Frederic Chopin: Klaviersonaten Nr.2 & 3 auf CD

Product-Information:

Recent discs from Marc-André Hamelin have concentrated on music which is obscure, under-recorded or virtually unplayable. However in this latest recording he turns his attention to two mainstays of the Romantic repertoire: Chopin's Piano Sonatas Nos 2 and 3. The results are simply staggering: playing of matchless brilliance and consummate artistry, stunningly recorded. As a recent critic of Hamelin's live performance of the B minor sonata remarked, »Hamelin starts where most other pianists leave off … such was his control that frequently it seemed as though an extra dimension were being added, the music's teeming internal life clarified by his ability to voice the inner parts«.

The disc is completed by some of Chopin's greatest single-movement works; the contrasting two Nocturnes of Op 27, the extraordinarily colouristic Berceuse Op 57 and the monumental Barcarolle in F sharp major. We think this is one of the most authoritative and important Chopin discs to have appeared in recent years—an unmissable release.

Rezensionen

»Though Hamelin has made many fabulous discs, particularly in repertoire of superhuman virtuosity, this is one of his very finest achievements to date« (Gramophone)

»This is Chopin playing of a superior kind in which a musician of penetrating intellect is able to observe every detail of these miraculous scores … This is a fine example of supreme technical skill at the service of musical poetry« (Classic FM Magazine)

»Hamelin's fabulous, transcendental technique takes all the challenges of the treacherous keyboard writing in its stride … Hamelin's pianissimos have a wonderful purity and definition« (The Guardian)

»In the Op 27 Nocturnes his hesitations are masterly, while the Berceuse, the seductive opening track, shimmers with pensive beauty … An excellent excursion into standard repertoire for this adventurous pianist« (The Times)

Rezensionen

FonoForum 07/09: »Hamelin begeistert bei Chopin nicht nur mit manueller Mühelosigkeit und grenzenloser Klangschönheit, sondern auch mit einer Emotionalität, wie man sie in seinem Klavierspiel bisher selten erleben konnte.​ Man muss bei der zweiten Sonate nur die durchdringenden Oktaven zu Beginn des ersten Satzes hören oder die Inbrunst, mit der er den Trauermarsch ausschreitet, um die einsame Klasse dieser Interpretationen zu bemerken.​«