Chopin News, Reviews, and Previews:

National Ballet’s versatility shines in triumphant trio
Globe and Mail – Canada

RAVE review for National Ballet of Canada program that leads off with post-modern interpretation of the Chopin Preludes, courtesy of Quebecois choreographer Marie Chouinard:

“From the get-go, Chouinard announces that hers is not a traditional interpretation of, dare I say, Chopin schlock.

Chouinard makes us listen to this well known music played by the excellent Jean-François Latour, with new ears, while lighting designer Axel Morgenthaler has ensured that the audience focuses on hands, feet or whichever part of the body Chouinard has put into play. Moments are wonderfully droll such as a particularly angst-filled prelude accompanied by a soccer ball and a pick-up game. As the piece progresses, bodies distort while limbs are angled in the most peculiar way, but always tied to the music, as if Chopin wrote disco.

The iconoclast Chouinard has deconstructed Chopin’s quintessential romantic music to create quirky dances that reflect mood, emotion and beat,
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The National Ballet says ta-ta to tutus
Toronto Star – Ontario, Canada

Thumbs-Up, too, from the Toronto Star:

Exposing as much of their perfectly sculpted bodies as could be decently exposed, 17 dancers performed an enlarged version of Marie Chouinard’s 24 Preludes by Chopin. Enlarged, that is, by seven dancers, heightening the dynamics of a kaleidoscope of choreographic invention. The company looked about as far from white tights and tutus as it ever has.

Chouinard’s work is full of audacity and surprises – all the better to sharpen the National Ballet’s cutting edge.

It is not the songs of the Rolling Stones but 24 Preludes by Frédéric Chopin that give the National Ballet of Canada a fresh, edgy look in the mixed program
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Chopin: Piano Concerto No. 2 in F Minor; Polonaise in A-flat Major; Artur Rubinstein, piano/Warsaw Philharmonic Orchestra/witold Rowicki
Audiophile Audition – USA

Glowing review of a new reissue on the Altara label of a legendary Rubistein recording dating from 1960, at the Chopin Competition in Warsaw that marked the 150th anniversary of the composer’s birth.

Chopin’s liquid lines, proceeding by way of lithe ornaments, achieve any number of noble gestures. The middle section is all shimmering melodrama, the nervously palpitating strings supporting arioso and declamatory runs from Rubinstein’s fleet fingers. The last movement’s mazurka-laden Rondo has Rubinstein applying bold strokes, consummate acrobatics in rhythm and dynamic nuance, the Warsaw Philharmonic in splendid, shared leaps and somersaults.

The immediacy of Rubinstein’s playing in the opening Chopin Concerto is its utter spontaneity and poetic breadth. At 73, Rubinstein had learned to enjoy
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Chopin in the Blogosphere:

Lennox Berkeley: Mazurka Op.101b
By John France(John France)

From the Land of Lost Content (“Musings on British Classical Music,”) a discovery of a Chopin-inspired Mazurka from compsoer Lennox Berkeley (pronounced “BARK-lee” in YankSpeak):

However Berkeley had already nodded to Chopin with a set of Three Mazurkas written in 1949 to celebrate the Chopin death centenary. And of course Chopin was an influence on much of Berkeley’s more ‘advanced’ piano music too.
The Land of Lost Content – http://landofllostcontent.blogspot.com/

Chopin Downloads of Dubious Legality

Hans Wurman – 1970 – Chopin a la Moog
By stigma2(stigma2)

Noted without comment….

51,54 MB.
stigma rest room – http://stigmarestroom.blogspot.com/

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