Krystian Zimerman

"111 Classic Tracks is the ultimate compilation of artists and recordings from Deutsche Grammophon's huge catalogue, ranging from an aria sung by Enrico Caruso in 1907 to a Richard Strauss song recorded by Measha Brueggergosman in 2009 (and not previously released). It features 111 artists, from Claudio Abbado to Krystian Zimerman, who have contributed to the label's glorious history."

"111 Classic Tracks is the ultimate compilation of artists and recordings from Deutsche Grammophon's huge catalogue, ranging from an aria sung by Enrico Caruso in 1907 to a Richard Strauss song recorded by Measha Brueggergosman in 2009 (and not previously released). It features 111 artists, from Claudio Abbado to Krystian Zimerman, who have contributed to the label's glorious history."

"111 Classic Tracks is the ultimate compilation of artists and recordings from Deutsche Grammophon's huge catalogue, ranging from an aria sung by Enrico Caruso in 1907 to a Richard Strauss song recorded by Measha Brueggergosman in 2009 (and not previously released). It features 111 artists, from Claudio Abbado to Krystian Zimerman, who have contributed to the label's glorious history."

"111 Classic Tracks is the ultimate compilation of artists and recordings from Deutsche Grammophon's huge catalogue, ranging from an aria sung by Enrico Caruso in 1907 to a Richard Strauss song recorded by Measha Brueggergosman in 2009 (and not previously released). It features 111 artists, from Claudio Abbado to Krystian Zimerman, who have contributed to the label's glorious history."

"111 Classic Tracks is the ultimate compilation of artists and recordings from Deutsche Grammophon's huge catalogue, ranging from an aria sung by Enrico Caruso in 1907 to a Richard Strauss song recorded by Measha Brueggergosman in 2009 (and not previously released). It features 111 artists, from Claudio Abbado to Krystian Zimerman, who have contributed to the label's glorious history."

Given the depth, range and quality of the Deutsche Grammophon catalogue, it’s hardly been difficult to put together another anthology of great recordings and great artists. The structure is as before – here are 53 original albums (including three double-sets), featuring the great names of Deutsche Grammophon’s recording history, presented, once more, in alphabetical order of artist. Claudio Abbado leads off with a complete Carmen and Krystian Zimerman rounds off with his memorable account of the Chopin Ballades.

This is the third volume in the Chandos series devoted to the music of the Polish composer Witold Lutosławski. It brings together his first surviving orchestral piece (The Symphonic Variations) and his last symphony, as well as two works for piano and orchestra – an early work originally written for two pianos (The ‘Paganini’ Variations), and his very last concerto. The works are performed by the BBC Symphony Orchestra under Edward Gardner, described by Gramophone as a veritable ‘Dream Team’ in Vol. 1. They are joined in this recording by Louis Lortie, the award-winning pianist and exclusive Chandos artist.

This is Volume 2 in our series of solo piano works by Chopin, played by the French-Canadian pianist Louis Lortie. Recording exclusively for Chandos, Lortie is recognised as one of the finest interpreters of Chopin today. He first recorded Chopin’s Études for Chandos more than twenty years ago; the disc was named as one of the ‘50 great performances by superlative pianists’ by BBC Music.

Passion rather than insouciance is Pires’s keynote. Here is no soft, moonlit option but an intensity and drama that scorn all complacent salon or drawing-room expectations. How she relishes Chopin’s central storms, creating a vivid and spectacular yet unhistrionic contrast with all surrounding serenity or ‘embalmed darkness’. The con fuoco of Op. 15 No. 1 erupts in a fine fury and in the first Nocturne, Op. 9 No. 1, Pires’s sharp observance of Chopin’s appassionato marking comes like a prophecy of the coda’s sudden blaze. Such resolution and psychological awareness make you realize that Chopin, like D. H. Lawrence, may well have thought that “there must be a bit of fear, and a bit of horror in your life”. Chopin, Pires informs us in no uncertain terms, was no sentimentalist.