12 Studies Op10 Piano Etudes (English Text) [Alfred Cortot, Frederic Chopin] on *FREE* shipping on qualifying offers. Edited by Alfred Cortot. Here on six glorious CDs is Cortot’s Chopin at last in all its infinite richness and variety. The transfers Elsewhere you will hear a Black Keys Etude (Op. 10 No. 26 Sep In my student days, a teacher lent me Cortot’s edition of Chopin’s B flat of the Sonatas, and both books of the Études, published by Salabert.
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Once there was virtually nothing what there was usually only available in Japannow there is a positive deluge of reissues and, indeed, of duplications from Pearl, Biddulph, Music and Arts and, far from least, from EMI. Cortot was one of the leading piano teachers of his time. The F minor Fantaisie also suggests that Cortot never compromised where his intensity of vision was concerned, aiming for etjdes which other more stable pianists would cortor dare consider, and achieving in the process a truly demonic force rather than the heroics of received custom or taste.
Invitation to the Dance Aufforderung zum Tanze. Dante’s Schumann discs come with some valuable biographical pointers, but if forced to choose from this Aladdin’s cave of musical quality I would have to pick EMI’s Chopin and Biddulph’s Schumann.
However the gem is surely the Third Ballade with the opening pages played as if improvised on the spot, the figuration commencing at 3’34” foaming and cascading with a freedom and liberality unknown to most players.
Cortot found greater depth in later recordings of the Children’s Corner suite although there are rich compensations in the finespun elegance of his ”Doctor Gradus” and his stylish response to Debussy’s mockery of Wagner’s chromatic solemnity in the ”Golliwog’s cakewalk”. He started studying piano in Geneva at the age etudew 5.
Cortot Alfred Denis – Barcarolle, op. His piano chopi grew from the tradition from the French school, but Cortot widened its repertoire and developed its technique.
Cortot Alfred Denis – Ballade in F major, op. The limitations of other more ‘correct’, less volatile Chopin struck one at every turn. In the first volume which concentrates on recordings dating from to even the dim and distant sound cannot mar the sheer charisma of much of the playing. To logic, clarity, taste and finesse always at the heart of all truly great French artistry he added a wild re-creative passion and energy.
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Cortot’s partnership with Charles Panzera in the Etudees also provides a discreet yet deeply personal ‘vocal’ counterpoint, and in the concluding ”Die alten, bosen Lieder”, where Schumann so characteristically illuminates all that has gone before, his crystalline texture and potently expressive phrasing are exemplary. Cortot, who suffered painfully from a sense of his own imperfections, would have been gratified to know that future as well as contemporary admirers joined him in realizing that there are, perhaps, higher things in art than mere discretion.
In the D minor Trio, music of a driving, almost Franckian pace, Cortot and his colleagues plunge through the second movement like men possessed. At the core coetot his emploi were Chopin and French composers: There is a disarming lightness to the popular No. A photograph of the artist is included, cigarette as always in hand, and every inch the debonair Frenchman.
He also includes copin the posthumous items in his Etudes symphoniquesscattering them freely through the text but playing them with such improvisatory magic that all sense of interruption or slackened structure is virtually erased. One notable exception was Schumann: Very interesting from the point of view of performance history are his performing editions of the works of Chopin complete works in 10 vols.
In the Etudes the is preferable to the set; both fhopin included he reaches out far beyond chopij pedagogical concerns. The bald forte chord that ends No. Such famous errors surely resulted not from incompetence, but from Cortot’s nervous, high-pitched intensity; a sheer involvement chipin could easily cloud his composure or unsettle his equilibrium. His relish, too, of that surprise chiming C natural just before the conclusion is pure Cortot, a true ”shock” rather than a ”digital impression”, to quote his own differentiation where true artistry is concerned.
From Cortot thirds, sixths, octaves etc, are transformed into the purest poetry and, to quote Philippe Entremont, ”take wing” in a way that is unique.
Yet by and large these cortkt preferable, more airborne readings than in the earlier set. With him Chopin’s music leaves its earthly moorings far behind; as one writer put it ”when Cortot is no more Chopin will die a second time”. Cortot Alfred Denis – Fantasy F minor op.
Fryderyk Chopin – Information Centre – Alfred Denis Cortot – Biography
Once again, and perhaps to an even greater extent than in his Chopin, you realize that for Cortot the most audaciously romantic piano was invariably an apotheosis of song and dance. The all-time greats Read about the artists who changed the world of classical music. Composition Artist Credits 4 Ballades. Cortot’s left hand in particular had a way of drifting in and out of focus etuees rather than three beats in his gossamer rhythmic support in many of the Chopin waltzes and leading a wayward and disobedient life of chopjn own.
Rearing and chopih through bravura passagework and revelling in every opportunity for the richest variety of voicing and texture, he makes the many years since the work’s first performance roll away. The truth is that Cortot had neither the time nor the inclination to polish his performances to a high degree of perfection.
The finale is launched in comically grand, curtain-raiser style and there are several instances of thundering bass reinforcements, or sudden skyward lifts of a treble line that are somehow central to Cortot’s liveliness and caprice, to his poetic vitality. And this, together with Ward Marston’s brilliantly successful transfers makes the disc preferable to Dante’s more limited, less vivid offering.
Although not everything is included, Guthrie Luke’s selection is wonderfully enterprising and judicious, with several alternative performances of the same work offered for perusal. Despite his love for German music, he played little or no Bach, Mozart, Beethoven, Weber with the exception of his famous recording of the Sonata in A flat majorSchubert or Brahms.
His touch an old-fashioned word but one inseparable from the man was of a crystalline clarity, his coloration alive with myriad tints and hues. Cortot Alfred Denis – Etude in C sharp minor, op. This, together with a gremlin who mischievously deflected his fingers away from the right notes—often at crucial if surprisingly undemanding points in the musical argument—added chopim harmonies and dissonances undreamed of by his composers.
Alfred Cortot plays Chopin
The transfers are outstanding, with no attempt made to mask the glitter of his brilliance in the interests of silent surfaces or to remove other acoustical hiccups.
He knew how to control coryot form, but had a soft spot for miniatures: Cortot could be a master of Dtudes understatement but when the mood took him he hardly did things by halves. In the Waltzes there is a near operatic freedom in the melody of Op.