Frederic Chopin: Etudes
Формат записи/Источник записи: [SACD-R][OF]
Наличие водяных знаков: Нет
Год издания/переиздания диска: 2002
Жанр: Piano, Romantic
Издатель(лейбл): Sony Classical
Наличие сканов в содержимом раздачи: Нет
1. Etude No.1 In C Major
2. Etude No.2 In A Minor
3. Etude No.3 In E Major
4. Etude No.4 In C-Sharp Minor
5. Etude No.5 In G-Flat Major ‘Black Keys’
6. Etude No.6 In E-Flat Minor
7. Etude No.7 In C Major
8. Etude No.8 In F Major
9. Etude No.9 In F Minor
10. Etude No.10 In A-Flat Major
11. Etude No.11 In E-Flat Major
12. Etude No.12 In C Minor ‘Revolutionary’
13. Etude No.1 In A-Flat Major
14. Etude No.2 In F Minor
15. Etude No.3 In F Major
16. Etude No.4 In A Minor
17. Etude No.5 In E Minor
18. Etude No.6 In G-Sharp Minor ‘Thirds’
19. Etude No.7 In C-Sharp Minor
20. Etude No.8 In D-Flat Major ‘Sixths’
21. Etude No.9 In G-Flat Major
22. Etude No.10 In B Minor ‘Octaves’
23. Etude No.11 In A Minor
24. Etude No.12 In C Minor
Контейнер: ISO (*.iso)
Тип рипа: image
Разрядность: 64(2,8 MHz/1 Bit)
Количество каналов: 2.0
Источник (релизер): PhantomBlot (PS³SACD)
Композитор: Frédéric François Chopin (Fryderyk Franciszek Szopen) (1810-1849)
Исполнитель: Murray Perahia, piano
Об исполнителе (группе)All Music:
In a field in which each season heralds the arrival of new "talents" who are soon forgotten, pianist Murray Perahia has remained a reliable and immensely gifted presence on the international scene for more than four decades, despite long breaks away from performing. Perahia studied with Jeanette Haien, from the age of five until well into his teens. In 1964 he entered the Mannes College of Music in New York, studying composition and conducting; though both endeavors remained secondary to his career as a pianist, the latter proved particularly useful when, decades later, Perahia conducted and recorded a complete cycle of Mozart's piano concerti from the keyboard. Perahia pursued further piano studies with Artur Balsam and Mieczyslaw Horszowski. He also attended the Marlboro Festival in Vermont, collaborating with such artists as Rudolf Serkin, Pablo Casals, and the Budapest Quartet.
In 1968 Perahia made his Carnegie Hall debut to much acclaim, and his concert career blossomed in short order. He made headlines in 1972 by taking top honors at the prestigious Leeds Piano Competition, the first American to do so -- and, no less, by unanimous decision. This led to his London recital debut at Queen Elizabeth Hall in 1973. Later that year he appeared at the Aldeburgh Festival, where he worked closely with the festival's founders, Benjamin Britten and Peter Pears. After Britten's declining health made it impossible for him to continue as Pears' accompanist, Perahia became one of Pears' frequent and favorite recital partners. Perahia also became co-artistic director of the Festival from 1981-1989. In 1975 Perahia shared with cellist Lynn Harrell the first Avery Fisher Prize, intended to aid in the development of the most promising American musical careers.
Perahia is often described as a "musician's musician," one who does not adopt a virtuoso persona, but performs with a distinctive directness, without exaggerated or demonstrative gestures. His playing is clean and meticulous, his sound cool, transparent, sparkling, and exquisitely shaded. He is best known for his performances of Classical and early Romantic repertoire; from the late 1990s he developed an especial reputation as an interpreter of Bach. In 2000, his recording of Bach's Goldberg Variations was awarded two Grammy nominations.
A hand injury and resulting infection have caused Perahia to step away for the stage for extended periods during his career, but his popularity has been sustained largely through his catalogue of recordings. He signed an exclusive contract with CBS Masterworks in 1973 and has remained with that label through its corporate transformation into Sony Classical. His recordings have received numerous accolades, including multiple Grammys and Gramophone Awards. In addition to his Mozart cycle, he has recorded all five Beethoven piano concerti with Bernard Haitink and the Concertgebouw Orchestra, as well as Schumann's complete works for piano and orchestra. Perahia became president the Jerusalem Music Center in 2009, still finding time to record more Bach, Beethoven, and Brahms solo works.
Об альбоме (сборнике)The final Sony Classical single-layer classical release that hasn’t been posted here yet. Murray Perahia plays the Chopin Etudes in the 2003 Grammy winner for best solo classical performance. Note that despite indications on the front and back of the packaging, this release is stereo-only (not a huge loss for solo piano).
Review from Paul Shoemaker at Musicweb
If some readers are upset over the awful things I say about Beethoven (and if you think the published reviews are bad you should read the ones that don’t get published) wait until they hear what I have to say about Chopin.
One might keep several things in mind: Chopin learned to play the piano by practising Bach’s Wohltemperierte Klavier. Consequently, as well as subsequently, he was the first composer to write preludes without fugues, in acknowledged homage to Bach. And keep in mind that “Études de piano” is a passable French translation of “Klavierübung,” … and the Opus 10 was published in Leipzig! Keep also in mind that the only music Chopin had heard which sounded at all like his own was Schubert’s. Liszt probably learned more from Chopin than the other way around, and like so much of what Liszt learned he ran with it like a dog with a rope of sausages into his own private and public ecstasies.
Chopin realised (as did Bach and Charles Rosen) that the keyboard was not merely a medium through which music passed but that, in the athletic physical struggle to make the keys sound, music was forged. Keyboard music is a finger ballet, a crucible, a military manoeuvre. Therefore in the effort of difficult keyboard exercises lies a doorway to profound expression that cannot be found and entered any other way. Even Debussy acknowledged this and utilised it, as did Brahms. Of Course Chopin could relax and have fun like the best of them, perhaps better than most of them. And, of course, the violin and especially the cello have their own corresponding physical musical ritual.
So I divide Chopin’s work into three groups: The Scherzos, (and perhaps the Ballades and maybe even the Third Sonata) which are in homage of Schubert’s Impromptus and should be played primarily as though they were by Schubert – an extension of his aesthetic. The Études (perhaps to a lesser extent also the Preludes) are Chopin’s serious musical statement, standing, as he was, in the shadow of Bach and looking to the future. And, all the rest, the interminable waltzes, nocturnes, polonaises, the first two sonatas, concertos, etc., which were just fodder for the music mill, to try to make some money. While they make fine teaching pieces and amateur recital pieces, they deserve to be ignored. If I never have to sit through a one of them again I’ll be delighted. Concert recitalists love them because they are so easy to play and sound so difficult to play, amateur pianists love them because they are so easy to play badly they can sound like they’re “really trying,” and the audience love them because they sound like classical music and like pop tunes at the same time.
So, standing here before the Études, I take off my hat and kneel down to two geniuses, Chopin and Perahia and reflect on the remaining mystery in these works. Why is it that Brazilians play them best? Upon reflection Brazil and Poland have some things in common: A highly developed national music which embodies an irrepressible rhythmic energy — A sense of never being respected as nations as much as they deserve to be (Poland having been several times devoured and Brazil having been ignored) and consequently a bursting pride in their national cultures — And a profoundly mystical and somewhat fatalistic religious culture. When Villa-Lobos tried to write true Brazilian music he found he had to invent entirely new forms, and his music still generally bewilders European performers and listeners. Chopin in writing Polish music had to invent new forms as well, but his have been well assimilated.
For years my favourite Chopin recording has been Novaes’ recording of the complete Études — in fact it has been the only Chopin I ever listen to by choice. Now Murray Perahia brings me almost the same performance in piano sound so richly sensual that one does not listen to it so much as bathe in it.
A final mystery: why does Perahia do such a magnificent overall job of performing these works and then fall down so miserably on just one, the Op 25 #6? Well, I still have Novaes’ recording which is supreme and I can listen to that one instead.
Before you send me hate mail, please be advised that I am aware that I have overstated my case, and that works like the Ballades, the Fantasie Impromptu, have much in them worthy of defence. And I enjoy the Prelude and Fugue in a minor, especially when I play it on the harpsichord in baroque style to get even for all those hours of bad piano Bach.
*If I may be permitted one more mystery, why is Vasary’s finest Chopin recording the only one that has never been reissued on CD? Are you listening DG?
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