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Frederic Chopin (1810 - 1949)
Nocturnes Nos. 1 - 21

LP 1
1. No.1 In B Flat Minor, Op. 9 No. 1: Larghetto
2. No. 2 In E Flat Major, Op. 9 No. 2: Andante
3. No. 3 In B Major, Op. 9 No. 3: Allegretto
4.  No. 4 In F Major, Op. 15 No. 1: Andante Cantabile
5. No. 5 In F Sharp Major, Op. 15 No. 2: Larghetto
6. No. 6 In G Minor, Op. 15 No. 3: Lento
7. No. 7 In C Sharp Minor, Op. 27 No. 1: Larghetto
8. No. 8 In D Flat Major, Op. 27 No. 2: Lento Sostenuto
9. No. 9 In B Major, Op 32 No. 1: Andante Sostenuto
10. No. 10 In A Flat Major, Op. 32 No. 2: Lento
11. No. 11 In G Minor, Op. 37 No. 1: Andante Sostenuto

LP 2
12. No. 12 In G Major, Op. 37 No. 2: Andantino
13. No. 13 In C Minor, Op. 48 No. 1: Lento
14. No. 14 In F Sharp Minor, Op. 48 No. 2: Andantino
15. No. 15 In F Minor, Op. 55 No. 1: Andante
16. No. 16 In E Flat Major, Op. 55 No. 2: Lento Sostenuto
17. No. 17 In B Major, Op. 62 No. 1: Andante
18. No. 18 In E Major, Op. 62 No. 2: Lento
19. No. 19 In E Minor, Op. Post. 72 No. 1: Andante
20. No. 20 In C Sharp Minor, Op. Post.: Lento Con Gran Espressione
21. No. 21 In C Minor, Op.


Maria Joao Pires, piano



- 세계 최초 LP화
- 유니버설 뮤직의 오리지널 마스터
- Emil Berliner스튜디오에서 Maarten de Boer의 래커 커팅
- 버진 비닐 사용된 180g 오디오파일 LP
- 독일 Pallas GmbH 프레싱

* 한국에서 기획하고 독일에서 제작한 수입반입니다.


The Gramophone Classical Music Guide, 2010
“Passion rather than insouciance is Pires's keynote.
 Here is an intensity and drama that scorn all complacent salon or drawing-room expectations.
 How she relishes Chopin's central storms, creating a vivid and spectacular yet unhistrionic contrast with all surrounding serenity or 'embalmed darkness'. The con fuoco of Op 15 No 1 erupts in a fine fury and in the first Nocturne, Op 9 No 1, Pires's sharp observance of Chopin's appassionato marking comes like a prophecy of the coda's sudden blaze. Chopin, she informs us in no uncertain terms, was no sentimentalist. More intimately, in Op-15 No 3 (where the music's wavering sense of irresolution led to the sobriquet 'the Hamlet Nocturne') Pires makes you hang on to every note in the coda's curious, echoing chimes, and in the dolcissimo conclusion to No 8 (Op 27 No 2) there's an unforgettable sense of 'all passion spent', of gradually ebbing emotion. Pires with her burning clarity has reinforced our sense of Chopin's stature and created a new range of possibilities (showing us that there's life after Rubinstein). Naturally, Rubinstein's legendary cycles possess a graciousness, an ease and elegance reflecting, perhaps, a long-vanished belle epoque. Yet moving ahead, one has no hesitation in declaring Maria Joao Pires among the most eloquent master- musicians of our time.”