at least half. The booklets give thumbnail analyses of the works, but much of the historical background is repeated. Fifteen iterations of "Iterpreting Chopin" and Biret's biography is just a waste of paper. Naxos has made its name with quality, no-frills, budget releases. They may have done a cost analysis against repackaging but there seems little consideration toward the end user experience.

The mastering is careless. In the Variations and Sonatas, for instance, the attack for one track happens at the tail end of the previous track. This becomes evident and annoying when listening on an mp3 player. You get First movement-S[squib-pause]econd movement resumed. If the track indexing was done by an automated system they should have calibrated it a few milliseconds earlier. If it was done by a human, shame on you.

Worth the price, but you get what you pay for.......2005-07-28

Ms. Gerber sums it up very well above: the playing is not what you'd find from Rubinstein, Cortot, or Ashkenazy, but it is still better than many recordings out there, and is a tremendous bargain.

Chopin only wrote one piece in his entire life that didn't include the piano, so a collection this complete of his piano music is a fascinating look into Chopin's creative life, and as a study in music history, it is worth the time. Nevertheless, people who are searching out definitive performances of more familiar works should probably search elsewhere.

Now, I am not a professional music critic, and I would never say that you should trust me over the critics. In fact, much of the acclaim this set receives is merited. Her first and fourth ballades are fine performances, and the scherzi and polonaise in A flat are well executed. That being said, I personally found several other performances to be large disappointments. (For the record, her recording was not universally praised, and some of the favourable reviews, like mine, are somewhat back-handed, but overall the set was a critical success.)

In particular, I couldn't help but think that the Berceuse, third ballade, several of the preludes, the First Concerto, and the Barcarolle were mediocre. In the Barcarolle, Biret's tempi are erratic and constantly changing, sometimes in the opposite way as Chopin indicated! (Where Chopin writes "poco piu mosso" at the transition to the B section, Biret slows to a crawl) Her dynamics are similarly strange and sometimes backward, and the climax is rushed and unmoving. For the third Opus 28 Prelude in e minor--probably one of the best-known preludes after the Raindrop in D flat--Biret takes almost a full measure's worth to play the opening figure (which is written to last one beat), and then proceeds to choose an allegretto tempo despite Chopin's directions to play slowly. She indulges here, and throughout much of the rest of the CDs, in a rubato that breaks momentum and makes it very difficult to follow the melody. It is as if a singer were to take a breath in the middle of important words--it quickly becomes hard to understand a thing she was saying.

It is true that many performers deviate from the score, sometimes in ways that enhance the musicality of the performance. Indeed, even Chopin was reported to play with dynamics that were different than the ones he himself wrote in the score, but Biret's indulgences take away from, rather than add to, the performances. I personally found many of the interpretative decisions to be distracting, or even unmusical.

I don't mean this to sound at all mean-spirited, but if I were to sum up my feelings of this set in one sentence, it would be this:

It is worth every dollar of its relatively low price.

Great!.......2005-02-13

I really enjoyed listening to Biret's approach of chopin on these 15 discs. I have heard other pianists play and i personally find every one of them comparable and each have their own pros and cons. The price of this influenced me over the grammophon's boxset.

Good Quality for the Price!.......2003-05-26

This 15-CD set, covering all of Chopin's piano solo music, is the only complete set out there, and at a bargain price, it is one of the best sets out there that everyone should have.

Some of the playing and interpretations are controversial, such as the lack of noticable dynamics in the nocturnes and other pieces. However, overall, the quality and the price is hard to beat.

Tracks:

Op.9, No.3 In B Major
Op.15, No.1 In F Major
Op.15, No.2 In F Sharp Major
Op.15, No. 3 In G Minor
Op.27, No.1 In C Sharp Minor
Op.27, No.2 In D Flat Major
Op.48, No.1 In C Minor
Op.48, No.2 In F Sharp Minor
Op.62, No.1 In E Major
Bonus Track - Vlado Perlemuter

Tracks:

Sonata No. 2 In B Flat Minor, Op. 35: Doppio movimento
Sonata No. 2 In B Flat Minor, Op. 35: Scherzo
Sonata No. 2 In B Flat Minor, Op. 35: Marche funebre - lento
Sonata No. 2 In B Flat Minor, Op. 35: Finale - presto
Sonata No. 3 In B Minor, Op. 58: Allegra maestoso
Sonata No. 3 In B Minor, Op. 58: Scherzo - molto vivace
Sonata No. 3 In B Minor, Op. 58: Largo
Sonata No. 3 In B Minor, Op. 58: Finale - presto non tanto
Sonata No. 3 In B Minor, Op. 58: Barcarolle, Op. 60

Tracks:

24 Preludes Op. 28: C Major
24 Preludes Op. 28: A Minor
24 Preludes Op. 28: G Major
24 Preludes Op. 28: F Minor
24 Preludes Op. 28: D Major
24 Preludes Op. 28: B Minor
24 Preludes Op. 28: A Major
24 Preludes Op. 28: F Sharp Minor
24 Preludes Op. 28: F Major
24 Preludes Op. 28: C Sharp Minor
24 Preludes Op. 28: B Major
24 Preludes Op. 28: G Sharp Minor
24 Preludes Op. 28: F Sharp Major
24 Preludes Op. 28: F Flat Minor
24 Preludes Op. 28: D Flat Major
24 Preludes Op. 28: B Flat Minor
24 Preludes Op. 28: A Flat Major
24 Preludes Op. 28: F Minor
24 Preludes Op. 28: F Flat Major
24 Preludes Op. 28: C Minor
24 Preludes Op. 28: B Flat Major
24 Preludes Op. 28: G Minor
24 Preludes Op. 28: F Major
24 Preludes Op. 28: D Minor
Prelude In C Sharp Minor Op. 45
Fantasy In F Minor Op. 49
Berceuse Op. 57

Tracks:

Etudes, Op. 10: No. 1 In C (Allegro)
Etudes, Op. 10: No. 2 In A Minor (Allegro)
Etudes, Op. 10: No. 3 In F (Lento, ma non troppo)
Etudes, Op. 10: No. 4 In C Sharp Minor (Presto)
Etudes, Op. 10: No. 5 In G Flat (Vivace)
Etudes, Op. 10: No. 6 In F Flat Minor (Andante)
Etudes, Op. 10: No. 7 In C (Vivace)
Etudes, Op. 10: No. 8 In F (Allegro)
Etudes, Op. 10: No. 9 In F Minor (Allegro molto agitato)
Etudes, Op. 10: No. 10 In A Flat (Vivace assat)
Etudes, Op. 10: No. 11 In E Flat (Allegretto)
Etudes, Op. 10: No. 12 In C Minor (Allegro con fuoco)
Etudes, Op. 25: No. 1 In A Flat (Allegro sostenuto)
Etudes, Op. 25: No. 2 In F Minor (Presto)
Etudes, Op. 25: No. 3 In F (Allegro)
Etudes, Op. 25: No. 4 In A Minor (Agitato)
Etudes, Op. 25: No. 5 In F Minor (Vivace)
Etudes, Op. 25: No. 6 In G Sharp Minor (Allegro)
Etudes, Op. 25: No. 7 In C Sharp Minor (Lento)
Etudes, Op. 25: No. 8 In D Flat (Vivace legato)
Etudes, Op. 25: No. 9 In G Flat (Allegro vivace)
Etudes, Op. 25: No. 10 In B Minor (Allegro con fuoco)
Etudes, Op. 25: No. 11 In A Minor (Lento)
Etudes, Op. 25: No. 12 In C Minor (Allegro molto, con fuoco)
Trois nouvelles etudes: No. 1 In F Minor (Andantino)
Trois nouvelles etudes: No. 2 In D Flat (Allegretto)
Trois nouvelles etudes: No. 3 In A Flat (Allegretto)

Tracks:

Ballade No. 1 In G Minor, Op. 23
Ballade No. 2 In F Major, Op.38
Ballade No. 3 In A Flat Major, Op. 47
Ballade No. 4 In F Minor, Op. 52
Polonaise In F Sharp Minor, Op. 44
Polonaise - Fantaisie In A Flat Major, Op. 61
BONUS TRACK
BONUS TRACK
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BONUS TRACK
BONUS TRACK
BONUS TRACK
BONUS TRACK
BONUS TRACK
BONUS TRACK
BONUS TRACK
BONUS TRACK
BONUS TRACK

Tracks:

Scherzo No. 3 In C Sharp Minor, Op. 39
Mazurka In A Minor, Op. 59, No. 1
Mazurka In A Flat, Op. 59, No. 2
Mazurka In F Sharp Minor, Op. 59, No. 3
Mazurka In B, Op. 63, No. 1
Mazurka In F minor, Op. 63, No. 2
Mazurka In C Sharp Minor, Op. 63, No. 3
Mazurka In C, Op. 24, No. 2
Mazurka In B Minor, Op. 33, No. 4
Mazurka In E minor, Op. 41 No. 1
Mazurka In C Sharp Minor, Op. 41, No. 4
Mazurka In C, Op. 56, No. 2
Mazurka In C Minor, Op. 56, No. 3
Mazurka In F Minor, Op. 68, No. 4
Mazurka In A Minor, Op. 17, No. 4
Mazurka In C Sharp Minor, Op. 30, No. 4
Mazurka In C Sharp Minor, Op. 50, No. 3
Tarantelle In A Flat, Op. 43

Customer Reviews:

No. One.......2006-02-10

I completely support the first reviewer of this CD set. Vlado Perlemuter was a "musician's musician" who played Chopin without any mannerisms and romantic allure. The results are emotionally intense and evocative recordings without the gloss...just Chopin.

A bad service for Chopin.......2005-10-24

Perlemuter is a serious musician, but the point of view that he uses for Chopin,s music (the same that he uses for Ravel) is completely out of style. The tone is not varied and the articulation of the phrases is difficult to be understood. Why he decided to record Chopin,s music?

"He is not only a great virtuoso but a great musician".......2004-06-22

said Alfred Cortot.
Vlado Perlemuter possessed an equisite tonal pallette allied with a lucid and insightful musical mind. These qualities, which so many pianists lack, are evident in Perlemuter's playing from the opening phrase. Technique is no issue in great music, rather the flow of the music, inexorably towards strangely predictable yet uniquely spontaneous results is the fruit of the artistic search.
Perlemuter's extraordinary ability to render the simplicity of expression, or directness/clarity of expression in Chopin's music, is special.
I can't beleive this incomparable artist is not better known!

Tracks:

Nocturnes , Op. 9: No. 1 in B-Flat Minor - Frederic Chopin
Nocturnes , Op. 9: No. 2 in E-Flat - Frederic Chopin
Nocturnes , Op. 9: No. 3 in B - Frederic Chopin
Nocturnes Op. 15: No. 1 in F - Frederic Chopin
Nocturnes Op. 15: No. 2 in F-Sharp - Frederic Chopin
Nocturnes Op. 15: No. 3 in G Minor - Frederic Chopin
Nocturnes Op. 27: No. 1 in C-Sharp - Frederic Chopin
Nocturnes Op. 27: No. 2 in D-Flat - Frederic Chopin
Nocturnes Op. 32: No. 1 in B - Frederic Chopin
Nocturnes Op. 32: No. 2 in A-Flat - Frederic Chopin

Tracks:

Nocturnes Op. 37: No. 1 in G Minor
Nocturnes Op. 37: No. 2 in G
Nocturnes Op. 48: No. 1 in C Minor
Nocturnes Op. 48: No. 2 in F-Sharp Minor
Nocturnes Op. 55: No. 1 in F Minor
Nocturnes Op. 55: No. 2 in E-Flat
Nocturnes Op. 62: No. 1 in B
Nocturnes Op. 62: No. 2 in E
Nocturnes Op. 72: No. 1 in E Minor

Tracks:

Mazurka Op. 6: No. 1 in F-Sharp Minor
Mazurka Op. 6: No. 2 in C-Sharp Minor
Mazurka Op. 6: No. 3 in E
Mazurka Op. 6: No. 4 in E-Flat Minor
Mazurka Op. 7: No. 1 in B-Flat
Mazurka Op. 7: No. 2 in A Minor
Mazurka Op. 7: No. 3 in F Minor
Mazurka Op. 7: No. 4 in A-Flat
Mazurka Op. 7: No. 5 in C
Mazurka Op. 17: No. 1 in B-Flat
Mazurka Op. 17: No. 2 in E Minor
Mazurka Op. 17: No. 3 in A-Flat
Mazurka Op. 17: No. 4 in A Minor
Mazurka Op. 24: No. 1 in G Minor
Mazurka Op. 24: No. 2 in C
Mazurka Op. 24: No. 3 in A-Flat
Mazurka Op. 24: No. 4 in B-Flat Minor
Mazurka Op. 30: No. 1 in C Minor
Mazurka Op. 30: No. 2 in B Minor
Mazurka Op. 30: No. 3 in D-Flat
Mazurka Op. 30: No. 4 in C-Sharp Minor
Mazurka Op. 33: No. 1 in G-Sharp Minor
Mazurka Op. 33: No. 2 in D
Mazurka Op. 33: No. 3 in C
Mazurka Op. 33: No. 4 in B Minor
Mazurka Op. 41: No. 1 in C-Sharp Minor

Tracks:

Mazurka Op. 41: No. 2 in E minor
Mazurka Op. 41: No. 3 in B
Mazurka Op. 41: No. 4 in A-Flat
Mazurka Op. 50: No. 1 in G
Mazurka Op. 50: No. 2 in A-Flat
Mazurka Op. 50: No. 3 in C-Sharp Minor
Mazurka Op. 56: No. 1 in B
Mazurka Op. 56: No. 2 in C
Mazurka Op. 56: No. 3 in C Minor
Mazurka Op. 59: No. 1 in A Minor
Mazurka Op. 59: No. 2 in A-Flat
Mazurka Op. 59: No. 3 in F-Sharp Minor
Mazurka Op. 63: No. 1 in B
Mazurka Op. 63: No. 2 in F Minor
Mazurka Op. 63: No. 3 in C-Sharp Minor
Mazurka Opus Posthumous: In A Minor
Mazurka Opus Posthumous: In A Minor
Mazurka Op. 67: No. 1 in G
Mazurka Op. 67: No. 2 in G Minor
Mazurka Op. 67: No. 3 in C
Mazurka Op. 67: No. 4 in A Minor
Mazurka Op. 68: No. 1 in C
Mazurka Op. 68: No. 2 in A Minor
Mazurka Op. 68: No. 3 in F
Mazurka Op. 68: No. 4 in F Minor

Tracks:

Ballades: No. 1, Op. 23 in G Minor - Frederic Chopin
Ballades: No. 2, Op. 38 in F - Frederic Chopin
Ballades: No. 3 , Op. 47 in A-flat - Frederic Chopin
Ballades: No. 4 , Op. 52 in F Minor - Frederic Chopin
Scherzos: No. 1, Op. 20 in B Minor - Frederic Chopin
Scherzos: No. 2, Op. 31 in B-Flat Minor - Frederic Chopin
Scherzos: No. 3, Op. 39 In C-Sharp Minor - Frederic Chopin
Scherzos: No. 4 ,Op. 54 in E - Frederic Chopin

Tracks:

Polonaises Op.26: No. 1 in C-Sharp Minor - Frederic Chopin
Polonaises Op.26: No. 2 in E-Flat Minor - Frederic Chopin
Polonaises Op.40: No. 1 in A - Frederic Chopin
Polonaises Op.40: No. 2 in C Minor - Frederic Chopin
Polonaises: Op.44 in F-Sharp Minor - Frederic Chopin
Polonaises: Op.53 in A-Flat Major - Frederic Chopin
Polonaises: Polonaise-fantaisie, Op.61in A-Flat - Frederic Chopin

Tracks:

Sonata No. 2, Op. 35 In B-Flat Minor: Grave: Doppio movimento
Sonata No. 2, Op. 35 In B-Flat Minor: Scherzo
Sonata No. 2, Op. 35 In B-Flat Minor: Marche fune: Lento
Sonata No. 2, Op. 35 In B-Flat Minor: Finale: Presto
Sonata No. 3, Op. 58 In B Minor: Allegro maestoso
Sonata No. 3, Op. 58 In B Minor: Scherzo: Molto vivace
Sonata No. 3, Op. 58 In B Minor: Largo
Sonata No. 3, Op. 58 In B Minor: Finale: Presto, non tanto
Sonata No. 3, Op. 58 In B Minor: Fantaisie, Op. 49 in F Minor

Tracks:

Concerto No. 1, Op. 11 In E Minor: Allegro maestoso
Concerto No. 1, Op. 11 In E Minor: Romance: Larghetto
Concerto No. 1, Op. 11 In E Minor: Rondo: Vivace
Concerto No. 2, Op. 21 In F Minor: Maestoso
Concerto No. 2, Op. 21 In F Minor: Larghetto
Concerto No. 2, Op. 21 In F Minor: Allegro vivace

Tracks:

Waltzes: Op. 18, In E-Flat
Waltzes, Op. 34: No. 1 in A-Flat
Waltzes, Op. 34: No. 2 in A Minor
Waltzes, Op. 34: No. 3 in F
Waltzes: Op. 42, in A-Flat
Waltzes, Op. 64: No. 1 in D-Flat
Waltzes, Op. 64: No. 2 in C-Sharp Minor
Waltzes, Op. 64: No. 3 in A-Flat
Waltzes, Op. 69: No. 1 in A-Flat
Waltzes, Op. 69: No. 2 in B Minor
Waltzes, Op. 70: No. 1 in G-Flat
Waltzes, Op. 70: No. 2 in F Minor
Waltzes, Op. 70: No. 3 in D-Flat
Waltzes: Op. Posth. in E Minor

Tracks:

Impromptus: No. 1, Op. 29, in A-Flat
Impromptus: No. 2, Op. 36, in F-Sharp
Impromptus: No. 3, Op. 51, in G-Flat
Impromptus: No.4, Op. 66, in C-Sharp Minor: Fantaisie-Impromptu
Barcarolle, Op. 60
Trois Nouvelles etudes, Op. Posth.
Bolero, Op. 19
Berceuse, Op. 57
Tarentelle, Op. 43
Andante spianato and Grande Polonaise, Op. 22

Tracks:

Preludes, Op. 28: C
Preludes, Op. 28: A Minor
Preludes, Op. 28: G
Preludes, Op. 28: E Minor
Preludes, Op. 28: D
Preludes, Op. 28: B Minor
Preludes, Op. 28: A
Preludes, Op. 28: F-Sharp Minor
Preludes, Op. 28: E
Preludes, Op. 28: C-Sharp Minor
Preludes, Op. 28: B
Preludes, Op. 28: G-Sharp Minor
Preludes, Op. 28: F-Sharp
Preludes, Op. 28: E-Flat Minor
Preludes, Op. 28: D-Flat
Preludes, Op. 28: B-Flat Minor
Preludes, Op. 28: A-Flat
Preludes, Op. 28: F Minor
Preludes, Op. 28: E-Flat
Preludes, Op. 28: C Minor
Preludes, Op. 28: B-Flat
Preludes, Op. 28: G Minor
Preludes, Op. 28: F
Preludes, Op. 28: D Minor
Sonata No 2, Op. 35 Funeral March: Grave: Doppio movimento
Sonata No 2, Op. 35 Funeral March: Scherzo
Sonata No 2, Op. 35 Funeral March: Marche funebre: Lento
Sonata No 2, Op. 35 Funeral March: Finale: Presto
Berceuse, Op 57
Barcarolle, Op. 60

Amazon.com

This set doesn't include all of Chopin's piano music because Artur Rubinstein didn't record all of it. (The Etudes are the most notable omission.) But it does include the last, and usually best, versions of all the Chopin he did record, along with three earlier versions. Other pianists have had other things to say about Chopin, and it's a mistake to think that any one performer can give you the complete picture of any music. But these performances, for the most part, are as good as we've come to think they are, so at mid-price this 11-disc set is a real bargain for Chopin lovers. --Leslie Gerber

Customer Reviews:

Rubinstein: Chopin's voice for the ages.......2004-11-19

As long as pianists perform Chopin, they will read the name of Artur Rubinstein in their reviews, because Rubinstein is the standard to which all others are compared. It doesn't matter if the performance is more pyrotechnic, as Horowitz's Polonaise in Ab (Op. 53) certainly was, or if they are supremely intelligent and perfectly rendered, as Pollini's Etudes and Preludes are, of if they are fresh and exciting as in Murray Perahia' more recent recordings; we can rate only them because Rubinstein set the standard by which all others are judged. And after listening to all those others, and loving them, I still go back to Rubinstein and feel as though I'm home again. He has a voice and an incredible "something" to communicate in each turn of phrase that is never ostentatious, never over-reaching, yet always deep, always pure and natural, always the sound of the old world, as if it had simply transported itself through time and was speaking in its native voice. Which... it was. Rubinstein was 12 years old at the turn of the century (1900), but he already was deeply rooted in old Europe's musical style. His long life enabled him to bring that world to life for several generations.

This is one of the most incredible boxed sets in the music world. It is the Rubinstein I grew up on, made new with digital remastering, mostly by Max Wilcox, who was also the original engineer on most of these discs. If you have not heard these recordings, you are in for a treat. If you have heard them before, then this set is going to sound familiar, but more clear and detailed than the old LPs and 45s of the originals.

This is essential Chopin, by one of the most incredible men who ever sat at a piano. I just can't recommend this enough.

Shooshie

WONDERFUL - A TREASURE!.......2002-07-04

Rubinstein has always been one of my favorite pianists. Some criticize him for technique or this or that, but I have heard dozens and dozens of concert pianists live and I heard him live only once. It was one of the great nights of my life. Of course, he didn't follow the program. He played what he felt like playing (he was nearly blind then). And the Chopin was utterly beautiful. His tone and phrasing and love of the music was a force that won over everyone in the audience.

This collection contains the Chopin recordings Rubinstein made over the years. It contains some pieces more than once because there were recordings in Rubinstein's early and late years. There is a difference in the playing (and the sound is better in the later recordings).

Purists complain about this or that. It is easy to attack giants. But Rubinstein has remained in the pantheon and I don't think anyone is going to knock him off the list of great pianists anytime soon. I hope this collection isn't going out of print. It is an important collection musically and historically.

An amazing collection.......2002-02-13

I recently purchased this box set, and even though I have many other different versions of Chopin's mazurkas, etudes, preludes, sonatas and noctures, I had very few waltzes, impromtus or polinaises before this purchase. So while the music isn't necessarily new to me, the interpretations are. There are a few different tempos than I am used to with some pieces, but the sound quality is excellent, with the exceptions of the preludes. They were recorded nearly 60 years ago so the background noise is something I'm not accustomed to, but this set is amazing. I will listen to it many times over, and treasure this set the rest of my life.
If you can get your hands on a copy, I would highly recommend doing so as soon as you can.

A Chopin Enthusiast's Treasure.......2000-05-23

Having grown up with the much older vinyl edition, this complete Rubinstein Chopin collection brings back to life the old vinyl record set with new clarity and adds additional music. With the same red RCA logo as the vinyl records, a sense of nostalgia is created. Rubinstein plays chopin like no other, and now on digital medium, Rubinstein's work will last for generations. The CD's add a much needed clarity to the original vinyl set. The stereo selections have better stereo separation and high fidelity than the vinyl records. This CD box set is the complete Rubinstein Chopin collection, the vinyl record set did not include such key recordings as the Mazurkas and others. From the novice listener to the experienced Chopin enthusiast, this Rubinstein collection is a monumental acheivement. In these recordings, Rubinstein brings forth his own unique mastery of Chopin. One cannot fully appreciate Chopin without listening to his playing. Rubinstein's subtle expressions, nuances, virtuosity, and bold declarations are consistent from recording to recording. This is a mandatory addition to any classical collection and required listening for anyone interested in Chopin.

A Chopin Enthusiast's Treasure.......2000-05-23

Having grown up with the much older vinyl edition, this complete Rubinstein Chopin collection brings back to life the old vinyl record set with new clarity and adds additional music. With the same red RCA logo as the vinyl records, a sense of nostalgia is created. Rubinstein plays chopin like no other, and now on digital medium, Rubinstein's work will last for generations. The CD's add a much needed clarity to the original vinyl set. The stereo selections have better stereo separation and high fidelity than the vinyl records. This CD box set is the complete Rubinstein Chopin collection, the vinyl record set did not include such key recordings as the Mazurkas and others. From the novice listener to the experienced Chopin enthusiast, this Rubinstein Collection is a monumental acheivement. In these recordings, Rubinstein brings forth his own unique mastery of Chopin. One cannot fully appreciate Chopin without listening to his playing. Rubinstein's subtle expressions, nuances, virtuosity, and bold declarations are consistent from recording to recording. This is a mandatory addition to any classical collection and required listening for anyone interested in Chopin.

Average customer rating:

Quieter less Histrionic Chopin Playing
Ding an sich
A Poetic View of Chopin

The Complete 1950s Chopin Recordings

Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

Mazurkas | Ballets & Dances | Classical | Styles | Music

Polonaises | Ballets & Dances | Classical | Styles | Music

Waltzes | Ballets & Dances | Classical | Styles | Music

Ballads | Forms & Genres | Classical | Styles | Music

Fantasies | Forms & Genres | Classical | Styles | Music

Preludes | Forms & Genres | Classical | Styles | Music

Scherzo | Forms & Genres | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Lullabies & Berceuse | Vocal Non-Opera | Opera & Vocal | Styles | Music

Barcarolles | Vocal Non-Opera | Opera & Vocal | Styles | Music

Deutsche Grammophon: Music | Specialty Stores | Music
Similar Items:

Troubadour of the Piano
The 1950s Concerto Recordings
Complete Recordings on Deutsche Grammophon
The Complete American Decca Recordings
Complete Recordings on Deutsche Grammophon

ASIN: B00067GKFG
Release Date: 2005-02-08

Customer Reviews:

Quieter less Histrionic Chopin Playing .......2006-08-29

These performances have always enjoyed a great deal of respect, but I question using them as a benchmark for Chopin playing. In particular, Askenase opens out the structure of the music so methodically that he ends up consistenting refusing Chopin's endless invitations to glitter and pianistic gallantries. One constantly senses Askenase is more comfortable in the role of pedagogue and teacher than performer. In some music, and certain selections of Chopin reserve and inwardness is not only desireable, but very much the point. Yet exhibitionism and theatricality play a major role in much of Chopin's music: they help to balance the innerwardness and bring contrast to the soulfulness. The sparkle illuminates the depth in a way unique with Chopin. These personal and particular musical qualities really do mean more than surface effects - Chopin is above all a composer who wrote for ONE instrument - the piano. And he wrote better than anyone else ever did before or since for the specific soundstage possible with that instrument. There are no wasted extraneous effects for effects sake in mature Chopin. But with Askenase these endless delights are shortchanged. The haunting multi-colored beauty the best Chopin playing always conveys is not projected. (Try following Askenase's recordings with other pianists famous for their Chopin and the other performer will seem overwhelming in his or her coloristic effects.) Too, while listening to these performances I kept remembering other performers way with a section or theme. After listening through a particular piece I constantly found myself getting up to put on another CD by a different composer. And because I love Chopin that's not a good sign. I will try these CDs again another day, but I strongly suggest you not buy this set unless you have heard the performances.
Returning to listen to pianists such as Friedman in the Mazurkas (Naxos) leads me to believe technical limitations as well as personality apply in the case of Askenase and play a part in his disinclination to 'compete' with the glamor boys in this repetoire. (The nice enclosed booklet actually states that after a single hearing of Friedman play the Mazurkas Askenase shied away from them the rest of his career.) Moreover, his disinclination to record the etudes is a clear tip off that even within the music of 'his' composer he had limits. His thoughtful non-showy approach to Chopin may have been pre-determined by factors not germane to the requirements of the music itself. It's incredible to me that someone could prefer these qualities in, say, the brilliant and showy microcosmos that makes up the Waltzes to a host of other pianists who were delighted and reveled in just these qualities. Captivating and flirtatious one moment, sad and wistful the next, petutulant then suddenly exhuberant; these musical embodiments of Shakespeare's Cleopatra convey the very essence of the infinite variety of life. (With Askenase they seem more like mounted butterflies, or, fairer, industrious cabbage butterflies.) Listening to the waltzes we hear why Chopin, like Mozart, was so entranced by the songfullness of Italian bel canto. And it takes a great pianist to 'voice' the many lyric moments. Just as in song even the most thoughtful of performers must be able to rise to the technical level of a Patti or a Caruso if their way with a piece is to be considered the final word, so also in the realm of the piano, and especially Chopin!
This problem of colored memories is certainly not unique to Askenase - the French pianist Samson Francois was equally venerated in Chopin by his peers in France but today his performances reveal some troubling inconsistencies. Yet it only takes a second or so listening to Francois in Chopin's waltzes to hear how much more color and excitement exists in the music than is found by Askenase.
If you must have only one pianist for Chopin buy the Rubinstein CDs. He certainly has far greater technical skills and just as much of an understanding of the music. I think this may be one of those cases where high ratings are partly attributable to fond memories clouding reviewers' better judgement.

Ding an sich.......2006-08-17

I do not have very much to add to the redoubtable Mr. Lipscomb. His always-perceptive summaries speak for themselves. What I will say is that this set is among a handful of artistic miracles in the pantheon of recorded classical music. Even if Chopin is not your thing, I doubt very much if you will not find yourself transported by the first dozen or so staves of--for example--the C Sharp Minor nocturne. Stefan Askenase has a sensibility that transcends Chopin playing, and, for that matter, Chopin: it is as if you are given a glimpse of the great musical beyond, of the musical noumenon.

A Poetic View of Chopin.......2005-03-22

The long-awaited CD issue of these classic recordings is cause for rejoicing. The playing of Stefan Askenase (1896-1985) was a marvel of tender poetry, subtle rubato, and lucid clarity. Contrary to the album's title, these recordings span the period 1951-1971, and there are also works here by Mozart, Schubert, Liszt, Smetana and Mendelssohn. Transfers are uniformly excellent.

As Amazon has not provided a list of this set's contents, here is a brief digest:

CD 1 (all 1951, all Chopin) has 14 Waltzes, Piano Sonata #2, and the Mazurka op. 50/3. CD 2 (1951-52) has Piano Sonata #3, the 2nd Piano Concerto with Fritz Lehmann and the Berlin Phil., and 4 Polkas by Smetana. CDs 3-4 (1952-54) offer 20 Nocturnes, 24 Preludes op. 28 (Chopin) and Mozart's Piano Sonata K. 570. CD 5 has 8 Chopin Polonaises from 1951-52, and from 1968 a delightful 11 minute medley (compiled by Askenase) of Schubert Waltzes & Landler, plus exceptionally lyrical accounts of Liszt's Liebestraum No. 3 and Valse Oubliee No. 1. CD 6 includes Chopin's 1st Piano Concerto & Rondo a la Krakowiak (1959, with Willem van Otterloo and the Hague Phil.), plus Mendelssohn's Scherzo in E minor and 3 of the Songs Without Words. CD 7 features Chopin's Barcarolle, Berceuse, Scherzo #2 (all 1968), the 4 Impromptus, Scherzo #3, 4 Mazurkas, and the 3rd Ballade (all from 1970-71).

It is difficult to describe what makes these recordings so very special. At an early age Askenase's only teacher was his mother, who studied with Karl Mikuli, Chopin's most famous pupil. Askenase's style of playing - intimate, tender, sensitive - tonally most reminds me of Moriz Rosenthal, another Mikuli pupil. I strongly suspect that Askenase, Rosenthal and perhaps Pachmann & Czerny-Stefanska were probably the closest to Chopin's own style of piano playing, particularly with regard to delicacy of touch and tonal color. Like Neuhaus and Horszowski, Askenase spent most of his career teaching rather than concertizing (two of his pupils were Argerich and Uchida).

If your models for piano playing are the cool efficiency of Pollini or the theatrical thunder of Horowitz, you may find Askenase's manner too polite and small-scale. But if you prefer delicate shimmer and sparkle to empty glitter, and if you are seeking lyric grace of enormous subtlety, then Askenase is a must-hear.

As a Chopin player, Askenase is at his best in the wistful elegance of the Waltzes, the improvisationally lyrical Impromptus, the dreamy Nocturnes, and the subtle rhythmic challenges of the dance-like Mazurkas and Polonaises. Next to Askenase's Waltzes, even Rubinstein sounds a shade cavalier and Lipatti a trifle objective. The Waltzes were my first exposure to Askenase in the days of LP, and they remain my favorite version of all. His Impromptus are, along with Vasary's (DG LP), the finest I have heard. For me, Askenase joins Moravec (Nonesuch) and Vasary (DG) at the top of the list in the Nocturnes. His op. 28 Chopin Preludes are among my favorites, along with Moravec, Argerich and Cortot. Askenase's Berceuse ranks with the best (e.g., Solomon and Rubinstein).

Larger-scale, more overtly dramatic works like the Scherzos and Ballades are more successfully conveyed by others, especially Rubinstein (his magnificent stereo Ballades/Scherzos CD on RCA) and Richter (his live accounts of the Scherzos on Olympia and the stunning live Ballades on his 15-disc Praga set). While a fine account, the Barcarolle here strikes me as just a notch below the versions by Rubinstein, Lipatti, and Cherkassky.

I love Askenase's way with both the concertos, though I will admit that they are scaled more to the salon than the concert stage (his #1 is similar to Czerny-Stefanska's in this respect). Otterloo (#1) and Lehmann (#2) provide the finest orchestral support these works have received on disc (conductor Otterloo's large discography is urgently in need of CD reissue). As for the folkish Krakowiak, I think Askenase's is far and away the finest recording this under-rated little gem has ever received. In the Sonatas, Askenase substitutes nuance and subtlety for drama and forward motion. These too are in my personal Chopin pantheon, along with Rubinstein and Rachmaninov (#2), and Kapell & Lipatti (#3). In the latter work, Askenase offers a deeply eloquent account of the Largo, and his last mvt. has an unusual "galop" quality that I find very attractive.

Unfortunately, like Rubinstein, Askenase never recorded the Op. 10 or Op. 25 Etudes. In those works, I love Cortot's grand style (smudges and all) and the very personal readings by Vasary (DG LP). But my "desert island" set would be the long out of print Concert Hall LPs recorded in the 1950's by the Vienna-born Robert Goldsand, who was also primarily a teacher (one of his pupils was the astute music critic Harris Goldsmith). Hopefully some enterprising CD label will re-issue Goldsand's miraculously varied and musical Chopin, which also included a GREAT reading of the rarely heard 1st Sonata and the charming Variations on Mozart's La ci darem la mano.

Space does not permit my going into any detail regarding the lovely Mozart Sonata, the idiomatic Mendelssohn (a delightful Spinning Song) or the Smetana (but listen to the latter's first Polka for Askenase's incredibly liquid passagework, the work of a truly masterful colorist).

Urgently recommended.