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FRYDERYK CHOPIN
Cinq Mazurkas, Op.7
10:14
À Monsieur Johns de la Nouvelle Orleans
1.
1
Vivace
2:30
in B flat major • in B-Dur • en si bémol majeur
2.
2
Vivo, ma non troppo - [ ] - Da Capo
3:13
in A minor • in a-Moll • en la mineur
3.
3
Dotted minum = 54 - [ ] - Tempo I
2:17
in F minor • in F-Moll • en fa mineur
4.
5
Vivo - [ ] - Dal segno senza Fine
0:46
in C major • in C-Dur • en ut majeur
5.
4
Presto, ma non troppo
1:26
in A flat major • in As-Dur • en la bémol majeur
6.
Polonaise, Op.26 No.1
8:47
in C sharp minor • in cis-Moll • en ut dièse mineur
À son ami J. Dessauer
Allegro appasionato - Meno mosso - Polonaise da Capo
Quatre Mazurkas, Op.33
11:14
À Mademoiselle la Comtesse Rose Mostowska
7.
1
Lento
2:00
in G sharp minor • in gis-Moll • en sol dièse mineur
8.
2
Vivace
2:31
in D major • in D-Dur • en ré majeur
9.
3
Semplice
1:47
in C major • in C-Dur • en ut majeur
10.
4
Mesto
4:54
in B minor • in h-Moll • en si mineur
11.
Polonaise, Op.26 No.2
8:20
in E flat minor • in es-Moll • en mi bémol mineur
À son ami J. Dessauer
Maestoso - Meno mosso - Adagio - Tempo I
Trois Mazurkas, Op.59
10:11
12.
1
Moderato
4:03
in A minor • in a-Moll • en la mineur
13.
2
Allegretto
2:41
in A flat major • in As-Dur • en la bémol majeur
14.
3
Vivace
3:26
in F sharp minor • in fis-Moll • en fa dièse mineur
15.
Polonaise, Op.44
10:21
in F sharp minor • in fis-Moll • en fa dièse mineur
À Madame La Princesse Charles de Beauvau née de Komar
[ ] - Doppio movimento (Tempo di Mazurka) - Tempo I (di Polacca)
16.
Allegro de concert, Op.46
11:10
in A major • in A-Dur • en la majeur
À Mademoiselle F. Müller
Allegro maestoso
TT:: 71:05
Solo:Louis Lortie piano
About
Louis Lortie’s Chopin series is achieving landmark status, as confirmed by the increasingly enthusiastic reviews of progressive volumes. This fifth one sumptuously highlights the Polish influences in Chopin’s music, offering gems from among the mazurkas and polonaises.
Relatively brief in duration and simple in structure, the mazurkas reveal other aspect of Chopin’s music: quirky melodies, strangely chromatic harmonies, oddly accented rhythms, irregular phrase lengths, and wildly contrasting keyboard textures. They represent a fascinating part of Chopin’s output, for audiences and pianists alike.
The vigour of the polonaises featured here, including the first two to be published, confirms Chopin as a radical, yet idiomatic transformer of the genre. The Allegro de concert, which Chopin was said to have kept for his projected return to ‘a free Warsaw’, is another link to his beloved country.
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Reviews
**** (Excellent Album)
Michel Le Naour - Classica magazine (France) – April 2018
"... The Polonaises (Op. 26: 1&2). Op. 44) were like embarking on an adventure, each one of them telling its own absorbing story... I eagerly look forward to the next volume in this series."
Alan Becker - American Record Guide - March/April 2018
Nominee for Classical Album of the Year - Solo or Chamber Category
JUNO Awards 2018
“... For all the virtuosity and vivacity demanded by the works, the overall feeling here is one of intimacy, the refinement and control of his [Lortie] playing allowing the music to breathe in ways one does not always hear in Chopin. Chandos recording made at Potton Hall, is beautifully engineered, intimate and delicately focused providing a small recital room ambience at the centre of which is a superb Fazioli Model F 278.” *****
Guy Rickards - International Piano magazine - January/February 2018
***** Superb Album 4/5 Sound
Alain Lompech - Diapason magazine (France) - December 2017
“...Very highly recommended.”
Patrick Rucker - Gramophone magazine - November 2017
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