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Track(s) taken from CDS44351/66

Mazurka in C minor, Op 30 No 1

composer
1837

Garrick Ohlsson (piano)
Recording details: January 1998
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: 2 minutes 0 seconds

Cover artwork: Frédéric Chopin in concert at the Hotel Lambert, Paris (1840). Antar Teofil Kwiatowski (1809-1891)
Bibliothèque Polonaise, Paris / Archives Charmet / Bridgeman Images
 

Other recordings available for download

Pavel Kolesnikov (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’ (Classics Today)

‘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’ (Classical Source)
Chopin at times deployed forthrightly simple forms in the genre. It is straightforward to parse the three-part shape of the Mazurka in C minor, Op 30 No 1. But this unassuming form allows the enigmatic qualities of the work to emerge with greater force, as, for example, in the first section, where a halting quality emerges as a result of Chopin’s avoidance of sounding bass notes on the downbeat.

from notes by Jeffrey Kallberg © 2019

Chopin utilisait parfois des formes vraiment simples dans le genre. Il n’est pas compliqué d’analyser la forme tripartite de la Mazurka en ut mineur, op.30 n° 1. Mais cette forme sans prétention laisse apparaître avec davantage de force le côté énigmatique de cette œuvre comme, par exemple, dans la première section, où une certaine hésitation ressort du procédé utilisé par Chopin qui évite de faire sonner les basses sur le premier temps.

extrait des notes rédigées par Jeffrey Kallberg © 2019
Français: Marie-Stella Pâris

Zuweilen machte Chopin in diesem Genre von ganz schlichten Formen Gebrauch. Es bedarf nicht viel, die dreiteilige Form der Mazurka c-Moll, op. 30 Nr. 1, zu zergliedern. Doch lässt diese bescheidene Form auch die rätselhaften Eigenarten des Werks mit mehr Nachdruck auftreten, wie zum Beispiel im ersten Abschnitt, wo eine gewisse Zögerlichkeit an den Tag tritt, da Chopin es vermeidet, Basstöne auf dem ersten Schlag erklingen zu lassen.

aus dem Begleittext von Jeffrey Kallberg © 2019
Deutsch: Viola Scheffel

Other albums featuring this work

Chopin: Impromptus, waltzes & mazurkas
Studio Master: CDA68273Studio Master FLAC & ALAC downloads available
Chopin: The Complete Mazurkas, Vol. 1
CDH55391
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