FRÉDÉRIC CHOPINMazurki

FELTSMANVLADIMIR

2 NI 6386

DISC ONE Total playing time 78.20 Mazurkas Op. 6 (1830)1 I F-sharp Minor 2.302 II C-sharp Minor 2.443 III Vivace E Major 1.574 IV Presto ma non troppo E-flat Minor 0.49

Mazurkas Op. 7 (1831)5 I Vivace B-flat Major 1.586 II Vivo, ma non troppo A Minor 3.327 III F Minor 3.088 IV Presto ma non troppo A-flat Major 1.459 V Vivo C Major 0.41

Mazurkas Op. 17 (1833)10 I Vivo e risoluto B-flat Major 2.1311 II Lento, ma non troppo E Minor 1.5012 III Legato assai A-flat Major 4.2213 IV Lento, ma non troppo A Minor 5.02

`elmfk=j^wrohf

si^afjfo=cbiqpj^k

NI 6386 11

Chopin The Complete Waltzes & Impromptus NI6184Four Ballades, Fantasie in F minor, Polonaise-Fantasie NI6128The Complete Nocturnes, Barcarolle, Berceuse (2CDs) NI6126

Schumann Album for the Young Op. 68, NI6307Kinderszenen Op. 15, Arabeske Op. 18, Blumenstück Op. 19 (3 CDs) NI6324Kreisleriana Op. 16, Faschingsschwank aus Wien Op. 26, Waldszenen Op. 82Phantasie Op. 17, Albumblätter Op. 124, Carnaval Op. 9, Bunte Blätter Op. 99Drei Stücklein, Albumblätter, Romance in F-sharp major

Brahms4 Balladen Op. 10, 8 Klavierstucke Op. 76, 2 Rhapsodien Op. 79, (2 CDs) NI63657 Fantasien Op. 116, 3 Intermezzi Op. 117, 6 Klavierstucke Op. 118, 4 Klavierstucke Op. 119

Liszt NI6212Liebestraume, No.3, Ballade No.2, Six Consolations, Bénédiction de Dieu dans la solitude, Berceuse in F sharp, Elegia, La lugubre gondola, En rêve

Mussorgsky / Tchaikovsky NI6211Pictures at an Exhibition / Album for the Young

A Tribute to Tchaikovsky NI6162Thème original et variations Op. 19 & Selections from Op. 5, 8, 10, 40, 51, 72

A Tribute to Rachmaninoff NI6148Piano Concerto No.3 (Live Performance, Bolshoi Hall 1992)Russian National Symphony Orchestra, Mikhail Pletnev, conductorElegy Op. 3 No. 2; Preludes: Op. 23 Nos. 4, 7, 10. Op. 32 Nos. 5, 11, 12.

10 NI 6386

Vladimir Feltsman on NimbusJ S Bach 7 Keyboard Concertos, with the Orchestra of St Luke’s (2CDs) NI2541Art of Fugue (2CDs) NI2549Goldberg Variations NI2507The Well-Tempered Clavier Books 1 & 2 (4CDs) NI2516The Six English Suites (2CDs) NI6176The Six Partitas (2CDs) NI6207The 2-Part Inventions & 3-Part Sinfonias NI6223The French Suites (2CDs) NI6314

Haydn 8 Sonatas, and 12 Variations in E-flat (2CDs) NI6242

Beethoven Sonatas Op. 106 ‘Hammerklavier’, Op. 101 NI2561Sonatas Op. 109, 110, 111 NI2575Sonatas ‘Pathetique’, ‘Moonlight’, ‘Appassionata’ NI6120Diabelli Variations Op. 120, Andante Favori NI6257

Schubert (Complete Piano Sonatas on 6 CDs)Sonata ‘Relique’ D 840, Schnittke Sonata No. 1 NI62841. Sonata in G major D 894, Sonata in A minor D 537, Adagio D 612, Scherzos D 593 NI62972. Sonata in A major D 664, Sonata in B-flat major D 960, Grätzer Waltzer D 924 NI62983. Sonata in E-flat D 568 Sonata in C minor D 958 NI63334. Sonata in A minor D 784, Sonata in A major D 959 NI63455. Sonata in B major D 575, Sonata in D major D 850, Sonata in E minor D 566 Sonata in A minor D 845, F-sharp minor fragment D 571 (2CDs) NI6384

The final release, Volume 6 (2 CDs) will be released in 2019

NI 6386 3

Mazurkas Op. 24 (1835)14 I Lento G Minor 2.1615 II Allegro non troppo C Major 2.1616 III Moderato A-flat Major 2.3217 IV Moderato B-flat Minor 5.02

Mazurkas Op. 30 (1837)18 I Allegretto non tanto C Minor 1.4719 II Vivace B Minor 1.2720 III Allegro non troppo D-flat Major 2.5921 IV Allegretto C-sharp Minor 4.40

Mazurkas Op. 33 (1838)22 I Mesto G-sharp Minor 2.0223 II Semplice C Major 2.1024 III Vivace D Major 2.2725 IV Mesto B Minor 6.02

Mazurkas Op. 41 (1838/39)26 I Maestoso C-sharp Minor 4.0927 II Andantino E Minor 2.3628 III Animato B Major 1.1629 IV Allegretto A-flat Major 2.09

DISC TWO Total playing time 70.40 Mazurkas Op. 50 (1842)1 I Vivace G Major 2.302 II Allegretto A-flat Major 2.513 III Moderato C-sharp Minor 5.32

4 NI 6386

Mazurkas Op. 56 (1843)4 I Allegro non tanto B Major 5.585 II Vivace C Major 1.476 III Moderato C Minor 7.46

Mazurkas Op. 59 (1845)7 I Moderato A Minor 4.268 II Allegretto A-flat Major 2.599 III Vivace F-sharp Minor 4.13

Mazurkas Op. 63 (1846)10 I Vivace B Major 2.1211 II Lento F Minor 1.5712 III Allegretto C-sharp Minor 1.54

13 Mazurka ‘Emile Gaillard’ (1841) A Minor KKIIb No. 5 4.0014 Mazurka ‘Notre Temps’ (1840) A Minor KKIIb No. 4 6.00

Mazurkas Op. 67 15 I Vivace (1835) G Major 1.1616 II Cantabile (1849) G Minor 1.3517 III Allegretto (1835) C Major 1.3018 IV Allegretto (1846) A Minor 3.24

Mazurkas Op. 6819 I Vivace (1829) C Major 1.3320 II Lento (1827) A Minor 2.4021 III Allegro ma non troppo (1829) F Major 2.0622 IV Andantino (1849) F Minor 2.36

NI 6386 9

Born in Moscow in 1952, Mr. Feltsman debuted with the Moscow Philharmonic at age 11. In 1969, he entered the Moscow Tchaikovsky State Conservatory of Music to study piano under the guidance of Professor Jacob Flier. He also studied conducting at both the Moscow and Leningrad (now St. Petersburg) Conservatories. In 1971, Mr. Feltsman won the Grand Prix at the Marguerite Long International Piano Competition in Paris; extensive touring throughout the former Soviet Union, Europe and Japan followed this.

In 1979, because of his growing discontent with the restrictions on artistic freedom under the Soviet regime, Mr. Feltsman signalled his intention to emigrate by applying for an exit visa. In response, he was immediately banned from performing in public and his recordings were suppressed. After eight years of virtual artistic exile, he was finally granted permission to leave the Soviet Union. Upon his arrival in the United States in 1987, Mr. Feltsman was warmly greeted at the White House, where he performed his first recital in North America. That same year, his debut at Carnegie Hall established him as a major pianist on the American and international scene.

A dedicated educator of young musicians, Mr. Feltsman holds the Distinguished Chair of Professor of Piano at the State University of New York, New Paltz, and is a member of the piano faculty at the Mannes College of Music in New York City. He is the founder and Artistic Director of the International Festival-Institute PianoSummer at SUNY New Paltz, a three-week-long, intensive training program for advanced piano students that attracts major young talents from all over the world.

Mr. Feltsman’s extensive discography has been released on the Melodiya, Sony Classical, and Nimbus labels.

Mr. Feltsman is an American citizen and lives with his wife Haewon in upstate New York.

www.feltsman.com

8 NI 6386

Chopin is the most easily recognizable composer—his voice comes through very clearly right away and there is no hesitation about the authorship of his works. Starting with his first published mazurkas that he wrote when he was fifteen years old and ending with his very last work, Mazurka in F minor, written not long before his death in 1849, Chopin immortalized this Polish dance, transforming it into a universally accepted and recognizable art form. He did the same with the polonaise and waltz. Chopin transformed these dances into art forms uniquely his own; they provided him with a frame, a structure in which he was free to create. A genuine innovator, Chopin should be credited also with the transformation of preludes and etudes into autonomous artistic forms of writing (which Liszt, Rachmaninoff, Scriabin, Debussy and Ligeti followed and developed) and with the “invention” of scherzos and ballades as legitimate musical forms.

There is an ongoing debate about how “folkish” Chopin’s mazurkas really are and whether they contain any actual Polish folk tunes. This seems too academic to me. No matter what the answer is, it cannot add to or take away anything from the value of these marvelous and genuinely authentic works. For all practical purposes, Poland and mazurkas are forever associated with Chopin.

Vladimir Feltsman, 2019

VLADIMIR FELTSMAN Pianist and conductor Vladimir Feltsman is one of the most versatile and constantly interesting musicians of our time. His vast repertoire encompasses music from the Baroque to 20th-century composers. A regular guest soloist with leading symphony orchestras in the United States and abroad, he appears in the most prestigious concert series and music festivals all over the world.

NI 6386 5

MazurkasChopin’s life and his musical legacy have been researched and studied extensively. It may seem that we know all there is to know about him and his personality, artistic instincts and music. Nevertheless, Chopin remains as elusive and enigmatic as he was during his life. It is difficult to reconcile the opposing elements of his character, the desire for recognition and need for privacy, his embrace of a brilliant and exhausting social life empty of any real meaning and the need for concentration and solitude that was essential to his creative work.

Chopin was a private and introverted man who lived a public life by choice and necessity. His social skills and manners were flawless. He displayed an aristocratic friendliness and politeness towards everyone that served to keep people getting too close to him and protected him from revealing his true self too explicitly. He was always impeccably and expensively dressed, even when at home, and was very conscious of the impression he made on people. Despite his fame and high status, both artistically and socially, despite being connected to many key artistic personalities of his time, he remained an enigma to most of those who knew him. As so often happens, the true personality of the artist is revealed in his works. Although a great deal is known about Chopin—his illness, unresolved personal issues, irritability and mood swings, distaste for giving public concerts, the need to give countless private lessons to maintain his affluent lifestyle—there remain many unanswered questions surrounding his life and his works. Nothing is explicit and straightforward in his personality or music. Ambiguity and elusiveness are built into his works, which remain fluid, mysterious and fragile. To read and understand his scores is a constant challenge for every musician. The “true meaning” of Chopin’s works is as elusive and fluid as the fluctuations of our moods and feelings, as the changing currents of the wind. It seems to me that the real meaning of Chopin’s work was a search for harmony and beauty, a beauty that can’t be reduced to or deconstructed by words, a beauty that has no other meaning or purpose besides being what it is.

6 NI 6386

Most of his music was not really intended for mass consumption. Except for early works that were clearly written for public performance, such as the two piano concertos and the Rondos and Variations, most of his compositions are very personal and indeed introverted. Despite the popularity of his music, Chopin is an artist who can really be appreciated only by those individuals capable of seeing the real value of his craft, rather than by large audiences. In my opinion, Chopin remains one of the most misunderstood composers of all time.

The Polish word zal (regret, sadness) holds the key to his work and to his Slavic character. Zal (zhalost or toska in Russian), is not exactly the same as the German Sehnsucht or English

“nostalgia”. Zal is more personal and involves a high degree of guilt and responsibility for the life one has been given. All of Chopin’s music could be seen as an expression of zal that can’t be cured or overcome, but only exhausted, while providing Chopin with a fertile breeding ground for his creative work.

Chopin’s mazurkas were musical diaries that he kept steadily during his short life. They contain some of the most precious and personal insights into his craft, taste and true character. 45 were published during his life, 41 under opus numbers and four without. Several single mazurkas, mostly composed in his early years, were found and published after his death. The accepted canon comprises 51 mazurkas. Many of Chopin’s works were published by several different European publishers and there is a degree of uncertainty about which of the scores should be considered the originals.

In one of his letters Chopin said that his mazur (in his Polish spelling) are not for dancing. We can extend this observation to his waltzes and polonaises as well. According to numerous reliable accounts, Chopin played his works with a great deal of rubato, shifting tempos and manipulating time constantly, stretching and shortening the beats, emphasizing rhythm, fluctuations of melody and the harmonic tissue of his works. There can be no dancing to such uneven time, of course. Thus, playing Chopin can be compared to reciting poetry. It can never be performed in one mechanical time, but follows an internal sequence of storylines and rhymes that unfold in their own way and time.

NI 6386 7

Mazurkas and polonaises originated in Poland and became indispensable fare on the dancing menus of noble courts, casual gatherings and folk festivities. In the early eighteenth century, the mazurka became the official court dance of Augustus II, the Elector of Saxony and King of Poland who introduced this dance into the German court. After the defeat of Poland by the Russian army in 1831, mazurkas became even more fashionable and in demand as a sign of solidarity with Poland (oddly enough the mazurka was one of the court dances in Imperial Russia, as well).

Broadly speaking, there are three variants of mazurkas—mazurek, oberek and kujawiak—which came from three corresponding regions of Poland, and there are three types of this dance: folk, urban and salon. (Further, there are subdivisions within each type.) These three types of mazurkas, which vary in tempo and character are all present in Chopin’s mazurkas– fast, breakneck speed (oberek), slow and lyrical (kujawiak) and moderate tempo (mazurek). As a three-time dance form, mazurkas display a common rhythmic formula of two short notes (even or syncopated) followed by two longer notes. All Chopin’s mazurkas follow this rhythmic pattern explicitly or implicitly. The strong beat is usually the third, but shifts occasionally to the second or first beat depending on the particular variety of mazurka. It is good to remember that Chopin was a consummate dancer before his mortal illness took hold of him, and a tangible sense of physicality and first-hand muscle memory is clearly present in his “vigorous” mazurkas.

Most of Chopin’s mazurkas share some common structural features—the main theme often starts with an upbeat and is always repeated no fewer than three times, either by repeat signs or voltas. The middle sections are repeated at least twice. There are contrasting episodes in minor or major keys, dependent on the main tonality, that introduce fresh material. But regardless of these common features, Chopin’s mazurkas vary greatly and no two are exactly the same structurally. There are short mazurkas that fit on a single page and there are substantial and formally complex mazurkas that build up like a real dramatic action.

6 NI 6386

Most of his music was not really intended for mass consumption. Except for early works that were clearly written for public performance, such as the two piano concertos and the Rondos and Variations, most of his compositions are very personal and indeed introverted. Despite the popularity of his music, Chopin is an artist who can really be appreciated only by those individuals capable of seeing the real value of his craft, rather than by large audiences. In my opinion, Chopin remains one of the most misunderstood composers of all time.

The Polish word zal (regret, sadness) holds the key to his work and to his Slavic character. Zal (zhalost or toska in Russian), is not exactly the same as the German Sehnsucht or English

“nostalgia”. Zal is more personal and involves a high degree of guilt and responsibility for the life one has been given. All of Chopin’s music could be seen as an expression of zal that can’t be cured or overcome, but only exhausted, while providing Chopin with a fertile breeding ground for his creative work.

Chopin’s mazurkas were musical diaries that he kept steadily during his short life. They contain some of the most precious and personal insights into his craft, taste and true character. 45 were published during his life, 41 under opus numbers and four without. Several single mazurkas, mostly composed in his early years, were found and published after his death. The accepted canon comprises 51 mazurkas. Many of Chopin’s works were published by several different European publishers and there is a degree of uncertainty about which of the scores should be considered the originals.

In one of his letters Chopin said that his mazur (in his Polish spelling) are not for dancing. We can extend this observation to his waltzes and polonaises as well. According to numerous reliable accounts, Chopin played his works with a great deal of rubato, shifting tempos and manipulating time constantly, stretching and shortening the beats, emphasizing rhythm, fluctuations of melody and the harmonic tissue of his works. There can be no dancing to such uneven time, of course. Thus, playing Chopin can be compared to reciting poetry. It can never be performed in one mechanical time, but follows an internal sequence of storylines and rhymes that unfold in their own way and time.

NI 6386 7

Mazurkas and polonaises originated in Poland and became indispensable fare on the dancing menus of noble courts, casual gatherings and folk festivities. In the early eighteenth century, the mazurka became the official court dance of Augustus II, the Elector of Saxony and King of Poland who introduced this dance into the German court. After the defeat of Poland by the Russian army in 1831, mazurkas became even more fashionable and in demand as a sign of solidarity with Poland (oddly enough the mazurka was one of the court dances in Imperial Russia, as well).

Broadly speaking, there are three variants of mazurkas—mazurek, oberek and kujawiak—which came from three corresponding regions of Poland, and there are three types of this dance: folk, urban and salon. (Further, there are subdivisions within each type.) These three types of mazurkas, which vary in tempo and character are all present in Chopin’s mazurkas– fast, breakneck speed (oberek), slow and lyrical (kujawiak) and moderate tempo (mazurek). As a three-time dance form, mazurkas display a common rhythmic formula of two short notes (even or syncopated) followed by two longer notes. All Chopin’s mazurkas follow this rhythmic pattern explicitly or implicitly. The strong beat is usually the third, but shifts occasionally to the second or first beat depending on the particular variety of mazurka. It is good to remember that Chopin was a consummate dancer before his mortal illness took hold of him, and a tangible sense of physicality and first-hand muscle memory is clearly present in his “vigorous” mazurkas.

Most of Chopin’s mazurkas share some common structural features—the main theme often starts with an upbeat and is always repeated no fewer than three times, either by repeat signs or voltas. The middle sections are repeated at least twice. There are contrasting episodes in minor or major keys, dependent on the main tonality, that introduce fresh material. But regardless of these common features, Chopin’s mazurkas vary greatly and no two are exactly the same structurally. There are short mazurkas that fit on a single page and there are substantial and formally complex mazurkas that build up like a real dramatic action.

8 NI 6386

Chopin is the most easily recognizable composer—his voice comes through very clearly right away and there is no hesitation about the authorship of his works. Starting with his first published mazurkas that he wrote when he was fifteen years old and ending with his very last work, Mazurka in F minor, written not long before his death in 1849, Chopin immortalized this Polish dance, transforming it into a universally accepted and recognizable art form. He did the same with the polonaise and waltz. Chopin transformed these dances into art forms uniquely his own; they provided him with a frame, a structure in which he was free to create. A genuine innovator, Chopin should be credited also with the transformation of preludes and etudes into autonomous artistic forms of writing (which Liszt, Rachmaninoff, Scriabin, Debussy and Ligeti followed and developed) and with the “invention” of scherzos and ballades as legitimate musical forms.

There is an ongoing debate about how “folkish” Chopin’s mazurkas really are and whether they contain any actual Polish folk tunes. This seems too academic to me. No matter what the answer is, it cannot add to or take away anything from the value of these marvelous and genuinely authentic works. For all practical purposes, Poland and mazurkas are forever associated with Chopin.

Vladimir Feltsman, 2019

VLADIMIR FELTSMAN Pianist and conductor Vladimir Feltsman is one of the most versatile and constantly interesting musicians of our time. His vast repertoire encompasses music from the Baroque to 20th-century composers. A regular guest soloist with leading symphony orchestras in the United States and abroad, he appears in the most prestigious concert series and music festivals all over the world.

NI 6386 5

MazurkasChopin’s life and his musical legacy have been researched and studied extensively. It may seem that we know all there is to know about him and his personality, artistic instincts and music. Nevertheless, Chopin remains as elusive and enigmatic as he was during his life. It is difficult to reconcile the opposing elements of his character, the desire for recognition and need for privacy, his embrace of a brilliant and exhausting social life empty of any real meaning and the need for concentration and solitude that was essential to his creative work.

Chopin was a private and introverted man who lived a public life by choice and necessity. His social skills and manners were flawless. He displayed an aristocratic friendliness and politeness towards everyone that served to keep people getting too close to him and protected him from revealing his true self too explicitly. He was always impeccably and expensively dressed, even when at home, and was very conscious of the impression he made on people. Despite his fame and high status, both artistically and socially, despite being connected to many key artistic personalities of his time, he remained an enigma to most of those who knew him. As so often happens, the true personality of the artist is revealed in his works. Although a great deal is known about Chopin—his illness, unresolved personal issues, irritability and mood swings, distaste for giving public concerts, the need to give countless private lessons to maintain his affluent lifestyle—there remain many unanswered questions surrounding his life and his works. Nothing is explicit and straightforward in his personality or music. Ambiguity and elusiveness are built into his works, which remain fluid, mysterious and fragile. To read and understand his scores is a constant challenge for every musician. The “true meaning” of Chopin’s works is as elusive and fluid as the fluctuations of our moods and feelings, as the changing currents of the wind. It seems to me that the real meaning of Chopin’s work was a search for harmony and beauty, a beauty that can’t be reduced to or deconstructed by words, a beauty that has no other meaning or purpose besides being what it is.

4 NI 6386

Mazurkas Op. 56 (1843)4 I Allegro non tanto B Major 5.585 II Vivace C Major 1.476 III Moderato C Minor 7.46

Mazurkas Op. 59 (1845)7 I Moderato A Minor 4.268 II Allegretto A-flat Major 2.599 III Vivace F-sharp Minor 4.13

Mazurkas Op. 63 (1846)10 I Vivace B Major 2.1211 II Lento F Minor 1.5712 III Allegretto C-sharp Minor 1.54

13 Mazurka ‘Emile Gaillard’ (1841) A Minor KKIIb No. 5 4.0014 Mazurka ‘Notre Temps’ (1840) A Minor KKIIb No. 4 6.00

Mazurkas Op. 67 15 I Vivace (1835) G Major 1.1616 II Cantabile (1849) G Minor 1.3517 III Allegretto (1835) C Major 1.3018 IV Allegretto (1846) A Minor 3.24

Mazurkas Op. 6819 I Vivace (1829) C Major 1.3320 II Lento (1827) A Minor 2.4021 III Allegro ma non troppo (1829) F Major 2.0622 IV Andantino (1849) F Minor 2.36

NI 6386 9

Born in Moscow in 1952, Mr. Feltsman debuted with the Moscow Philharmonic at age 11. In 1969, he entered the Moscow Tchaikovsky State Conservatory of Music to study piano under the guidance of Professor Jacob Flier. He also studied conducting at both the Moscow and Leningrad (now St. Petersburg) Conservatories. In 1971, Mr. Feltsman won the Grand Prix at the Marguerite Long International Piano Competition in Paris; extensive touring throughout the former Soviet Union, Europe and Japan followed this.

In 1979, because of his growing discontent with the restrictions on artistic freedom under the Soviet regime, Mr. Feltsman signalled his intention to emigrate by applying for an exit visa. In response, he was immediately banned from performing in public and his recordings were suppressed. After eight years of virtual artistic exile, he was finally granted permission to leave the Soviet Union. Upon his arrival in the United States in 1987, Mr. Feltsman was warmly greeted at the White House, where he performed his first recital in North America. That same year, his debut at Carnegie Hall established him as a major pianist on the American and international scene.

A dedicated educator of young musicians, Mr. Feltsman holds the Distinguished Chair of Professor of Piano at the State University of New York, New Paltz, and is a member of the piano faculty at the Mannes College of Music in New York City. He is the founder and Artistic Director of the International Festival-Institute PianoSummer at SUNY New Paltz, a three-week-long, intensive training program for advanced piano students that attracts major young talents from all over the world.

Mr. Feltsman’s extensive discography has been released on the Melodiya, Sony Classical, and Nimbus labels.

Mr. Feltsman is an American citizen and lives with his wife Haewon in upstate New York.

www.feltsman.com

10 NI 6386

Vladimir Feltsman on NimbusJ S Bach 7 Keyboard Concertos, with the Orchestra of St Luke’s (2CDs) NI2541Art of Fugue (2CDs) NI2549Goldberg Variations NI2507The Well-Tempered Clavier Books 1 & 2 (4CDs) NI2516The Six English Suites (2CDs) NI6176The Six Partitas (2CDs) NI6207The 2-Part Inventions & 3-Part Sinfonias NI6223The French Suites (2CDs) NI6314

Haydn 8 Sonatas, and 12 Variations in E-flat (2CDs) NI6242

Beethoven Sonatas Op. 106 ‘Hammerklavier’, Op. 101 NI2561Sonatas Op. 109, 110, 111 NI2575Sonatas ‘Pathetique’, ‘Moonlight’, ‘Appassionata’ NI6120Diabelli Variations Op. 120, Andante Favori NI6257

Schubert (Complete Piano Sonatas on 6 CDs)Sonata ‘Relique’ D 840, Schnittke Sonata No. 1 NI62841. Sonata in G major D 894, Sonata in A minor D 537, Adagio D 612, Scherzos D 593 NI62972. Sonata in A major D 664, Sonata in B-flat major D 960, Grätzer Waltzer D 924 NI62983. Sonata in E-flat D 568 Sonata in C minor D 958 NI63334. Sonata in A minor D 784, Sonata in A major D 959 NI63455. Sonata in B major D 575, Sonata in D major D 850, Sonata in E minor D 566 Sonata in A minor D 845, F-sharp minor fragment D 571 (2CDs) NI6384

The final release, Volume 6 (2 CDs) will be released in 2019

NI 6386 3

Mazurkas Op. 24 (1835)14 I Lento G Minor 2.1615 II Allegro non troppo C Major 2.1616 III Moderato A-flat Major 2.3217 IV Moderato B-flat Minor 5.02

Mazurkas Op. 30 (1837)18 I Allegretto non tanto C Minor 1.4719 II Vivace B Minor 1.2720 III Allegro non troppo D-flat Major 2.5921 IV Allegretto C-sharp Minor 4.40

Mazurkas Op. 33 (1838)22 I Mesto G-sharp Minor 2.0223 II Semplice C Major 2.1024 III Vivace D Major 2.2725 IV Mesto B Minor 6.02

Mazurkas Op. 41 (1838/39)26 I Maestoso C-sharp Minor 4.0927 II Andantino E Minor 2.3628 III Animato B Major 1.1629 IV Allegretto A-flat Major 2.09

DISC TWO Total playing time 70.40 Mazurkas Op. 50 (1842)1 I Vivace G Major 2.302 II Allegretto A-flat Major 2.513 III Moderato C-sharp Minor 5.32

2 NI 6386

DISC ONE Total playing time 78.20 Mazurkas Op. 6 (1830)1 I F-sharp Minor 2.302 II C-sharp Minor 2.443 III Vivace E Major 1.574 IV Presto ma non troppo E-flat Minor 0.49

Mazurkas Op. 7 (1831)5 I Vivace B-flat Major 1.586 II Vivo, ma non troppo A Minor 3.327 III F Minor 3.088 IV Presto ma non troppo A-flat Major 1.459 V Vivo C Major 0.41

Mazurkas Op. 17 (1833)10 I Vivo e risoluto B-flat Major 2.1311 II Lento, ma non troppo E Minor 1.5012 III Legato assai A-flat Major 4.2213 IV Lento, ma non troppo A Minor 5.02

`elmfk=j^wrohf

si^afjfo=cbiqpj^k

NI 6386 11

Chopin The Complete Waltzes & Impromptus NI6184Four Ballades, Fantasie in F minor, Polonaise-Fantasie NI6128The Complete Nocturnes, Barcarolle, Berceuse (2CDs) NI6126

Schumann Album for the Young Op. 68, NI6307Kinderszenen Op. 15, Arabeske Op. 18, Blumenstück Op. 19 (3 CDs) NI6324Kreisleriana Op. 16, Faschingsschwank aus Wien Op. 26, Waldszenen Op. 82Phantasie Op. 17, Albumblätter Op. 124, Carnaval Op. 9, Bunte Blätter Op. 99Drei Stücklein, Albumblätter, Romance in F-sharp major

Brahms4 Balladen Op. 10, 8 Klavierstucke Op. 76, 2 Rhapsodien Op. 79, (2 CDs) NI63657 Fantasien Op. 116, 3 Intermezzi Op. 117, 6 Klavierstucke Op. 118, 4 Klavierstucke Op. 119

Liszt NI6212Liebestraume, No.3, Ballade No.2, Six Consolations, Bénédiction de Dieu dans la solitude, Berceuse in F sharp, Elegia, La lugubre gondola, En rêve

Mussorgsky / Tchaikovsky NI6211Pictures at an Exhibition / Album for the Young

A Tribute to Tchaikovsky NI6162Thème original et variations Op. 19 & Selections from Op. 5, 8, 10, 40, 51, 72

A Tribute to Rachmaninoff NI6148Piano Concerto No.3 (Live Performance, Bolshoi Hall 1992)Russian National Symphony Orchestra, Mikhail Pletnev, conductorElegy Op. 3 No. 2; Preludes: Op. 23 Nos. 4, 7, 10. Op. 32 Nos. 5, 11, 12.

12 NI 6386

A Tribute to Scriabin NI6198Sonata No. 4 Op. 30, Valse Op. 38, Danses Op. 73, Vers la flamme Op. 72, Valse Op. Posth., Selections from Preludes Op. 11, 16, 22, 37, 74, Poémes Op. 32, 63 Morceaux Op. 49, 51, 57, Etudes Op.42

A Tribute to Silvestrov NI6317Music by Valentin Sivestrov, CPE Bach, Schubert, Scarlatti, Chopin, Schumann and Wagner.

A Tribute to Prokofiev NI6361Story Op. 3, Remembrance Op. 4, Prelude in C Harp Op. 12, Visions fugitives Op. 22, Sarcasms Op. 17, Music for Children Op. 65, Two pieces from Cinderella,

Forgotten Russians NI6377Music by Stanchinsky, Feinberg, Obukhov, Lourié, Roslavets, Mosolov, and Protopopov

For track lists visit www.wyastone.co.uk

Record production and engineering : Adrian FarmerRecorded by Nimbus Records at Wyastone Leys, Monmouth 4-6 February 2018

Cover Image : Photograph of Chopin by Louis-Auguste Bisson c. 1849Photograph of Vladimir Feltsman by Robert Millard

c 2019 Wyastone Estate Limited © 2019 Wyastone Estate Limited

www.wyastone.co.uk

NI 6386 1

co°a°of`=`elmfkj~òìêâá

cbiqpj^ksi^afjfo