Frédéric Chopin Jorge Bolet, Piano

1 Polonaise in A-Flat Major, Op. 53 "Heroic" 06:49

2 Waltzes, Op. 64 01:44 No. 1 in D-flat Major “Waltz by Minutes”

3 Impromptu in C-Sharp Major, Op. 66, "Fantaisie- 04:49 Impromptu"

4 Nocturnes, Op. 9 04:54 No. 2 in E-flat Major

5 12 Etudes, Op. 10 02:33 No. 12 in C Minor “Revolutionary”

6 Polonaise for piano No. 3 in A major "Military", 05:03 Op. 40/1

7 12 Etudes, Op. 10 03:52 No. 3 in E Major “Tristesse”

8 Waltzes, Op. 64 04:00 No. 2 in C-sharp Minor

9 Preludes, Op. 28 05:54 No. 15 in D-flat Major

10 12 Etudes, Op. 10 01:40 No. 5 in G-flat Major A CHOPIN PIANO RECITAL it is impossible to find a single composition Waltz in D flat Major, Op. 64, No. 1 JORGE BOLET pianist which does not include the piano, either as Waltz in C sharp Minor, Op. 64, No. 2 soloist, chamber music partner or accompa- Side One: Polonaise in A flat Major, Op. 53 / nist. This unique devotion to a single instru- The first of these two waltzes is too often Waltz in D flat Major, Op. 64, No. 1 / Fantaisie- ment did not result in any sameness of style. mutilated by pianists who lay too much Impromptu, Op. 66 (Posthumous) / Nocturne True, almost anyone with any listening expe- stress on its two nicknames – Minute Waltz in E flat Major, Op. 9, No. 2 / Etude in C Minor, rience can spot a Chopin composition imme- and Waltz of the Little Dog. It is not meant to Op. 10, No. 12 (Revolutionary). diately; but that trade-mark was stamped be played in sixty seconds – “minute” here on music of widely varying character-showy means “small” – and though it is said that Side Two: Polonaise in A Major, Op. 40, No. concert works, meditative or sentimental Chopin wrote it in imitation of George Sand’s 1 (Military) / Etude in E Major, Op. 10, No. salon pieces, purposeful yet highly musical dog chasing its tail, the rhythmic implica- 3 / Waltz in C sharp Minor, Op. 64, No. 2 / studies and national dances of varied char- tions of the melody are far more significant Prelude in D flat Major, Op. 28, No. 15 / Etude acter. These compositions reflect the fusion than that. Rhythm is also the keynote of the in G flat Major, Op. 10, No. 5. within Chopin of Polish patriotism and Waltz in C sharp Minor, which constantly French finesse. To pianist and listener alike, wavers between a waltz and a mazurka. This Ask almost any music lover – and certainly their appeal is strong. waltz, then, is decidedly more Polish than any pianist – who his favorite composer Viennese. of short piano pieces is, and the answer is almost surely to be “Chopin, of course”. Polonaise in A flat Major, Op. 53 Then ask him which are his favorite Chopin Polonaise in A Major, Op. 40, No. 1 Fantaisie-Impromptu, Op. 66 works, and the chances are he will head his list with the ten compositions which com- The polonaise is a stately court dance which, This piece owes a large measure of its popu- prise this recorded recital. This, then, might despite the fact it is in triple meter, suggests larity to its lyrical middle section, which was be described as a sort of “all-time Chopin a march. Chopin has used the polonaise for adopted by Tin Pan Alley some years ago as hit parade”. Jorge Bolet, whose recent Liszt some of his most heroic music. Ever since I’m Always Chasing Rainbows; It is the first recordings for Everest have proved so excit- the advent of the motion picture A Song to of a group of works published, contrary to ing, demonstrates here that he is equally as Remember, which appeared in the 1940s, Chopin’s wishes, after his death. Authorities masterful in interpreting the the Polonaise in A flat Major, Op. 53, has have never been in agreement as to why the of Chopin. Once again, too, the Everest engi- been one of the most-played of all Chopin’s composer should have wished to withhold it. neers have demonstrated their unique abil- works. Though it has been subjected to all ity to capture Bolet’s brilliant tone with the manner of distortions, this work still retains same naturalness as it emerges in the concert its heroic grandeur when played by a seri- Nocturne in E flat Major, Op. 9, No. 1 hall. ous concert artist. According to Chopin’s biographer, Frederick Niecks, the composer The nocturne, as a keyboard piece, was first None of the great composers was ever as himself didn’t possess the physical strength developed by the Irish composer, John Field. musically exclusive as Frederic Chopin. to do justice to this polonaise. Vying with Chopin took the form and into it poured Many had their specialties, but none hewed the Polonaise in A flat Major for top - popu some of his richest melodic inspirations. In as closely to a single line as did Chopin. larity is the Polonaise in A Major, Op. 40, his hands this “night piece” became a beau- Going through the catalogue of his works, No. 1. Many of Chopin’s works in this form tiful poetic utterance. The Nocturne in E we find mostly short solo pieces but also con- tend to have somewhat of an introspective, flat Major, Op. 9, No. 2, belongs to Chopin’s certi and, other music with orchestra, sona- even brooding quality, but not this so-called earliest published group of these works. It tas, a trio and some songs. But among these Polonaise Militaire. It is all pomp and glitter. is the shortest of all the Nocturnes, but ever Bach’s two sets of preludes and fugues for this country, and has appeared frequently since his own day it has been a prime favorite The Well Tempered Clavier. The persistent in Europe, Central and South America. His among his compositions. repetition of the same single note in the most recent triumph has been as the pianist accompaniment of the Prelude No. 15 in for the sound-track of , the D flat Major has earned it the nickname of motion picture on the life of . His Etude in E Major, Op. 10, No. 3 Raindrop Prelude. The heavier, darker, more brilliant performances of music from the film Etude in G flat Major, Op. 10, No. 5 dramatic middle section has reminded some may be heard on Everest LPBR 6062/SDBR Etude in C Minor, Op. 10, No. 12 of a funeral procession of monks. 3062.

In his twenty-seven Etudes, Chopin went far * * * Original Liner Notes by PAUL AFFELDER beyond the realm of mere teaching pieces. Whole sets of them are offered on concert JORGE BOLET (pronounced “George Bolett”) programs; in works of this type, they have was born in Havana. He began studying the yet to be surpassed. Huneker called them piano at the age of five. At nine he gave his “studies in moods, as well as in mechanism”, first public recital; at ten he appeared as and Niecks wrote: “The diversity of charac- soloist with the Havana Sinfonica. But Bolet ter exhibited in these Studies is very great. received most of his training in the United In some of them the aesthetical, in others the States. He won a scholarship to the Curtis technical purpose predominates; in a few the Institute of Music in Philadelphia, where his two are evenly balanced; in none is either of teacher in piano was . When them absent.” Commentators are unanimous he graduated, the Cuban government sent in declaring the Etude in E Major, Op. 10, him to Europe for further study. While there No. 3, one of the most beautiful of Chopin’s he gave concerts in the principal music capi- melodic inspirations; even the composer tals. himself once declared to a pupil that he had never written anything as lovely as this. The Bolet made his North American debut as Etude in G flat Major, Op. 10, No. 5, is a study soloist with The Philadelphia Orchestra in playing on the black keys of the piano, the under Eugene Ormandy. This was followed right hand never departing from these five by a recital in New York’s Town Hall, the notes, though the left hand occasionally reward for having won the annual Young does. The Etude in C Minor, the last of the set Artists Award of the Naumburg Foundation. of Op. 10, goes far beyond the confines of a The next year he returned to Town Hall as the study. The so-called Revolutionary Etude, it is first and only winner of the a stormy tone poem inspired by the taking of Award, given by the Curtis Institute. Warsaw by the Russians in September, 1831. During World War II, Bolet served first in the Cuban Army and later with the United Prelude in D flat Major, Op. 28 No. 15 States Army, becoming a U. S. citizen. Since his return to civilian life, he has grown both Chopin’s Op. 28 comprises a set of twenty- in artistic stature and fame. He has played four Preludes which encompass all the major with most of the major symphony orchestras and minor keys, in the same manner as do of the nation, makes annual concert tours of Some notes on the history of Everest Below is a graphic representation of this new “wow and flutter” to an absolute minimum. recordings made anywhere in the world. By Records and the digital remastering material. What you see here, your ears will The film has another advantage in its great utilizing specially designed portable versions quickly verify when you listen to an EVER- tensile strength which effectively eliminates of EVEREST 35 mm equipment, EVEREST When Everest Records was founded by Harry EST recording. pitch changes due to “tape stretch”, a condi- engineers are able to make recordings and Belock in 1958 as a division of Belock Instru- tion heretofore almost impossible to control. maintain the rigid standards and excellence ment Corp., the aim was to produce a cata- Notice that now EVEREST engineers have of quality available in the Studios. logue of stereo recordings of the highest pos- over 3 times the normal space available Drawing on the extensive experience in the sible technical standard, with interesting and [than] on ¼” tape. This means distortion free, motion picture sound field BELOCK INSTRU- The advanced engineering and special equip- innovative classical repertoire played by some perfect sound. 35 mm magnetic film allows MENT (of which EVEREST is a division), ment, in addition to meticulous attention of the best artists and orchestras. EVEREST engineers to make recordings with requested Westrex Corporation to build spe- to detail, results in the EVEREST sound, a cial equipment to EVEREST’S exacting sound that has been acclaimed as superb by For the first Everest recording sessions in • No distortion from print through specifications in order to accomplish these critics and record enthusiasts throughout the 1958, an Ampex 300-3 half-inch three- • No distortion from lack of channel width advantages. This equipment includes the use world. channel recorder was used. Later on the label • Absolute minimum of “wow or flutter” of special recording heads which afford com- moved to use a Westrex 35 mm 3-track mag- • Highest possible signal to noise ratio plete wide band frequency response beyond netic film recorder, which had a wider possible • Greatest quality and dynamic range ever that normally specified in any present-day dynamic range, less print-through, less tape recorded motion picture recording. It is of interest to stretch and less ‘wow and flutter’, and which note, that when soundtracks of great motion was the basis for the highly acclaimed typical With 35 mm magnetic film, the base mate- pictures originally recorded on 35 mm mag- “Everest-sound”. rial on which the magnetic oxide is coated netic film are released as phonograph records, Executive Producer: Mark Jenkins for Countdown is five times thicker than conventional tape that normal technique is to re-record the Media/Everest • Digital Transfers and Remastering: For the process of digital remastering of the and is similar to the film used for motion pic- sound from 35 mm magnetic film to conven- Lutz Rippe at Countdown Media using the original 35 mm master tapes an Albrecht MB 51 tures. This thickness permits the recording of tional tape. EVEREST, through its advanced master tapes • Artwork preparation: Eckhard machine was used for analog playback. The extremely high sound intensities without the processes and equipment, is the only record Volk at Countdown Media • Digital Booklet: Dirk output was captured in highest digital reso- danger of layer-to-layer “print-through”. The company able to transfer all Master Records Böing, Martina Grüthling • Original Producer: Bert lution of 192 kHz sampling rate and 24 bit width of 35 mm magnetic film is such that directly from the 35 mm magnetic film to the Whyte for Everest Records • Recording Location word length using state-of-the-art convert- it can accommodate three channels, each of recording heads. and Date: Belock Recording Studio, Bayside, NY (1961) • Original Recording on 35 mm 3-track ers. In the digital domain the recording was which is as wide as the standard ¼” record- magnetic film, originally released in 1961 as SDBR carefully restored and remastered using top- ing tape. Because of this great channel width, To assure maintaining the high quality of 3079 • Analog playback of original master tapes quality mastering and restoration equipment. it is possible to produce stereo recordings in EVEREST sound on every EVEREST record- on an Albrecht MB 51 • Digital restoration and which the usual background noise is inaudi- ing, the same equipment that is used in the remastering using Algorithmix software products …from the original LP release: ble. Another similarity of magnetic film to BELOCK Recording studios is utilized for ℗ & © Countdown Media GmbH motion picture is that it has sprocket holes “The remarkable EVEREST sound on this cut along each edge. The drive mechanism is record is the result of a revolutionary new also similar to motion picture cameras in that method of magnetic recording developed by sprocket gears engage these sprocket holes EVEREST utilizing 35 mm magnetic film. affording a smoothness of motion that reduces EVEREST is recorded on tape 35 mm wide

½” Tape used for Conventional stereo recording Standard ¼” Recording Tape Below is a listing of the currently available Everest albums in this series. For more information and an updated listing please visit www.everestrecords.com

SDBR-3001 Prokofiev : Chout (“The Buffoon”), Ballet Suite, Op. 21a SDBR-3022 Kodály: Psalmus Hungaricus - Bartók: Dance Suite Symphony Orchestra & Sir Eugene Goossens, London Philharmonic Orchestra & János Ferencsik, Conductor Conductor

SDBR-3003 Antill: Corroboree - Ginastera: Panambi SDBR-3023 Strauss: Till Eulenspiegel / Salome / Don Juan London Symphony Orchestra & Sir Eugene Goossens, Stadium Symphony Orchestra of New York & Leopold Conductor Stokowski, Conductor

SDBR-3005 Mahler: Symphony No. 1 in D Major “Titan” SDBR-3025 Waltz Masterpieces London Philharmonic Orchestra & Sir Adrian Boult, Stadium Symphony Orchestra of New York & Raoul Conductor Poliakin, Conductor

SDBR-3006 A Memorial Tribute to : SDBR-3026 Rimsky-Korsakov: Scheherazade Symphony No. 9 in E Minor London Symphony Orchestra & Sir Eugene Goossens, London Philharmonic Orchestra & Sir Adrian Boult, Conductor Conductor SDBR-3027 Raymond Paige’s Classical Spice Shelf SDBR-3007 Shostakovitch: Symphony No. 6 in B Minor, Op. 54 Stadium Symphony Orchestra of New York & Raymond London Philharmonic Orchestra & Sir Adrian Boult, Paige, Conductor Conductor SDBR-3028 Strauss: A Night in Venice SDBR-3008 Hindemith: Symphony in E-flat Original Cast & Thomas Martin, Conductor London Philharmonic Orchestra & Sir Adrian Boult, Conductor SDBR-3031 Wagner: Parsifal - Good Friday Spell “Karfreitagszauber” & Symphonic Synthesis Act 3 SDBR-3009 Stravinsky: Ebony Concerto & Symphony in Houston Symphony Orchestra & Leopold Stokowski, 3 Movements Conductor Woody Herman and his Orchestra / London Symphony Orchestra & Sir Eugene Goossens, Conductor SDBR-3032 Scriabin: The Poem of Ecstasy - Amirov: Azerbaijan Mugam SDBR-3011 Tchaikovsky: Francesca da Rimini & Hamlet Houston Symphony Orchestra & Leopold Stokowski, Stadium Symphony Orchestra of New York & Leopold Conductor Stokowski, Conductor SDBR-3033 Stravinsky: Petrouchka SDBR-3012 Charles K. L. Davis sings Romantic Arias from Favorite London Symphony Orchestra & Sir Eugene Goossens, Operas Conductor Stadium Symphony Orchestra of New York, Wilfred Pelletier, Conductor & Charles K. L. Davis, Tenor SDBR-3034 Prokofiev: Symphony No. 5 London Symphony Orchestra & Sir Malcolm Sargent, SDBR-3015 Copland: Billy The Kid & Statements for Orchestra Conductor London Symphony Orchestra & Aaron Copland, Conductor SDBR-3035 Tchaikovsky: Manfred Symphony SDBR-3018 Copland: Symphony No. 3 London Symphony Orchestra & Sir Eugene Goossens, London Symphony Orchestra & Aaron Copland, Conductor Conductor

SDBR-3021 Arnold: 4 Scottish Dances / Symphony No. 3 SDBR-3036 Schumann: Piano Concerto in A Minor, Op. 54 & Franck: London Philharmonic Orchestra & Malcolm Arnold, Variations Symphoniques Conductor London Symphony Orchestra, Sir Eugene Goossens, Conductor & Peter Katin, Piano SDBR-3037 Berlioz: Symphonie Fantastique SDBR-3051 Respighi: The Fountains of Rome & The Pines of London Symphony Orchestra & Sir Eugene Goossens, Rome Conductor London Symphony Orchestra & Sir Malcolm Sargent, Conductor SDBR-3038 Richard Strauss: Ein Heldenleben London Symphony Orchestra & Leopold Ludwig, SDBR-3052 Khatchaturian: Gayne (Ballet Suite) Conductor London Symphony Orchestra & Anatole Fistoulari, Conductor SDBR-3039 Tchaikovsky: Symphony No. 5 in E Major, Op. 64 London Symphony Orchestra & Sir Malcolm Sargent, SDBR-3053 Mussorgsky: Pictures at an Exhibition & Night on Conductor Bald Mountain London Symphony Orchestra & Sir Malcolm Sargent, SDBR-3040 Hindemith: Violin Concerto & Mozart: Violin Concerto Conductor No. 3 London Symphony Orchestra, Sir Eugene Goossens, SDBR-3054 Shostakovich: Symphony No. 9 / Lieutenant Kijé Suite Conductor & Joseph Fuchs, Violin London Symphony Orchestra & Sir Malcolm Sargent, Conductor SDBR-3041 Villa-Lobos: The Little Train of the Caipira (from Bachianas Brasileiras No. 2) SDBR-3055 Khatchaturian: Concerto for Piano and Orchestra in Ginastera: Estancia & Panambi (Ballet Suites) D-flat Major London Symphony Orchestra & Sir Eugene Goossens, London Symphony Orchestra, Hugo Rignold, Conductor & Conductor Peter Katin, Piano

SDBR-3044 Grofé: Grand Canyon Suite & Concerto for Piano and SDBR-3056 Dvoˇrák: Symphony No. 9 in E Minor, Op. 95 “From the Orchestra in D Minor New World” Rochester Philharmonic Orchestra & Ferde Grofé, London Symphony Orchestra & Leopold Ludwig, Conductor Conductor

SDBR-3045 Sibelius: Violin Concerto in D Minor & Tapiola, SDBR-3057 De Falla: The Three Cornered Hat (Complete Ballet) Tone Poem, Op. 112 London Symphony Orchestra & Enrique Jordá, Conductor London Symphony Orchestra, Tauno Hannikainen, Conductor & Tossy Spivakovsky, Violin SDBR-3058 Irving Berlin: Great Man of American Music - A New Interpretation SDBR-3046 Schubert: Symphony No. 8 in B Minor, D 759 Raoul Poliakin and his orchestra “Unfinished” - Mozart: Symphony No. 40 in G Minor, K. 550 SDBR-3059 Works of Lili Boulanger: Du fond de l’abîme London Symphony Orchestra & Leopold Ludwig, (Psaume 130), Psaume 24, Psaume 129, Vieille Prière Conductor Bouddhique & Pie Jesu Lamoureux Concert Association Orchestra, Elisabeth SDBR-3047 Stravinsky: The Rite of Spring (“Le Sacre du Brasseur Choir & Igor Markevitch, Conductor Printemps”) London Symphony Orchestra & Sir Eugene Goossens, SDBR-3060 Debussy: Iberia - Ravel: La Valse & Rhapsodie Conductor Espagnol Rochester Philharmonic Orchestra & Theodore Bloomfield, SDBR-3049 Tchaikovsky: Violin Concerto in D Major, Op. 35 & Conductor Melody, Op. 42/3 London Symphony Orchestra, Walter Goehr, Conductor & SDBR-3061 A Memorial Album: Ernst von Dohnányi Plays His Own Tossy Spivakovsky, Violin Music for Piano Ernst von Dohnányi, Piano SDBR-3050 Mahler: Symphony No. 9 in D Minor London Symphony Orchestra & Leopold Ludwig, SDBR-3062 Jorge Bolet playing the music of Franz Liszt: Piano Conductor Concerto No. 1 in E-Flat Major & Mephisto Waltz No. 1 Symphony of the Air, Robert Irving, Conductor & Jorge Bolet, Piano SDBR-3063 Bennett: A Commemoration Symphony to Stephen Foster & A Symphonic Story of Jerome Kern Pittsburgh Symphony Orchestra, Mendelssohn Choir of Pittsburgh & William Steinberg, Conductor

SDBR-3064 A Liszt Recital: Piano Sonata in B Minor / Funerailles / Mephisto Waltz No. 1 Jorge Bolet, Piano

SDBR-3067 Gershwin: Rhapsody in Blue & An American in Paris Pittsburgh Symphony Orchestra, William Steinberg, Conductor & Jesus Maria Sanroma, Piano

SDBR-3068 Sibelius: Symphony No. 5 in E-Flat Major, Op. 82 & Finlandia, Op. 26 Rochester Philharmonic Orchestra & Theodore Bloomfield, Conductor

SDBR-3069 Bartók: Concerto for Orchestra Houston Symphony Orchestra & Leopold Stokowski, Conductor

SDBR-3070 Wagner: Magic Fire Music & Wotan’s Farewell – Chopin: Mazurka, Op. 17/4, Prelude, Op. 28/24 & Waltz, Op. 64/2 – Canning: Fantasy on a Hymn Tune by Justin Morgan Houston Symphony Orchestra & Leopold Stokowski, Conductor

SDBR-3074 Beethoven: Symphony No. 6 in F Major, Op. 68 “Pastoral” London Symphony Orchestra & Josef Krips, Conductor

SDBR-3079 A Chopin Piano Recital Jorge Bolet, Piano

SDBR-3086 Beethoven: Symphony No. 5 in C Minor, Op. 67 London Symphony Orchestra & Josef Krips, Conductor

SDBR-3087 Beethoven: Symphony No. 3 in E-flat Major, Op. 55 London Symphony Orchestra & Josef Krips, Conductor

SDBR-3088 Beethoven: Symphony No. 7 in A Major, Op. 92 London Symphony Orchestra & Josef Krips, Conductor

SDBR-3089 Beethoven: Symphonies No. 1 & 8 London Symphony Orchestra & Josef Krips, Conductor

SDBR-3110 Beethoven: Symphony No. 9 in D Minor, Op. 125 “Choral” London Symphony Orchestra & Josef Krips, Conductor

SDBR-3113 Beethoven: Symphonies No. 2 & 4 London Symphony Orchestra & Josef Krips, Conductor