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CHOPIN, F.: Piano Concerto No. 1 / Fantasy on Polish Airs / Rondo a la krakowiak (Nebolsin, Warsaw Philharmonic, Wit)

Composer(s):Chopin, Fryderyk
Artist(s) Wit, Antoni, Conductor • Warsaw Philharmonic OrchestraNebolsin, Eldar, piano
Period(s) Romantic
Genre Classical Music
Category ConcertosOrchestral
Catalogue 8.572335
Label Naxos
Quality   320kbps
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Chopin’s youthful Piano Concerto No. 1 is dominated by the brilliant piano part that the teenage performer-composer wrote to showcase his extraordinary virtuosity. Its ravishing Romanza (‘reviving in one’s soul beautiful memories’, as the composer described it) is framed by an opening movement rich in dramatic lyricism and a vivacious Rondo. The Fantasia on Polish Airs, Op. 13 and Krakowiak are similarly vehicles for Romantic reverie and bravura which pay tribute to the music of Chopin’s homeland. Eldar Nebolsin’s recording of Liszt’s piano concertos (8.570517) was ranked ‘among the finest’ by Gramophone.


Review By Juan Carlos Moreno,Scherzo,February 2011


Review By James Manheim,,November 2010

Chopin’s two piano concertos are almost always paired with each other on recordings, but this Naxos release, with Uzbek-born pianist Eldar Nebolsin and the Warsaw Philharmonic under Antoni Wit, offers a more inventive and even more illuminating program of early Chopin pieces. The Fantasia on Polish Airs, Op. 13, actually predated the Piano Concerto No. 1 in E minor, Op. 11, and it’s quite rarely performed. In this context it’s a gem, showing something of the milieu from which Chopin’s individual style emerged while he was still in Poland. It is suffused with national melodic flavors and rhythms, and one of the themes is not by Chopin at all but by Warsaw Opera conductor Karol Kurpinski. The work lacks the characteristic chromaticism of Chopin’s later


Review By Giv Cornfield,The New Recordings, Cliffs Classics,September 2010

Youthful ardour permeates these overly-familiar early works of Chopin. There is no gainsaying Eldar Nebolsin's mastery of the keyboard. But the fire that burned so brightly in his recording of the Liszt piano concertos is almost absent (nor does this music actually require such temperament). These are fine renditions, and anyone who does not own this music on disc would not go wrong in acquiring them. For the first time in many years, Naxos deviated in this case from its standard format of cover art - a not unwelcome move.


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