Chopin: Ballades; Barcarolle; Fantaisie
 
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Chopin: Ballades; Barcarolle; Fantaisie

10 Aug 1988

£7.99 (VAT included if applicable)
Also available in CD Format
  Song Title
Time
Popularity  
1
Frédéric Chopin: Ballade No.1 in G minor, Op.23
9:35
2
Frédéric Chopin: Ballade No.2 in F, Op.38
7:48
3
Frédéric Chopin: Ballade No.3 in A flat, Op.47
7:31
4
Frédéric Chopin: Ballade No.4 in F minor, Op.52
11:59
5
Frédéric Chopin: Barcarolle in F sharp, Op.60
9:00
6
Frédéric Chopin: Fantaisie in F minor, Op.49
14:02


Product details

  • Original Release Date: 23 Mar 2007
  • Release Date: 23 Mar 2007
  • Label: Decca (UMO)
  • Copyright: (C) 1988 Deutsche Grammophon GmbH, Hamburg
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 59:55
  • Genres:
  • ASIN: B004UXA5LW
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: 32,147 in MP3 Albums (See Top 100 in MP3 Albums)

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Most Helpful Customer Reviews
7 of 8 people found the following review helpful
By I. Giles TOP 50 REVIEWER
Format:Audio CD
This disc, well recorded in 1987, received much critical acclaim when it was first released and has been in my collection ever since. It joins other superlative sets of the Ballades including those by Rubinstein, Ashkenazy, Moravec and Perahia. Other sets have come and gone but all of these remain and give equal satisfaction in their different ways.

Zimerman's way is cooler emotionally than many and there is a degree of dispassionate objectivity about these performances when compared directly with some of those listed above. This actually is very satisfying too as it focusses on the structure of the music relatively unhindered by an emotional overload. It could, of course, be argued that Chopin is all about emotion and that by reducing the emotional focus Zimerman reduces the point of the music. I would beg to disagree.

The reality with all collections is that one is taught to approach masterworks such as these in different ways where, provided the composer's written intentions and instructions are carried out, the music is able to flower in alternatively valid ways. The greater the music and the performers, the more the music is open to alternative approaches.

Without wishing to go into detailed analysis of the five pianists represented here in terms of this music, suffice it to suggest that Ashkenazy is the most passionate in his 1970's recordings and more sensitive in his 1960's remastered recordings, that Perahia is the most emotionally sensitive, Moravec is the most improvisatory, Zimerman is the most brilliant and Rubinstein is the most dispassionate. Other listeners may describe these fine pianists as having alternative characteristics.
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