> CHOPIN The Piano Works Brilliant Classics [GPJ]: Classical CD Reviews- Aug 2002 MusicWeb(UK)

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Frédéric CHOPIN (1810-1849)

Various performers
[Contents listed complete at foot of review]
13 CD set DDD


AmazonUK £32.99  AmazonUS


I was enjoying listening to the CDs in this set so much that I took CD3, containing the Etudes, with me in the car a couple of weeks back. That day, while working assiduously at my desk, some music-lover was removing my radio/CD, player complete with Etudes, from its housing, thoughtfully smashing my car window and causing other collateral damage. So if any MusicWeb visitor is guilty of this heinous crime, all I would like to say is TOUGH, because a lovely lady in Holland called Jacolien, who works for Joan Records who in their turn produce Brilliant Classics, listened to my sad story and replaced the stolen disc by return. Pretty impressive, I thought.

What of the discs? Brilliant have gone for eleven pianists altogether, most of them Dutch and several of them relatively young. There are no ‘big’ names, with the possible exception of Cor de Groot, who died in 1993. They all, however, have impeccable credentials, and, if they are not familiar to us, certainly deserve to be. This, and the fact that some of the recordings use Pleyel pianos from 1842 and 1847 - the kind of which Chopin himself was so very fond – gives a welcome variety to the interpretations and tone-colour. The set would be a good buy even if the performances were mediocre. But they are not; all of these players are well worth hearing, and there are many outstanding musical experiences to be had here.

Above all, it emphasises for me the astonishing technical mastery and tonal imagination that Chopin possessed in such ample measure. In a sense he’s still an underrated composer, however popular some of the work may be. The best-loved Preludes, Etudes, Mazurkas and Waltzes are here; but the very greatest music lies in the more extended pieces, the Ballades, Scherzi and Sonatas.

Disc1, with an assorted selection of pieces, is possibly the least satisfying, consisting mainly of what could be disparagingly described as ‘salon music’ ( in the strict sense, I suppose, all of Chopin’s solo piano music is such), though the Tarantella in Ab op.43 is an attractive rarity. The Dutchman Frank van de Laar is the committed and stylish pianist here.

Disc 2 features the youngest of the soloists, Folke Nauta, in the Polonaises and Polonaise-style pieces. Here we have some justly celebrated works; the great A major "Military" Polonaise, as well as op. 53 in Ab. But there also rather less familiar ones such as the powerful op.26 no.1 in C# minor, and more extended works such as the fine op.61 Polonaise-Fantaisie in Ab or the Andante Spianato op.22.

Disc 3 contains the two main sets of Etudes, as well as the three later Etudes which are far less musically interesting, and have no opus number as they were composed for the piano ‘Method’ of Moscheles and Fétis. The presence of op.10 and op.25 makes this one of the most important discs, and a considerable challenge for any pianist. Martijn van den Hoeck, winner of the Franz Liszt competition at Utrecht back in 1986, rises to this challenge in a distinguished way. His technique is flawless, but he equally importantly succeeds in characterising the individual pieces strongly yet without distortion. In the ‘Revolutionary’ study (track 12), he strives to emphasise the pathos and courage implicit in the piece, rather than give a barn-storming performance. But these readings are not under-powered; he is stirringly dramatic in the B minor Etude, op. 25 no.10, and the ‘Winter Wind’ study that follows. This is, for me, the finest disc in the set.

Disc 4, containing twelve of the Nocturnes, brings our first meeting with a period instrument, in this case an 1842 Pleyel played by Bart van Oort. The playing is sensitive and expressive, eschewing sentimentality, and giving these often overplayed pieces a certain classical poise. One of the best-known is op.9 no.2 in Eb, and here I looked for more information than I got from the booklet, as the ornamentation played by Oort was much more elaborate than I was used to. I wanted to know if this was simply a different text from that in normal use, or whether the pianist had decided to extend the embellishments in his own way. No answer I’m afraid, though to balance this, I should say that there is a very informative essay by Oort himself about Pleyel pianos, and their ideal suitability for Chopin’s music.

Unfortunately, we aren’t told what instrument we are hearing on most of the CDs, though clearly it is a modern one used on, for example, the next disc of Nocturnes, where we have the young Dutch-born pianist of Israeli family background, Yoram Ish-Hurwitz. As with Disc 4, I found myself wondering whether grouping a whole set of pieces together like this, when they inherently share such strong characteristics, is the best way to hear Chopin’s music. Might not the pianists, too, have been better served by the opportunity to present balanced programmes? Maybe; on the other hand, the practical difficulties of compiling such programmes would be huge. And one does get fascinating juxtapositions in Ish-Hurwitz’s selection of Nocturnes. For instance, the soothing lullaby of op.27 no.2 in Db major feels like the perfect answer to the disconsolate C# minor of no.1, and similarly, the stern G minor of op.37 no.1 is softened by the serenade-like no.2 in G major.

With the four Scherzi and the F minor Fantasy on Disc 6, we encounter the first of the larger scale works which, for many musicians, reveal Chopin at his greatest. The pianist on this recording is Alwin Bär, who is splendid in both the frantic outer sections of the first Scherzo and in its Christmas carol based calmer middle part. All of the Scherzi are restless works, though each has its more tranquil episodes, and Bär is superb at capturing the almost schizophrenic (scherzophrenic??) nature of these extraordinary masterpieces.

He completes this disc with two exquisite works; first the Berceuse in Db, companion piece to the Nocturne op. 27 no.2. Here I feel Bär gives a rather mannered performance, succumbing too quickly to rubato, rather than let the simplicity of the melody establish itself. On the other hand, the wonderful Barcarolle that follows, correctly identified in the booklet as one of Chopin’s supreme achievements, is much more successful.

Exquisite miniatures dominate the next two CDs. The Waltzes are collected on CD7, where Martijn van der Hoek gives brilliant and elegant performances, not missing the gently nostalgic qualities of such numbers as the Op.Posth. waltz in Eb, which concludes the disc. Disc 8 is one of the most interesting, as it brings the great Cor de Groot interpreting the Mazurkas, in a recording dating from 1988, five years before his death. I suggest starting with track 24, which contains op. 33 no.3, a piece which was the subject of a famous row between Chopin and the composer Meyerbeer. The latter apparently insisted that the piece was in duple time (all Mazurkas are of course in triple time); Chopin simply couldn’t believe the obtuseness of this, and came close to physically attacking Meyerbeer, which, given Chopin’s temperament, meant, one could safely say, that he was pretty angry! See what you think; I’m firmly with Chopin, and it only confirms what I’d always thought about Meyerbeer.

Cor de Groot plays these wonderful little pieces with imagination, charm and great idiomatic freedom, using a Pleyel piano from 1847. De Groot was himself a distinguished composer, and there is an imaginative quality in his playing which makes it stand apart from that of the other pianists. To give just one example, track 13, op.17 no.4, is one of the most memorable performances in the whole boxed set, with the pianist using the almost harp-like sonorities of the 19th century instrument to enhance the pathos of this magical and extraordinary little piece. This disc contains the earlier sets of Mazurkas, op.6, 7, 17, 24, 30, 33 and 41, later ones being found on CDs 10 and 13.

The interest on CD9, which contains the two concertos, lies partly in the accompanying orchestra. Described as ‘Rotterdam Young Philharmonic’, it is a joint venture, the booklet notes tell us, between the Rotterdam Philharmonic Orchestra and the Rotterdam Conservatory. We aren’t informed of the balance of students and professionals; whatever that may be, the orchestra plays more than competently. Chopin’s orchestration is no great shakes (though it’s nothing like as bad as Berlioz and others have suggested) yet, under their conductor Arie van Beek, they tackle it with gusto, and there is some expressive playing from the various wind soloists, as well as warm, rich string sound.

What of the soloist, the Italian Paolo Giacometti? Musically, these concertos do not stretch pianists anywhere near as much as the Sonatas or Ballades for example, and it’s important to remember that both works are remarkably early, being composed in Chopin’s late teens. Giacometti performs with elegance and some poetry, though he does not have the imagination of Argerich, the supreme interpreter of these works. To take one small example, at the outset of the development in the first movement of the second concerto, where Argerich fines the dynamic level down to a magical pianissimo, Giacometti is prosaically mezzo forte. Nonetheless, these are performances worth having, and the balance between orchestra and soloist is pretty well ideal.

CD 10 is a kind of ‘loose-ends’ disc, in that it contains Chopin’s works for piano and orchestra other than the concertos, and nine more of the mazurkas, from op. 50 and 56, played by Cor de Groot on the 1847 Pleyel. In the concerted pieces, the soloist is Arthur Moreira, accompanied this time by the Sofia Philharmonic Orchestra under Dimiter Manilov. Moreira turns out to be a rather aggressive soloist, attacking the flourishes in the introduction to the ‘La ci darem’ Variations with surprising violence. He continues to produce a hard tone throughout, and there is a lack of the sort of wit and elegance this music cries out for. The contribution of the orchestra is mostly very acceptable, though I have rarely to hear a woodwind section with noisier keywork; a horrid clattering emerges from in particular the clarinets, which doesn’t do anything for the music. Moreira is much more at ease in the lovely ‘Fantasia on Polish Airs’ op.13, and the third piece, ‘Krakowiak’, based on a Polish folk-dance from Crakow, receives an enjoyable enough performance, all the way from its very beautiful slow opening to the lively dance with which it concludes. It’s good to have these comparative rarities, though Moreira, it has to be said, remains disappointingly heavy-handed and prosaic. (The booklet, by the way, gives no information about soloist, orchestra or conductor, which is a very odd omission).

The sonatas, which occupy Disc 11, are inevitably a central pillar of the Chopin repertoire, and Fred Oldenburg performs all three – the two mature sonatas, plus the early op.4 C minor work, which is rarely heard. It isn’t a particular remarkable or attractive piece; even in the Larghetto, one searches in vain for all but the faintest pre-echo of Chopin’s distinctive later style. I feel the finale to be the best as well as the most characteristic movement; in it Chopin develops that kind of restless, stormy mood he was to use so superbly in the Scherzi and Ballades. Here, he lacks the expressive vocabulary to create sufficient contrast

With the Sonata no.2 in Bb minor, op. 35, we are in completely different territory, the tonally ambiguous opening immediately declaring Chopin’s harmonic daring. The movement that grows out of this statement is a dramatic and satisfying one; Oldenburg gives a musical and accomplished performance, but seems reluctant to emphasise its drama. That tendency, perhaps a Classical rather than Romantic view of these works, persists throughout this and the 3rd Sonata, so that the ultimate impression is of small-scale, perhaps rather limited performances. However, let’s be clear; Oldenburg may not be the most imaginative of pianists – compared say to a Pollini or an Argerich - but he understands this music, how it is put together, what makes it tick. What you get may be fairly low-octane, but it is genuinely stylish, intelligent playing, and technically superb too (e.g. the glittering Scherzo of the 3rd Sonata, track 10). Rather disarmingly, though slightly oddly, these mighty works are followed by three of Chopin’s tiniest works, the Ecossaises, op. 72 no.3., all of them totalling 2:24!

The 24 Preludes of op.28, in their miniaturist perfection of form and expression, make a welcome contrast to the structural inconsistencies of the Sonatas, great though those works are. The pianist is Paolo Giacometti, last heard in the Concertos on Disc 9, and equally successful here in these pieces at the opposite end of the Chopin spectrum. The preludes are a huge challenge for a pianist, in that they are mostly so short, yet each one has to be immediately characterised so very sharply. I felt Giacometti was able to do this wonderfully well, and that in addition, there is a feeling of an unbroken chain of thoughts, almost as if they had been recorded at one sitting. This may be an illusion, but if so, it is one that works remarkably well. The recording for this disc seems closer than that of the others, sometimes uncomfortably so; there’s quite a bit of ‘mechanical’ noise, as well as some distortion at climaxes, e.g. in the ‘Raindrop’ prelude. The booklet, again, lets us down here; the lovely ‘extra’ prelude, op.45 in C# minor is included, but no mention of it. Giacometti, though, is a performer whom I would pay good money, and lots of it if necessary, to hear again. He is simply masterly.

The final disc features yet another Dutch pianist, Pieter van Winkel, performing the Ballades and Impromptus. For me, the Ballades represent the very summit of Chopin’s achievement; not only do they exploit the potential of the piano in an unprecedented way, they point the way forward to the more subtly descriptive music of the late 19th and early 20th century, such as that by Grieg, Sibelius and Debussy. Winkel turns in really fine performances; passionate, sensitive and imaginative, with a wide tonal range. He is particularly good at portraying the sinister undertones of pieces such as the first Ballade. The Impromptus are less searching music, revelling as they do in surface brilliance and pianistic sonorities; Winkel brings out their beauties with equal assurance. The disc is completed, appropriately enough, by a final group of Mazurkas, those of op. 59 and 63, played once more by Cor de Groot on the 1847 Pleyel.

It’s been a marathon but deeply enjoyable and instructive experience listening to these recordings. It has confirmed for me Chopin’s rightful place as one of the supreme masters of 19th century music, and one of the very most influential. It has also opened my eyes to the impressive number of fine pianists to have emerged from Holland in recent years, something of which I was quite unaware. Above all, this set is a major achievement, for which all lovers of the piano and of Chopin’s music should salute Brilliant. Financially, it represents almost unbelievable value (£32.99 at Amazon UK or $28.57 at Berkshire Record Outlet) and musically, it is simply a gold-mine.

Gwyn Parry-Jones



1. Introduction & Variations on
"Je Vends des scapulaires"
from Hérold's "Ludovic",
in B flat major Op. 12
2. Rondo in C minor Op. 1
3. Variations sur un air national allemand,
in E major Op. Posth.
4. Ronoo a la Mazur, in F major Op. 5
5. Allegro de Concert Op. 46
6. Bolero in C major Op. 19
7. Introduction & Rondo in C minor Op. 16
8. Tarantella in A flat major Op. 43
9. Souvenir de Paganini

Total time [74'35]
Frank van de Laar, piano
Producer: Pieter van Winkel
Recording engineer & editor: Peter Arts
Recorded: 29 September, 12-13 October
Muziekcentrum Frits Philips, Eindhoven

1. Andante spianato et Grande Polonaise brillante
Op. 22 in E flat major
2. Polonaise Op. 26 No. 1 in C sharp minor
3. Polonaise Op. 26 No. 2 in E flat minor
4. Polonaise Op. 40 No. 1 in A major "Military"
5. Polonaise Op. 40 No. 2 in C minor
6. Polonaise Op. 44 in F sharp minor
7. Polonaise Op. 53 in A flat major "Heroic"
8. Polonaise-Fantaisie Op. 61 in A flat major

Total time: [77'14]
Folke Nauta, piano
Producer: Pieter van Winkel
Recording engineer & editor: Peter Arts
Recorded: 21 June, 11 September 1998
Rotterdam Conservatorium

12 Etudes Op. 10 (a son ami Franz Liszt)
1. No. 1 in C major, allegro
2. No. 2 in A minor, allegro
3. No. 3 in E major, lento ma non troppo
4. No. 4 in C sharp minor, presto
5. No. 5 in G flat major, vivace
6. No. 6 in E flat minor, andante con molto espressione
7. No. 7 in C major, vivace
8. No. 8 in F major, allegro
9. No. 9 in F minor, allegro molto agitato
10. No. 10 in A flat major, vivace assai
11. No. 11 in E flat major, allegretto
12. No. 12 in C minor, allegro con fuoco
12 Etudes Op. 25 (A Madame la Comtesse d'Agoult)
13. No. 1 in A flat major, allegro sostenuto
14. No. 2 in F minor, presto
15. No. 3 in F major, allegro
16. No. 4 in A minor, agitato
17. No. 5 in E minor, vivace
18. No. 6 in G sharp minor, allegro
19. No. 7 in C sharp minor, lento
20. No. 8 in D flat major, vivace assai
21. No. 9 in G flat major, allegro assai
22. No. 10 in B minor, allegro con fuoco
23. No. 11 in A minor, allegro con brio
24. No. 12 in C minor, allegro molto con fuoco
Trois Nouvelles Études,
composées pour la Méthode de Moscheles et Fétis
25. No. 1 in F minor, andantino
26. No. 2 in D flat major, allegretto
27. No. 3 in A flat major, allegretto
Total time: [68'16]

Martijn van den Hoek, piano
Producer: Pieter van Winkel
Recording engineer & editor: Peter Arts
Recorded: 3-6 October 1998
Rotterdam Conservatory Muziekcentrum Frits Philips, Eindhoven

Op. 9, 15,32,62, Op. Posth.
1. Nocturne Op. 9 No. 1 in B flat minor
2. Nocturne Op. 9 No. 2 in E flat major
3. Nocturne Op. 9 No. 3 in B major
4. Nocturne in E minor Op. 72 No. 1
5. Nocturne Op. 15 No. 1 in F major
6. Nocturne Op. 15 No. 2 in F sharp major
7. Nocturne Op. 15 No. 3 in G minor
8. Nocturne Op. 32 No. 1 in B major
9. Nocturne Op. 32 No. 2 in A flat major
10. Nocturne Op. 62 No. 1 in B major
11. Nocturne Op. 62 No. 2 in E major
12. Nocturne in C sharp Op. Posth.

Total time: [58'21]
Bart van Oort, piano
Piano: Pleyel 1842
Producer: Pieter van Winkel
Recording engineer & editor: Peter Arts
Recorded: 1 / 2 September 1998
Maria Minor, Utrecht

1. Nocturne Op. 27 No. 1 in C sharp minor
2. Nocturne Op. 27 No. 2 in D flat major
3. Nocturne Op. 37 No. 1 in G minor
4. Nocturne Op. 37 No. 2 in G major
5. Nocturne Op. 48 No. 1 in C minor
6. Nocturne Op. 48 No. 2 in F sharp minor
7. Nocturne Op. 55 No. 1 in F minor
8. Nocturne Op. 55 No. 2 in E flat major
9. Nocturne in C minor Op. Posth.
10. Nocturne in C sharp minor Op. Posth.

Total time: [53'38]
Yoram Ish-Hurwitz, piano
Producer: Pieter van Winkel
Recording engineer & editor: Peter Arts
Recorded: 8 / 9 September 1998
Bachzaal, Amsterdam

1. Scherzo No. 1 in B minor Op. 20
2. Scherzo No. 2 in B flat minor Op. 31
3. Scherzo No. 3 in C sharp minor Op. 39
4. Scherzo No. 4 in E major Op. 54
5. Fantasy in F minor Op. 49
6. Berceuse in D flat major Op. 57
7. Barcarolle in F sharp major Op. 60

Total time: [63'11]
Alwin Bär, piano
Producer: Pieter van Winkel
Recording engineer & editor: Peter Arts
Recorded: 11 / 12 August 1998
Bachzaal, Amsterdam

1. Grande Valse Brillante en E flat major Op. 18
2. Valse Brillante in A flat major Op. 34 No. 1
3. Valse in A minor Op. 34 No. 2
4. Valse Brillante in F major Op. 34 No. 3
5. Grande Valse in A flat major Op. 42
6. Valse in D flat major Op. 64 No.1 "Minute Waltz"
7. Valse in C sharp major Op.64 No.2
8. Valse in A flat major Op. 64 No. 3
9. Valse in A flat major Op. 69 No. 1
10. Valse in B minor Op. 69 No. 2
11. Valse brillante in G flat major Op. 70 No. 1
12. Valse in A flat major Brown Index 21
13. Valse in D flat major Op. 70 No. 3
14. Valse in E minor Op. Posth.
15. Valse in E major, Brown Index 44
16. Valse in A minor, Brown Index 150
17. Valse in E flat major, Brown Index 133
18. Valse in E flat major. Op. Posth.

Total time: [58'17]
Martijn van den Hoek, piano
Producer: Pieter van Winkel
Recording engineer & editor: Peter Arts
Recorded: 30 / 31 May 1998
Rotterdam Conservatory

1. Mazurka Op. 6 No. 1 in F sharp minor
2. Mazurka Op. 6 No. 2 in C sharp minor
3. Mazurka Op. 6 No. 3 in E major
4. Mazurka Op. 6 No. 4 in E flat minor
5. Mazurka Op. 7 No. 1 in B flat major
6. Mazurka Op. 7 No. 2 in A minor
7. Mazurka Op. 7 No. 3 in F minor
8. Mazurka Op. 7 No. 4 in A flat major
9. Mazurka Op. 7 No. 5 in C major
10. Mazurka Op. 17 No. 1 in B flat major
11. Mazurka Op. 17 No. 2 in E minor
12. Mazurka Op. 17 No. 3 in A flat major
13. Mazurka Op. 17 No. 4 in A minor
14. Mazurka Op. 24 No. 1 in G minor
15. Mazurka Op. 24 No. 2 in C major
16. Mazurka Op. 24 No. 3 in A flat major
17. Mazurka Op. 24 No. 4 in B flat minor
18. Mazurka Op. 30 No. 1 in C minor
19. Mazurka Op. 30 No. 2 in B minor
20. Mazurka Op. 30 No. 3 in D flat major
21. Mazurka Op. 30 No. 4 in C sharp minor
22. Mazurka Op. 33 No. 1 in G sharp minor
23. Mazurka Op. 33 No. 2 in D major
24. Mazurka Op. 33 No. 3 in C major
25. Mazurka Op. 33 No. 4 in B minor
26. Mazurka Op. 41 No. 1 in C sharp minor
27. Mazurka Op. 41 No. 2 in E minor
28. Mazurka Op. 41 No. 3 in B major
29. Mazurka Op. 41 No. 4 in A flat major

Total time: [74'02]
Cor de Groot, piano (Pleyel 1847)
Recorded: October / November 1988
Gemeentemuseum Den Haag
Recording producer & engineer: Dick van Schuppen

Piano Concerto No. 1 in E minor Op. 11
1. Allegro maestoso
2. Romance, larghetto
3. Rondo, vivace
Piano Concerto No. 2 in F minor Op. 21
4. Maestoso
5. Larghetto
6. Allegro vivace

Total time:[ 73'02]
Paolo Giacometti, piano
Rotterdam Young Philharmonic, Arie van Beek
Recording producer & engineer: C. Jared Sacks
Recorded: 26 / 27 June 1998
Muziekcentrum Vredenburg, Utrecht

1. Variations on Mozart's "La ci darem la mano",
in B flat major Op. 2
2. Fantasia on Polsih Airs, in A major Op. 13
3. Krakowiak, in F major Op. 14
4. Mazurka Op. 50 No. 1 in G major
5. Mazurka Op. 50 No. 2 inA flat major
6. Mazruka Op. 50 No. 3 in C sharp minor
7. Mazurka Op. 56 No. 1 in B major
8. Mazurka Op. 56 No. 2 in C major
9. Mazurka Op. 56 No. 3 in C minor
Total time: [72'13]

Arthur Moreira, piano (1-3)
Sofia Philharmonic, Dimiter Manolov (1-3)
Cor de Groot, piano (Pleyel 1847) (4-9)

Piano Sonata No. 1 in C minor Op. 4
1. Allegro maestoso
2. Menuetto
3. Larghetto
4. Finale
Piano Sonata No. 2 in B flat minor Op. 35
5. Grave-doppio movimento
6. Scherzo
7. Marche funebre-lento
8. Finale, presto
Piano Sonata No. 3 in B minor Op. 58
9. Allegro maestoso
10. Scherzo, molto vivace
11. Largo
12. Finale
3 Écossaises, Op. 72 No. 3
13. No. 1 in D major
14. No. 2 in G major
15. No. 3 in D flat major

Total time: [79'11]
Fred Oldenburg, piano
Recording producer: Pieter van Winkel
Recording engineer: Peter Arts
Editor: Fred Oldenburg, Peter Arts
Recorded: 20 / 22 July 1998
Muziekcentrum Frits Philips, Eindhoven

1. No. 1 in C major, Agitato
2. No. 2 in A minor, Lento
3. No. 3 in G major, Vivace
4. No. 4 in E minor, Largo
5. No. 5 in D major, Allegro molto
6. No. 6 in B minor, Lento assai
7. No. 7 in A major, Andantino
8. No. 8 in F sharp minor, Molto agitato
9. No. 9 in E major, Largo
10. No. 10 in C sharp minor, Allegro molto
11. No. 11 in B major, Vivace
12. No. 12 in G sharp minor, Presto
13. No. 13 in F sharp major, Lento
14. No. 14 in E flat minor, Allegro
15. No. 15 in D flat major, Sostenuto
16. No. 16 in B flat minor, Presto con fuoco
17. No. 17 in A flat major, Allegretto
18. No. 18 in F minor, Allegro molto
19. No. 19 in E flat major, Vivace
20. No. 20 in C minor, Largo
21. No. 21 in B flat major, Cantabile
22. No. 22 in G minor, Molto agitato
23. No. 23 in F major, Moderato
24. No. 24 in D minor, Allegro appassionato
25. Prelude in C sharp minor Op. 45

Total time: [41'00]
Paolo Giacometti, piano
Recorded: Maria Minor, Utrecht
5 / 6 October 1998
Recording producer & engineer: C. Jared Sacks

1. Ballade No. 1 in G minor Op. 23
2. Ballade No. 2 in F major Op. 38
3. Ballade No. 3 in A flat major Op. 47
4. Ballade No. 4 in F minor Op. 52
5. Impromptu No. 1 in A flat major Op. 29
6. Impromptu No. 2 in F sharp major Op. 36
7. Impromptu No. 3 in G flat major Op. 51
8. Fantaisie-Impromptu No. 4 in C sharp minor Op. 66
9. Mazurka Op. 59 No. 1 in A minor
10. Mazurka Op. 59 No. 2 in A flat major
11. Mazurka Op. 59 No. 3 in F sharp minor
12. Mazurka Op. 63 No. 1 in B major
13. Mazurka Op. 63 No. 2 in F minor
14. Mazurka Op. 63 No. 3 in C sharp minor

Total time: [73'45]
Pieter van Winkel, piano (1-8)
Cor de Groot, piano (Pleyel 1847) ( 9-14)
Recording producer & engineer: Peter Arts
23 / 24 July, 1998
Muziekcentrum Frits Philips, Eindhoven (1-8)
October 1998
Gemeentemuseum Den Haag (9-14)

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