Llyr Williams - Chopin: Complete Préludes & Other Works '2006

Tracks list

Tracklist

01. 24 Préludes, Op. 28: No. 1 in C Major
02. 24 Préludes, Op. 28: No. 2 in A Minor
03. 24 Préludes, Op. 28: No. 3 in G Major
04. 24 Préludes, Op. 28: No. 4 in E Minor
05. 24 Préludes, Op. 28: No. 5 in D Major
06. 24 Préludes, Op. 28: No. 6 in B Minor
07. 24 Préludes, Op. 28: No. 7 in A Major
08. 24 Préludes, Op. 28: No. 8 in F-Sharp Minor
09. 24 Préludes, Op. 28: No. 9 in E Major
10. 24 Préludes, Op. 28: No. 10 in C-Sharp Minor
11. 24 Préludes, Op. 28: No. 11 in B Major
12. 24 Préludes, Op. 28: No. 12 in G-Sharp Minor
13. 24 Préludes, Op. 28: No. 13 in F-Sharp Major
14. 24 Préludes, Op. 28: No. 14 in E-Flat Minor
15. 24 Préludes, Op. 28: No. 15 in D-Flat Major "Raindrop"
16. 24 Préludes, Op. 28: No. 16 in B-Flat Minor
17. 24 Préludes, Op. 28: No. 17 in A-Flat Major
18. 24 Préludes, Op. 28: No. 18 in F Minor
19. 24 Préludes, Op. 28: No. 19 in E-Flat Major
20. 24 Préludes, Op. 28: No. 20 in C Minor
21. 24 Préludes, Op. 28: No. 21 in B-Flat Major
22. 24 Préludes, Op. 28: No. 22 in G Minor
23. 24 Préludes, Op. 28: No. 23 in F Major
24. 24 Préludes, Op. 28: No. 24 in D Minor
25. Nocturne in C Minor, Op. 48 No. 1
26. Ballade No. 4 in F Minor, Op. 52
27. Scherzo No. 2 in B-Flat Minor, Op. 31

In 2006, Welsh pianist Llyr Williams made his first commercial recording for
Quartz and opened with the 24 Preludes of Frédéric Chopin. Williams'
interpretations of these miniatures are matter-of-fact and concise, and utterly
lacking in grand-standing, much as the composer is thought to have played them.
If the secret to playing Chopin is a combination of modest, close-to-the-vest
expression and light execution, with minimal pedaling and a fairly crisp tone,
then Williams appears to have mastered it. This is not to say his sound is
always delicate, because he produces a massive volume in the Prelude No. 14 in E
flat minor, and offers ample fire in the Prelude No. 24 in D minor. To fill out
his program, Williams includes the Nocturne, Op. 48/1, the Ballade, Op. 52, and
the Scherzo, Op. 31, which are all substantial works of moderate length and far
from routine CD filler. Again, Williams cultivates constrained emotion and
renders these pieces with a calculated control that makes the surges of dynamics
and energy all the more effective. The audio of the recordings is clean and
natural, with the piano carefully miked to optimize the instrument's resonance
in a dry acoustic.

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