Italian Concerto In F Major, BWV 971
1.1. (Allegro)	3:53
2.2. Andante	4:56
3.3. Presto	3:33

Partita No.1 In B Flat Major, BWV 825
4.Prelude	1:48
5.Allemande	2:20
6.Courante	2:21
7.Sarabande	4:43
8.Menuet I & II		2:39
9.Gigue		1:57

4 Duettos
10.1. Duetto In E Minor, BWV 802	2:44
11.2. Duetto In F Major, BWV 803	2:42
12.3. Duetto In G Major, BWV 804	2:22
13.4. Duetto In A Minor, BWV 805	2:08

Fantasy And Fugue In A Minor, BWV 944
14.Fantasia	0:44
15.Fugue	4:26

Partita No.3 In A Minor, BWV 827
16.Fantasia	2:11
17.Allemande	3:44
18.Corrente	2:58
19.Sarabande	3:23
20.Burlesca	2:06
21.Scherzo	1:11
22.Gigue	3:01

Herz und Mund und Tat und Leben, Cantata BWV 147
23.Jesu, Joy Of Man's Desiring (Arranged For Piano By Dame Myra Hess)	4:03


Rafal Blechacz – piano

A new statement from Rafa Blechacz, one of the finest young pianists of his generation. Celebrated by his Chopin awarded recordings and cited by critics as one of those talents that only come along every few decades - has now turned to Bach

The now 31-year-old winner of the 2005 International Chopin Piano Competition, has been immersed in Bach since his childhood and has cultivated a strikingly natural eloquence in his mature interpretations of the composer's keyboard works.

This is the perfect album to show his versatility and fine knowledge of the works of the composer>

Rafal's interpretation flows not least from his formative experience as an organist. Young Rafa cut his musical teeth on Bach s principal instrument, playing organ for several years before turning full time to piano. In addition to playing for services at the main church in his hometown of Nak o nad Noteci , he also gave occasional recitals there long after becoming a pianist. I was fascinated by the organ, and many of my earliest musical memories are of listening to the organ in church, he recalls.

This album includes some real hit pieces like the Italian Concerto, one of Blechacz s signature pieces (... his reading was, above all, a model of textural transparency Portland Press Herald ), and the Partita No. 1 (... it was immediately clear from the first sweet, liquid notes that Blechacz is a musician in service to the music, searching its depths, exploring its meaning and probing its possibilities Washington Post ) or Jesu Joy of Men s Desiring

After a sabbatical in 2016 to finish his PhD in Philosophy in Poland, his schedule in 2017 will bring him to the USA, Spain, Germany, Switzerland, Austria, Canada, France and more. --- Editorial Reviews, amazon.com

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JOSEPH HAYDN (1732–1809)
Piano Sonata in E flat major, Hob. XVI:52     [20’09]
Es-dur en mi bémol majeur

1. Allegro [moderato]    [7’32]
2. Adagio    [7’07]
3. Finale. Presto    [5’30]

LUDWIG VAN BEETHOVEN (1770–1827)
Piano Sonata in A major, op. 2 no. 2     [23’27]
A-dur en la majeur
Dedicated to Joseph Haydn

4. Allegro vivace    [6’23]
5. Largo appassionato    [7’45]
6. Scherzo. Allegretto    [2’58]			play
7. Rondo. Grazioso    [6’21]

WOLFGANG AMADEUS MOZART (1756–1791)
Piano Sonata in D major, K. 311     [16’59]
D-dur en ré majeur

8. Allegro con spirito     [4’11]			play
9. Andantino con espressione    [6’07]
10. Rondo. Allegro    [6’41]

Rafal Blechacz – piano

Recording: Hannover, Congress Centrum, Beethovensaal, 7/2008

“Textural transparency, expressive economy, creative inspiration, high humour and strategically placed silences characterise these three Haydn, Beethoven and Mozart sonatas, as well as Rafał Blechacz’s splendid, beautifully recorded interpretations.” ---Gramophone, London

“. . . one of the most finely honed pianists of his generation . . . The playing itself is full of flair and charm . . . his playing sparkles with wit and character. With brisk tempos he conveys both serious intent and huge enjoyment, giving the music shape and driving momentum . . . for the moment this is a young man’s view of a young man’s music. Do hear him.” ---BBC Music Magazine, London

"Da geht einer so konsequent wie geistvoll dem Wesen der Sonate nach, macht Notenbaupläne plastisch, ist fasziniert von Variationen, probiert sich spielerisch wie lustvoll aus . . . Blechacz’ Klangfülle und Originalität überrascht immer wieder." ---Die Welt, Berlin

"Rafał Blechacz avait montré un jeu d’une grande droiture et d’une belle simplicité, rappelant un peu le style de Rubinstein. Ce nouveau disque montre une autre facette de la personnalité du jeune pianiste qui . . . possède de belles ressources, tant digitales que musicales. L’impression dominante est celle d’un piano léger qui ne touche pas terre, sans pour autant sacrifier l’architecture . . ." ---Diapason, Paris

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1. 24 Preludia, op. 28: Nr 1 C-dur Agitato
2. 24 Preludia, op. 28: Nr 2 a-moll Lento
3. 24 Preludia, op. 28: Nr 3 G-dur. Vivace
4. 24 Preludia, op. 28: Nr 4 e-moll. Largo
5. 24 Preludia, op. 28: Nr 5 D-dur. Molto allegro
6. 24 Preludia, op. 28: Nr 6 h-moll. Lento assai
7. 24 Preludia, op. 28: Nr 7 A-dur. Andantino
8. 24 Preludia, op. 28: Nr 8 fis-moll. Molto agitato
9. 24 Preludia, op. 28: Nr 9 E-dur. Largo
10. 24 Preludia, op. 28: Nr 10 cis-moll. Molto allegro
11. 24 Preludia, op. 28: Nr 11 H-dur. Vivace
12. 24 Preludia, op. 28: Nr 12 gis-moll. Presto
13. 24 Preludia, op. 28: Nr 13 Fis-dur. Lento
14. 24 Preludia, op. 28: Nr 14 es-moll. Allegro
15. 24 Preludia, op. 28: Nr 15 Des-dur. Sostenuto
16. 24 Preludia, op. 28: Nr 16 b-moll. Presto con fuoco
17. 24 Preludia, op. 28: Nr 17 As-dur. Allegretto
18. 24 Preludia, op. 28: Nr 18 f-moll. Molto allegro
19. 24 Preludia, op. 28: Nr 19 Es-dur. Vivace
20. 24 Preludia, op. 28: Nr 20 c-moll. Largo
21. 24 Preludia, op. 28: Nr 21 B-dur. Cantabile
22. 24 Preludia, op. 28: Nr 22 g-moll. Molto agitato
23. 24 Preludia, op. 28: Nr 23 F-dur. Moderato
24. 24 Preludia, op. 28: Nr 24 d-moll. Allegro appassionato
25. Preludium As-dur, op. posth. Presto con leggierezza
26. Preludium cis-moll, op. 45 Sostenuto
27. 2 Nokturny op. 62: Nr 1 H-dur. Andante
28. 2 Nokturny op. 62: 28. Nr 2 E-dur. Lento

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Gabriel Fauré - Sonata for Violin And Piano No. 1 In A Major Op. 13
1 	1. Allegro Molto 	8:48
2 	2. Andante 	6:24
3 	3. Allegro Vivo 	3:55
4 	4. Allegro Quasi Presto 	4:57

Claude Debussy - Sonata For Violin And Piano In G Minor L148
5 	1. Allegro Vivo 	5:11
6 	2. Intermède. Fantasque Et Léger 	4:25
7 	3. Finale. Très Animé 	4:35

Karol Szymanowski - Sonata For Piano And Violin In D Minor Op. 9
8 	1. Allegro Moderato. Patetico 	9:15
9 	2. Andantino Tranquillo E Dolce 	6:20
10 	3. Finale. Allegro Molto Quasi Presto 	

Frédéric Chopin - Nocturne No 20 In C Sharp Minor Op. Posth.
Arranged By [Arrangement For Violin And Piano] – Nathan Milstein
11 	Lento Con Gran Espressione 	3:51

Bomsori Kim - violin
Rafal Blechacz - piano

Polish pianist Rafal Blechacz saw Korean violinist Bomsori Kim on television, in the Henryk Wieniawski International Violin Competition in 2016, and proposed a musical partnership. She was skeptical inasmuch as Blechacz had little experience with chamber music, but one may be thankful that they ended up trying each other out. The mix of Polish and French music suggests the career of Chopin, Blechacz's specialty so far, but really what's impressive here is the sharp differentiation in the duo's playing between the two French pieces and the arch-Romantic Violin Sonata in D minor, Op. 9, of Karol Szymanowski. The gutsy performance of this early Szymanowski work is worth the price of the album in itself, but also sample the exceptionally delicate duo work of both players in the Fauré Violin Sonata No. 1 in A major, Op. 13. Kim's training was Korean and American, but she is emerging as a fine player of French music, even in the rather knotty Debussy Violin Sonata in G major. The program is structured with a little encore, the Nathan Milstein arrangement of the Chopin Nocturne in C sharp minor, Op. posth. You will be calling for encores yourself after this superb and youthful recital, beautifully recorded at Siemens Villa in Berlin by Deutsche Grammophon. ---James Manheim, AllMusic Review

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01 - Barcarolle chopin 60 (1845-6) 08'46"
Deux Nocturnes opus 62 (1846)
  02 - I Nocturne en si majeur 07'08"
  03 - II Nocturne en mi majeur 05'45"
Trois Mazurkas opus 50 (1841-2)
  04 - I Mazurka en sol majeur 02'11"
  05 - II Mazurka en la bŽmol majeur 03'13"
  06 - III Mazurka en do diŹse mineur 05'21"
Polonaise en la bŽmol majeur opus 53 (1842)
  07 - Polonaise 06'49"
24 Preludes opus 28 (1836-9)
  08 - 24 Preludes 38'01"
Mazurka en mi mineur opus 17/II (1832-3)
  09 - Mazurka 02'03"
Valse en do mineur opus 64/II (1846-7)
  10 - Valse 03'56"

Rafal Blechacz - piano

Palais des Beaux-Arts, Bruxelles (Klara Festival) 12 Sept 2007

This is simply a gorgeous recital. Chopin, played in such a way that dissolves the tightrope act of balancing a subjective interpretation with the replaying of oft-retreaded notes. Rafal Blechacz reminds me of early Ivan Moravec in this. The ungainly, dissonant, stranger side of the works is neither slighted nor paraded, and I feel nary a trace of schmaltzy moping. What is left is a great recital, clean and confident.

The radio announcer (in french, appropriately enough) is there but you can program her out, if you wish. This concert includes my personal favorite Chopin composition: Barcarolle, opus 60, and a complete, unbroken stream of what James Huneker considers "...Chopin's claim to immortality. Such range, such vision, such humanity! All shades of feeling are divined, all depth and altitudes of passion explored. If all Chopin, all music, were to be destroyed I should plead for the Preludes"... ---statework.blogspot.com

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01. Pour le piano: I. Prélude
02. Pour le piano: II. Sarabande
03. Pour le piano: III. Toccata
04. Estampes: I. Pagodes
05. Estampes: II. Soirée dans Grenade
06. Estampes: III. Jardins sous la pluie
07. L'isle joyeuse
08. Prelude and Fugue in C-Sharp Minor: Prelude. Lento, ma non troppo, rubato
09. Prelude and Fugue in C-Sharp Minor: Fugue. Andante
10. Sonata in C Minor, Op. 8: I. Allegro moderato
11. Sonata in C Minor, Op. 8: II. Adagio
12. Sonata in C Minor, Op. 8: III. Tempo di minuetto
13. Sonata in C Minor, Op. 8: IV. Finale: Introduzione
14. Sonata in C Minor, Op. 8: IV. Finale: Fuga a tre voci
15. Suite bergamasque: III. Clair de lune

Rafal Blechacz – piano

The young Polish pianist Rafal Blechacz won all five first prizes in the Warsaw Chopin piano competition in 2005 but has since been in and out of the limelight: this finely characterised recital will surely place him centre stage once more. His Debussy is transparent, pure, yet not lacking in depth, driven with impetus and excitement. The real finds here, however, are the two early works by Karol Szymanowski (before his music absorbed its full measure of folk influences): virtuoso pianism at full stretch. The influence of Liszt's Sonata is perhaps too evident in Szymanowski's last-movement fugue, but the music sustains a rugged individuality right through to the final slightly banal climax. ---Nicholas Kenyon, guardian.co.uk

"This is an unforgettable disc from one of the pianistic giants of our time." ---The Sunday Times

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Piano Concerto No.1 op.11 e-moll
1. Allegro maestoso
2. Romance. Larghetto
3. Rondo.Vivace

Piano Concerto No.2 op. 21 f-moll
4. Maestoso
5. Larghetto
6. Allegro vivace

Rafal Blechacz – piano
Koninklijk Concertgebouworkest, Amsterdam
Jerzy Semkow – conductor

The staggeringly accomplished Polish virtuoso Rafal Blechacz has already won top prizes and made plenty of recordings. While the prizes are deserved and the recordings are thrilling, one always got the sense that there was more yet to come, and it may be that getting there is what it's all about. This disc coupling Chopin's two concertos is a natural for Blechacz, since he won the top prizes at Warsaw's Chopin competition, and he has gone on to record many of the Polish composer's works, including his complete preludes. But the concertos are, if not greater, then at least larger and more demanding works than the preludes, and the challenges for the player are commensurately steep. Blechacz delivers powerful but poetic performances, readings that are suitably dramatic in the works' opening movements yet lyrically sensitive in the central slow movements. His agile technique, strong attack, and winning way with phrasing long melodies admirably suits the music, and so does the young virtuoso's temperament: a combination of emotional expressivity and complete command of the keyboard. Luxuriously accompanied by the Royal Concertgebouw Orchestra, ably supported by old hand Jerzy Semkow, and warmly recorded by Deutsche Grammophon, Blechacz's performances show that while he may not yet be a master, he's getting better all the time. Just imagine what he'll be like in 10 or 20 years. ---James Leonard, Rovi

Trzecia płyta Rafała Blechacza dla niemieckiej wytwórni wypełnia zobowiązania pianisty zawarte w kontrakcie. Od dawna było wiadomo, że znajdą się na niej oba koncerty fortepianowe Chopina, długo zaś utrzymywano w tajemnicy nazwę akompaniującej Polakowi orkiestry. Royal Concertgebouw to zespół najwyższej klasy, przez wielu stawiany wyżej niż Berlińscy Filharmonicy. Jerzy Semkow to dyrygent ceniony za swoje symfoniczne interpretacje. Kłopot w tym, że koncertom Chopina potężne, nasycone, głośne i ciężkie brzmienie dużego zespołu po prostu szkodzi. Na szczęście Holendrzy pokazali, że poza grzmiącymi akordami potrafią fantastycznie prowadzić dialog z solistą na poziomie pojedynczych instrumentów. Takie melodyjne konwersacje stanowią jedną z największych zalet tego wykonania. Rafał Blechacz przyzwyczaił nas już do swojego stylu. Wiadomo, że pracuje nad detalami i bardzo się stara, aby być perfekcyjnym technicznie. Gdzieś w tym wszystkim zaczyna się jednak coraz mocniej oddalać od spontaniczności i szczerości emocji. Zachowanie równowagi pomiędzy profesjonalizmem a żywym przekazem łatwe nie jest, ale wyróżnia największych pianistów świata. Blechacz profesjonalistą jest już na pewno. Teraz ważną sprawą pozostaje nauczyć się, że w muzyce nie zawsze i nie tylko chodzi o zagranie wszystkiego wyraźnie, dokładnie, o dopieszczenie mordentów, tryli czy biegników. Omawiane wykonanie jest dobre, ale nie ponadczasowe; perfekcyjne technicznie, ale nie porywa. Wreszcie – jest indywidualne, ale nie przekonuje. Od Rafała można oczekiwać więcej. ---MŁG, merlin.pl

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Haydn: Piano sonata Hob. XVI:52
1.  I. Allegro (Moderato)
2.  II. Adagio
3.  III. Finale: Presto

Beethoven: Piano sonata op. 2 no. 2
4.   I. Allegro vivace 
5.   II. Largo appassionato 
6.   III. Scherzo: Allegretto 
7.   IV. Rondo: Grazioso common time

8. Chopin: Valses op. 34 no. 1
9. Chopin: Valses op. 34 no. 2
10. Chopin: Mazurkas op. 50 no. 1
11. Chopin: Mazurkas op. 50 no. 2
12. Chopin: Mazurkas op. 50 no. 3
13. Chopin: Polonaise-Fantaisie

Encores
14. Chopin: Mazurka op. 17 no. 4
15. Chopin: Valse op. 64
16. Chopin: Mazurkas op. 17 no.1
17. Chopin: Mazurkas op. 56 no.2

12.8.2006, Duszniki Zdroj, Poland

Rafal Blechacz - piano

International Chopin Piano Festival in Duszniki Zdrój have been held since 1946 to commemorate Frederick Chopin’s stay and his concert that took place in this town in in 1826. In the concert hall, the same where once Chopin performed, we can listen to the best interpretations of his work, as well as the other composer’s pieces. So far, the most outstanding pianists and prizewinners of prestigious international piano competitions, such as Halina Czerny-Stefanska, Stefan Askenazy, Sviatoslav Richter, Stanislaw Neuhaus, Garrick Ohlsson, Piotr Paleczny, Dang Thai Son, Krystian Zimerman, Stanislaw Bunin, Arkadi Volodos, Yundi Li, Rafal Blechacz have taken part in the festival. --- nina.gov.pl

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Johann Sebastian Bach: Partita Nr. 3 C-Dur, BWV 827

1. I. Fantasia
2. II. Allemande
3. III. Courante
4. IV. Sarabande
5. V. Burlesque
6. VI. Scherzo
7. VII. Gigue
8. Applause

Ludwig van Beethoven: Sonate in D-Dur, op. 10 Nr. 3

9. I. Presto
10. II. Largo e maesto
11. III. Menuetto: Allegro
12. IV. Rondo: Allegro
13. Applause

Frédéric Chopin

14. Nocturne in As-Dur, op. 32 Nr. 2
15. Polonaise in A-Dur, op. 40/1 Nr. 1
16. Polonaise in A-Dur, op. 40/1 Nr. 2
17. 3 Mazurkas, op. 63
18. Scherzo in cis-Moll, op. 39

encores:
19. Ludwig van Beethoven - Scherzo aus der Klaviersonate in A-Dur, op. 2 Nr. 2
20. Frédéric Chopin - Prelude in A-Dur, op. 28 Nr. 7

Rafal Blechacz – piano

Fürst-von-Metternich-Saal auf Schloss Johannisberg, 03.07.2013
FM broadcast HR2-Kultur, 08.08.2013

Der polnische Pianist Rafal Blechacz debütierte beim Rheingau-Musik-Festival. In Schloss Johannisberg erfüllte der Gewinner des Warschauer Chopin-Wettbewerbs die hohen Erwartungen locker.

Im Jahr 2005 belegte Rafal Blechacz den ersten Platz des renommierten polnischen Klavierwettbewerbs, der nur alle fünf Jahre ausgetragen wird. Wer ihn unmittelbar danach hörte, erlebte einen introvertierten, ernsten Pianisten, der kühl und sachlich, aber auch ein wenig mechanisch seinen Chopin interpretierte. Beim Konzert im ausverkauften Metternich-Saal von Johannisberg konnte Blechacz nun zeigen, wie er in den vergangenen Jahren musikalisch gereift ist.

Gewiss spielte der 28-Jährige die ausgewählten Werke seines Landsmanns Frédéric Chopin, auf den er sich in der zweiten Programmhälfte konzentrierte, immer noch linear, stringent und angenehm schnörkellos. Aber ins Spiel gekommen ist bei ihm auch eine Lockerheit, wie sie sich selbst auf einer exzellenten technischen Grundlage erst mit einer gewissen Erfahrung ausbreitet. Zu erleben war das bereits in Bachs Klavier-Partita Nr. 3 a-Moll BWV 827. Blechacz spielte die barocken Tanzsätze wie am Schnürchen, maßvoll verziert, im Anschlag dennoch erfrischend frei und abwechslungsreich. Selbst das recht gestrenge Scherzo hatte eine gelassene, aber keinesfalls nachlässig genomme Luftigkeit, die abschließende Gigue klang rasant und dabei doch wunderbar leicht.

In Ludwig van Beethovens Klaviersonate D-Dur op. 10 Nr. 3 schien sich das Spiel des jungen Polen noch weiter aufzulockern: Die kristallin-flüssigen Läufe im ersten, die markant klare, aber nicht pathossatte Trauermusik im zweiten Satz überzeugten voll und ganz, so wie das kapriolenhaft nachformulierte Menuett. Originell nahm Blechacz formale Übergänge, bald verspielt, bald organisch, bald amüsant holprig. Ein Nocturne (op. 32/2), zwei Polonaisen (op. 40) und drei Mazurkas (op. 63) von Chopin klangen eher straff als tänzerisch, das Scherzo Nr. 3 cis-Moll op. 39 vermittelte sich zerklüftet und gestaucht. Ein Beethoven-Scherzo sowie ein Chopin-Prélude waren die Zugaben. ---Axel Zibulski, fnp.de

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