Chopin by Alfred Cortot: Nocturnes, Preludes, Waltzes, Etudes, Ballades, Impromptus.. (2017 Remastered, Paris 1923-1952)

Chopin by Alfred Cortot: Nocturnes, Preludes, Waltzes, Etudes, Ballades, Impromptus.. (2017 Remastered, Paris 1923-1952)Chopin: Nocturnes, Preludes, Waltzes, Etudes, Ballades, Impromptus .. Alfred Cortot (2017 Remastered, Paris 1923 1952) 5 disc(s) 95 track(s) Total length: 05: 40: 39 A renowned and highly influential pedagogue, Alfred Cortot (18771962) devoted his entire life to alternating between concerts and recordings. In founding the cole Normale de Musique de Paris in 1919 with Auguste Mangeot, they both sought to affirm Frances cultural influence. They

Chopin: Nocturnes, Preludes, Waltzes, Etudes, Ballades, Impromptus ..

Alfred Cortot (2017 Remastered, Paris 1923-1952)

5 disc(s) - 95 track(s)
Total length: 05:40:39

A renowned and highly influential pedagogue, Alfred Cortot (1877–1962) devoted his entire life to alternating between concerts and recordings. In founding the École Normale de Musique de Paris in 1919 with Auguste Mangeot, they both sought to affirm France’s cultural influence. They established an admissions system without age limits, widely open to international students, with the aim of training both performers and teachers.

From the very beginning of the school, Alfred Cortot surrounded himself with the greatest musicians of his time. Pablo Casals, Jacques Thibaud, Nadia Boulanger, Paul Dukas, Wanda Landowska, Igor Stravinsky, Georges Enescu, and many others provided exemplary teaching to numerous students such as Dinu Lipatti, Samson François, and Joaquín Rodrigo. Through its international reach, the École Normale de Musique de Paris continues to uphold Cortot’s vision of promoting French culture and music worldwide, particularly in Asia.

Although Alfred Cortot possessed an immense repertoire, it is undoubtedly through his recordings of Chopin that he distinguished himself most. He had a unique way of making the piano sing. Under his virtuosic fingers, the instrument speaks with an eloquence and a variety of nuances that seem remarkably free, yet in reality rest upon a meticulously conceived understanding of the works. Beneath the appearance of improvisation, everything is carefully controlled and thoughtfully shaped. While his interpretations always seem spontaneous, they are in fact crafted with great precision and grounded in an intimate knowledge not only of the score itself, but also of the context surrounding its creation.

“Nationality, the period, the individual character of the composer, their level of culture, the events of their life, the environments they experienced, even their reading—having influenced their creation—a specific approach to each work will be essential for the interpreter who seeks to bring it back to life,” Cortot told his students.

His pianistic style is marked by a subtlety and variety that defy analysis; yet it may be approached through the lens of rhetoric, as Cortot’s art lies above all in seeking a “natural and sensitive declamation” of the works. Thus, rubato is not an arbitrary distortion of the melody, but highlights the “critical points of the musical discourse,” revealing the “emotional, sensual, or painful character that strict adherence to the beat could not convey.” The same applies to his work on tone, through which he sought the exact color and distinctive timbre of each phrase and each voice.

Alfred Cortot performed all of Chopin’s works and was the first to treat the Preludes as a unified cycle, bringing together this “series of musical states of mind” into an increasingly feverish and melancholic vision. He also revealed the full lyrical and poetic scope of the Études, beyond their pedagogical purpose. He was among the first to consider Chopin’s Études not as technical exercises, but as a true monument in which each piece is a jewel of music. As for the Ballades, they become under his fingers true “symphonic” poems, whose drama he heightens while masterfully shaping the transitions between episodes.

Cortot also restored the full stature of the last two Sonatas: in the “Funeral” Sonata, which he—following Anton Rubinstein—called “The Poem of Death,” he succeeds in maintaining a single tension throughout all four movements. He also introduced French audiences to the Third Sonata, long overshadowed by its predecessor, emphasizing the contrast between its chivalric character and its dreamlike lyricism. Listening to his recordings, one cannot help but recall the words of the writer Stefan Zweig: “When Cortot’s hands are no more, Chopin will die a second time.”

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