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Track(s) taken from CDS44351/66

Introduction and Bolero in A minor, Op 19


Garrick Ohlsson (piano)
Recording details: January 1995
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: 7 minutes 45 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

Other recordings available for download

Nikolai Demidenko (piano)


'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)
Surviving sketches for the Bolero in A minor in the Paris Conservatoire indicate a composition date of around 1833 – which makes it contemporary with drafts for the G minor ballade and the Op 25 studies. C F Peters of Leipzig published it first in October 1834, with Wessel of London issuing an edition the following August under the title Souvenir d’Andalousie. More Spanish than a polonaise, more Polish than a bolero (hence Nieck’s tag, ‘Bolero à la Polonaise’), its structure is that of a rondo in A minor/major prefaced by a brillante introduction in C major. Polish is the rhythm of its accompaniment. Iberian is the Aeolian flattened 7th modality of its refrain and the nature of its metric stress (in a true bolero all periods conclude on an assertive downbeat, in a polonaise they don’t, they favour the weaker accent – a nicety of cadencing Chopin observes with alacrity).

from notes by Ates Orga © 1992

D’après des esquisses du Boléro en la mineur qui sont au Conservatoire de Paris, ce morceau fut composé vers 1833 – ce qui en fait le contemporain des premiers jets de la ballade en sol mineur et des études opus 25. Le Boléro fut publié d’abord par C F Peters de Leipzig en octobre 1834 et Wessel de Londres produisit une édition au mois d’août suivant sous le titre de Souvenir d’Andalousie. Plus espagnol qu’une polonaise, plus polonais qu’un boléro (d’où la description de Niecks, «Boléro à la Polonaise») sa structure est celle d’un rondo en la mineur/majeur préfacé par une brillante introduction en do majeur. Le rythme de son accompagnement est polonais. La 7ème modalité éolienne bémolisée de son refrain est ibérienne … la nature de son accent métrique (dans un boléro authentique toutes les périodes se terminent sur un temps fort affirmatif, dans une polonaise ce n’est pas le cas, elles préfèrent l’accent plus faible – une subtilité dans la cadence que Chopin s’empresse d’observer).

extrait des notes rédigées par Ates Orga © 1992
Français: Alain Midoux

Im Pariser Conservatoire erhaltene Skizzen zum Bolero in a-Moll deuten ein Kompositionsdatum um 1833 an – zeitgleich mit den Entwürfen für die Ballade in g-Moll und die Etüden Op.25. Der Leipziger Verlag C. F. Peters brachte im Oktober 1834 die Erstausgabe heraus, während Wessel in London das Werk im folgenden August unter dem Titel Souvenir d’Andalousie veröffentlichte. Spanischer als eine Polonaise, polnischer als ein Bolero (daher Niecks Bezeichnung „Bolero à la Polonaise“), ist dieses Stück wie folgt strukturiert: Rondo in a-Moll/A-Dur, eingeleitet durch eine brillante-Introduktion in C-Dur. Polnisch ist der Rhythmus seiner Begleitung. Iberisch ist der äolische Modus seines Refrains samt erniedrigter Septime … der Charakter seiner metrischen Akzentsetzung (bei einem echten Bolero enden alle Perioden auf einem bekräftigenden ersten Schlag, nicht jedoch bei einer Polonaise, dort bevorzugen sie den schwächeren Akzent – eine Feinheit des Kadenzierens, der Chopin eifrig huldigt).

aus dem Begleittext von Ates Orga © 1992
Deutsch: Anne Steeb/Bernd Müller

Other albums featuring this work

Chopin: Demidenko plays Chopin
CDA66597Archive Service
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