Chopin: Piano Concertos 1 & 2 - Fliter, Märkl
Linn Records CKD 455
Classical - Orchestral
Chopin: Piano Concertos 1 & 2
Scottish Chamber Orchestra
Jun Märkl (Markl)
Since winning the silver medal at the 2000 Frederic Chopin Competition in Warsaw, Ingrid has built a reputation as a first-rate Chopin interpreter. Fliter has previously recorded two all-Chopin discs; her interpretation of the complete Chopin Waltzes received several five star reviews and was named as the Telegraph's ‘CD of the Week' and Classic FM Magazine's ‘Editors Choice'.
Chopin's Piano Concerto No. 1 is a thoughtfully scored composition that allows the piano to shine. The Scottish Chamber Orchestra's beautifully delicate playing perfectly highlights Fliter's authoritative, yet expressive performance.
Fliter carefully and skilfully showcases the range of tones in Chopin's second piano concerto, from the dramatic introductory chords at the opening of the first movement to the sweetly lyrical second movement where the Scottish Chamber Orchestra's woodwinds vie for centre stage. Fliter is a breathtaking performer whose performance of Chopin's commanding chords and lightening speed runs are effortless.
2014 is the Scottish Chamber Orchestra's fortieth anniversary year; ‘Chopin: Piano Concertos' is its twenty first recording with Linn.
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Review by Graham Williams - February 27, 2014
The Argentinian-born pianist Ingrid Fliter, a winner of the prestigious 2006 Gilmore Artist Award and a former BBC Radio 3 New Generation Artist has already made three recordings for the EMI label – one of Beethoven and two of Chopin – that have garnered much critical acclaim, but this new coupling of the two Chopin Piano Concertos is her first to appear on the Linn label.
As a former silver medal winner in the 2000 Frederic Chopin in Warsaw in it is clear that the music of this composer is not only at the centre of Ingrid Fliter's repertoire, but from an early age has occupied a special place in her psyche. In both concertos the fluency of Fliter's playing is matched by especially clean articulation and a welcome forward momentum. Her use of rubato is finely controlled, yet in both slow movements there is no lack of poetry, thanks especially to her limpid cantabile playing. The scintillating performances of the outer movements of these two concertos exemplify this pianist's immaculate technique and excellent musicianship.
The orchestral accompaniments from Jun Märkl and the forty players of the Scottish Chamber Orchestra are both elegant and supportive to the soloist, with Peter Whelan's expressive bassoon solos a particular pleasure, whilst Chopin's often unfairly maligned orchestration here sounds beautifully transparent.
The multi-channel recording made in the Usher Hall, Edinburgh (7-9 June 2013) by Philip Hobbs possesses a crystalline clarity, albeit with a touch of hardness that is probably more an artefact of the hall's bright acoustic than the engineering. However, it is good to hear the timpani reproduced so crisply, and the balance between piano and orchestra could hardly be bettered.
In spite of considerable competition on record in these two concertos Ingrid Fliter's spellbinding and refreshing accounts of both works can be confidently recommended. Future recordings by this absorbing pianist are eagerly awaited.
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