CHOPIN Piano Concerto No. 1 / Cho

FRÉDÉRIC CHOPIN

Piano Concerto No. 1
Four Ballades
Seong-Jin Cho
London Symphony Orchestra
Gianandrea Noseda
Int. Release 25 Nov. 2016
1 CD / Download
0289 479 5941 0


트랙리스트

Frédéric Chopin (1810 - 1849)
Piano Concerto No.1 in E Minor, Op.11

Seong-Jin Cho, London Symphony Orchestra, Gianandrea Noseda

Seong-Jin Cho

총 재생시간 1:18:55

Cho's reading of the Piano Concerto no. 1 is, on the whole, bright-toned and clean-textured. He's got a real feeling for the music, its lyricism, its many fluctuations of tempo, and its dreamy poeticism. His playing of the Concerto's many octave runs is precise . . . On the whole, his is a vibrant, impassioned reading of the Concerto, with a sweeping performance of its big first movement; a gorgeous, dreamy second; and a robust, rhythmically astute account of the finale. Gianandrea Noseda [here conducts the London Symphony in a warm, nuanced accompaniment] . . . [4 Ballades]: there's much to like about Cho's playing in the set. They brim with color. Textures are, by and large, lucid . . . Expressively, the most successful are the last two, which brim with poignancy -- especially the long, lyrical stretches of the F minor (no. 4).

The tenderest passages in the concerto have a touching reticence, and there are times in the Ballades when he almost seems to be enjoying hanging back and confounding our expectations of exactly where this music's passionate eruptions happen . . . this is definitely a disc that confirms a major talent.

In Chopin's glittering and lyrical Piano Concerto no. 1, the E Minor, he blends poetry with a stream of limpid, sparkling fingerwork that is never overblown or showy . . . supported by a keenly played accompaniment from the London Symphony Orchestra . . . [Cho's playing of the Ballades is] fit for the intimacy of the salon. At times, the music seems to linger on the border of a dream world.

It is Noseda who sets the tone of the performance with an introduction that is full of purpose and not a little swagger . . .[it is not so much Cho's] effortless clarity and articulation or lightly pedalled fioritura that capture the attention as much as his ability to let the music breathe. Every time the first movement's ineffably lovely second subject returns, it becomes more poignant in Cho's hands. His phrasing here and in the "Romanza" is truly heart-melting and if the last movement is marginally less special than its predecessors, that hardly counts against this memorable interpretation . . . [the four Ballades, too,] have an authority and assurance that compels attention . . . listen to the magical opening of No 2, the deft highlighting of the contrapuntal lines in No 3 (a masterly reading) and the controlled impetuosity of No 4 and you are left in no doubt . . .

. . . a most impressive calling-card. His playing is expressive, vividly coloured and thoughtful throughout, one has the sense of genuine curiosity for and delight in this music. Noseda accompanies superbly, securing fine playing and, where necessary, gossamer-fine textures. A class act, and an encouraging start to what should be a long and distinguished recording career.

. . . un Premier concerto tout en tendresse, tout en douceur, comme s'il s'excusait de se jouer des éléments virtuoses avec tant de facilité en les donnant toujours transparents et pianissimo, se concentrant avant tout sur la ligne mélodique . . . est le meilleur témoignage de sa quête franchement différente de ce qui se fait trop souvent.

. . . le jeune Seong-Jin Cho trouve une grâce rare d'une délicatesse . . . il livre dans son premier enregistrement studio pour Deutsche Grammophon une magnifique version des quatre "Ballades" . . . [Chopin / Piano Concerto no. 1]: Dès son entrée, le toucher de Seong-Jin Cho ravit, laissant transparaitre une maturité impressionnante dégagée de toute tentation d'impressionner . . . [le piano vient contrebalancer l'orchestre] cet effet grâce à une finesse empreinte d'émotivité . . . les quatre "Ballades" impressionnent elles aussi . . . bien une capacité émotionnelle personnelle de Seong-Jin Cho, particulièrement développée dans l'opus 23 . . . la dernière pièce, magnifique opus 52 en fa mineur, est d'une formidable volupté . . . un magnifique CD que tout passionné de Chopin doit absolument écouter!

Seong-Jin Cho offre un Concerto pour piano de Chopin riche en finesse et maturité sonore, accompagné par un orchestre résolument tourné vers le bel canto mozartien. S'en dégage alors un dialogue musical où les deux forces se complètent, le premier osant l'intonation légère, là où le second couvre ses arrières par un son robuste et immédiat . . . l'interprétation semble se construire davantage sur l'impression que sur le sentiment, se différenciant . . . l'ensemble venant privilégier le poids de la matière . . . son articulation se révèle séduisante . . . Concernant enfin les Ballades, Seong-Jin Cho livre une lecture jouée avec apaisement et plénitude, confirmant ainsi sa quête permanente de pureté sonore. Un jeune talent à suivre.