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Track(s) taken from CDS44351/66

Waltz in C sharp minor, Op 64 No 2

composer
published in 1847

Garrick Ohlsson (piano)
Recording details: November 1995
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: 4 minutes 2 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

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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)
Where Chopin excels is in his creation of what Schumann described as ‘waltzes for souls much more than waltzes for bodies’. There is no better example than one of his very last works, the Waltz in C sharp minor Op 64 No 2. If it is still a waltz for the body it is for a soulful and solitary one that moves with a pathetic little skip between the sighing parallel sixths of its main theme and then twists away in a nostalgic pirouette. The melodiously expressive middle section—approached by a run of quavers that has the function of a recurring refrain—is harmonized in D flat major but is scarcely less poignant than the C sharp minor episodes on either side of it.

from notes by Gerald Larner © 2009

Chopin excelle il crée ce que Schumann appella «des valses pour les âmes plus encore que pour les corps»—l’une de ses toute dernières œuvres, la Valse en ut dièse mineur op. 64 no 2 en est le meilleur exemple. C’est une valse pour le corps, mais pour un corps attendrissant et solitaire qui avance avec un pathétique petit bond entre les sixtes parallèles soupirantes de son thème principal avant de s’en retourner dans une pirouette nostalgique. La section centrale mélodieusement expressive—abordée par une série de croches faisant office de refrain—est harmonisée en ré bémol majeur mais est à peine moins poignante que les épisodes en ut dièse mineur qui la flanquent.

extrait des notes rédigées par Gerald Larner © 2009
Français: Hypérion

Zwar ist Webers Aufforderung zum Tanz gehaltvoller als die Walzer von Chopin, doch tut sich Chopin insofern hervor, als dass er Walzer für die Seele anstatt den Körper (wie Schumann es ausdrückte) komponierte. Am besten kann man das anhand eines seiner letzten Werke, dem Walzer in cis-Moll op. 64 Nr. 2, nachvollziehen. Wenn dies immer noch ein Walzer für den Körper ist, dann für einen seelenvollen und einsamen, der sich mit kleinen theatralischen Sprüngen zwischen den seufzenden Sextparallelen des Hauptthemas bewegt und sich dann mit einer nostalgischen Pirouette abwendet. Der ausdrucksvolle und melodiöse Mittelteil—auf den mit einer Achtelpassage zugesteuert wird, die später wie ein Refrain wiederkehrt—steht in Des-Dur, ist aber kaum weniger ergreifend als die cis-Moll-Episoden, von denen es eingerahmt wird.

aus dem Begleittext von Gerald Larner © 2009
Deutsch: Viola Scheffel

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