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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: June 1990
Concordia College, Bronxville, New York, USA
Produced by Ward Botsford
Engineered by Ward Botsford
Release date: November 2008
Total duration: 27 minutes 29 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)

Piano Sonata No 3 in B minor, Op 58
composer
1844

Allegro maestoso  [9'35]
Largo  [10'47]

Other recordings available for download
Artur Pizarro (piano)
Nikolai Demidenko (piano)
Marc-André Hamelin (piano)
Stephen Hough (piano)
Lev Oborin (piano)
Percy Grainger (piano)
Introduction  EnglishFrançaisDeutsch
The Piano Sonata No 3 in B minor Op 58 was the last of Chopin’s three piano sonatas, written in 1844 during the years of his full maturity as a composer, and in contrast to the ‘Sonata funèbre’ it moves closer to conformity with both the formal and the generic archetypes of what was already becoming recognized as German sonata-symphonic thought. It is as though having come to terms with the four-movement sonata in Op 35, approaching it obliquely by way of the familiar ‘Chopin genres’ of the early 1830s, the composer now felt able to tackle this weighty genre on its own terms. This is apparent in the close-knit motivic argument—the developing variation—of the first movement, and in the measured tread—late Beethoven, late Schubert—of the slow movement. There are some parallels with Op 35, including the sequence of the inner movements where the scherzo precedes the slow movement, and again the inverted reprise of the first movement, but in most respects the two works are poles apart. The outer movements point up the contrast. There could be nothing further from the elliptical, understated finale of Op 35 than the grandiloquent sonata rondo with which Op 58 races, or rather gallops, to its bravura coda. This at least is a more conventional way to end a sonata! As for the first movement, this presents us with a much more closely argued thematicism than its counterpart in Op 35. The principal theme is strong and distinctive, but it is quickly broken down into motivic-contrapuntal working in a process of continuous development and transformation that then characterizes much of the movement. Considerable heads of tension are built up by this process, both in the exposition and in the development, and it is the function of the Nocturne-like second theme—one of Chopin’s happiest inspirations—to resolve them.

from notes by Jim Samson © 2009


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