Piano International (Jul, 2012)
The programming here is exemplary. Shorter pieces are used as quasi-improvisatory prefaces to the more substantial works (they are presented either in the same, or related keys). Performance-wise, there is an interesting contradiction between the first piece (Nocturne, Op 15 No 3), whose interior depths are hardly hinted at, and the G minor Ballade, where it is the reflective sections that work best. Bass sounds seem to lose clarity in the recording in both. Structural parallels between the Nocturnes and the Ballades are interestingly made. Louis Lortie’s problem is that Chopin’s ornamentation often sounds studio-bound (the conceptual link between the Nocturne Op 55 No 1’s ever more elaborate ornamentation and the …
Louis Lortie joue Chopin, Vol. 2.
Frédéric Chopin (1810 – 1849)
Nocturne pour piano n° 6 en sol mineur, op. 153, CT. 113
Ballade pour piano n° 1 en sol mineur, op. 23, CT. 2
Nocturne pour piano n° 4 en fa majeur, op. 151, CT. 111
Ballade pour piano n° 2 en fa majeur, op. 38, CT. 3
Nocturne pour piano n° 2 en mi bémol majeur, op. 92, CT. 109
Nocturne pour piano n° 13 en do mineur, op. 481, CT. 120
Ballade pour piano n° 3 en la bémol majeur, op. 47, CT. 4
Nocturne pour piano n° 15 en fa mineur, op. 551, CT. 122
Ballade pour piano n° 4 en fa mineur, op. 52, CT. 5
Berceuse pour piano en ré bémol majeur, B 154op. 57
Nocturne pour piano n° 5 en fa dièse majeur, op. 152, CT. 112
Barcarolle pour piano en fa dièse majeur, B 158op. 60
Louis Lortie (piano)
20,90€
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