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Chopin, Rachmaninoff: Complete Preludes / Algarra
This recording should be seen in that manner: as a beginning, a solo recording debut by Alejandro Algarra in which he confronts two colossi of the instrument. It is quite a recording milestone to tackle these two essentials. A real challenge both for him as a performer and for IBS Classical as a record label. So please do not be deceived by the apparent simplicity and unpretentiousness of the term prelude. Quite the opposite, in fact. Nor should a prelude be understood in this case as a prolegomenon to a major piece (“Preludes to what?”, as André Gide wondered in his famous Notes sur Chopin), but as individual works which, taken as a whole, represent a major technical and interpretative challenge; undoubtedly one of the all-time highs of piano literature.
This recording should be seen in that manner: as a beginning, a solo recording debut by Alejandro Algarra in which he confronts two colossi of the instrument. It is quite a recording milestone to tackle these two essentials. A real challenge both for him as a performer and for IBS Classical as a record label. So please do not be deceived by the apparent simplicity and unpretentiousness of the term prelude. Quite the opposite, in fact. Nor should a prelude be understood in this case as a prolegomenon to a major piece (“Preludes to what?”, as André Gide wondered in his famous Notes sur Chopin), but as individual works which, taken as a whole, represent a major technical and interpretative challenge; undoubtedly one of the all-time highs of piano literature.
$7.70
Original: $21.99
-65%Chopin, Rachmaninoff: Complete Preludes / Algarra—
$21.99
$7.70Description
This recording should be seen in that manner: as a beginning, a solo recording debut by Alejandro Algarra in which he confronts two colossi of the instrument. It is quite a recording milestone to tackle these two essentials. A real challenge both for him as a performer and for IBS Classical as a record label. So please do not be deceived by the apparent simplicity and unpretentiousness of the term prelude. Quite the opposite, in fact. Nor should a prelude be understood in this case as a prolegomenon to a major piece (“Preludes to what?”, as André Gide wondered in his famous Notes sur Chopin), but as individual works which, taken as a whole, represent a major technical and interpretative challenge; undoubtedly one of the all-time highs of piano literature.
