Album available // Chopin: Piano Concertos Nos. 1 & 2 by Maurizio Pollini 🎧 Qobuz (Hi-Res) cutt.ly/ieffVxLF Tidal (Hi-Res) cutt.ly/beffC7Tu 🎧 Apple Music (Lossless) cutt.ly/heffZEwb Deezer (Hi-Fi) cutt.ly/beffCWwt 🎧 Amazon Music (Hi-Res) cutt.ly/cePrjuqf Spotify (mp3) cutt.ly/oeffCuG5 🎧 Idagio (Hi-Fi) cutt.ly/yeffXh7m UA-cam Music (mp4) cutt.ly/5ePIEiiI 🔊 Download the album (Hi-Res MASTER - WAV uncompressed) cutt.ly/Classical-Music-Reference-Recording-Website-Pollini Frédéric Chopin (1810-1849) Chopin: Piano Concertos Nos. 1 & 2 Piano Concerto No. 1 in E minor, Op. 11 00:00 I. Allegro maestoso (2024 Remastered, Live Performance Paris 1960) 18:57 II. Romance: Larghetto (2024 Remastered, Live Performance Paris 1960) 28:32 III. Rondo. Vivace (2024 Remastered, Live Performance Paris 1960) Piano: Maurizio Pollini Orchestre National de France Conductor: Paul Kletzki Live Performance in 1960 Remastering in 2024 by AB for classicalmusicreference.com/ Piano Concerto No. 2 in F minor, Op. 21 37:52 I. Maestoso (2024 Remastered, Live Performance Milan 1968) 50:43 II. Larghetto (2024 Remastered, Live Performance Milan 1968) 58:39 III. Allegro vivace (2024 Remastered, Live Performance Milan 1968) Piano: Maurizio Pollini Orchestra Sinfonica di Milano Conductor: Mario Rossi Live Performance in 1968 Remastering in 2024 by AB for classicalmusicreference.com/ 🔊 Join us with your phone on our WhatsApp fanpage (our latest album preview): cutt.ly/5eathESK 🔊 Find our entire catalog on Qobuz: cutt.ly/geathMhL 🔊 Discover our playlists on Spotify: cutt.ly/ceatjtlB ❤ Support us on Patreon www.patreon.com/cmrr/about A joyful winner of the prestigious Chopin Competition in Warsaw in 1960, Maurizio Pollini recorded the composer's Piano Concerto No. 1 with Paul Kletzki that same year. Here, we present a much rarer recording from the same year with the same conductor, this time live with the Orchestre National de France, and another live recording made in Italy eight years later. Given that the sound quality of both recordings was just barely acceptable, the restoration required extensive work, and we are very pleased with the result. We updated the album « Chopin: Piano Concertos Nos. 1 & 2 by Maurizio Pollini (2024 Remastered, Live Performances 1960 & 1968) » . The sound quality will never be exceptional as these two recordings were captured live in concert under poor conditions, but we have made further improvements for a more comfortable listening experience. The orchestra is less fatiguing on the ears, and the piano no longer has unpleasant resonances in the lower midrange (the "tin can" effect). -- Chopin’s concerto known as No. 2 was actually the first to be composed, between the autumn of 1829 and early 1830. No. 1 was written between April and August 1830 and published in 1833, while the F minor concerto, due to delays in preparing the orchestral parts, was not printed until 1836. It contains elements that would remain characteristic of Chopin’s style, such as the type of dotted rhythmic figure that opens the Maestoso and can be found throughout his later works. This first theme is indeed memorable, and the initial orchestral passage effectively sets up the dramatic entrance of the soloist. Usually, the role of the orchestra is secondary, while the piano’s responsibilities, which are almost continuous and often intricate, are almost self-sufficient. There is no true development of sonata form, as it is rather the keyboard part that elaborates and comments on the movement’s themes with constant imagination and invention. The Larghetto, the slow movement, is the heart of this concerto, and it is perhaps significant that it was completed first. A great lyrical intensity is conveyed, and the piano writing is even more original, especially in the central declamatory section, a kind of instrumental recitative. Polish folk music finds its place in the finale of this concerto, an Allegro vivace. It is a large-scale rondo with episodes of striking contrasts and a more openly athletic solo part than in the previous movements. The result remains both picturesque and expressive. The E minor concerto follows a similar path but in a more decisive manner. It was composed while Chopin and his compatriots were hoping for Poland’s independence. The Russians duly crushed the uprising in September 1831, but the heroic spirit of the Allegro maestoso is unmistakable. Like its counterpart in the F minor concerto, it is hardly a masterpiece of formal structure, and the fact that Chopin sticks to the tonic for the first two subjects is highly unusual. It is true that when the first subject reappears in C major at the start of the development, the effect is striking. And the weaknesses in form and orchestration seem relatively unimportant compared to the poetry and brilliance of the solo part. As in the F minor concerto, the central Larghetto, which Chopin titled "Romance" in this case, is an outpouring of passionate melody. This calm and melancholic piece is followed by a rondo, marked Vivace, which is in E major like the slow movement, though it begins in the relative minor. It draws part of its character from the "krakowiak," a dance from the Krakow region of Poland, in a fast duple meter, renowned for its syncopated rhythms. Other Album available // Dinu Lipatti: The Last Recital at Besançon 🎧 Qobuz (Hi-Res) cutt.ly/3eEl2iIe Tidal (Hi-Res) cutt.ly/8eEl2lba 🎧 Apple Music (Lossless) cutt.ly/NeEl2Rzx Deezer (Hi-Fi) cutt.ly/xeEl2S8l 🎧 Amazon Music (Hi-Fi) cutt.ly/reEl9y8J Spotify (mp3) cutt.ly/aeEl9gIL 🎧 Idagio (Hi-Fi) (off) UA-cam Music (mp4) cutt.ly/WeEl9Ddf Frédéric François Chopin PLAYLIST (reference recordings): ua-cam.com/video/EkbUAKDnS-E/v-deo.html
Chopin’s concerto known as No. 2 was actually the first to be composed, between the autumn of 1829 and early 1830. No. 1 was written between April and August 1830 and published in 1833, while the F minor concerto, due to delays in preparing the orchestral parts, was not printed until 1836. It contains elements that would remain characteristic of Chopin’s style, such as the type of dotted rhythmic figure that opens the Maestoso and can be found throughout his later works. This first theme is indeed memorable, and the initial orchestral passage effectively sets up the dramatic entrance of the soloist. Usually, the role of the orchestra is secondary, while the piano’s responsibilities, which are almost continuous and often intricate, are almost self-sufficient. There is no true development of sonata form, as it is rather the keyboard part that elaborates and comments on the movement’s themes with constant imagination and invention. The Larghetto, the slow movement, is the heart of this concerto, and it is perhaps significant that it was completed first. A great lyrical intensity is conveyed, and the piano writing is even more original, especially in the central declamatory section, a kind of instrumental recitative. Polish folk music finds its place in the finale of this concerto, an Allegro vivace. It is a large-scale rondo with episodes of striking contrasts and a more openly athletic solo part than in the previous movements. The result remains both picturesque and expressive. The E minor concerto follows a similar path but in a more decisive manner. It was composed while Chopin and his compatriots were hoping for Poland’s independence. The Russians duly crushed the uprising in September 1831, but the heroic spirit of the Allegro maestoso is unmistakable. Like its counterpart in the F minor concerto, it is hardly a masterpiece of formal structure, and the fact that Chopin sticks to the tonic for the first two subjects is highly unusual. It is true that when the first subject reappears in C major at the start of the development, the effect is striking. And the weaknesses in form and orchestration seem relatively unimportant compared to the poetry and brilliance of the solo part. As in the F minor concerto, the central Larghetto, which Chopin titled "Romance" in this case, is an outpouring of passionate melody. This calm and melancholic piece is followed by a rondo, marked Vivace, which is in E major like the slow movement, though it begins in the relative minor. It draws part of its character from the "krakowiak," a dance from the Krakow region of Poland, in a fast duple meter, renowned for its syncopated rhythms. Other Album available // Dinu Lipatti: The Last Recital at Besançon 🎧 Qobuz (Hi-Res) cutt.ly/3eEl2iIe Tidal (Hi-Res) cutt.ly/8eEl2lba 🎧 Apple Music (Lossless) cutt.ly/NeEl2Rzx Deezer (Hi-Fi) cutt.ly/xeEl2S8l 🎧 Amazon Music (Hi-Fi) cutt.ly/reEl9y8J Spotify (mp3) cutt.ly/aeEl9gIL 🎧 Idagio (Hi-Fi) (off) UA-cam Music (mp4) cutt.ly/WeEl9Ddf
We updated the album « Chopin: Piano Concertos Nos. 1 & 2 by Maurizio Pollini (2024 Remastered, Live Performances 1960 & 1968) » . The sound quality will never be exceptional as these two recordings were captured live in concert under poor conditions, but we have made further improvements for a more comfortable listening experience. The orchestra is less fatiguing on the ears, and the piano no longer has unpleasant resonances in the lower midrange (the "tin can" effect). A joyful winner of the prestigious Chopin Competition in Warsaw in 1960, Maurizio Pollini recorded the composer's Piano Concerto No. 1 with Paul Kletzki that same year. Here, we present a much rarer recording from the same year with the same conductor, this time live with the Orchestre National de France, and another live recording made in Italy eight years later. Given that the sound quality of both recordings was just barely acceptable, the restoration required extensive work, and we are very pleased with the result. Other Album available // Chopin: Piano Concertos Nos. 1 & 2 by Arthur Rubinstein 🎧 Qobuz (Hi-Res) cutt.ly/5ebZczsa Tidal (Hi-Res) cutt.ly/HebZcHr9 🎧 Deezer (Hi-Fi) cutt.ly/VebZc6gH Amazon Music (Hi-Res) cutt.ly/RebZvOwZ 🎧 Spotify (mp3) cutt.ly/8ebZbqUK UA-cam Music (mp4) cutt.ly/4ebZbWsh 🎧 SoundCloud (aac) cutt.ly/RebZbHjV
Lebhafte und wunderschöne live Aufführung dieser beiden romantischen und perfekt komponierten Konzerte mit klar artikuliertem Klang des unvergleichlichen Soloklaviers sowie gut harmonisierten und perfekt entsprechenden Tönen der anderen Instrumente. Die beiden intelligenten und genialen Dirigenten leiten die beiden ausgezeichneten Orchester im veränderlichen Tempo und mit möglichst effektiver Dynamik. Die verbesserte Tonqualität ist auch ziemlich hoch als originale live Aufnahmen von 1960 und 1968. Ruhe in Frieden, Maurizio!
Album available // Chopin: Piano Concertos Nos. 1 & 2 by Maurizio Pollini
🎧 Qobuz (Hi-Res) cutt.ly/ieffVxLF Tidal (Hi-Res) cutt.ly/beffC7Tu
🎧 Apple Music (Lossless) cutt.ly/heffZEwb Deezer (Hi-Fi) cutt.ly/beffCWwt
🎧 Amazon Music (Hi-Res) cutt.ly/cePrjuqf Spotify (mp3) cutt.ly/oeffCuG5
🎧 Idagio (Hi-Fi) cutt.ly/yeffXh7m UA-cam Music (mp4) cutt.ly/5ePIEiiI
🔊 Download the album (Hi-Res MASTER - WAV uncompressed) cutt.ly/Classical-Music-Reference-Recording-Website-Pollini
Frédéric Chopin (1810-1849) Chopin: Piano Concertos Nos. 1 & 2
Piano Concerto No. 1 in E minor, Op. 11
00:00 I. Allegro maestoso (2024 Remastered, Live Performance Paris 1960)
18:57 II. Romance: Larghetto (2024 Remastered, Live Performance Paris 1960)
28:32 III. Rondo. Vivace (2024 Remastered, Live Performance Paris 1960)
Piano: Maurizio Pollini
Orchestre National de France
Conductor: Paul Kletzki
Live Performance in 1960
Remastering in 2024 by AB for classicalmusicreference.com/
Piano Concerto No. 2 in F minor, Op. 21
37:52 I. Maestoso (2024 Remastered, Live Performance Milan 1968)
50:43 II. Larghetto (2024 Remastered, Live Performance Milan 1968)
58:39 III. Allegro vivace (2024 Remastered, Live Performance Milan 1968)
Piano: Maurizio Pollini
Orchestra Sinfonica di Milano
Conductor: Mario Rossi
Live Performance in 1968
Remastering in 2024 by AB for classicalmusicreference.com/
🔊 Join us with your phone on our WhatsApp fanpage (our latest album preview): cutt.ly/5eathESK
🔊 Find our entire catalog on Qobuz: cutt.ly/geathMhL
🔊 Discover our playlists on Spotify: cutt.ly/ceatjtlB
❤ Support us on Patreon www.patreon.com/cmrr/about
A joyful winner of the prestigious Chopin Competition in Warsaw in 1960, Maurizio Pollini recorded the composer's Piano Concerto No. 1 with Paul Kletzki that same year. Here, we present a much rarer recording from the same year with the same conductor, this time live with the Orchestre National de France, and another live recording made in Italy eight years later. Given that the sound quality of both recordings was just barely acceptable, the restoration required extensive work, and we are very pleased with the result.
We updated the album « Chopin: Piano Concertos Nos. 1 & 2 by Maurizio Pollini (2024 Remastered, Live Performances 1960 & 1968) » . The sound quality will never be exceptional as these two recordings were captured live in concert under poor conditions, but we have made further improvements for a more comfortable listening experience. The orchestra is less fatiguing on the ears, and the piano no longer has unpleasant resonances in the lower midrange (the "tin can" effect).
--
Chopin’s concerto known as No. 2 was actually the first to be composed, between the autumn of 1829 and early 1830. No. 1 was written between April and August 1830 and published in 1833, while the F minor concerto, due to delays in preparing the orchestral parts, was not printed until 1836. It contains elements that would remain characteristic of Chopin’s style, such as the type of dotted rhythmic figure that opens the Maestoso and can be found throughout his later works. This first theme is indeed memorable, and the initial orchestral passage effectively sets up the dramatic entrance of the soloist.
Usually, the role of the orchestra is secondary, while the piano’s responsibilities, which are almost continuous and often intricate, are almost self-sufficient. There is no true development of sonata form, as it is rather the keyboard part that elaborates and comments on the movement’s themes with constant imagination and invention.
The Larghetto, the slow movement, is the heart of this concerto, and it is perhaps significant that it was completed first. A great lyrical intensity is conveyed, and the piano writing is even more original, especially in the central declamatory section, a kind of instrumental recitative.
Polish folk music finds its place in the finale of this concerto, an Allegro vivace. It is a large-scale rondo with episodes of striking contrasts and a more openly athletic solo part than in the previous movements. The result remains both picturesque and expressive.
The E minor concerto follows a similar path but in a more decisive manner. It was composed while Chopin and his compatriots were hoping for Poland’s independence. The Russians duly crushed the uprising in September 1831, but the heroic spirit of the Allegro maestoso is unmistakable.
Like its counterpart in the F minor concerto, it is hardly a masterpiece of formal structure, and the fact that Chopin sticks to the tonic for the first two subjects is highly unusual. It is true that when the first subject reappears in C major at the start of the development, the effect is striking. And the weaknesses in form and orchestration seem relatively unimportant compared to the poetry and brilliance of the solo part.
As in the F minor concerto, the central Larghetto, which Chopin titled "Romance" in this case, is an outpouring of passionate melody. This calm and melancholic piece is followed by a rondo, marked Vivace, which is in E major like the slow movement, though it begins in the relative minor. It draws part of its character from the "krakowiak," a dance from the Krakow region of Poland, in a fast duple meter, renowned for its syncopated rhythms.
Other Album available // Dinu Lipatti: The Last Recital at Besançon
🎧 Qobuz (Hi-Res) cutt.ly/3eEl2iIe Tidal (Hi-Res) cutt.ly/8eEl2lba
🎧 Apple Music (Lossless) cutt.ly/NeEl2Rzx Deezer (Hi-Fi) cutt.ly/xeEl2S8l
🎧 Amazon Music (Hi-Fi) cutt.ly/reEl9y8J Spotify (mp3) cutt.ly/aeEl9gIL
🎧 Idagio (Hi-Fi) (off) UA-cam Music (mp4) cutt.ly/WeEl9Ddf
Frédéric François Chopin PLAYLIST (reference recordings): ua-cam.com/video/EkbUAKDnS-E/v-deo.html
Chopin’s concerto known as No. 2 was actually the first to be composed, between the autumn of 1829 and early 1830. No. 1 was written between April and August 1830 and published in 1833, while the F minor concerto, due to delays in preparing the orchestral parts, was not printed until 1836. It contains elements that would remain characteristic of Chopin’s style, such as the type of dotted rhythmic figure that opens the Maestoso and can be found throughout his later works. This first theme is indeed memorable, and the initial orchestral passage effectively sets up the dramatic entrance of the soloist.
Usually, the role of the orchestra is secondary, while the piano’s responsibilities, which are almost continuous and often intricate, are almost self-sufficient. There is no true development of sonata form, as it is rather the keyboard part that elaborates and comments on the movement’s themes with constant imagination and invention.
The Larghetto, the slow movement, is the heart of this concerto, and it is perhaps significant that it was completed first. A great lyrical intensity is conveyed, and the piano writing is even more original, especially in the central declamatory section, a kind of instrumental recitative.
Polish folk music finds its place in the finale of this concerto, an Allegro vivace. It is a large-scale rondo with episodes of striking contrasts and a more openly athletic solo part than in the previous movements. The result remains both picturesque and expressive.
The E minor concerto follows a similar path but in a more decisive manner. It was composed while Chopin and his compatriots were hoping for Poland’s independence. The Russians duly crushed the uprising in September 1831, but the heroic spirit of the Allegro maestoso is unmistakable.
Like its counterpart in the F minor concerto, it is hardly a masterpiece of formal structure, and the fact that Chopin sticks to the tonic for the first two subjects is highly unusual. It is true that when the first subject reappears in C major at the start of the development, the effect is striking. And the weaknesses in form and orchestration seem relatively unimportant compared to the poetry and brilliance of the solo part.
As in the F minor concerto, the central Larghetto, which Chopin titled "Romance" in this case, is an outpouring of passionate melody. This calm and melancholic piece is followed by a rondo, marked Vivace, which is in E major like the slow movement, though it begins in the relative minor. It draws part of its character from the "krakowiak," a dance from the Krakow region of Poland, in a fast duple meter, renowned for its syncopated rhythms.
Other Album available // Dinu Lipatti: The Last Recital at Besançon
🎧 Qobuz (Hi-Res) cutt.ly/3eEl2iIe Tidal (Hi-Res) cutt.ly/8eEl2lba
🎧 Apple Music (Lossless) cutt.ly/NeEl2Rzx Deezer (Hi-Fi) cutt.ly/xeEl2S8l
🎧 Amazon Music (Hi-Fi) cutt.ly/reEl9y8J Spotify (mp3) cutt.ly/aeEl9gIL
🎧 Idagio (Hi-Fi) (off) UA-cam Music (mp4) cutt.ly/WeEl9Ddf
We updated the album « Chopin: Piano Concertos Nos. 1 & 2 by Maurizio Pollini (2024 Remastered, Live Performances 1960 & 1968) » . The sound quality will never be exceptional as these two recordings were captured live in concert under poor conditions, but we have made further improvements for a more comfortable listening experience. The orchestra is less fatiguing on the ears, and the piano no longer has unpleasant resonances in the lower midrange (the "tin can" effect).
A joyful winner of the prestigious Chopin Competition in Warsaw in 1960, Maurizio Pollini recorded the composer's Piano Concerto No. 1 with Paul Kletzki that same year. Here, we present a much rarer recording from the same year with the same conductor, this time live with the Orchestre National de France, and another live recording made in Italy eight years later. Given that the sound quality of both recordings was just barely acceptable, the restoration required extensive work, and we are very pleased with the result.
Other Album available // Chopin: Piano Concertos Nos. 1 & 2 by Arthur Rubinstein
🎧 Qobuz (Hi-Res) cutt.ly/5ebZczsa Tidal (Hi-Res) cutt.ly/HebZcHr9
🎧 Deezer (Hi-Fi) cutt.ly/VebZc6gH Amazon Music (Hi-Res) cutt.ly/RebZvOwZ
🎧 Spotify (mp3) cutt.ly/8ebZbqUK UA-cam Music (mp4) cutt.ly/4ebZbWsh
🎧 SoundCloud (aac) cutt.ly/RebZbHjV
Great performance, the sound quality is much better than your previous remaster , thank you for your efforts h
Lebhafte und wunderschöne live Aufführung dieser beiden romantischen und perfekt komponierten Konzerte mit klar artikuliertem Klang des unvergleichlichen Soloklaviers sowie gut harmonisierten und perfekt entsprechenden Tönen der anderen Instrumente. Die beiden intelligenten und genialen Dirigenten leiten die beiden ausgezeichneten Orchester im veränderlichen Tempo und mit möglichst effektiver Dynamik. Die verbesserte Tonqualität ist auch ziemlich hoch als originale live Aufnahmen von 1960 und 1968. Ruhe in Frieden, Maurizio!
Für mich ist Maurizio Pollini der beste Chopin-Interpret aller Zeiten! ❤
❤❤❤
Again, beautiful and thank you.
;)
❤
That's amazing!
Maravilhoso❤❤❤❤❤❤❤❤👏👏👏👏👏👏👏👏👏👏🎼🎼🎼🎼🎼🎼🎼🎼🎼🎼🎼🎼
Dommage il est mal enregistré, presque inaudible.
Thank you Classical Music for sharing this beautiful music ! Have a blessed Sunday ! 😊😊😊😊😊❤❤❤❤❤