Cortot had a prolific recording career, his discography covering almost six decades. Alongside his evolution as an artist - interesting in its own right - one can follow the evolution of recording technology and the corresponding increase in sound fidelity, from the early acoustic recordings to the electrical era, and finally recordings on tape. This page features all the recordings in our database in a convenient list format, and includes commercial recordings, test pressings and other originally unissued material that has since surfaced, radio broadcasts, live recordings, masterclass fragments, and more.

Cortot's recorded legacy can roughly be divided into the following eras:

• Pre-1925: These early recordings were made using the acoustic process and features Cortot at the height of his powers as a pianist, albeit at a lower fidelity of sound. Before the introduction of electrical recording in 1925, recordings were made using a horn and a diaphragm, the sound being captured by a needle that cut grooves into a wax cylinder or disc. The famous 1919 recording of Saint-Saens "Etude en forme de valse" showcases spectacular double note work, showing that Cortot was a technician to be reconned with.
• 1925-1932: The introduction of electrical microphones in 1925 allowed for a more natural and dynamic sound. Cortot was the first artist to record a disc for Victor using the electrical process. Many fabulous records were made during this era, including the stunning 1926 cycle of Chopin's Preludes and the 1929 Ballades, Liszt's Hungarian Rhapsody no. 2 and Sonata in B minor, the Franck Prelude, Chorale and Fugue, and more.
• 1933-1939: Starting in 1933 Cortot's recordings saw a noticeable upgrade in sound fidelity, him being a frequent guest in EMI's Abbey Road Studio No. 3, where the best sound at the time could be captured. Featuring Cortot in his late 50s to early 60s, this era produced many of his most famous recordings, such as the cycles of Chopin Etudes, Waltzes, Preludes, Impromptus, and Schumann's Kreisleriana, Papillons, Davidsbundlertanze, Kinderszenen, and more. Cortot "beginners" are recommended to start with this era, as it features a good compromise between increased fidelity of audio and Cortot's technique still being in good shape.
• 1942-1944 During World War Two, Cortot began recording a Chopin cycle in Paris, from which a set of Etudes, Préludes and Waltzes survive. There is tantalizing evidence that sets of the Ballades, Scherzi and Polonaises also were recorded, but they were never issued and seem to have been lost. Though somewhat less technically brilliant than his earlier readings, these recordings are nevertheless well worth hearing to follow the evolution of the pianist's conception of the works.
• 1947-1960 Recordings from this era showcases Cortot's marvellous tone in the highest fidelity sound available, especially once tape recording became standard in the 50's. As age and health issues take their toll on the pianist, now in his 70's, a notable technical decline takes place; in some of the recordings from this era - particularly the originally unissued ones - Cortot's playing of technically challenging passages can make for uncomfortable listening for the non-connoiseur. Yet there are also many hidden gems, some of these late recordings covering repertoire Cortot had never recorded before, and Cortot's playing remains as rich and poetic as ever.

For completeness' sake, this page also includes the small number of videos which exist of Cortot playing, as well as piano rolls of which we have located recorded audio. Although not true recordings and sometimes crude, they also document some kind of sense of Cortot's interpretation. Learn more about Cortot's videos here, and piano rolls here.