Search - Frederic Chopin, Andre Previn, Maria João Pires :: Maria Joao Pires ~ Chopin - Concerto for Piano & Orchestra No. 2 (Op. 21), 24 Preludes (Op. 28)

Fire and Ice

Jacek Walinski | Lodz, Poland | 01/07/2002

(5 out of 5 stars)

"Issued in 1994, this recording predates by two years her famous performance of Chopin's Nocturnes, but is equally rewarding. Both Concerto in F minor and 24 Preludes op.28 feature the highest pianistic eloquence and in her interpretation are fabulously sensitive, lyrical, dreamy, and full of passion. This is Chopin with perception of tenderness and drama of human existence. The recording is crystal clear. The CD won the "Grand Prix du Disque Frédéric Chopin" Warsaw Competition in 1995."

A vague sense of unease.

Jay | Republic of Ireland | 11/01/2002

(4 out of 5 stars)

"I'm a bit divided on this recording. I truly loved Pires reading of Chopin's Nocturnes, but this CD left me feeling a little disapointed. Perhaps I was just expecting too much, but I don't think so. I really enjoyed the second concerto, here it is played in the same bold, confident manner married with great sensitivity that was so effective in her recording of the Nocturnes, but I confess to some difficulty with the 24 Preludes. Chopin's great outpouring of his feelings for George Sand and has long been one of my favourite pieces of music and although there is certainly much to admire in this passionate reading, I felt that it lacked the grace and delicacy that others have found in this work. My late piano teacher for example played the Largo, (No.9 in E) in a way that would move you to tears, what a pity she never recorded it! I would be lying if I said that I regreted buying this CD, I've enjoyed it a great deal, however that vague sense of unease with the Preludes remains, spoiling what would otherwise be a great reading."

As If Chopin Were Playing Himself

Tigua A. Naghel | Los Angeles | 11/15/2005

(5 out of 5 stars)

"This performance of Pires is absolutely stunning. Her expressionism is romanticism personified in every bar. The second piano concerto, in particular, is worthy alone of such praise for Pires plays as if she were channeling Chopin himself. Not merely is the composer reborn in this performance but one gains a sense of the entire romantic movement itself. Specifically, there is a lilting unease and a daunting sense of the vague as if Pires were approaching the listener with a kiss only to draw away at the most magnificent moment of the soul's awakening. A novice to classical music may not percieve the sublte nuances of romanticism's overtones and undertones. For this reason, the preludes may sound "boring." I have to admit I don't even like them. But the orchestral flavor of the concerto is cosmopolitan enough, and the theme simple enough, that most anyone can appreciate this beautiful recording."