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Track(s) taken from CDS44351/66

Mazurka in A flat major, Op 41 No 3

composer
1839; published by Breitkopf & Härtel as Op 41 No 4; dedicated to Stefan Witwicki

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: 1 minutes 52 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 not difficult to perceive the form in the Mazurka in A flat major, Op 41 No 3—a fact that does not lessen the surprise of its ending, which stops mid phrase (compare the first iteration of this phrase directly before the start of the middle section).

from notes by Jeffrey Kallberg © 2019

Chopin utilisait parfois des formes vraiment simples dans le genre. La forme est facile à percevoir dans la Mazurka en la bémol majeur, op.41 n° 3, ce qui n’atténue pas la surprise de la fin, qui s’interrompt au milieu d’une phrase (à comparer avec la première itération de cette phrase juste avant le début de la section centrale).

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

Zuweilen machte Chopin in diesem Genre von ganz schlichten Formen Gebrauch. Auch die Form der Mazurka As-Dur, op. 41 Nr. 3, ist nicht schwer zu erkennen, was die Überraschung am Ende allerdings nicht mindert, wo die Musik mitten in der Phrase abbricht (man vergleiche dies mit dem ersten Auftreten dieser Phrase direkt vor dem Beginn des Mittelteils).

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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