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Louis Lortie plays Chopin vol.7 (24/96 FLAC)

Louis Lortie plays Chopin vol.7 (24/96 FLAC)
Louis Lortie plays Chopin vol.7 (24/96 FLAC)

HiRes FLAC

Composer: Frédéric François Chopin
Performer: Louis Lortie
Format: FLAC (tracks)
Label: Chandos
Catalogue: CHAN20241
Release: 2022
Size: 1.08 GB
Recovery: +3%
Scan: yes

Quatre mazurkas, Op. 17
01. I. Vivo e risoluto
02. II. Lento ma non troppo
03. III. Legato assai
04. IV. Lento ma non troppo

05. Rondo à la Mazur, Op. 5
06. Bolero, Op. 19: Boléro, Op. 19

Quatre Mazurkas, Op. 68
07. I. Vivace
08. II. Lento
09. III. Allegro ma non troppo

10. Rondo, Op. 16

Quatre Mazurkas, Op. 30
11. I. Allegretto non tanto
12. II. Allegretto
13. III. Allegro non troppo
14. IV. Allegretto

15. Tarantelle, Op. 43

Trois Mazurkas, Op. 63
16. I. Vivace
17. II. Lento
18. III. Allegretto

19. Polonaise, Op. 53 “Héroïque”

Quatre Mazurkas, Op. 68
20. IV. Andantino

For the seventh volume of his Chopin project, the Canadian pianist and exclusive Chandos Artist Louis Lortie has built a programme that includes works from the earliest to the latest period in the composer’s life, all of which are linked by their evocation of ‘nationality’ – Italy, Spain, and of course Chopin’s beloved Poland.


The Rondo à la Mazur, op.5, and Rondo, op.16, are examples of the longer form that was linked with the ‘brilliant’ style of piano writing popular in the 1820s. Chopin soon moved away from this, in search of a more progressive compositional style. Composed around the same time as the op.16 Rondo, the Boléro, op.19, evokes the exoticism of Spain, whilst the Tarantelle, op.43, reflects the Parisian vogue for the southern Italian dance sparked by Auber’s grand opera La Muette de Portici. Now one of his most celebrated works, the Polonaise, op.53, represented for Chopin the culmination of his project, begun with the two Polonaises, op.26, to imbue the genre with powerful national symbolism.


These works are interspersed with four sets of Mazurkas, opp. 17, 30, 63, and 68. Chopin almost single-handedly introduced the Mazurka to Paris when he arrived there in the late 1820s, and continued to compose them throughout his life, transforming this Polish dance into some of his most dazzling and memorable compositions.

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