Cheap Chopin: Etudes (Music) (Fryderyk Chopin, Maurizio Pollini) Price
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| ARTIST: | Fryderyk Chopin, Maurizio Pollini |
| CATEGORY: | Music |
| MANUFACTURER: | Deutsche Grammophon |
| TYPE: | Classical, Classical Composers, Classical Music, Collection of Etudes, Studies, or Exercises for Keyboard, Keyboard |
| MEDIA: | Audio CD |
| TRACKS: | 12 Etudes Op.10: No. 1 C-dur: Allegro, 12 Etudes Op.10: No. 2 a-moll: Allegro, 12 Etudes Op.10: No. 3 E-dur: Lento, ma non troppo, 12 Etudes Op.10: No. 4 cis-moll: Presto, 12 Etudes Op.10: No. 5 Ges-dur: Vivace, 12 Etudes Op.10: No. 6 es-moll: Andante, 12 Etudes Op.10: No. 7 C-dur: Vivace, 12 Etudes Op.10: No. 8 F-dur: Allegro, 12 Etudes Op.10: No. 9 f-moll: Allegro, molto agitato, 12 Etudes Op.10: No. 10 As-dur: Vivace assai, 12 Etudes Op.10: No. 11 Es-dur: Allegretto, 12 Etudes Op.10: No. 12 c-moll: Allegro con fuoco, 12 Etudes Op.25: No. 1 As-dur: Allegro sostenuto, 12 Etudes Op.25: No. 2 f-moll: Presto, 12 Etudes Op.25: No. 3 F-dur: Allegro, 12 Etudes Op.25: No. 4 a-moll: Agitato, 12 Etudes Op.25: No. 5 e-moll: Vivace, 12 Etudes Op.25: No. 6 gis-moll: Allegro, 12 Etudes Op.25: No. 7 cis-moll: Lento, 12 Etudes Op.25: No. 8 Des-dur: Vivace, 12 Etudes Op.25: No. 9 Ges-dur: Allegro assai, 12 Etudes Op.25: No. 10 h-moll: Allegro con fuoco, 12 Etudes Op.25: No. 11 a-moll: Lento - Allegro con brio, 12 Etudes Op.25: No. 12 c-moll: Molto allegro, con fuoco |
| # OF MEDIA: | 1 |
| UPC: | 028941379429 |
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Customer Reviews of Chopin: Etudes
Raw and Primal Power I am not an expert but I must share my own personal thoughts about this disc before I fall over dead. Not much more can be said but I have heard the third of Chopin's etudes played by probably fifty some pianists. <
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>Whenever I hear it I always felt it expressed a love for one to another. Like a sonic love poem. Love has different levels. There is eros, filias, and agape to name a few. In the past I have heard pianists play this with too much eros or with too much of a animal type love. After all we are humans. We have a higher side to us. <
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>And that is where Pollini takes his pedestal. Sure his third etude is maybe a bit faster and a bit restrained, but in the end the love he expresses is transcendental. It is a raw, primal, masculine, powerful love bursting forth like I never heard before. Perhaps it is the depth of Chopin's soul properly expressed for the first time. And yes like any fine wine it takes time to acquire a taste for it (multiple listenings). <
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>Thank you Herr Pollini, now I can die.
Only Pollini
Beautifully clear.....however I feel that Chopin would have played it with more passion....expression. I love it but I meant to order Chopin's Polonaises....oh well, next time....thank you Amazon. You did well as usual.
It's his style and it works.
Hello, I am a music graduate in classical piano from a university in hamilton ontario...
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>I read an earlier review that complains about Maurizio's 'lack of expression'
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>If he knew anything about this artist then he would know that THIS WAS HIS INTENT...(he recorded the etudes a second time later in his career)
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>This recording of the chopin etudes was intentionally performed with a cool and calculating style....
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>and yes it does not do justice to chopin's music, I don't think any performer should avoid the composer's original intent....
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>but he is forgetting that a lot of the hype that goes into classical music, is based on the performer manipulating the composers music to make something new out of music that has been recorded a million times over...
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>and although I do agree with the reviewer's judgement of the ocean etude...(since I've played it myself and know the score inside out) I still think that maurizio's format works for him, it makes an impact on the listener
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>Etude no. 3 in E major sounds dreadful and rushed... but again, I've heard lots of pianists ignore the composers written indications on the score to bring something 'new' to the piece of music.
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>I believe that this is all he is trying to do, classical artists try to create a distinguishable style by recording old music in a new way, yet it is frowned upon... because it's not JAZZ music (where a composition is an outline and not made to the letter) so, the complete score allows people to look at a classical composition critically and make arguments against a performers interpretation.
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>classical music shows more proof in the score when someone is doing something erroneous....or something merely prodigal..
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>Listen to Vladimir Ashkenazy's recordings of the Chopin Etudes if you would like a more sensitive interpretation, and (arguably) is closer to the composers intent/personality.
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>Just remember that if the music is old enough to exist before a composer could make his own recording of it....
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>then 'authentic interpretation' will always be in a grey area.