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- 01I. Allegro Maestoso - Stuttgarter Kammerorchester
- 02Ii. Romanze
- 03Iii. Rondo
- 04I. Maestoso - Stuttgarter Kammerorchester
- 05Ii. Larghetto
- 06Iii. Allegro Vivace
NDR, 25.01.2014, Chantal Nastasi
Even her first Chopin- CD had shown it, and also on this recording, it is the changeability of her touch, which makes the Scheps' Chopin- play special: a warm, intimate tone that might begin to shine suddenly. ...
Scheps savours the singable phrases from Chopin, takes the time to produce the intensity that lies in them. She doesn't overstep the mark and doesn't get pathetic at all. And even if the sounds are mainly soft and quiet and make you listen to it attentively in the first way, but there are also sounds, standing out with a boldness that is reminiscent of her mentor Alfred Brendel. "..." she never floats declamatory glaring above the orchestra in a declamatorly way, and even with all the virtuosity that requires Chopin's music, it doesn't loose the track of the emotional content of music. A very intense and captivating recording.
Die Zeit, 25.01.2014, Julia Spinola
Empathetic accompanied by the Stuttgart Chamber Orchestra under Matthias Foremny ...
Scheps explores the harmonic llight traffic with subtle sound from the piano, elicits another astonishing range of dynamic nuances, which allow individual sounds sometimes shimmering faintly like pearls.
In the best moments, she succeeds in georgeous „singing“ on her instrument - Chopin's ideal was Bellini, the Italian opera! Schep´s play certainly never sugared in contempt of all the delicacy (and this is an art) ...
BR, 18.01.2014, Julia Schölzel
Of course, she also returns to enchanting touching and classy style the poetic delicacy, in which especially the slow movements become a treasure. In the inner movement Scheps omitted overly aggressive snappiness. Which irritating at first, but makes sensitive for Chopin's cryptic comments in the secondary voices.
Whether Krakowiak or Rondo-Finale, Scheps eases up for its cantabile and intimate interpretation of sixteenth per sixteenth to remain faithful. An arbitrary but highly respectable and conclusive decision.
Musikwoche, 27.02.2014, Birgit Schlinger
Along with the Stuttgart Chamber Orchestra under the direction of Matthias Formeny Olga Scheps creates a harmonious and complex atmosphere, as it could be possible possible with a small orchestra.The accompaniment by the small ensemble condenses the effect of the piano and flatters without degenerating into decorative padding, as it is often heard in the criticism of the orchestration.
But the biggest compliment deserves Olga Scheps.She fully lives up to a Standard as superb Chopin performer with this recording, which was created in Stuttgart SWR Radio Studios. Her tone clear and sparkling in this highly romantic oeuvre, of which the second one especially, which was created erlier to the E minor Concerto, however is notorious for his technically intricate passages.
She copes all tripping hazards with pianistic finesse and concentrates fully on the introspection of this voluptuous dreamy work. With its lightweight, vocal tone she satifies the audience with the introverted passages as well as with the dance driven ones. And then she follows the final traces of the third set with a noble virtuosity rather than crude sensationalism of impetuous passion of the young Chopin, who has already published this concert at the age of 19, in the seemingly endless runs, she visualizes her obviously great performance as a Chopin interpreter.
... the more intense sound, in which the soulful melodic lines spread out on the carpet of the strings section of the orchestra and lose in shiny ornaments, just as if the pianist just had improvised it himself (...), the two concerts take shape and let us experience the young Frédéric Chopin in a whole new way ...