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  • Chopin: Complete Mazurkas, Vol. 1
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Chopin: Complete Mazurkas, Vol. 1 Import

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Audio CD, Import, January 12, 2010
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Product Details

  • Conductor: none
  • Composer: Chopin
  • Audio CD (January 12, 2010)
  • Number of Discs: 1
  • Format: Import
  • Label: Hyperion
  • ASIN: B002W8IINY
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Best Sellers Rank: #126,443 in Music (See Top 100 in Music)

1. Mazurka for piano No. 1 in F sharp minor, Op. 6/1, CT. 51
2. Mazurka for piano No. 2 in C sharp minor, Op. 6/2, CT. 52
3. Mazurka for piano No. 3 in E major, Op. 6/3, CT. 53
4. Mazurka for piano No. 4 in E flat minor, Op. 6/4, CT. 54
5. Mazurka for piano No. 5 in B flat major, Op. 7/1, CT. 56
6. Mazurka for piano No. 6 in A minor, Op. 7/2, CT. 57
7. Mazurka for piano No. 7 in F minor, Op. 7/3, CT. 58
8. Mazurka for piano No. 8 in A flat major, Op. 7/4, CT. 59
9. Mazurka for piano No. 9 in C major, Op. 7/5, CT. 59
10. Mazurka for piano No. 10 in B flat major, Op. 17/1, CT. 60
11. Mazurka for piano No. 11 in E minor, Op. 17/2, CT. 61
12. Mazurka for piano No. 12 in A flat major, Op. 17/3, CT. 62
13. Mazurka for piano No. 13 in A minor, Op. 17/4, CT. 63
14. Mazurka for piano No. 14 in G minor, Op. 24/1, CT. 64
15. Mazurka for piano No. 15 in C major, Op. 24/2, CT. 65
16. Mazurka for piano No. 16 in A flat major, Op. 24/3, CT. 66
17. Mazurka for piano No. 17 in B flat minor, Op. 24/4, CT. 67
18. Mazurka for piano No. 18 in C minor, Op. 30/1, CT. 68
19. Mazurka for piano No. 19 in B minor, Op. 30/2, CT. 69
20. Mazurka for piano No. 20 in D flat major, Op. 30/3, CT. 70
See all 29 tracks on this disc

Editorial Reviews

To celebrate the 200th anniversary of Chopin's birth, Hyperion has excerpted some of the finest performances from Garrick Ohlsson's complete Chopin project, originally recorded for the Arabesque label and reissued on Hyperion as a 16-CD boxed set. These discs include some of th finest contemporary Chopin playing and include definitive performances of the complete etudes and mazurkas.

Customer Reviews

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Most Helpful Customer Reviews

15 of 17 people found the following review helpful By C. Pontus T. on March 19, 2010
It would be more than an exaggeration to say that my relationship with Chopin's Mazurkas has always been a love affair. Quite the contrary, I do not think I even managed to get through all of them in my youth as played by Idil Biret on Naxos. Even if things improved markedly with Ashkenazy a few years later, they still remained my least favourite Chopin pieces for many years. However, it would not be an exaggeration at all to say that Ohlsson's 1998 twofer on Arabesque, to which I came rather late, opened the door to a completely different world altogether.

I know there are nearly as many 'Mazurka' doubters as Chopin lovers out there. They cannot be faulted, though, and nor can the pianists. Chopin's 57 or so Mazurkas are not like caviar or red wine (both of which I, by the way, seem unable to acquire a taste for regardless of exposure) but more like the Rubik's Cube: unless provided with a key (algorithm), one can try until time ends but still not get anywhere. I am sure there are more than one key to Chopin's Mazurkas--other pianists have indeed offered highly successful compilations of a handful of them, above all Moravec, Anderszewski,
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2 of 2 people found the following review helpful By P. Adrian on October 21, 2010
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Garrick Ohlsson sets here all his technical skills and musical insight in order to get the very essence of the true mood in an impressive traversal of the whole mazurkas by Chopin. Deceptively, it could seem an accessible task (even for a second year piano student) to solve the musical and technical challenges risen by these miniatures. Notwithstanding, the most difficult thing is to get the right balance of feelings and the proper inner rhythms in conveying their emotional palette. Exaggerations, as well as reluctant approaches, are capital sins. Maybe, one needs to win the prestigious Chopin competition - as Ohlsson did forty years ago in Warsaw - to reach the required interpretive artistry with all maturity, finesse and wisdom of immersing in Chopin's world. A long meditation over the scores, along with an empathic approach, is needed in order to properly deal with these lovely miniatures, so expressive with regard to the deep soulfulness and drama of the Polish people during the history.

Ohlsson's ease of negotiating the technical challenges, overtaking them by simply soaring above the notes and fondling the keys, along with a poetic sense of melody and harmony in searching for the true mood of mazurkas, have led him straightforwardly to a seductive account that can be considered as a genuine benchmark of the Chopin recorded catalogue.
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3 of 8 people found the following review helpful By DAVID BRYSON TOP 1000 REVIEWERVINE VOICE on May 25, 2010
Which famous French critic said 'Chopin is not for virgins' is something I can't bring back to mind. It was someone who had become exasperated with 'this or that nocturne or prelude tastefully rendered by Mademoiselle So-and-so'. Whoever he was, Garrick Ohlsson certainly ought to have satisfied him on that score at least. This is powerful Chopin playing indeed, and I like it this way as well.

It does not lack for contrasts, as I am sure you will have understood without my saying, but this is not playing with much of a feminine side. The really powerful touches are reserved for some of the more mature numbers, but I was also made aware of the development of the master's style from the early works with opus-numbers in single digits to the formidable and fully developed Chopin of op 30 and thereabouts, by which time he had published not only the preludes but both books of etudes. This first volume of Ohlsson's mazurkas follows the opus-number sequence for the first 29 works of the 57 making up the entire 2-disc release. There is an interesting liner note explaining exactly what mazurkas are, and it appears that the term is not precise, but refers to a variety of Polish folk-dances, although located around a certain area in the Warsaw vicinity. I give Ohlsson high marks for keeping the sense of a dance all the way through. The idiom varies not a little, and although I was delighted as I always am by the gorgeous clodhopping D major number, op 33/2, may I direct the attention of anyone reading this notice to the incomparable performance by Horowitz who takes a slower tempo with marvellous effect.

Chopin gained such phenomenal popularity from such an early stage that in the days before recording someone was driven to suggesting that his works should be banned for a certain period.
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