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Track(s) taken from CDS44351/66

Mazurka in B major, Op 63 No 1

composer
1846

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 18 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)
The conventionality of the ternary form in the Mazurka in B major, Op 63 No 1, allows unusual aspects of its construction to come into greater relief, as in the sudden shift to a distant key for the start of the middle section (a section made to sound more unstable by Chopin once more avoiding bass notes played on the downbeat), and the brief and hushed allusion to this unsteady theme just before the boisterous final cadence.

from notes by Jeffrey Kallberg © 2019

Le conformisme de la forme ternaire dans la Mazurka en si majeur, op.63 n° 1, fait davantage ressortir des aspects inhabituels de sa construction, comme dans le passage soudain dans une tonalité éloignée au début de la section centrale (une section que Chopin rend plus instable par l’un de ses procédés préférés consistant à éviter que les notes graves soient jouées sur le premier temps), et l’allusion brève et feutrée à ce thème instable juste avant la cadence finale endiablée.

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

Die Herkömmlichkeit der dreiteiligen Form in der Mazurka H-Dur, op. 63 Nr. 1, lässt ihre ungewöhnlichen Strukturelemente stärker hervortreten, so etwa der plötzliche Wechsel zu einer entfernten Tonart zu Beginn des Mittelteils (ein Abschnitt, der umso instabiler klingt, da Chopin auch hier Basstöne auf dem ersten Schlag vermeidet) und die kurze und gedämpfte Anspielung auf dieses unbeständige Thema kurz vor der ungestümen Schlusskadenz.

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. 2
CDH55392 Piano albums for £8.00
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