Chopin: 傅聪 Fou Ts'ong

The Polish pianist Halina Czerny-Stefanska (1922 - 1982) enjoyed a more substantial reputation among piano buffs than among music-lovers in general until she was unexpectedly shot to prominence by a mistake that got her talked about all around the world. In the early 1950s she had performed the First Concerto of Chopin under Vaclav Smetacek in a recording issued by the Czech label Supraphon; when EMI reissued the performance in 1965 it was attributed to Dinu Lipatti, the Romanian pianist whose premature death in 1950 robbed classical music of one of its brightest stars.

Chopin’s mazurkas are perhaps the most elusive branch of his output. Their most obvious and dangerous challenges to performers lie in their rhythmic subtlety. Of all his music, none is more intimately linked with the accents and inflections of the Polish language, but this isn’t to say that only Poles can do them justice. What they do require, though, is a rhythmic buoyancy and flexibility of line which transcends all national characteristics. Like Chopin himself, they are compounded of irony and paradox. The role of the second beat is crucial to all of them, and to their specific identity as dance music (though Chopin’s were never intended for dancing), yet if they’re to succeed in performance the pianist must neutralise the divisive menace of the bar-line, so that the last thing we think of is counting.

This second and final volume of Chopin’s Mazurkas by Peter Jablonski includes the composer's Mazurkas Nos. 30-51 alongside six posthumous mazurkas. For Chopin, the Mazurkas became a deeply personal, intimate statement of his feelings as an émigré Polish composer living in Paris. From some of his very first compositions to his last, it is the only form that Chopin composed regularly throughout his life. Similarly, Chopin’s Mazurkas have followed Peter Jablonski throughout his entire career as a pianist in nearly every solo recital. This album also includes Chopin’s final composition that was written just few weeks before his death, the Mazurka No. 49 in F minor (1849).

Chopin is reserved, visionary and mysterious," says Beatrice Rana. "There are many layers to his music. It's pleasing to the ear and sincere in it's communication, but the deeper you go, the more you find…" For this album, Rana pairs Chopin's 12 op 25 études with his four scherzi, focusing on two musical genres that the composer, combining intellect and imagination, transformed into something new. "It was Chopin who invented the 'concert study'," explains Rana. "To me, the études seem implicitly connected, joined by a single line of expression, as if they are taking you on a journey.

Vladimir Horowitz (who had a Polish grandmother and was fond of pointing out that he was "half as much a Pole as Chopin"), recorded more of Chopin's music than that of any other composer. Horowitz made four (approved) recordings of the Chopin's Ballade in G-Minor. Truth be told, he was never entirely successful in the work, finding difficulty in balancing the episodic and structural elements. The versions here, from the 1965 return concert and 1968 television recital, are the most successful technically and musically.

Internationally acclaimed Swedish pianist Peter Jablonski is known as a fervent champion of Polish music. In this album Jablonski returns to some of his dearest piano music – Chopin’s Mazurkas. For Chopin, the Mazurkas became a deeply personal, intimate statement of his feelings as an émigré Polish composer living in Paris. From some of his very first compositions to his last, it is the only form that Chopin composed regularly throughout his life. Similarly, Chopin’s Mazurkas have followed Peter Jablonski throughout his entire career as a pianist in nearly every solo recital.

Mao Fujita follows up his 'acclaimed' debut album on Sony Classical, the complete Mozart Piano Sonatas, with a similarly ambitious recording project, 'Preludes'; three complete sets of 24 preludes by Chopin, Scriabin, and 20th century Japanese composer Akio Yashiro. This album represents a fascinating exploration of three different but intricately connected worlds, each full of poetic diversity, volcanic energy and atmospheric stillness.

Janne Mertanen (b. 1967) has become known primarily as a Chopin interpreter, and his repertoire does indeed cover almost all the piano music by this composer. Mertanen caught the attention of the musical public at large in 1992 on winning the International Chopin Competition in Darmstadt, Germany. This was followed in the same year by victory in the Nyborg Nordic Competition. His fi rst disc, a Chopin recital, was released in 1994. Two subsequent discs, Chopin Nocturnes vol 1–2, won prizes in the 6th International Record Competition Grand Prix du Disque Frédéric Chopin 2005 in Warsaw.

Mao Fujita follows up his 'acclaimed' debut album on Sony Classical, the complete Mozart Piano Sonatas, with a similarly ambitious recording project, 'Preludes'; three complete sets of 24 preludes by Chopin, Scriabin, and 20th century Japanese composer Akio Yashiro. This album represents a fascinating exploration of three different but intricately connected worlds, each full of poetic diversity, volcanic energy and atmospheric stillness.

Janne Mertanen (b. 1967) has become known primarily as a Chopin interpreter, and his repertoire does indeed cover almost all the piano music by this composer. Mertanen caught the attention of the musical public at large in 1992 on winning the International Chopin Competition in Darmstadt, Germany. This was followed in the same year by victory in the Nyborg Nordic Competition. His fi rst disc, a Chopin recital, was released in 1994. Two subsequent discs, Chopin Nocturnes vol 1–2, won prizes in the 6th International Record Competition Grand Prix du Disque Frédéric Chopin 2005 in Warsaw.