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Krystian Zimerman

Monday, June 26, 2017


Meeting in Music

February 3

FRANZ LISZT: PIANO CONCERTOS NO. 1 & 2; TOTENTANZ; PIANO SONATA IN B MINOR; ETC

Meeting in MusicKrystian Zimerman, piano; Boston Symphony Orchestra; Seiji Ozawa Classical | 2 CDs | EAC Rip | 434 MB (3% recovery) | FLAC+LOG+Cue | Complete scans DGG 0289 477 9697 8 2 Tracklist: CD 1: Piano Concerto No.1 in E flat, S.124 Piano Concerto No.2 in A, S.125 Totentanz, S. 525 CD 2: Piano Sonata in B minor, S.178 Nuages gris, S.199 La Notte, S.602 La Lugubre Gondola, S.200 no.2 Funérailles This is playing in the grand manner... Ozawa and the orchestra are behind the soloist in all this and the deciso element is fully realized. But don't let me imply a lack of finesse; not only do lyrical sections sing with subtlety, the big passages also are shapely... In the gorgeously grisly Totentanz, both music and playing should make your hair stand on end. C.H.; Gramophone It is to be expected that an artist who has made one of the outstanding recordings of the Liszt concertos (DG, 11/88) should also give us one of the finest ever B minor Sonatas. Whether you think it is the finest ever may depend on your priorities (and on whether you think it is sensible to venture such opinions). What can surely be said is that Zimerman brings to bear a combination of ardour, forcefulness, drive and sheer technical grasp which are tremendously exciting and for which I can think of no direct rival. D.J.F. Gramophone (Solo works)

Tribuna musical

December 1

Chopiniana presented promising Argentine and admirable Polish pianists

Chopiniana ended its season at the Palacio Paz with the impromptu presentation of the twenty-year-old Gastón Frydman (due to the illness of veteran Spanish pianist Guillermo González) and the Argentine debut of Szymon Nehring, a true revelation in an all-Chopin programme. Although the cancellation of González was a pity for he has a vast trajectory and would have premièred several recently discovered sonatas by Domenico Scarlatti, it was worthwhile to meet Frydman´s art at a tender age, for he should have a good career. At such short notice, the decisive factor was that he had a varied programme ready for any occasion that might appear. He is a product of the serious training provided by the Beethoven Conservatory and the Colón Institute of Art, among others. He has had some European experience and currently has formed a duo with the accomplished violinist Rafael Gíntoli. His programme was eclectic and difficult. The Busoni arrangements of Bach aren´t trendy nowadays, but they are good of its kind, such as the one on the chorale prelude "Ich ruf zu dir, Herr Jesu Christ" ("I call to you, Lord jesus Christ"); Frydman showed continuity and fine timbre in his interpretation. Beethoven followed, with the wonderful Sonata Nº5, Op.10 Nº1, in C minor, the first one that leads to his maturity. Frydman had some memory errors but understood the forward-looking elements of the style. He was completely in charge of Ginastera´s First Sonata, with its strong Bartókian influence; I only question that the "Presto misterioso" wasn´t, well, mysterious enough. He proved comfortable in Liszt´s arduous music: expressive in the Petrarch Sonnet Nº 47 (not the most popular, but very beautiful), and up to the hurdles of the heavy "Vision", Transcendental Etude Nº 6. In the contrasting world of Debussy, he chose the last of each Book of Preludes: the humoristic "Minstrels" and the virtuosic "Fireworks", both well-managed. Finally, Chopin´s Scherzo Nº1, with its violent contrast between the opening lightning-fast music and the meditative central section well realized by the pianist, notwithstanding small smudges. His encores were interesting: a charming Barcarolle by Anton Liadov (hardly ever played, his abundant piano music should be explored), and one of the splendid arrangements by Earl Wild (the great American pianist who fascinated our city decades ago) of Gershwin songs: "Embraceable you", done with much charm by our young pianist. Wild called them "virtuoso etudes", and so they are. Nehring studied in Cracovia and Bydgoszcz, and won a Krystian Zimerman scholarship; also, he has gone through a gamut of competitions, with ever higher prizes. Although he keeps perfecting his studies, I find him not only fully formed, but in his twenties he must be one of the best Chopin interpreters in the world. As time went by, it became quite clear that he has an exquisite sense of style and powerful, practically flawless technical command. I have some complaints but they aren´t about the music or the playing: almost half-an-hour delay, apparently because the Polish Ambassador and other people hadn´t arrived yet; a change of order in a programme that already was felt as short measure.; and the repetition of two scores that were already heard in the subscription series: the Fantasia and the first Ballad. But what was included satisfied even the severest judges. I will comment the pieces in the order that they were really played (it was announced by Martha Noguera, the organizer of Chopiniana). The lovely Four Mazurkas Op.33 (curiously played in different order: 1,3,2,4, with the fourth having an internal cut because it´s long) were done with the particular empathy that only Poles can have with this rhythm. Followed the meditative Nocturne Op.37 Nº2, and the inimitable tracery of the Barcarolle, executed with astonishing observance of the tiniest detail. The Second Part started with the complex Fantasia Op.49, in which the disparate elements were cunningly integrated by the pianist. Then, the Nocturne Op.32 Nº2, one of the less dreamy and more fluent. A scintillating traversal of the Waltz Op.34 Nº 1, specifically named "Brilliant". And the challenge of the First Ballad, one of the most important scores in Chopin´s life, an enormously varied "narration" that taxes even the greatest pianists, heard in an astonishingly mature reading. The encore was a magisterial rendering of Etude op.25 Nº 11, great waves of sound perfectly controlled. For Buenos Aires Herald




ArtsJournal: music

June 21

Vice President, Artistic Programming and Executive Producer, Caramoor

ABOUT CARAMOOR Our mission is to enrich the lives of audiences through innovative and diverse musical performances of the highest quality, mentor young professional musicians, and engage children through interactive, educational experiences that deepen their relationship to and understanding of music. These three prongs – music performance, musician mentoring, and music education – infuse everything we do. Located on a 90-acre campus in Katonah, New York, Caramoor Center for Music and the Arts, Inc. is a 501c3 non-profit arts center that has been in continuous operation since 1946. It presents approximately 70 live music performances throughout the year in a wide range of genres, culminating in a major summer festival starting in June through early August. Performances take place on four stages (indoors and outdoors) and throughout the gardens. Caramoor also trains the next generation of classical musicians and provides music-based arts education to local schoolchildren. Through its public programs and community events, Caramoor annually serves 50,000 people. Caramoor was the inspiring summer home of arts patrons Lucie and Walter Rosen who opened their estate in 1946 to welcome artists and audiences to be inspired by music in the context of their beautiful gardens, historic buildings, and art. They engaged Julius Rudel to mount operas, including a Benjamin Britten premiere. Subsequently, Caramoor has featured the leading artists of the 20th and 21st Century including Andre Previn, Beverly Sills, Alicia de Larrocha , Yo-Yo Ma, Kristian Zimerman, Itzhak Perlman, Roger Norrington, Orchestra of St. Luke’s, Sonny Rollins, Joshua Bell, Chick Corea, Emmy Lou Harris, Audra McDonald, Emanuel Ax, Wynton Marsalis, and Alisa Weilerstein. POSITION OVERVIEW: VICE PRESIDENT, ARTISTIC PROGRAMMING AND EXECUTIVE PRODUCER Overview The VAPP is responsible for helping to develop, refine, and implement Caramoor’s artistic mission into a unified vision: performances, mentoring programs, education programs, lectures, and special programming projects. The VPP ensures that all programming meets Caramoor’s values of artistry, discovery, collaboration, friendliness, and integrity, as well as leverages the unique setting Caramoor offers. Reporting Relationships The VAPP reports directly to the CEO and is a key member of Caramoor’s Senior Staff team. The VAPP manages all key artistic relationships including the current directors for Opera, Roots, Rising Stars, Family programs; the VPP also manages existing collaborations with Jazz at Lincoln Center, Orchestra of St. Luke’s, and the Katonah Museum of Arts. In addition, the VPP manages the Education Coordinator and Rosen House Manager and works with them to develop and implement programs that support Caramoor’s mission. Supporting the VPP are two full-time staff members (Manager of Artistic Planning & Opera Administrator and Artistic Coordinator), as well as a contract Executive Producer for the Jazz collaboration, along with Caramoor’s Technical Director and his team. Primary Responsibilities Programming Responsible for working with the CEO and artistic team in leading the development of all of Caramoor’s 70+ programs each year – Symphonic: work directly with the leadership of the Orchestra of St. Luke’s and other ensembles in planning the orchestra series – Opera: work directly with the Opera Director to plan future titles and establish the scope of the program – Chamber: program the chamber music series throughout the year – Rising Stars: work with the Artistic Directors to program these various chamber music performances as well as to take the lead in selecting the Ernst Steifel Quartet-In-Residence each year – Jazz: work with the programming team at Jazz at Lincoln Center to develop each year’s festival and jazz series – American Roots: work with the Artistic Director to develop each year’s festival and Roots series – American Songbook: Program an appropriate artist each year and work with our cabaret advisor in programming the annual Cabaret Night – Family Programs: Work with our Artistic Director to select and develop appropriate programs to engage young children Ensure all programs are consistent with Caramoor’s values of artistry, discovery, collaboration, friendliness, and integrity Oversee Caramoor’s Education Coordinator and the Education Program to ensure quality, innovation, and integration with other elements of Caramoor and its mission Oversee Caramoor’s Rosen House Manager and the Rosen House public programs to ensure quality, innovation, and integration with other elements of Caramoor and its mission Assist other departments in their programming needs for private events Innovate additional programming ideas by staying in touch with other area arts institutions and their programs. Artist Relationship Management Manage and develop long-term relationships with our Artistic Directors, collaborators, alumni artists, and key artists Work with Caramoor’s staff to ensure that all visiting artists are well cared for during their experience Collaborate with Marketing and Development to facilitate communications with artists in order to engage our audiences and donors Foster good relationships with other related organizations and opinion leaders Maintain relationships with artists and attend area concerts Producing the Experience Experiences at Caramoor center on music, but are closely intertwined with all other facets of Caramoor including the gardens, food, social activities, lectures, the Rosen House. The goals is to ensure the integrity of the music experience but also seek opportunities to integrate the music experience into other non-performance elements of Caramoor Manage Caramoor’s Technical Director to ensure that each performance is properly produced in an effective and efficient manner and work with other departments to ensure non-artistic elements are appropriately integrated Oversee the recording of any of Caramoor’s performances when applicable and work closely with marketing on its production and distribution Communication Ensure that all program information is communicated effectively and timely to Caramoor staff, artists, and trustees Work closely with the artists and staff to ensure that all messaging appropriately expresses Caramoor’s artistic vision Serve as an external spokesperson about Caramoor’s programming to audiences, press, staff/volunteers, and with donors as needed Administration Work closely with the CEO, CFO, and artistic team on the programing budgets to ensure accurate and appropriate expenditures Maintain program development plans for three years out Attend and participate in volunteer leadership meetings as needed, including Board of Trustees, Executive Committee, and Advisory Council Oversee the management of Caramoor’s artistic archives CANDIDATE QUALIFICATIONS: Professional Deep musical background acquired through study or performance Master curator with eclectic taste in music combined with experience curating programs in a wide range of musical genres including chamber music, opera, symphonic, jazz, American folk and the American Songbook Knowledge of, or relationships with, musical artists, their repertoire and accomplishments Proven experience negotiating with artists’ agents Strategic, curious thinker who is inquisitive about new trends and anxious to keep up with the NY performing arts scene Understanding of production requirements and technical necessities Demonstrated effectiveness in budgeting Personal Poised, articulate and persuasive public speaker Ability to lead and inspire a talented in-house staff and outside collaborators Creative and collaborative nature with demonstrated history of inclusion of ideas from colleagues, subordinates and supporters and the ability to synthesize components into interesting projects and programs Self-starter who handles responsibilities and competing demands with tact, compassion and creativity Collaborator and excellent listener Exemplary communications skills Proven ability to work in a highly collaborative environment, be detail oriented and meet deadlines in a timely manner. For additional programming information please view the website at https://www.caramoor.org Compensation: Competitive with excellent benefits package. For consideration: Applicants and sources should call or send credentials immediately to: Our client is an equal opportunity employer.



The Boston Musical Intelligencer

April 15

Playing Against Type

Gravity defying dancer Haley Day channels baritone David Kravitz’s animated delivery ( Josh Kastrof photo) Imagine a Vitaphone all-singing, all-dancing program of satirical sermons given in a neo-Gothic church to 500 enthusiasts on a happening Saturday night. A staged contest between pagan gods, scored by one of Western music’s most devout Lutherans precedes a 1930s screed against capitalist values that takes an early Christian concept of sin as its chief metaphor. Is this a fever dream or a stroke of theatrical genius? Perhaps a little of both. The word “eclectic” doesn’t seem broad enough to encompass Emmanuel Music’s programming choices in its latest outing, “Bach Reinvented: Weill and Bach,” given on April 9th in at Emmanuel Church in Boston. The double-bill of J.S. Bach’s The Contest Between Phoebus and Pan, BWV 201 and Kurt Weill’s “ballet-chanté” The Seven Deadly Sins revealed a less-known sides of both composer’s personalities—“Papa” Bach as the arch, self-aware humorist engaged in cultural politics, with Weill as the would-be moralist. The addition of Urbanity Dance company, choreographed by company Director Betsi Graves, added a dimension of visual interest, resulting in a sometimes-thrilling, sometimes baffling evening of bold gestures and thought-provoking juxtapositions and sex reversals. Baritone David Kravitz stood-out comically as Pan, giving a cartoonishly gleeful rendering of the mischievous god’s ode to dancing and jumping, before stalwart Frank Kelly brightly and hilariously advocated much of a case for Pan’s beast pleasing strains. Baritone Dana Whiteside’s somewhat covered Phoebus might not have won the contest had I been the judge, though his character more pleased the gallery gods. The chorus and orchestra opened with great delight in the Magnificat-like “Retreat ye Whirling Winds.” If the overall effect was nothing like Zimerman’s coffee house where the work premiered in 1729, Emmanuel Music’s warm and modern approach to Bach as ever, placed its audience in a comfortable embrace which might have been equally gemütlich. In Seven Deadly Sins, mezzo-soprano Lynn Torgove made a striking figure as Anna I, clad, like her dancer counterpart and alter ego Anna II (Meghan Anderson), in a fire-engine red dress with a plunging neckline. Her dark vocals and animated facial expressions suggested a kinship with Brecht’s righteously indignant worldview, although we might have gotten more from her performance had she been able to project with brighter tone. Perhaps in an attempt to convey the portentous resonance of Weill’s music, she seemed to swallow her diction with the result that the sound got caught in the throat, making it all-but-impossible to understand anything her character was saying—whether in German or English. She was not alone in her unintelligibility, however—a combination of the orchestra’s place in the resonant nave of the cavernous Emmanuel Church and the sheer size of the ensemble seemed to win the battle against all the vocalists’ enunciations. It was only when the barbershop quartet (sung in watertight harmony by tenor Matthew Anderson, Kelley, Kravitz and Whiteside) moved to the balcony nearest my seat in the pews that I was able to consistently understand the text. This was a particular shame owing to the lack of supertitles. (In a recent interview with BMInt, Graves and Turner remarked that didn’t provide supertitles because the recitatives and spoken text would be in English, and the movement would explain the story. While this may have been true of the Bach, it was less applicable to Weill. It is difficult to choreograph the subtleties of irony, and the loss of Brecht’s text was deeply felt.) Urbanity Dancers on two of their several stages. (Dayla Arabella Santurri photo) The orchestra, conducted with finesse by Emmanuel Music Artistic Director Ryan Turner responded to the wildly divergent demands of Bach and Weill with ease. While their graceful, restrained interpretation did not lack variety and color, it was in the Weill that they seemed to enjoy themselves the most, though I would debate whether they developed the grittiness that more idiomatic readings convey. Only in the ghoulishly lighted male quartet with guitar accompaniment did the feeling of cabaret come across. Listen to Pabst’s 1931 movie version of the Three Penny Opera for an appreciation of a more decadent approach. Despite the logistical challenges inherent to creating an immersive, 360-degree theatrical experience in a space filled with raised platforms and perpendicular pews, Emmanuel Church provided an evocative, at times thrillingly transgressive space in which to stage these none-too-holy works. Chris Fournier’s lighting showcased and heightened the drama inherent to the church’s high-ecclesiastic structure. Though economical, it featured a few witty touches, such as shining a blue spotlight on the bas-relief of the Last Supper during the “Gluttony” movement in Seven Deadly Sins. Red lights shining on the church’s chandelier’s cast eerie shadows across the church’s stone walls suggesting the fire and brimstone surrounding such sanctified spaces. Kate Stringer (MM in musicology from BU) is Research and Public Information Administrator at the Howard Gotlieb Archival Research Center at Boston University. In addition to her scholarly activities, she is a veteran actress, writer and director as well as a versatile mezzo-soprano. The post Playing Against Type appeared first on The Boston Musical Intelligencer .

Meeting in Music

March 13

The Odd Couple #2

It is known that Chopin's musical thoughts, during his last weeks of life, were pervaded by Mozart, and that the Requiem was performed at Chopin's funeral at La Madeleine in October 1849. Personally, I've often found a special affinity, sometimes even formal, between the great Austrian master and the Polish - a natural revolutionary spirit, a wistfully tinged harmonic tension encased in elegant, soothing tempo structures. Another great Sunday morning with The Odd Couple. Wolfgang Amadeus Mozart Clarinet Concerto K. 622 in A Clarinet Quintet K. 581 in A Benny Goodman, Clarinet Budapest String Quartet Boston Symphony Orchestra Charles Munch RCA RD85275 (1956) Wolfgang Amadeus Mozart Clarinet Concerto K. 622 in A Sinfonia Concertante K. 297b in E-Flat Major Sabine Meyer, Clarinet; Diethelm Jonas, Oboe Sergio Azzolini, Bassoon; Bruno Schneider, Horn Staatskapelle Dresden Hans Vonk EMI 66949 (1990) Wolfgang Amadeus Mozart Flute and Harp Concerto K. 299 in C Flute Concerto No. 1 K. 313 in G Flute Concerto No. 2 K. 314 in D Emmanuel Pahud, Flute Marie-Pierre Langlamet, Harp Berliner Philharmoniker Claudio Abbado EMI 5 57114-2 (1996) Wolfgang Amadeus Mozart Piano Concerto No. 13 K. 415 in C Piano Concerto No. 15 K. 450 in B-Flat Arturo Benedetti Michelangeli, Piano NDR-Sinfonieorchester Hamburg Cord Garben DGG 429 353-2 (1990)Wolfgang Amadeus Mozart Piano Concerto No. 17 K. 453 in G Major Piano Concerto No. 20 K. 466 in D Minor Robert Levin, Piano The Academy of Ancient Music Christopher Hogwood L'Oiseau-Lyre455 607-2 (1996)Wolfgang Amadeus Mozart Piano Concerto No. 14 K. 449 in E-Flat Major Piano Concerto No. 26 K. 537 in D Major 'Coronation' Maria João Pires, Piano Wiener Philharmoniker Claudio Abbado DGG 437 529-2 (1992)Wolfgang Amadeus Mozart Piano Concerto No. 17 K. 453 in G Major Piano Concerto No. 21 K. 467 in C Major Maria João Pires, Piano Chamber Orchestra of Europe Claudio Abbado DGG 439 941-2 (1995)Wolfgang Amadeus Mozart Piano Concerto No. 20 K. 466 in D Minor Piano Concerto No. 21 K. 467 in C Major András Schiff, Piano Camerata Academica Salzburg Sándor Végh Decca 430 510-2 (1989)Wolfgang Amadeus Mozart Piano Concerto No. 21 K. 467 in C Major Piano Concerto No. 27 K. 595 in B-Flat Major Chamber Orchestra of EuropeMurray Perahia Sony SK 46 485 (1990)Wolfgang Amadeus Mozart The Piano Sonatas Mitsuko Uchida, PianoPhilips 468 356-2 (1983/1987)Wolfgang Amadeus Mozart Serenata K. 361 in B-Flat 'Gran Partita' Academy of St. Martin-in-the-FieldsNeville Marriner Philips 412 726-2 (1984)Wolfgang Amadeus Mozart Serenata K. 361 in B-Flat 'Gran Partita' Bläser der Berliner PhilharmonikerDGG 437 771-2 (1980)Wolfgang Amadeus Mozart Piano Sonata No. 13 K. 333 in B-Flat Major Piano Sonata No. 4 K. 282 in E-Flat Major Piano Sonata No. 16 K. 545 in C Major Piano Sonata No. 9 K. 310 in A Minor Huguette Dreyfus, FortepianoDenon CO-77616 (1990)Wolfgang Amadeus Mozart Violin Sonata K. 454 in B-Flat Major Violin Sonata K. 526 in A Major Violin Sonata K. 547 in F Major Sergiu Luca, ViolinMalcolm Bilson, FortepianoNonesuch 79112-2 (1984)Wolfgang Amadeus Mozart Violin Concerto No. 5 K. 219 in A Major Symphony No. 41 K. 551 in C Major 'Jupiter' Anne-Sophie Mutter, ViolinBerliner PhilharmonikerHerbert von KarajanDGG 429 314-2 (1976)Wolfgang Amadeus Mozart Violin Concerto No. 5 K. 219 in A Major Flute and Harp Concerto K. 299 in C Jennifer Pike, ViolinEmily Beynon, Flute; Catherine Beynon, HarpBBC National Orchestra of WalesGarry WalkerThierry Fischer (K. 299)BBC MM354 (2011)Wolfgang Amadeus Mozart Violin Concerto No. 3 K. 216 in G Major Violin Concerto No. 4 K. 218 in D Major Violin Concerto No. 5 K. 219 in A Major Camerata Academica SalzburgAugustin DumayDGG 457 645-2 (1996)Wolfgang Amadeus Mozart The Violin Concertos Frank Peter Zimmermann, ViolinWürttembergisches Kammerorchester HeilbronnJörg Faerber EMI 7 63823 2 (1987)Wolfgang Amadeus Mozart Symphony No. 36 K. 425 in C Major 'Linz' Symphony No. 40 K. 550 in G Minor Staatskapelle DresdenColin DavisPhilips 422 398-2 (1988)Wolfgang Amadeus Mozart Symphony No. 30 K. 202 in D Major Symphony No. 31 K. 297 in D Major 'Paris' Symphony No. 32 K. 318 in G Major Symphony No. 33 K. 319 in B-Flat Staatskapelle DresdenColin DavisPhilips 432 977-2 (1991)Wolfgang Amadeus Mozart Symphony No. 35 K. 385 in D Major 'Haffner' Symphony No. 38 K. 504 in D Major 'Prague' Staatskapelle DresdenColin DavisPhilips 416 155-2 (1988)Wolfgang Amadeus Mozart Symphony No. 29 K. 201 in A Major Symphony No. 33 K. 319 in B-Flat Symphony No. 34 K. 338 in C Major Wiener PhilharmonikerRiccardo MutiPhilips 462 906-2 (1998)Wolfgang Amadeus Mozart Symphony No. 31 K. 297 in D Major 'Paris' Symphony No. 41 K. 551 in C Major 'Jupiter' Wiener PhilharmonikerRiccardo MutiPhilips 442 126-2 (1993)Wolfgang Amadeus Mozart 'Coronation' Mass K. 317 in C Major Vesperae solennes de confessore K. 339 Joan Rodgers, Soprano; Elisabeth von Magnus, Mezzo-SopranoJosef Protschka, Tenor; László Polgár, BassArnold Schoenberg ChorConcentus musicus Wien Nikolaus HarnoncourtTeldec 8 43535 (1986)Wolfgang Amadeus Mozart 'Great' Mass K. 427 in C Minor Vesperae solennes de confessore K. 339 Kathleen Battle, Lella Cuberli, SopranoPeter Seiffert, Tenor; Kurt Moll, BassWiener StaatsopernchorWiener PhilharmonikerJames LevineDGG 423 664-2 (1986)Wolfgang Amadeus Mozart Requiem K. 626 in D Minor Lynne Dawson, Soprano; Jard van Nes, ContraltoKeith Lewis, Tenor; Simon Estes, BassPhilharmonia Chorus and OrchestraCarlo Maria GiuliniSony SMK60025 (1989)Wolfgang Amadeus Mozart Requiem K. 626 in D Minor Anna Tomowa-Sintow, Soprano; Helga Müller-Molinari, ContraltoVinson Cole, Tenor; Paata Burchuladze, BassWiener SingvereinWiener PhilharmonikerHerbert von KarajanDGG 419 610-2 (1986)Frédéric Chopin Piano Concerto No. 2 Op. 21 in F Minor Carl Loewe Piano Concerto No. 2 in A Major Mari Kodama, Piano Russian National Orchestra Kent Nagano Pentatone 5186026 (2004) Frédéric Chopin Piano Sonata No. 2 Op. 35 in B-Flat Minor Sergej Rachmaninov Piano Sonata No. 2 Op. 36 in B Minor Hélène Grimaud, Piano DGG 477 5325 (2005)Frédéric Chopin Ballades Scherzo No. 4 Op. 54 in E Berceuse Op. 57 in D-Flat Major Barcarolle Op. 60 in F-Sharp Major Evgeny Kissin, Piano RCA 09026 63259 2 (1998)Frédéric Chopin Ballades Fantaisie Op. 49 in F Minor Berceuse Op. 57 in D-Flat Major Michaël Levinas, PianoAdes 14.076-2 (1985)Frédéric Chopin Piano Concerto No. 1 Op. 11 in E Minor Fantaisie-Impromptu Op. 66 in C-Sharp Minor Fantaisie Op. 49 in F Minor Berceuse Op. 57 in D-Flat Major Maria João Pires, PianoChamber Orchestra of EuropeEmmanuel Krivine DGG 457 585-2 (1998)Frédéric Chopin Piano Concerto No. 2 Op. 21 in F Minor Préludes Op. 28 Maria João Pires, PianoRoyal Philharmonic OrchestraAndré PrevinDGG 437 817-2 (1992)Frédéric Chopin Piano Concerto No. 1 Op. 11 in E Minor Piano Concerto No. 2 Op. 21 in F Minor Martha Argerich, PianoOrchestre symphonique de MontréalCharles DutoitEMI 5 56798 2 (Re-issued by Musicom) (1998)Frédéric Chopin Piano Concerto No. 1 Op. 11 in E Minor Piano Concerto No. 2 Op. 21 in F Minor Lang Lang, PianoWiener PhilharmonikerZubin MehtaDGG 477 7982 (2008)Frédéric Chopin Etudes Op. 10 Etudes Op. 25 Maurizio Pollini, PianoDGG 413 794-2 (1972)Frédéric Chopin 10 Mazurkas Prélude Op. 45 in C-Sharp Minor Ballade No. 1 Op. 23 in G Minor Scherzo No. 2 Op. 31 in B-Flat Minor Arturo Benedetti Michelangeli, PianoDGG 413 449-2 (1972)Frédéric Chopin Nocturnes Maria João Pires, PianoDGG 447 096-2 (1996)Frédéric Chopin Piano Concerto No. 1 Op. 11 in E Minor Piano Concerto No. 2 Op. 21 in F Minor 14 Waltzes Maria João Pires, PianoOrchestre National de l'Opéra de Monte-CarloArmin JordanErato 3984 21089-2 (1977-1984)Frédéric Chopin Piano Concerto No. 1 Op. 11 in E Minor Piano Concerto No. 2 Op. 21 in F Minor Jorge Bolet, PianoOrchestre symphonique de MontréalCharles DutoitDecca 425 859-2 (1989) Frédéric Chopin Piano Concerto No. 1 Op. 11 in E Minor Piano Concerto No. 2 Op. 21 in F Minor Bella Davidovich, PianoLondon Symphony OrchestraNeville MarrinerDecca 468 117-2 (1980) Frédéric Chopin Piano Concerto No. 1 Op. 11 in E Minor Piano Concerto No. 2 Op. 21 in F Minor Krystian Zimerman, PianoLos Angeles PhilharmonicCarlo Maria GiuliniDGG 415 970-2 (1979) Frédéric Chopin Piano Concerto No. 1 Op. 11 in E Minor Piano Concerto No. 2 Op. 21 in F Minor Polish Festival Orchestra Krystian ZimermanDGG 459 684-2 (1999) Frédéric Chopin Préludes Op. 28 Prélude Op. 45 in C-Sharp Minor Prélude in A-Flat Major Alexander Scriabin Piano Sonata No. 2 Op. 19 in G-Sharp Minor Beatrice Rana, PianoATMA Classique 2614 (2012) Frédéric Chopin Scherzos Polonaise Op. 61 in A-Flat Major Claudio Arrau, PianoPhilips 412 610-2 (1984) Frédéric Chopin Préludes Op. 28 Piano Sonata No. 2 Op. 35 in B-Flat Minor Polonaise Op. 53 in A-Flat Evgeny Kissin, PianoRCA 09026 63535 2 (1999) Frédéric Chopin Ballades Piano Sonata No. 2 Op. 35 in B-Flat Minor Andrei Gavrilov, PianoEMI 7 47344 2 (1985) Frédéric Chopin Piano Sonata No. 2 Op. 35 in B-Flat Minor Préludes Op. 28 Nocturnes Op. Nos. 2 in E-Flat & 3 in B Anna Kravtchenko, PianoDecca 476 3120 (2005) Frédéric Chopin Piano Sonata No. 2 Op. 35 in B-Flat Minor Scherzos Simon Trpčeski, Piano EMI 3 75586 2 (2006) Frédéric Chopin Piano Sonata No. 2 Op. 35 in B-Flat Minor Selected Nocturnes, Mazurkas, Waltzes Ballade No. 3 Op. 47 in A-Flat Major Sergej Rachmaninov, Piano RCA 09026 62533 2 (1919/1935) Frédéric Chopin Piano Sonata No. 3 Op. 58 in B Minor 12 Mazurkas Evgeny Kissin, Piano RCA 09026 62542 2 (1993) Frédéric Chopin Piano Sonata No. 2 Op. 35 in B-Flat Minor Piano Sonata No. 3 Op. 58 in B Minor Mitsuko Uchida, Piano Philips 420 949-2 (1988) Frédéric Chopin 14 Waltzes 7 Mazurkas Jean-Marc Luisada, Piano RCA 88875028062 (2013) Frédéric Chopin Ballades Scherzos 14 Waltzes 4 Impromptus Samson François, Piano EMI 7 62569 2 (1963) Frédéric Chopin Cello Sonata Op. 65 in G Minor Sergej Rachmaninov Cello Sonata Op. 19 in G Minor and Cello Sonatas by Gabriel Fauré and Felix Mendelssohn-Bartholdy Paul Tortelier, Cello Aldo Ciccolini, Eric Heidsieck, Maria de la Pau, Piano EMI 5 74333 2 (1968) Frédéric Chopin 4 Mazurkas Op. 24 Joaquín Turina5 Danzas Gitanas, Series 2 Op. 84Franz SchubertFantasia D. 940 in F MinorJohannes Brahms4 Hungarian Dances Katarina & Vladimir Krpan, Piano Nemini Similis SC9605 (1995) Link to "The Odd Couple" previous post: BONUS: Wolfgang Amadeus Mozart Piano Concerto No. 22 K. 482 in E-Flat MajorJohannes BrahmsSymphony No. 4 Op. 98 in E Minor Barry Douglas, Piano Orchestra del Teatro la Fenice di VeneziaYuri TemirkanovRAI Digital Archives – Venice, 4 May 2002 MUST-HAVE (mainly for the Douglas) Wolfgang Amadeus Mozart Symphony No. 36 K. 425 in C Major ‘Linz’Claude Debussy Prélude à l’après-midi d’un faune Franz Schubert Rondo D. 438 in A Major for Violin and Orchestra Thomas Zehetmair, Violin Mahler Chamber Orchestra Alan Gilbert RAI Digital Archives – Ferrara, 30 October 2002 Flac & Scans

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