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Seong-Jin Cho - Winner of the 17th International Fryderyk Chopin Piano Competition (2015) [Hi-Res]

Classic, HD Tracks & Vinyl | Author: SELMER | 25-06-2018, 09:00
Seong-Jin Cho - Winner of the 17th International Fryderyk Chopin Piano Competition (2015) [Hi-Res]
Artist: Seong-Jin Cho
Title Of Album: Winner of the 17th International Fryderyk Chopin Piano Competition, Warsaw 2015
Year Of Release: 2015
Label: Deutsche Grammophon (DG)
Country: South Korea
Genre: Classical
Quality: FLAC (*tracks, booklet)
Bitrate: Lossless [96kHz/24bit]
Time: 01:12:20
Full Size: 1.43 GB


Preludes, Op.28:
01. In C Major
02. In A Minor
03. In G Major
04. In E Minor
05. In D Major
06. In B Minor
07. In A Major
08. In F Sharp Minor
09. In E Major
10. In C Sharp Minor
11. In B Major
12. In G Sharp Minor
13. In F Sharp Major
14. In E Flat Minor
15. In D Flat Major
16. In B Flat Minor
17. In A Flat Major
18. In F Minor
19. In E Flat Major
20. In C Minor
21. In B Flat Major
22. In G Minor
23. In F Major
24. In D Minor

25. Nocturne In C Minor, Op.48 No.1

Piano Sonata No.2 In B Flat Minor, Op.35:
26. 1. Grave - Doppio movimento
27. 2. Scherzo - Piu lento - Tempo I
28. 3. Marche funebre (Lento)
29. 4. Finale (Presto)

30. Polonaise In A Flat Major, Op.53

The classical music landscape is so littered with competitions in which the fix is in for a dutifully colorless musician that one might justifiably treat the 21-year-old South Korean Seong-Jin Cho with skepticism after hearing that he won the 17th International Fryderyk Chopin Piano Competition in Warsaw. His performances there were recorded in October of 2015 and released by Deutsche Grammophon a scant six weeks later, and the good news is that Cho is a competition winner of a different stripe. These are entirely innovative readings of Chopin standards, rendered with muscular excitement. The best comes first on the program here with the set of Preludes, Op. 28, where Cho strips out any hint of hazy mood music or late-Romantic neurasthenia, focusing on the counterpoint and turning the remarkable level of dissonance from a sort of chromatic wash into a pure extension of Bachian principles. Sample one of the well-known preludes, such as the Prelude in E minor, Op. 28, No. 4 (track four), to learn what you're getting here: tough, detailed readings that make you hear the music anew. The Piano Sonata No. 2 in B flat minor, Op. 35, is a bit less daring, but it's a forceful, absorbing performance of the work throughout, and the single Nocturne and Polonaise each suggest new avenues of interpretation in those genres. Hats off, gentlemen (and gentlewomen) -- a major new Chopin interpreter! -- James Manheim

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