Nadia Reisenberg: A Chopin Treasury
Copy at Case Memorial Library
Contents: Disc A. Nocturne op. 9, no. 1 [to] op. 48, no. 2 (77:46) — Disc B. Nocturne op. 55, no. 1 [to] op. posth., C-sharp minor; Barcarolle, op. 60, F-sharp major; Berceuse, op. 57, D-flat major; Allegro de concert, op. 46, A major; Sonata no. 3 in B minor, op. 58 (78:53) — Disc C. Mazurka op. 6, no. 1 [to] Mazurka, op. 50, no. 1 (76:54) — Disc D. Mazurka, op. 50, no. 2 [to] Mazurka, op. 68, no. 4; Mazurka "Notre temps," A minor; Mazurka "A Emile Gaillard," A minor; Mazurka, op. posth., B-flat major, D major, C major, G major, D major (67:10). The Sonata no. 3 recorded at Carnegie Hall, November, 21, 1947; all other works recorded 1955-1957.
From the notes by Robert Sherman: "Mother played a short piece at her American recital debut in 1924 … and the B Minor Sonata at her last solo recital in 1947 (the Carnegie Hall performance here issued for the first time). … Mother never approached Chopin as a specialist who knew exactly how everything should be done; she was simply an artist who sought out the emotional heart of every piece she played, and approached Chopin in awe of his creative magic."
Contents: Disc A. Nocturne op. 9, no. 1 [to] op. 48, no. 2 (77:46) — Disc B. Nocturne op. 55, no. 1 [to] op. posth., C-sharp minor; Barcarolle, op. 60, F-sharp major; Berceuse, op. 57, D-flat major; Allegro de concert, op. 46, A major; Sonata no. 3 in B minor, op. 58 (78:53) — Disc C. Mazurka op. 6, no. 1 [to] Mazurka, op. 50, no. 1 (76:54) — Disc D. Mazurka, op. 50, no. 2 [to] Mazurka, op. 68, no. 4; Mazurka "Notre temps," A minor; Mazurka "A Emile Gaillard," A minor; Mazurka, op. posth., B-flat major, D major, C major, G major, D major (67:10). The Sonata no. 3 recorded at Carnegie Hall, November, 21, 1947; all other works recorded 1955-1957.
From the notes by Robert Sherman: "Mother played a short piece at her American recital debut in 1924 … and the B Minor Sonata at her last solo recital in 1947 (the Carnegie Hall performance here issued for the first time). … Mother never approached Chopin as a specialist who knew exactly how everything should be done; she was simply an artist who sought out the emotional heart of every piece she played, and approached Chopin in awe of his creative magic."
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