Frederic chopin music appreciation unit 4

#FREDERIC CHOPIN MUSIC APPRECIATION UNIT 4 LICENSE#

It is now my favourite modern recording.вЂќ Stereo Review, June 1964 (Schumann: Piano Concerto) вЂњA beautifully balanced, exquisitely shaped reading of subtle charm. вЂњThe feeling for BeethovenвЂ™s musical vocabulary is spontaneous, the approach is wholly sympathetic, and all the difficult passages are carried by an unwavering sense of the style.вЂќ High Fidelity, June 1962 (Beethoven)

#FREDERIC CHOPIN MUSIC APPRECIATION UNIT 4 LICENSE#

вЂњFou TsвЂ™ong is a brilliant technician and an inspired keyboard poet вЂ¦ His interpretations are as poetic and romantic as anyoneвЂ™s, with singing melodic lines and considerable rhythmic license and tonal painting, but unlike the performances one hears so often these build cohesivelyвЂ¦ I would say that this is quite the best recorded edition of the Ballades.вЂќ High Fidelity, February 1962 (Chopin: Ballades, PrГ©ludes, Berceuse)

вЂњThe performances strike me as being within striking distance of ideal вЂ¦ he is a remarkably musical pianist.вЂќ Gramophone, April 1962 (Mozart: Piano Concertos KV 503 & 595) вЂњFou TsвЂ™ong makes a notable impression with his clean and well-proportioned renditions of these two masterful concertos вЂ¦ recorded sound that is completely natural both in balance and warmth of tone.вЂќ Stereo Review, January 1962 (Mozart: Piano Concertos KV 503 & 595) вЂњHis technical equipment is marvellous, and his interpretive abilities are вЂ¦ ideally suited to the music here.вЂќ Stereo Review, January 1962 (Chopin: Ballades) вЂњThere is a great deal to enjoy on this record, and it is immensely refreshing to come across a Chopin pianist who thinks too much, if anything вЂ¦ I very much hope we shall be hearing more of FouвЂ™s Chopin.вЂќ Gramophone, July 1961 The new collection makes a timely tribute to the artistry of a pianist who died of Covid-19 late last year. The Second Concerto of Chopin, and it's original coupling of the Schumann Concerto appear in stereo on CD for the first time. The Four Ballades likewise established a benchmark of sensitivity among a younger generation of Chopin pianists. Although he recorded Chopin's Mazurkas at different times throughout his career, the group of eighteen issued by Westminster arguably represents his interpretations at their freshest and most creative.

'The Chinese are also very concerned with detail,' he said: 'Every part must be right, but on the other side the expression must be spontaneous and true,' and an appreciation for this fine balance made him associated above all with the music of Chopin. These qualities also illuminate the albums of Beethoven and Schubert sonatas collected here. He praised Chinese poetry for it's strength of feeling without excess: 'It has to remain dignified, spiritual and always beautiful'. The pianist may have forsaken his homeland for good, but his musicianship encompassed both European and Chinese aesthetic ideals. Several more Westminster albums demonstrate Fou's affinity for Mozart: not so surprising, given that he imprinted on his father's record collection with it's 78s of Artur Schnabel and Wanda Landowska. An album of Bach and Handel similarly reveals the intelligence, taste and inherent musicality which Fou Ts'ong brought to this repertoire on the modern concert grand. His Westminster collection of 12 Scarlatti sonatas was praised at the time for it's crisp, modern approach and vividly naturalistic touches. He is also joined by Daniel Barenboim and Vladimir Ashkenazy for a joyous traversal of Mozart's concertos with two and three pianos in a 1972 Decca recording. They encompass a good range of his repertoire predilections, as well as the scope of his youthful artist maturity. He entered into a relationship with the Westminster label, for whom he would record nine albums between 19, all newly remastered and gathered together for the first time in the present collection. Having undertaken further studies in Poland, Fou Ts'ong left his family behind and settled in London to escape the looming shadow of Chinese authoritarianism. With his third-prize finish at the 1955 International Chopin Competition in Warsaw, listeners and critics alike were astonished to encounter a mature and seemingly instinctive feel for the uniquely Polish rhythms and passing harmonies of Chopin's music, under the fingers of a 21-year-old from Shanghai. Almost half a century before Lang Lang, the pianist Fou Ts'ong took Europe and then the US by storm. The Westminster label legacy of a master Chopin interpreter, issued complete for the first time in an 'original covers' box of new remasterings.

Frederic chopin music appreciation unit 4