Louis Lortie - Louis Lortie plays Chopin, Vol. 8 - COMPACT DISCS [CD]
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Louis Lortie's programme for this eighth and final volume of Chopin spans the composer's entire career, from the teenage Rondo, Op. 1 through to his final published piece, the Cello Sonata, Op. 65. Inspired by a visit to the estate of Prince Antoni Radziwill in 1829, the Introduction and Polonaise brillante, Op. 3 was written for the prince (a keen cellist) and his pianist daughter Wanda, and was published in 1831 in Vienna, shortly before Chopin's move to Paris. Variations brillantes, Op. 12 was based on the theme 'Je vends des Scapulaires' from the (now long-forgotten) opera Ludovic. Single-handedly responsible for establishing the popularity of the mazurka, Chopin wrote almost sixty of these works in his lifetime. The two sets here date from 1842 (Op. 50) and 1844 (Op. 56) whilst the composer was at the height of his powers - and popularity in the salons of Paris. Chopin struggled with the composition of the Cello Sonata, taking two years, from 1845 to 1847, before finally premiering it at his last public concert, in Paris, on 16 February 1848. He was striving to find a 'new style' in his composition, whilst at the same time struggling under failing health and the breakdown of his long-standing relationship with the novelist George Sand. His perseverance paid off, and the sonata remains a cornerstone of the repertoire.
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- GenreClassicalDescriptionLouis Lortie's programme for this eighth and final volume of Chopin spans the composer's entire career, from the teenage Rondo, Op. 1 through to his final published piece, the Cello Sonata, Op. 65. Inspired by a visit to the estate of Prince Antoni Radziwill in 1829, the Introduction and Polonaise brillante, Op. 3 was written for the prince (a keen cellist) and his pianist daughter Wanda, and was published in 1831 in Vienna, shortly before Chopin's move to Paris. Variations brillantes, Op. 12 was based on the theme 'Je vends des Scapulaires' from the (now long-forgotten) opera Ludovic. Single-handedly responsible for establishing the popularity of the mazurka, Chopin wrote almost sixty of these works in his lifetime. The two sets here date from 1842 (Op. 50) and 1844 (Op. 56) whilst the composer was at the height of his powers - and popularity in the salons of Paris. Chopin struggled with the composition of the Cello Sonata, taking two years, from 1845 to 1847, before finally premiering it at his last public concert, in Paris, on 16 February 1848. He was striving to find a 'new style' in his composition, whilst at the same time struggling under failing health and the breakdown of his long-standing relationship with the novelist George Sand. His perseverance paid off, and the sonata remains a cornerstone of the repertoire.ArtistLouis LortieTitleLouis Lortie plays Chopin, Vol. 8FormatCDLabelChandos
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Louis Lortie's programme for this eighth and final volume of Chopin spans the composer's entire career, from the teenage Rondo, Op. 1 through to his final published piece, the Cello Sonata, Op. 65. Inspired by a visit to the estate of Prince Antoni Radziwill in 1829, the Introduction and Polonaise brillante, Op. 3 was written for the prince (a keen cellist) and his pianist daughter Wanda, and was published in 1831 in Vienna, shortly before Chopin's move to Paris. Variations brillantes, Op. 12 was based on the theme 'Je vends des Scapulaires' from the (now long-forgotten) opera Ludovic. Single-handedly responsible for establishing the popularity of the mazurka, Chopin wrote almost sixty of these works in his lifetime. The two sets here date from 1842 (Op. 50) and 1844 (Op. 56) whilst the composer was at the height of his powers - and popularity in the salons of Paris. Chopin struggled with the composition of the Cello Sonata, taking two years, from 1845 to 1847, before finally premiering it at his last public concert, in Paris, on 16 February 1848. He was striving to find a 'new style' in his composition, whilst at the same time struggling under failing health and the breakdown of his long-standing relationship with the novelist George Sand. His perseverance paid off, and the sonata remains a cornerstone of the repertoire.
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For the seventh volume of his Chopin project, the Canadian pianist and exclusive Chandos Artist Louis Lortie has built a program that includes works from the earliest to the latest periods in the composer's life, all of which are linked by their evocation of 'nationality' - Italy, Spain and of course Chopin's beloved Poland. The Rondo à la Mazur, Op. 5 and the Rondo, Op. 16 are examples of this longer form that was linked with the 'brilliant' style of piano writing popular in the 1820's. Chopin soon moved away from this style, in search of a more progressive compositional style. Composed around the same time as the Op. 16 Rondo, the Boléro, Op. 19 evokes the exoticism of Spain, whilst the Tarantella Op. 43 reflects the Parisian vogue for the southern Italian dance sparked by Auber's grand opera 'La Muette de Portici'. Now one of his most celebrated works, the Polonaise, Op. 53 represented for Chopin the culmination of his project, begun with the two Polonaises, Op. 26, to imbue the genre with powerful national symbolism. These works are interspersed with four sets of Mazurkas, Opp. 17, 30, 63, and 68. Chopin almost single-handedly introduced the Mazurka to Paris when he arrived there in the late 1820s, and continued to compose them throughout his life, transforming the Polish dance form into some of his most dazzling and memorable compositions.
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