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Frederic Chopin: Piano Works | 
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| Creators: Frederic Chopin, John Barbirolli, Alfred Cortot
Label: Angel Records
Category: Music
List Price: $39.98
Buy New: $32.20
You Save: $7.78 (19%)
New (8) Used (6) from $27.97
Avg. Customer Rating:  7 reviews
Sales Rank: 114273
Format: Box Set, Import
Media: Audio CD
Discs: 6
Shipping Weight (lbs): 0.7
Dimensions (in): 5.8 x 5 x 1.8
UPC: 077776735924
EAN: 0077776735924
ASIN: B000002SBV
Release Date: August 5, 2002
Availability: Usually ships in 1-2 business days
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| Tracks:
Disc 1
| • | Berceuse En Re Bemol Majeur In D Flat Major, Op.57 | | • | Chant Plonais N 12 'Moja Piesczotka' | | • | Etude En Sol Bemol Majeur In G Flat, Op.10 N 5 | | • | Etude En Sol Bemol Majeur In G Flat, Op.25 N 9 | | • | Etude En La Mineur In A Minor, Op.25 N 11 | | • | Impromtu N 1 En La Bemol Majeur In A Flat Major, Op.29 | | • | Impromtu N 2 En Fa Diese Majeur In F Sharp, Op.36 | | • | Etude En La Bemol Majeur In A Flat Major, Op.25 N 1 | | • | Valse N 7 En Ut Die Mineur In C Sharp Minor, Op.64 N 2 | | • | Berceuse En Re Bemol Majeur In D Flat, Op. 57 | | • | Ballade N 1 En Sol Mineur In G Minor, Op.23 | | • | Preludes Op.28 N 1 En Ut Majeur In C | | • | Preludes Op.28 N 4 En Mi Mineur In Minor | | • | Preludes Op.28 N 8 En Fa Diese Mineur In F Sharp | | • | Preludes Op.28 N 12 En Sol Diese Mineur In G Sharp Minor | | • | Preludes Op.28 N 17 En La Bemol Majeur In A Flat Major | | • | Preludes Op.28 N 19 En La Bemol Majeur In E Flat Major | | • | Preludes Op.28 N 24 En Re Mineur In D Minor | | • | Sonate N 3 En Si Mineur In B Minor, Op.58 I Allegro Maestoso | | • | Sonate N 3 En Si Mineur In B Minor, Op.58 II Scherzo (Allegro vvace) | | • | Sonate N 3 En Si Mineur In B Minor, Op.58 III Largo | | • | Sonate N 3 En Si Mineur In B Minor, Op.58IV Finale (Presto Non Tanto) |
Disc 2
| • | Prelude En Sol Diese Mineur In G Sharp Minor, Op.28 N 12 | | • | Nocturne En Mi Bemol Majeur In E Flat, Op.9 N 2 | | • | Sonate N 2 En Si Bemol Majeur In B Flat Major, Op.35: I Grave-Allegro | | • | Sonate N 2 En Si Bemol Majeur In B Flat Major, Op.35: II Scherzo | | • | Sonate N 2 En Si Bemol Majeur In B Flat Major, Op.35: III Marche Funebre | | • | Sonate N 2 En Si Bemol Majeur In B Flat Major, Op.35: IV Finale (Presto) | | • | Polonaise N 6 En La Bemol Majeur In A Flat Major, Op.53 | | • | 4 Ballades N 1 En Sol Mineur In G Minor, Op.23 | | • | 4 Ballades N 2 En Fa Majeur In F MajorOp, 38 | | • | 4 Ballades N 3 En La Bemol Majeur In A Flat Major Op,47 | | • | 4 Ballades N 4 En Fa Mineur In F Minor, Op.52 | | • | Fantaisie En Fa Mineur In F Minor, Op.49 | | • | Tarentelle En La Bemol Majeur In A Flat, Op.43 |
Disc 3
| • | Barcarolle En Fa Diese Majeur In F Sharp, Op.60 | | • | 12 Etudes Op.10 N 1 In C | | • | 12 Etudes Op.10 N 2 In A | | • | 12 Etudes Op.10 N 3 In E | | • | 12 Etudes Op.10 N 4 In c Sharp | | • | 12 Etudes Op.10 N 5 In G Flat | | • | 12 Etudes Op.10 N 6 In G Flat | | • | 12 Etudes Op.10 N 7 In E Flat | | • | 12 Etudes Op.10 N 8 In F | | • | 12 Etudes Op.10 N 9 In f | | • | 12 Etudes Op.10 N 10 In A Flat | | • | 12 Etudes Op.10 N 11 E Flat | | • | 12 Etudes Op.10 N 12 In C | | • | 12 Etudes Op.25 N 1 In A Flat | | • | 12 Etudes Op.25 N 2 In f | | • | 12 Etudes Op.25 N 3 In F | | • | 12 Etudes Op.25 N 4 In a | | • | 12 Etudes Op.25 N 5 In e | | • | 12 Etudes Op.25 N 6 In g Sharp | | • | 12 Etudes Op.25 N 7 In c Sharp | | • | 12 Etudes Op.25 N 8 In D Flat | | • | 12 Etudes Op.25 N 9 In G Flat | | • | 12 Etudes Op.25 N 10 In B Flat | | • | 12 Etudes Op.25 N 11 In a | | • | 12 Etudes Op.25 N 12 In c | | • | Valses N 1 In E Flat, Op.18 | | • | Valses N 5 In A Flat, Op.42 | | • | Valses N 10 In b, Op.69 N 2 | | • | Valses N 14 In e, Op. Posth. |
Disc 4
| • | Piano Con No. 2 En f Op.21 I Allegro | | • | Piano Con No. 2 En f Op.21 II Larghetto | | • | Piano Con No. 2 En f Op.21 III Allegro Vivace | | • | Impromptu No.3 In G Flat, Op.51 | | • | 14 Valses No.1 In E Flat, Op.18 | | • | 14 Valses No.2 In A Flat, Op.34 No.1 | | • | 14 Valses No.3 In a, Op.34 No.2 | | • | 14 Valses No.4 In F, Op.34 No.3 | | • | 14 Valses No.5 In A Flat, Op.42 | | • | 14 Valses No.6 In D Flat, Op.64 No.1 | | • | 14 Valses No.7 In c Sharp, Op.64 No.2 | | • | 14 Valses No.8 In A Flat, Op.64 No.3 | | • | 14 Valses No.9 In A Flat, Op.69 No.1 | | • | 14 Valses No.10 In b, Op.69 No.2 | | • | 14 Valses No.11 In G Flat, Op.70 No.1 | | • | 14 Valses No.12 In f, Op.70 No.2 | | • | 14 Valses No.13 In D Flat, Op.70 No.3 | | • | 14 Valses No.14 In e, Op. Posth. |
Disc 5
| • | 24 Preludes Op.28 No.1 In C | | • | 24 Preludes Op.28 No.2 In a | | • | 24 Preludes Op.28 No.3 In G | | • | 24 Preludes Op.28 No.4 In e | | • | 24 Preludes Op.28 No.5 In D | | • | 24 Preludes Op.28 No.6 In b | | • | 24 Preludes Op.28 No.7 In A | | • | 24 Preludes Op.28 No.8 In f Sharp | | • | 24 Preludes Op.28 No.9 In E | | • | 24 Preludes Op.28 No.10 In c Sharp | | • | 24 Preludes Op.28 No.11 In B | | • | 24 Preludes Op.28 No.12 In g Sharp | | • | 24 Preludes Op.28 No.13 In F Sharp | | • | 24 Preludes Op.28 No.14 In e Flat | | • | 24 Preludes Op.28 No.15 In D Sharp | | • | 24 Preludes Op.28 No.16 In B Flat | | • | 24 Preludes Op.28 No.17 In A Flat | | • | 24 Preludes Op.28 No.18 In f | | • | 24 Preludes Op.28 No.19 In E Flat | | • | 24 Preludes Op.28 No.20 In c | | • | 24 Preludes Op.28 No.21 In B Flat | | • | 24 Preludes Op.28 No.22 In g | | • | 24 Preludes Op.28 No.23 In F | | • | 24 Preludes Op.28 No.24 In d | | • | 12 Etudes Op.10 No.1 In C | | • | 12 Etudes Op.10 No.2 In a | | • | 12 Etudes Op.10 No.3 In E | | • | 12 Etudes Op.10 No.4 In c Sharp | | • | 12 Etudes Op.10 No.5 In G Flat | | • | 12 Etudes Op.10 No.6 In e Flat | | • | 12 Etudes Op.10 No.7 In C | | • | 12 Etudes Op.10 No.8 In F | | • | 12 Etudes Op.10 No.9 In f | | • | 12 Etudes Op.10 No.10 In A Flat | | • | 12 Etudes Op.10 No.11 In E Flat | | • | 12 Etudes Op.10 No.12 In c |
Disc 6
| • | 12 Etudes Op.25 No.1 In A Flat | | • | 12 Etudes Op.25 No.2 In f | | • | 12 Etudes Op.25 No.3 In F | | • | 12 Etudes Op.25 No.4 In a | | • | 12 Etudes Op.25 No.5 In e | | • | 12 Etudes Op.25 No.6 In g Sharp | | • | 12 Etudes Op.25 No.7 c Sharp | | • | 12 Etudes Op.25 No.8 In D Flat | | • | 12 Etudes Op.25 No.9 In G Flat | | • | 12 Etudes Op.25 No.10 In b | | • | 12 Etudes Op.25 No.11 In a | | • | 12 Etudes Op.25 No.12 in c | | • | 2 ChantsPolonais Op.75 (Transcription F.Liszt):Printemps ('Wiosna') | | • | 2 ChantsPolonais Op.75 (Transcription F.Liszt):L'Anneau ('Pierscien') | | • | Nocturnes No.4 In F, Op.15 No.1 | | • | Nocturnes No.5 In F Sharp, Op.15 No.2 | | • | Nocturnes No.7 In c Sharp, Op.27 No.1 | | • | Nocturnes No.15 In f, Op.55 No.1 | | • | Nocturnes No.16 In E Flat, Op.55 No.2 | | • | 3 Nouvelles Etudes Pour La Methode De Moscheles & Fetis No.1 In f | | • | 3 Nouvelles Etudes Pour La Methode De Moscheles & Fetis No.2 In D Flat | | • | 3 Nouvelles Etudes Pour La Methode De Moscheles & Fetis No.3 In A Flat | | • | Prelude In c SHarp, Op.45 |
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| Customer Reviews: Read 2 more reviews...
 Why can't today's pianists play Chopin like this? August 3, 2008
1 out of 1 found this review helpful
It's beyond the scope of this review (not to mention the time I have) to discuss all the works here, or even all of the many highlights. Suffice it to say, as a whole, this is some of the most expressive Chopin playing ever put to wax, shellac, vinyl, magnetic tape, digital tape, flash memory, or anything else. The whole approach to this kind of music was different 80 years ago, when the artists were just one generation removed (and sometimes not even that) from the music they were performing, and grew up steeped in the traditions. Today's pianists learn the affectations of the Romantics at music schools and universities, and impressive as they are, they are just that, affectations. As Miles Davis said once regarding the neoboppers who were imitating the likes of him, you can tell it's a copy. While the two- and three-star idiots below me berate this recording because it's not DDD sound and Cortot drops a note here or there, they are missing the flow of the *music,* the understanding of architecture and drama, the communion between composer, performer and audience. Such attitudes, though, do help me understand why modern piano playing has become so obsessed with being correct that it rarely tries to get beyond that to owning the text, making one's approach to it virtually beyond criticism. So many of today's "virtuosos" are too worried about what the audience and critics will think of a finger-slip that they don't worry about anything beyond pressing down every key as directed by the holy score.
But to hear Cortot launch into the Sonata No. 2, for example, is to enter another realm, one where individual notes don't matter as much as the journey. And in his journey, Cortot plays the most extraordinary, perfectly- (and darkly-) shaded funeral march I've ever heard--just listen to those bass notes. Has anyone ever played it that well since then? Rachmaninoff, in his equally ancient recording, comes close, but since...? Sorry, you modern-day Chopinists, you have a lot of work to do.
Other standouts are the Third Sonata, with an otherworldly slow movement, a truly heroic but never overblown "Heroic" Polonaise Op. 53, and the best set of Etudes I've ever heard. Those who think Cortot had serious technical problems might listen to how well he navigates these incredibly difficult miniatures. I don't see today's virtuosi stepping up to the plate to tackle these works, let alone tackle them without the benefit of splicing and overdubbing. The Preludes are almost as satisfying, though other Chopin specialists--Pogorelich, Moravec, Arrau (the early cycle, not the Philips redo), and others have been highly successful and can give Alfie a run for his money. Some other performances here, such as the F minor Fantasy Op. 49, are superb and blow the competition out of the water. (The great, or at least famous Zimerman sounds particularly feeble in comparison.) Listen to Cortot's pedaling in the repeated ascending phrases of the climax (at 10:20 on the recording) and then the lonely, disembodied hush of the coda. Who plays with this richness of expression today? Now, if a little crackle (actually surface noise is well-suppressed by engineers, maybe a little too much) is keeping you from enjoying such extraordinary and unique sounds in the piano literature, then you deserve Lang-Lang.
The Ballades--some of my favorite Chopin--are well-done here, but even better-served on a Music & Arts disc, "Cortot Plays Chopin, the Legendary 1925 - 1929 Recordings," that unfortunately is out of print. (M&A CD-871...hunt for it used on the web; it's worth the effort.) Still, this set is a gold mine of great Chopin-playing, the sort that died in Europe a long time ago.
 hmmmmm November 28, 2005
3 out of 43 found this review helpful
I have not purchased the CD but listened to the one minute sample of the first etude opus ten. I am not a fanatic diehard stickler for technique but there were at least 30 or so mistakes/slips. This makes me reluctant to purchase the disc.
 Be prepared for lesser quality recording November 14, 2005
9 out of 22 found this review helpful
I purchased this CD set on the advice of other reviewers because I wanted a collection of Chopin works and it seemed that Cortot was one of the best pianists who performed Chopin's works.
I cannot write about his musicianship compared with other artists--please read the other reviews. But I will say that if you're planning to purchase this set, be prepared that the quality of the recording is really not that good. I did not heed the warnings of the other reviewers. It sounds like Cortot is performing in the middle of a waterfall.
Perhaps this recording will grow on me, but I'm going to look elsewhere for a set of Chopin works that I would listen to on a regular basis.
Thanks for reading.
You haven't really heard Chopin if you haven't heard Cortot! September 21, 2005
11 out of 11 found this review helpful
Well, that may well be the case.
Cortot had won open admiration of Schiff, Cziffra, Michelangeli, Arrau, Solti... just to name a few. His pianism and his Chopin included is so incisive, with myriad of hues from coming from his subtle touch. And the poignancy is such that it is pure poetic ecstasy all through.
Talking about this album, despite the fact that Cortot had a long performing and recording career, the real obstacle is the archive sound. In this album we can have almost the best recording possible, with better transfer than most other trade names by far, be it Naxos or Aura, or whatever for the price of something like Naxos!
Note however that there is some grumble that EMI should instead chose his Preludes recorded in the 30s rather than those of the 40s, and EMI shouldn't have chosen his B Minor Sonata of recorded in the 50s when Cortot was declining... But in the latters we have better recordings and they are more bewitching even if slightless less staggering. Likewise, Barbirolli's accompaniment here may not be the most ideal, yet it is so fresh and so alive to say the least. On the whole, the recording and transfer is much better than what we have in Rachmaninov's box set by RCA.
Enormously enjoybale with so much to learn. And for those find the archive sound hard to bear with, do bear in mind that the pianist whom Schiff listen to most is Cortot, and before Cortot, it was Schnabel!
A must for both Chopin lovers and piano enthusiasts October 16, 2004
32 out of 33 found this review helpful
This box set, something very difficult to find in the real world, is a must(!) for anyone interested, historically speaking, in how these works should sound along with their evolution from the early 1900's to the present. Why is Cortot qualified for this role? His teacher was Louis Dermier, one of Chopin's last pupils and supposed one of his favourites. This means Cortot is in fact the grandson of the Chopin technique, learning from one who was directly intructed how to play these works. Beyond that, he is one of the most remarkable pianists of his or any time, often criticized from an overextensive rubato, but this is the essence of Cortot. He may be the most informed pianist of all time, not only dissecting the notes on the page, but the mind of the composer and the life at the time that each composition was invented.
Any enthusiast of Chopin must listen to these recordings with an open mind. At first you will shun them, unaccustomed to the way the pieces differ from today, but soon they will grow on you and you hear each piece as if for the first time, and yo realize how far off our modern pianists are from the truth of the music. Most are more tachnically perfect than Cortot, he was often missing or hitting wrong notes, but the emotion behind those notes is what is the real importance of the music, something lost in todays pianists. Someone once said I would rather hear a good pianists wrong notes than a bad pianists right ones. And I cannot think of a more perfect personification of that comment than Cortot. In my mind he ranks as one of the top five pianists of the recording era, along with Hofmann, Richter, Horowitz, Gilels, and Moiseiwitsch. But honestly, I find more enjoyment listening to Cortot than any other single pianist on record, and this cortot box set covers almost three fourths of his Chopin output, so if you enjoy this find his Emi References of the Impromptus, the two great pianists disc are wonderful transfers, the chamber music trio with Thibaudet and Casals, and for the real enthusiast with money, the prades festival contains his last recording which a perfectly flawed rendition of the Third Cello Sonata by Beethoven and a version of Bei Mannern(different than the naxos.)
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