Track Listing

1. Prelude in C, Op.28/1
2. Prelude in A minor, Op.28/2
3. Prelude in G, Op.28/3
4. Prelude in E minor, Op.28/4
5. Prelude in D, Op.28/5
6. Prelude in B minor, Op.28/6
7. Prelude in A, Op.28/7
8. Prelude in F sharp minor, Op.28/8
9. Prelude in E, Op.28/9
10. Prelude in C sharp minor, Op.28/10
11. Prelude in B, Op.28/11
12. Prelude in G sharp minor, Op.28/12
13. Prelude in F sharp, Op.28/13
14. Prelude in E flat minor, Op.28/14
15. Prelude in D flat, Op.28/15
16. Prelude in B flat minor, Op.28/16
17. Prelude in A flat, Op.28/17
18. Prelude in F minor, Op.28/18
19. Prelude in E flat, Op.28/19
20. Prelude in C minor, Op.28/20
21. Prelude in B flat, Op.28/21
22. Prelude in G minor, Op.28/22
23. Prelude in F, Op.28/23
24. Prelude in D minor, Op.28/24

Product Details

• Amazon Sales Rank: #688477 in Music
• Released on: 1999-03-23
• Number of discs: 1
• Format: Original recording reissued

Customer Reviews

Musicality, imagination, sobriety and integrity!
Recorded in the last twenties, these treasured performances give us the minimum facets of Cortot. The articulation and phrasing compensates far beyond his technical mistakes. Like Schnabel, he is more interested in the overall approach and distinguished nuance than any other aspect.
The impressive personality of this unexhausted artist his internal concerns about the importance of the color, tone and expression every time he was possessed by the piano conveyed to re create the piece. His Chopin is vivid, nervous, gallant, introspective, furious, electrifying and poetic. His search was not in vein. He illuminated the mind of his pupils; Dinu Lipatti, Samson Francois, Dino Ciani, Magda Tagliaferro and Clara Haskill were his most connoted and remarkable pupils. And the fact you can make a list of the greatest pianist playing Chopin and find always to Cortot, Lipatti, and Francois reveals something far beyond the adjectives and good wishes. He showed us that his Chopin had an intuitive emotional depth, the full tone, the appropriate temperament, the exquisite phrasing a Chopin filled of sentiment but not sentimentality.
He employed the music to play the piano and not vice versa. In the first group consider to Casadesus, Fisher, Kempff, Haskill, Horzsowski and so many poets of the piano , they played with a second intention; and in the second, Horowitz, Eugene Liszt,, and good part of the Russian scholl with three notable exceptions: Richter, Sofronitzsky and Tatiana Nikolayeva.
Nowadays the most of pianist don't play so. And that's not exactly a good signal. The technique permeates your thinking and it's not allowed to express. In music you must sign your style but that requires from you something to say as human being, and artist. And the music is art being technique a device and never a goal by itself.