Chopin Sonatas

Vlado Perlemuter was born in Poland, but came to Paris as a child to study at the Conservatoire, first with Moszkowski then, later, with Cortot. At fifteen, he won First Prize at the Conservatoire playing Fauré’s Thème et variations before the composer. Similar successes followed, including the Prix Diémer in 1921, and he was quickly launched upon an international career which spanned over seventy years. Throughout this career, he was a renowned interpreter of Chopin, Ravel and Debussy. His affinity with the complex, ‘orchestral’ scoring of Ravel’s piano works began in 1927, when he had the invaluable experience of studying all of them with the composer. The depth of understanding which resulted from this happy collaboration was always clear in Perlemuter’s approach to Ravel, which is highly evocative in its coloration, and technically unwavering. In maturity Perlemuter had, as his friend William Glock once put it, “a conception of the music that is very grand and simple, and neither fastidious nor showy”. In Chopin, which produced his greatest playing, it was his phrasing, absolute sense of tempo and the depth of tone that set him apart from his contemporaries. During the mid-seventies he became a popular figure in England and at this time Nimbus began a comprehensive series of recordings which set the crown on his old-age fame. Vlado Perlemuter gave his final concert in 1993 in Geneva, and he died at his home in Paris on the 4th September 2002 at the age of 98.



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"In Vlado Perlemuter's playing one rediscovers all that made Cortot's playing famous, a colourful and vast sound, a luminous touch and virtuoso piano technique which could easily, but for these recordings be lost and forgotten...all music lovers who will listen will agree with me in saying that Vlado Perlemuter is one of the most irreplaceable pianists of today."  Alexandre Borie, Diapason

"This is an august pairing that shows Perlemuter to have retained his fabled digital finesse well into the 1970s and beyond. The B minor is captivating in its sectional control, tonal sophistication and sense of characterisation. If it doesn’t aim at the highest level of emotional involvement, then that was Perlemuter’s way. The companion B flat minor is a powerful study in contrasts, with tonal beauty, a stratified sense of colour and a profoundly moving funeral march at its heart." Jonathan Woolf,




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