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| ARTIST: | Chopin, Forte |
| CATEGORY: | Music |
| MANUFACTURER: | Romeo Records |
| TYPE: | Chamber Music & Recitals, Classical |
| MEDIA: | Audio CD |
| TRACKS: | Ballade No.4 In F Minor, Opus 2, Etude In G-Sharp Minor, Opus 25, No.6, Etude In G-Flat Major, Opus 10, No.5, Nocturne In F-Major, Opus 15, No.1, Nocturne In E-Flat Major, Opus 55, No.2, Barcarolle In F-Sharp Major, Opus 60, Preludes, Opus 28: No.13, In F-Sharp Major Lento, Preludes, Opus 28: No.14, In E-Flat Minor Allegro, Preludes, Opus 28: No.15, In D-Flat Major Sostenuto, Preludes, Opus 28: No.16, In B-Flat Minor Presto Con Fuoco, Preludes, Opus 28: No.17, In A-Flat Major Allegretto, Preludes, Opus 28: No.18, In F-Minor Molto Allegro, Prelude In C-Sharp Minor, Opus 45, Mazurka, Opus 17, No.2, Mazurka, Opus 17, No.3, Polonaise In A-Flat Major, Opus 53, No.6 |
| UPC: | 675754464523 |
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Customer Reviews of Chopin Played By Madeleine Forte
Chopin on the Erard grand by Madeleine Forte One of the main challenges to the performer on period keyboard instruments is the attainment of a cantabile style of playing. The 1881 Erard grand used for this recording, for example, lacks the sustaining power of the modern concert grand. Its attack envelope is more percussive in effect, and its tonal decay more rapid. This suits the instrument well for more bravura textures such as those of the two Etudes presented here, as well as the Preludes in B-flat minor and F minor, where its limitations (by modern standards) actually promote a desirable transparency. Cantilena passages such as those in the Nocturnes included here, on the other hand, are another matter. Their convincing expression imposes the most rigorous demands on the performer in both technical and psychic domains. Pianist Madeleine Forte displays consummate mastery in both areas, imbuing Chopin's lyric lines with an eloquence seldom matched even by the best performers on modern instruments, and without sacrificing the indispensable support of bass and inner voices. Her playing of the E-flat major Nocturne, Op. 55, No. 2, in particular, is exquisite in this respect.
Mme. Forte's formidable technique should be savored not only in the more obviously spectacular passages but also in such details as the seemingly artless rising glissandi in parallel sixths that open the great A-flat Polonaise; as composed portamenti, these figures require (and receive) the utmost legatissimo articulation together with a flawless dynamic control.
Especially rewarding artistically is Mme. Forte's performance of the A-flat major Prelude, where her beautifully nuanced rubato animates the continuity and the marvelously delicate sotto voce of the concluding refrain virtually casts a spell.
This is wonderful playing of some of the greatest piano literature. It is most highly recommended.