CHOPIN Piano Sonatas Nos 1-3
View record and artist detailsRecord and Artist Details
Composer or Director: Fryderyk Chopin
Genre:
Instrumental
Label: Brilliant Classics
Magazine Review Date: 11/2017
Media Format: CD or Download
Media Runtime: 79
Mastering:
DDD
Catalogue Number: 95209BR
Tracks:
Composition | Artist Credit |
---|---|
Sonata for Piano No. 1 |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer Wolfram Schmitt-Leonardy, Piano |
Sonata for Piano No. 2, 'Funeral March' |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer Wolfram Schmitt-Leonardy, Piano |
Sonata for Piano No. 3 |
Fryderyk Chopin, Composer
Fryderyk Chopin, Composer Wolfram Schmitt-Leonardy, Piano |
Author: Jeremy Nicholas
Schmitt-Leonardy’s opening phrasing and tempos in the first movement of the B flat minor Sonata struck me as nigh-on ideal – unforced, rhythmically buoyant, textually translucent and without the blurred focus and over-pedalled attack favoured by George Li (Warner Classics, 10/17). Schmitt-Leonardy prefers to take the exposition repeat da capo (the extensive and very good English-only booklet argues the case for this). He brings some lovely touches to this much-recorded masterpiece, such as the tapered final chord of the first movement (‘there is more to come!’), the full weight of the resonant bass he employs to powerful effect in both the Scherzo and outer sections of the ‘Marche funèbre’ and the most superb articulation which he brings to the ghostly octaves of the finale.
By now, all fences crossed with such grace and ease, one is left hoping that the B minor Sonata will maintain this consistently high level. It does. The second subject of the first movement, surely one of the most beautiful in the literature, is given matter-of-factly on its first appearance (D major) and then with added expressivity for its return in B major. Highly affecting. No exposition repeat (that would, presumably, have exceeded the disc’s generous playing time) and no matter. The firm, rounded singing tone Schmitt-Leonardy produces (and which is so well captured throughout in the two venues used) pays dividends in the Largo, with the exhilarating finale confirming that this recording is up there with the other best single-disc accounts of all three sonatas – and that includes Ashkenazy, Andsnes and Howard Shelley.
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