Fryderyk Franciszek Chopin (1810-1849) – 200 Anos – Piano Concerto n°1, 04. Fantaisie in F minor, op. 49, 05. Fantaisie-Impromptu in C sharp minor, op. 66, 06. Berceuse in D flat major, op. 57 – Maria João Pires

Ah, esses concertos para piano de Chopin.. como já os ouvi! como já me comoveram nas mais diversas situações de minha vida… E ao contrário de muita gente, meu favorito é o primeiro, com sua melodia marcante e com seu romantismo exacerbado. Desde a primeira versão a que tive acesso, claro que com o bom velhinho Arthur Rubinstein, Kristian Zimerman, Martha Argerich, enfim, todos as versões que tive a oportunidade de ouvir tem suas qualidades. Inclusive esta que ora vos trago, com a portuguesa Maria João Pires. Aparentemente mais lenta que outras gravações, na verdade vejo, ou entendo, esta leitura como sendo uma releitura, uma busca nas entrelinhas, uma busca de algo que nunca foi divulgado ou revelado. Mais emotiva, mais delicada, seu dedilhado não é tão forte e decidido quanto a versão de Argerich, por exemplo, ou incisiva quanto a do então adolescente Eugeny Kissin.
Enfim, abstrações à parte, só sei que adoro este concerto, e esta gravação da Maria João Pires foi uma das que mais me comoveu, principalmente pelo Romance do segundo movimento. Tocante, emocionante, não consigo imaginar um homem tocando esse movimento com tamanha paixão e sensibilidade, com todo o respeito que tenho por Zimerman, Rubinstein, Horowitz, etc. Pensei em outras versões, inclusive a do então jovem Kristian Zimerman (procurem aí ao lado a gravação mais recente dele, é uma das minhas postagens que mais tiveram downloads, mais de 1000 até dia desses), ou a do próprio Rubinstein, mas optei pela da portuguesa mesmo. Espero que os senhores gostem. Se não gostarem, bem, que posso fazer?
Claro que considero esse CD IM-PER-DÍ-VEL !!!

Abaixo a continuação da biografia de Chopin tirada do site http://www.chopin.pl/biography_chopin.en.html

In the autumn of 1831 Chopin arrived in Paris where he met many fellow countrymen. Following the national defeat, thousands of exiles, including participants of the armed struggle, politicians, representatives of Polish culture, such as the writer Julian Ursyn Niemcewicz, Romantic poets A. Mickiewicz and Juliusz Slowacki, and the Warsaw friends of Chopin, the poets Stefan Witwicki and Bohdan Zaleski, sought refuge from the Russian occupation in a country and city which they found most friendly. Chopin made close contacts with the so-called Great Emigration, befriended its leader Prince Adam Czartoryski, and became a member of the Polish Literary Society, which he supported financially. He also attended emigré meetings, played at charity concerts held for poor emigrés, and organised similar events. In Paris, his reputation as an artist grew rapidly. Letters of recommendation which the composer brought from Vienna allowed him immediately to join the local musical milieu, which welcomed him cordially. Chopin became the friend of Liszt, Mendelssohn, Ferdinand Hiller, Berlioz and Auguste Franchomme. Later on, in 1835, in Leipzig, he also met Schumann who held his works in great esteem and wrote enthusiastic articles about the Polish composer. Upon hearing the performance of the unknown arrival from Warsaw, the great pianist Friedrich Kalkbrenner, called the king of the piano, organised a concert for Chopin which took place on the 26th of February 1832 in the Salle Pleyel. The ensuing success was enormous, and he quickly became a famous musician, renowned throughout Paris. This rise to fame aroused the interest of publishers and by the summer of 1832, Chopin had signed a contract with the leading Parisian publishing firm of Schlesinger. At the same time, his compositions were published in Leipzig by Probst, and then Breitkopf, and in London by Wessel.
The most important source of Chopin’s income in Paris was, however, from giving lessons. He became a popular teacher among the Polish and French aristocracy and Parisian salons were his favourite place for performances. As a pianist, Chopin was ranked among the greatest artists of his epoch, such as Kalkbrenner, Liszt, Thalberg and Herz, but, in contrast to them, he disliked public performances and appeared rarely and rather unwillingly. In a friendly, intimate group of listeners he disclosed supreme artistry and the full scale of his pianistic and expressive talents.

Fryderyk Franciszek Chopin – Piano Concerto n°1, 04. Fantaisie in F minor, op. 49, 05. Fantaisie-Impromptu in C sharp minor, op. 66, 06. Berceuse in D flat major, op. 57

01. Piano Concerto n°1 1. Allegro maestoso. Risoluto
02. 2. Romance. Larghetto
03. 3. Rondo. Vivace
04. Fantaisie in F minor, op. 49
05. Fantaisie-Impromptu in C sharp minor, op. 66
06. Berceuse in D flat major, op. 57

Maria João Pires – Piano

Chamber Orchestra of Europe

Emmanuel Krivine – Conductor

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