Join Amazon Prime and get unlimited Free One-Day Delivery. Already a member? Sign in.
Perfect Partner
Customers Who Bought This Item Also Bought
Brahms: The Piano Concertos; Fantasias Op.116 ~ Johannes Brahms  (6)
£12.99
|
Chopin: Preludes / Sonata No. 2 ~ Fryderyk Franciszek Chopin (1)
£8.99
|
Martha Argerich: Début Recital ~ Fryderyk Franciszek Chopin  (1)
£5.98
|
Rachmaninov: Piano Concerto No.3 / Tchaikovsky: Piano Concerto No.1 ~ Sergey Rachmaninov  (6)
£11.98
|
Tchaikovsky: Piano Concerto No.1 ~ Pyotr Il'yich Tchaikovsky  (2)
£11.98
|
Product details
Would you like to update product info or give feedback on images?
|
See all customer reviews...
| Customers Viewing This Page May Be Interested in These Sponsored Links (What is this?) |
BBC Proms 2008
www.bbc.co.uk/proms
Live at The Proms - Tickets from only £5.
Jan Bach
www.kingsplace.co.uk
Live Music Events at London's New Concert Hall and Arts Centre.
Track Listings
| 1. Piano Concerto No.1 In E Minor, Op.11: I: Allegro Maestoso |
| 2. Piano Concerto No.1 In E Minor, Op.11: II: Romanze. Larghetto |
| 3. Piano Concerto No.1 In E Minor, Op.11: III: Rondo. Vivace |
| 4. Piano Concerto No.2 In F Minor, Op.21: I: Maestoso |
| 5. Piano Concerto No.2 In F Minor, Op.21: II: Larghetto |
| 6. Piano Concerto No.2 In F Minor, Op.21: III: Allegro Vivace |
On this CD:
-
Concerto for Piano and Orchestra No. 1 in E minor
Composed by Fryderyk Franciszek Chopin
Performed by Montreal Symphony Orchestra
with Martha Argerich
Conducted by Charles Dutoit
-
Concerto for Piano and Orchestra No. 2 in F minor
Composed by Fryderyk Franciszek Chopin
Performed by Montreal Symphony Orchestra
with Martha Argerich
Conducted by Charles Dutoit
Product Description
Product Description
With the exception of these two early piano concertos, most of Frederic Chopin's output was devoted to miniatures. Through these concertos, however, Chopin transformed the piano into an ideal vehicle for romanticism and established his own reputation as the premiere soloist of his day. Written in the artistically sheltered world of Warsaw, No. 1 was premiered by Chopin when he was 20 and reflects his intense wish for Polish independence. The centrality of the piano is revealed in the opening, Brahmsian "Maestoso", and continues with the idyllic, moonlit reverie of "Romanze". In the concluding rondo, the composer offers authentic excerpts of Cracow folk music. Concerto No. 2 (actually written before No. 1, but published later) once again places the piano in a prominent role, though the conventional sonata form is discarded for a theme-and-variations approach in the opening movement. Charles Dutoit keeps the reconstituted forces of the Montreal Symphony Orchestra (now consisting of strings, four horns, two trumpets, winds in pairs, timpani, and trombone) in a state of constant alert, thereby allowing Argerich to create a spontaneous, acrobatic performance that spins with the abandon of fireworks. There is no reason to consider this collaboration to be anything less than definitive. --Kevin Mulhall
With the exception of these two early piano concertos, most of Frederic Chopin's output was devoted to miniatures. Through these concertos, however, Chopin transformed the piano into an ideal vehicle for romanticism and established his own reputation as the premiere soloist of his day. Written in the artistically sheltered world of Warsaw, No. 1 was premiered by Chopin when he was 20 and reflects his intense wish for Polish independence. The centrality of the piano is revealed in the opening, Brahmsian "Maestoso", and continues with the idyllic, moonlit reverie of "Romanze". In the concluding rondo, the composer offers authentic excerpts of Cracow folk music. Concerto No. 2 (actually written before No. 1, but published later) once again places the piano in a prominent role, though the conventional sonata form is discarded for a theme-and-variations approach in the opening movement. Charles Dutoit keeps the reconstituted forces of the Montreal Symphony Orchestra (now consisting of strings, four horns, two trumpets, winds in pairs, timpani, and trombone) in a state of constant alert, thereby allowing Argerich to create a spontaneous, acrobatic performance that spins with the abandon of fireworks. There is no reason to consider this collaboration to be anything less than definitive. --Kevin Mulhall