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Track(s) taken from CDS44351/66

Impromptu No 1 in A flat major, Op 29

composer
1837

Garrick Ohlsson (piano)
Recording details: August 1993
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: 4 minutes 21 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)
Simon Barere (piano)
Simon Barere (piano)
Harold Bauer (piano)
Grigory Ginzburg (piano)
Irene Scharrer (piano)
Raoul Pugno (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 Impromptu in A flat major, Op 29 (1837), marked allegro assai, quasi presto, begins with bubbly triplets that, though brilliant, must sing and have direction. The lyrical middle section in F minor has a broad melody which becomes increasingly ornamented. The end is a stroke of genius: a cadential sequence of chords is interrupted by the returning triplets, and then becomes more and more fragmented until it finally comes to rest.

from notes by Angela Hewitt © 2004

L’Impromptu en la bémol majeur, op.29 (1837), marqué allegro assai, quasi presto, s’ouvre sur de pétillants triolets qui, malgré leur éclat, doivent chanter et avoir une certaine direction. La section centrale lyrique, en fa mineur, nous offra une ample mélodie, de plus en plus ornée. Le tout s’achève sur un coup de génie: une séquence d’accords cadentielle est interrompue par le retour des triolets et ne cesse de se fragmenter jusqu’à finalement s’arrêter.

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

Das Impromptu in As-Dur op. 29 (1837) ist mit Allegro assai, quasi Presto überschrieben und beginnt mit lebhaften Triolen, die zwar brillant sind, jedoch singen und eine gewisse Richtung haben müssen. Der lyrische Mittelteil in f-Moll hat eine breite Melodie, die immer mehr verziert wird. Der Schluss ist ein Geniestreich: eine kadenzartige Folge von Akkorden wird von den wiederkehrenden Triolen unterbrochen, so dass sie in zunehmend fragmentartiger Form erscheint und schließlich zur Ruhe kommt.

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

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