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Track(s) taken from CDS44351/66

Nouvelles études, KKIIb/3

composer
1839/40; for Moscheles and Fétis's Méthode des Méthodes de piano; Nos 2 & 3 are reversed in some editions

Garrick Ohlsson (piano)
Recording details: October 1996
Performing Arts Center, Purchase College, State University of New York, USA
Produced by Adam Abeshouse
Engineered by Adam Abeshouse
Release date: November 2008
Total duration: 6 minutes 31 seconds

Cover artwork: Frédéric Chopin in concert at the Hotel Lambert, Paris (1840) by Antar Teofil Kwiatowski (1809-1891)
Bibliothèque Polonaise, Paris / Archives Charmet / Bridgeman Art Library, London
 
1
2
3

Other recordings available for download

Alfred Cortot (piano)

Reviews

'Hyperion's big deal … Ohlsson is a powerful and committed player, and is afforded very good sound by the engineers … this is almost certainly how these pieces were played in Chopin's time' (The Mail on Sunday)

'This is an oustanding achievement, which any genuine Chopin lover and student of Romantic music should own … a landmark in the recording of Chopin's music … Garrick Ohlsson and Hyperion deserve the greatest success in bringing this important undertaking to such a consistently impressive conclusion' (International Record Review)

'An attractively priced box set … Ohlsson is in a class of his own' (Pianist)

'The collaborative works receive particularly rewarding performances … Ohlsson arguably offers more consistent artistry than Biret, Ashkenazy, Magaloff, and Harasiewicz' (ClassicsToday.com)

'Garrick Ohlsson’s complete survey of everything Chopin wrote for piano (including chamber music, songs, and for piano and orchestra) will delight the completist and the Chopin connoisseur. Ohlsson (who won the Chopin International Piano Competition in 1970) gives us accounts of this wondrous repertoire in weighty and commanding style, aristocratic and impulsive (but not lacking light and shade or contemplative contrasts) and, at times, very sensitive and searching. These vivid recordings were made in the second half of the 1990s and have previously appeared on the Arabesque label. They now sit very well in Hyperion’s catalogue' (ClassicalSource.com)
The Trois nouvelles études were written to order in 1839–40 for a ‘Piano Method’ (Méthode des méthodes de piano) designed by Moscheles and the Belgian critic and composer François-Joseph Fétis. Less taxing than most of the Opp 10 and 25 studies, let alone the bravura études by Liszt, Mendelssohn, Henselt and Thalberg also written specially for the ‘Method’, Chopin’s final didactic compositions are more introspective, although they are still centred on matters of technique (including cross rhythms and varied articulation).

from notes by Jeremy Nicholas © 2010

Les Trois nouvelles études (1839–40) furent écrites exprès pour la Méthode des méthodes de piano conçue par Moscheles et le critique et compositeur belge François-Joseph Fétis. Moins ardues que la plupart des pièces des opp. 10 et 25—sans parler des études de bravoure que Liszt, Mendelssohn, Henselt et Thalberg rédigèrent spécialement pour l’occasion—, ces dernières compositions didactiques de Chopin sont davantage introspectives, quoique toujours centrées sur des questions techniques (contre-rythmes, articulation variée etc.).

extrait des notes rédigées par Jeremy Nicholas © 2010
Français: Hypérion

Die Trois nouvelles études wurden 1839–1840 auf Bestellung für eine Klavierschule geschrieben (Méthode des méthodes de piano), verfasst von Moscheles und dem belgischen Kritiker und Komponisten François-Joseph Fétis. Technisch weniger anspruchsvoll als die meisten Etüden aus den opp. 10 und 25, ganz zu schweigen von den ebenfalls speziell für diese Schule geschriebenen Bravuretüden von Liszt, Mendelssohn, Henselt und Thalberg, sind diese letzten didaktischen Kompositionen Chopins intimer, aber trotz allem auf technische Probleme fixiert (z.B. Polyrhythmie und unterschiedliche Artikulation).

aus dem Begleittext von Jeremy Nicholas © 2010
Deutsch: Ludwig Madlener

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