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Hyperion Records

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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
Track(s) taken from CDS44351/66
Recording details: July 2000
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: 25 minutes 49 seconds

'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)

Cello Sonata in G minor, Op 65
composer
published in 1847 and dedicated to Auguste Franchomme who first performed movements 2 to 4 only with Chopin at the Salle Pleyel on 16 February 1848

Allegro moderato  [10'45]
Largo  [3'59]
Finale: Allegro  [5'59]

Other recordings available for download
Alban Gerhardt (cello), Steven Osborne (piano)
Introduction  EnglishFrançaisDeutsch
‘I write a little and cross out a lot’, Chopin wrote to his sister during the composition of his final major work, the Cello Sonata in G minor Op 65, written in Paris in 1845 and 1846. ‘Sometimes I am pleased with it, sometimes not. I throw it into a corner and then pick it up again.’ No work of his gave him more trouble, as manifested by the extensive sketches. It was the last one to be published during his lifetime, written when his health was failing. The four movements (Allegro moderato, Scherzo, Largo and Allegro) show how far Chopin had developed in his ability to form a closely integrated sonata structure, with ideas developing from a variety of short but related motifs.

For some of Chopin’s contemporaries it was a difficult work to grasp. Moscheles found ‘passages which sound to me like someone preluding on the piano, the player knocking at the door of every key and clef, to find if any melodious sounds were at home’, yet he thought well enough of it to make an arrangement for piano four hands. The Allegro moderato, especially, puzzled even Chopin’s intimates—players today find it the most problematic in terms of balance—and he omitted the movement at the premiere given by himself and Franchomme, the work’s dedicatee, on 16 February 1848. This first movement clearly had some hidden significance for him. Various commentators have noted in it thematic references from Schubert’s Winterreise, notably the initial phrase of ‘Gute Nacht’, the opening song. The subject of the song-cycle, the disappointed lover in despair at leaving his beloved, would seem to reflect the circumstances of Chopin’s life when he was writing the Sonata. There is evidence that he turned to Winterreise at the time of his separation from George Sand. Could that be why the first movement was not played at the premiere? Is that why on his deathbed he asked Franchomme to play it but could not bear to hear more than the opening bars?

from notes by Jeremy Nicholas © 2010


Other albums featuring this work
'Alkan & Chopin: Cello Sonatas' (CDA67624)
Alkan & Chopin: Cello Sonatas
'Chopin: Chamber Music' (CDH55384)
Chopin: Chamber Music
MP3 £4.99FLAC £4.99ALAC £4.99Buy by post £5.50 CDH55384  Helios (Hyperion's budget label)  

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