Chopin-Joaquín Achúcarro JoaquÍn Achúcarro

• Frederic Chopin (1810-1849): 24 Preludes, Op. 28:
• 1Prelude No. 1 in C Major00:41
• 2Prelude No.2 in A Minor02:09
• 3Prelude No.3 in G Major01:11
• 4Prelude No.4 in E Minor02:06
• 5Prelude No.5 in D Major00:42
• 6Prelude No.6 in B Minor01:57
• 7Prelude No.7 in A Major00:48
• 8Prelude No.8 in F-Sharp Minor02:11
• 9Prelude No.9 in E Major01:25
• 10Prelude No.10 in C-Sharp Minor (Bonus Track)00:36
• 11Prelude No.11 in B Major00:40
• 12Prelude No.12 in G-Sharp Minor01:26
• 13Prelude No.13 in F-Sharp Minor03:37
• 14Prelude No.14 in E-Flat Minor00:45
• 15Prelude No.15 in D-Flat Minor06:04
• 16Prelude No.16 in B-Flat Minor01:14
• 17Prelude No.17 in A-Flat Major04:10
• 18Prelude No.18 in F Minor01:02
• 19Prelude No.19 in E-Flat Major01:34
• 20Prelude No.20 in C Minor01:43
• 21Prelude No.21 in B-Flat Major02:06
• 22Prelude No.22 in G Minor00:54
• 23Prelude No.23 in F Major01:05
• 24Prelude No.24 in D Minor02:56
• Prelude in C-Sharp Minor; Op. 45:
• 25Prelude in C-Sharp Minor; Op. 4505:43
• Prelude in A-Flat Major, Op. Posth:
• 26Prelude in A-Flat Major, Op. Posth01:04
• Fantaisie-Impromptu in C Sharp Minor, Op. Posth. 66:
• 27Fantaisie-Impromptu in C Sharp Minor, Op. Posth. 6606:15
• Nocturne No. 2 in E-Flat Major, Op. 9:
• 28Nocturne No. 2 in E-Flat Major, Op. 905:03
• Nocturne No. 20 in C-Sharp Minor, Op. Posth.:
• 29Nocturne No. 20 in C-Sharp Minor, Op. Posth.04:12
• Barcarolle in F-Sharp Major, Op. 60:
• 30Barcarolle in F-Sharp Major, Op. 6008:54
• Total Runtime01:14:13

Info zu Chopin-Joaquín Achúcarro

The Preludes are not little jewels arranged side by side; they form a whole, a gigantic work. Each prelude, however brief it may be, presents a particular mood and constitutes a world in itself. We are dealing here with twenty-four 'psychological studies', twenty-four states of mind: humanity, joy, rage, heroism, defeat, triumph, love, nostalgia, sadness, hope, resignation, and so on – all of them feelings with which Chopin was perfectly familiar. Joaquín Achúcarro waited a long time before recording the Preludes because he wanted to have the impression that he had totally assimilated them, to the extent that they became, so to speak, a part of his subconscious; almost like establishing a friendship with a living being. From that point on, he was ready to go into the recording studio.

Joaquín Achúcarro, piano

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