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Track(s) taken from CDS44351/66

Nocturne in B major, Op 62 No 1

composer
1846

Garrick Ohlsson (piano)
Recording details: October 1994
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: 9 minutes 9 seconds

Cover artwork: 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
 
1

Other recordings available for download

Angela Hewitt (piano)
Stephen Hough (piano)
Lívia Rév (piano)
Artur Pizarro (piano)
Ignacy Jan Paderewski (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' (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)
The Nocturne in B major is as contrapuntal as anything Chopin ever wrote, with the left hand playing a much bigger role than simply accompanying. The phrases seem unending, one overlapping into the next. The middle section is totally operatic, with the melody boldly sustained over syncopated chords. When we return to the opening material, the melody is richly ornamented with trills and flourishes. As with Bach, the ornamentation is not just superimposed, but rather part of the melodic line itself. A short bridge section after an expressive pause wanders gradually back to the tonic. The coda is dream-like and solitary.

from notes by Angela Hewitt © 2004

Le Nocturne en si majeur est plus contrapuntique que jamais, la main gauche allant bien au-delà du simple accompagnement. Les phrases, semblant sans fin, se chevauchent les unes les autres. La section centrale, totalement opératique, voit la mélodie tenue fermement par-dessus des accords syncopés. Au retour du matériau d’ouverture, cette mélodie s’orne richement de trilles et de fioritures. Comme chez Bach, l’ornementation ne vient pas en simple surimposition mais fait partie intégrante de la ligne mélodique même. Passé une pause expressive, un bref pont nous ramène peu à peu, un musant, à la tonique. La coda est onirique et solitaire.

extrait des notes rédigées par Angela Hewitt © 2004
Français: Hypérion

Das Nocturne steht in H-Dur und ist mit das Kontrapunktischste, was er je komponierte, wobei die linke Hand eine viel wichtigere Rolle hat, als lediglich eine begleitende. Die Phrasen scheinen unendlich und überschneiden sich gegenseitig. Der Mittelteil ist sehr opernhaft angelegt und die Melodie wird unverzagt über synkopierten Akkorden ausgehalten. Bei der Rückkehr zum Anfangsmaterial erscheint die Musik reich verziert mit Trillern und anderen Ornamenten. Ebenso wie bei Bach sind die Verzierungen hier nicht lediglich oben drauf gesteckt, sondern Teil der melodischen Linie selbst. Eine kurze Überleitung nach einer expressiven Pause führt allmählich zurück zur Tonika. Die Coda erscheint traumartig und einsam.

aus dem Begleittext von Angela Hewitt © 2004
Deutsch: Viola Scheffel

Other albums featuring this work

Chopin: Late Masterpieces
CDA67764
Chopin: Nocturnes
CDD220132CDs Dyad (2 for the price of 1)
Chopin: Nocturnes & Impromptus
Studio Master: CDA67371/22CDsStudio Master FLAC & ALAC downloads available
Chopin: Reminiscences
Studio Master: CKD248Download onlyStudio Master FLAC & ALAC downloads available
Paderewski – His final recordings
APR5636Download only
Chopin: Nocturnes & Impromptus
This album is not yet available for downloadSACDA67371/22CDs Super-Audio CD — Deleted
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