It is extremely hard for any new recording to compete with the stunning 1967 Berlin account that Argerich made with the Berliner Philharmoniker under Abbado… Lang Lang certainly equals the boldness, power and communicative quality of Argerich’s account. Under the baton of Sir Simon Rattle the Berliner Philharmoniker is highly persuasive and sympathetic. Not for the first time the woodwind excel - marvellous. - Michael Cookson; www.musicweb-international.com
Recorded live at the Moscow Conservatory, this is a truly legendary performance. Any experienced veteran could be proud of it; that a boy of 12 should possess the necessary technique, the musical understanding and maturity, and the sustained concentration, is almost beyond belief. Reveling in his own limitless virtuosity, Kissin seems to be playing with as well as on the piano with elfin grace and delicacy; yet his command of the keyboard his warm, singing, powerful, varied tone are only tools for expressing his spontaneous response to the music.
The new recordings of Chopin's works on period instruments allow contemporary listeners to discover the historical models, bringing us closer to the original and to the long-forgotten sound of the Romantic era.
Uzbek-born pianist Anna Malikova is best known for her interpretations of music by Chopin. She has performed and recorded both concertos, the complete etudes, preludes, and impromptus, and numerous individual solo works. But Malikova is hardly a specialist: she plays a wide range of compositions, taking in large segments of the outputs of J.S. Bach, Soler, Mozart, Beethoven, Schubert, Liszt, Saint-Saëns, Rachmaninov, Prokofiev, and Shostakovich. She has toured extensively throughout Europe, Asia, Australia, and South America, and has performed with many of the world's leading ensembles, including the Academy of St. Martin-in-the-Fields, and the major orchestras of Warsaw, Moscow, Sydney, Oslo, Tashkent, and others.
Chopin's two piano concertos have long been admired more as pianistic vehicles than as integrated works for piano and orchestra. But in his revelatory new recording, Krystian Zimerman suggests otherwise: The opening orchestral tuttis have so much more light, shade, orchestral color, and detail, you wonder if they've been rewritten. Every gesture, every instrumental solo is so specifically characterized that by the time the piano makes a dramatic entrance, the pieces have become operas without words.
It was an eminently sensible decision to couple Zimerman's previously separate Chopin concertos on a single CD. The Ax/Ormandy/RCA disc is the only rival as a coupling, so let me say at once that in different moods I would be equally happy with either. The main difference, I think, is the actual sound. From DG we get a closer, riper sonority, with Zimerman's piano much more forwardly placed. Both orchestra and piano are more distanced on the RCA recording, especially Ax's piano. This, together with Ax's lighter, more translucent semiquaver figuration (and sometimes his greater willingness to stand back and merely accompany—as in certain episodes in the F minor Concerto's finale) often conjures up visions of Chopin himself at the keyboard, and we know he was often criticized for insufficiently strong projection.
For the 200th anniversary of the birth of Frédéric Chopin, the renowned Ruhr Piano Festival in Essen invited the Staatskapelle Berlin to give a truly special program: the rare combination of Chopin‘s two piano concertos in one concert. For this purpose Daniel Barenboim, the orchestra‘s principal conductor, handed over the reins of „his“ ensemble to up-and-coming young conductor Andris Nelsons, assuming the role of piano soloist instead. The press raved: „Storms of applause for a dream couple: Daniel Barenboim and Andris Nelsons won over the audience […] with their rousing Chopin interpretations“.