Chopin Recordings

Started by George, April 06, 2007, 06:00:36 AM

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ezodisy

Quote from: Mandryka on January 22, 2009, 12:23:33 PM
I wouldn't like anyone to think I was an  oddball, but I confess to having a soft spot for the Chopin on this CD -- just because it is so strange.

I always wear a leather gimp's mask when I play it.

Quote from: Peregrine on January 22, 2009, 12:32:21 PM
What a pianist! I have his opera paraphrases on VAI, an absolutely thunderous tone!

lol! Yeah Nyiregyhazi is one in the world, I haven't heard that disc (the remastering was not well received on rmcr) but I knew the recordings from online sources and particularly liked the long introspective solo Rachmaninoff PC 2 central movement. Nyiregyhazi's Hungarian, so of course he's interesting.

By the way Mandryka, put on your gimp mask mate and have a listen to this: http://www.mediafire.com/?tw2zonz2y5y

Mandryka

#281
QuoteWhich recording date is it?

The Hofman Berceuse I know was recorded in 1937.
Wovon man nicht sprechen kann, darüber muss man schweigen

Mandryka

Quote from: Holden on January 22, 2009, 12:15:16 AM

As for the Berceuse yes, Hofman is exceptional but you need to hear Solomon play this.


I couldn't agree more, Holden.

There's a real sense in which Hofman was taking the mick out of the title -- there's no way his performance could lull a baby to sleep. But you can imagine the baby having sweet dreams while Solomon is playing.

Timings -- Solomon 4'59''; Hofman 3'39'' !

I love them both.
Wovon man nicht sprechen kann, darüber muss man schweigen

Mandryka

#283
Quote from: ezodisy on January 22, 2009, 12:55:11 PM
By the way Mandryka, put on your gimp mask mate and have a listen to this: http://www.mediafire.com/?tw2zonz2y5y

Great! Thanks a lot! I had never heard that. Oh my God, what an extraordinary performance -- you've made me laugh out loud ( a mixture of astonishment, pleasure and nervousness).

Wovon man nicht sprechen kann, darüber muss man schweigen

Peregrine

Quote from: ezodisy on January 22, 2009, 12:55:11 PM
lol! Yeah Nyiregyhazi is one in the world, I haven't heard that disc (the remastering was not well received on rmcr) but I knew the recordings from online sources and particularly liked the long introspective solo Rachmaninoff PC 2 central movement. Nyiregyhazi's Hungarian, so of course he's interesting.

Different disc?:



No Rach on here, Ward-Marston did transfers and seem OK to me...
Yes, we have no bananas

Mandryka

#285
Quote from: Peregrine on January 22, 2009, 11:26:11 PM
Different disc?:


Yeah -- I can't recommend the Liszt and Chopin and Rach and Debussy and Schubert one more highly for it's sheer oddballnes. And the pianist is a real poet -- if a rather eccentric one. He's isn't at his prime in the recordings, but you get a glimpse of how extraordinary he was in his younger days.

Transfers aren't the best, but they aren't painful, and  with music making as special as this, it doesn't matter to me.
Wovon man nicht sprechen kann, darüber muss man schweigen

ezodisy

Quote from: Peregrine on January 22, 2009, 11:26:11 PM
Different disc?:



No Rach on here, Ward-Marston did transfers and seem OK to me...

don't know that one, but the Rachmaninoff solo movement is on the M&A disc which Mandryka posted on the previous page of this thread (which is the disc that came in for criticism). Absolutely thunderous as you said, so deep and rich, there's an amazing YT video which captures it well.

Quote from: Mandryka on January 22, 2009, 11:25:49 PM
Great! Thanks a lot! I had never heard that. Oh my God, what an extraordinary performance -- you've made me laugh out loud ( a mixture of astonishment, pleasure and nervousness).



;D

Holden

Quote from: ezodisy on January 22, 2009, 12:02:15 PM
I'm with you on this. I think Drasko and I had more in mind the wild and flying sort of accents when you mentioned that word.

I don't know the Vatican recording, '86 is quite late in his career.

The Diapson disc from '67 contains the Fm Fantasie, op45 Prelude, Sonata 2 (I think his best performance of it, along with the one from Prague), 4 mazurkas, Ballade 1 and Andante Spianato.....

I uploaded 2 of the pieces to YT:

http://uk.youtube.com/watch?v=bmDJ857s4Xs

http://uk.youtube.com/watch?v=cNxYr-qU2w4

The one from the Vatican always draws me back to relisten to it and I don't know why. The andante spianato is superb as is the 1st Ballade. It also has a couple of mazurkas and waltzes. The CD is at work so I haven't got a complete track list.
Cheers

Holden

Peregrine

#288
I do hope Tony/ezodisy doesn't mind me doing this and will happily delete the post if he wants it removed, but I cut and paste this interesting post from him on the old forum a couple of years or so ago and was (and is) a very helpful listing of the great Chopin interpreters that has helped provide direction to my listening. May provoke some interesting discussion, but would also be interesting to see if his views have changed at all on any of the pianists listed:



I have to say that many of the choices so far are supremely lazy ones. There's a whole world of Chopin playing that hasn't even been touched upon yet. This is partly to blame on media coverage--from review journals to radio broadcasts--as they tend to focus on a very limited sphere of big name pianists; and partly to blame on human nature, in so far as it'll be satisfied with what's served up (i.e. no exertion, no problem).

One thing I want to mention is that the title "best Chopin pianists" has little to do with quantity. Nearly all the greatest pianists--of any composer--found works which they identified with and consequently played exceptionally well. Generally, it's the pianists who recorded everything that you should be wary of.

I am going to offer a short overview of notable Chopin pianists that are worth exploring (as I have so much still to hear myself, this list is by no means exhaustive, not even of my own collection). Unfortunately, some of these names are rarely mentioned anywhere – which is a reason itself for wanting to hear them. You will also notice that I am not fond of most of the big name, media friendly, so-called Chopinians. In truth everything below is essential listening, though I have marked out some pianists in particular as a starting point.

Greatest Chopin pianists I've heard

Ignace Tiegerman
Leo Sirota
Maryla Jonas
Vladimir Sofronitsky
Moriz Rosenthal
Josef Lhevinne
Edouard Risler
Sergei Rachmaninoff
Natan Brand

The above are exceptional talents who, quite simply, are the navigation points of Chopin pianism. Depending upon one's taste other names can be added--Ignaz Friedman, Vladimir de Pachmann, Ignacy Jan Paderewski, Josef Hofmann, Alfred Cortot, Leopold Godowsky, Artur Rubinstein, pre-Decca Vladimir Ashkenazy and some more--but not one, no matter how little he or she recorded, can reasonably be subtracted (not even the most recent one to our times, naysayers).

Karol Mikuli, Emile Descombes and Vera Rubio pupils, i.e. second generation links to Chopin

Moriz Rosenthal – essential listening. Studied with Mikuli. A legato out of this world, his touch was incomparable. Try the Pearl, APR, Biddulph discs.

Raul Koczalski – studied with Mikuli. The 7 volumes once available in Selene's "Great Polish Tradition" series cover just about everything. Not as accomplished and imaginative as Rosenthal, his recordings still possess great historical value as well as moments of beauty and tenderness (he was quite lightweight as a pianist). There are also moments of striking originality, such as in Ballades 1 and 4. He strongly believed that he was representing Chopin's desired style of playing.

Alexander Michalowski – studied with Mikuli. Father of the Polish piano school. 1 volume, in the same Selene series, is dedicated solely to his recordings; 3 other volumes to those of his pupils. His personal and lively use of rhythm stands out above all (see Sofronitsky below). Very dramatic playing, at times going straight for the jugular.

Edouard Risler – essential listening. Studied with Descombes (a student of Chopin who also taught Cortot and Ravel). He had a voracious musical appetite and played the complete works of Chopin and all of Beethoven's 32 sonatas (one of the first modern pianists to specialise in cycles apparently). His Mazurka 17/4 and Waltz 64/2 are among the recorded treasures of Chopin pianism. Thanks to Ward Marston all of his recordings (all of which were made in 1917) can now be obtained, in the best possible sound, through Marston's Lagniappe series on his website.

Alfred Cortot – essential listening. Studied with Descombes. Thankfully the new Cortot series on Naxos from the ever-vigilant Mark Obert-Thorn will make available recordings which have been very poorly served so far. For me, though, Cortot is not the Chopinian many here think he is.

Vladimir de Pachmann – essential listening. Studied with Rubio (Chopin's last teaching assistant). His recording career ranges from 1907 to 1927. Apparently his on-stage manner was highly eccentric, even absurd, but his notes on Chopin playing are fascinating and his recordings sybaritic in the extreme. Both volumes are available on Arbiter, and hopefully more will come.

Third generation links to Chopin

Vladimir Sofronitsky – essential listening. Studied with Michalowski. He remains unique among all pianists for his intellectual honesty--the design of many of his readings is without precedent--his emotional intensity, spirituality, and his highly personal rhythmic life (at least partly attributable to Michalowski). The 2-CD Denon set (available from Japan) of his live 1949 Chopin performances, and the Russian Piano School set, are mandatory purchases (as is everything he recorded, frankly).

Roza Etkin (sometimes her surname is hyphenated as –Moszkowska) – Michalowski pupil. Placed 3rd in the 1st Chopin Competition (one place ahead of Grigory Ginzburg). As far as I'm aware only two of her Chopin recordings have survived--15/2 and 50/3--and they are of exceptional quality, placing her among true Chopinians.

Vladislav Szpilman (yes, the movie star) – Michalowski pupil. A beautiful, sufficiently lively Mazurka 17/4 shows his skill as a Chopinian (this is one of the true test pieces in Chopin). Sony have just released a tribute set that contains a good deal more Chopin which I haven't heard yet.

Mischa Levitzki – studied with Michalowski. Chopin recordings available on Naxos. In my opinion they are dull and unimaginative.

Mieczyslaw Horszowski – studied with his mother who was a Mikuli pupil. Later studied with Leschetizky. Keep a look out for the 1940 Vatican recordings on Pearl. Personally I admire his Chopin, but, considering the so-called competition, I do not place it as highly as some here have.

Stefan Askenase – studied with his mother who was a Mikuli pupil. Later studied briefly with Sauer. His complete 1950s Chopin recordings, available in a box-set on DG, show a refined, lightweight pianist with a lovely sense of style and finesse.

Robert Casadesus – studied with Isidor Philipp who'd studied with Georges Mathias, a Chopin pupil. His Chopin playing supports his idea of playing Chopin in the style of Mozart: "simple, free, musically". His first recording of the four ballades and mazurka 17/4 are available on Pearl (transferred by Winner). They reveal what you'd expect from him – crisp, clear, quite dry playing, not reaching the emotional heart of the pieces. I do not find his later performances on Sony, such as sonata 2, anymore or even as convincing.

Other links to Chopin

Francis Plante – (born 1839) performed chamber music with August Franchomme (who had performed with Chopin). His sole recordings, coming from 1928 and made at the age of 89, are of 7 etudes. They are, at turns, bizarre and illuminating, and inevitably hindered by age.

Other Polish pianists

Ignaz Friedman – essential listening. Studied with Leschetizky. His mazurkas (on Naxos, transferred by Marston) are unique for their earthy, unpredictable rhythms. I have mixed feelings about them (amazing – 7/3, plain bad – 63/3) but they, and the rest of his output, must be heard regardless.

Ignace Tiegerman – essential listening. Studied with Leschetizky and his lessons were prepared by Friedman. Friedman called him the greatest talent he'd ever worked with. His Chopin is divine (and sometimes ferocious). 2-CD Arbiter set, his only extant recordings, and it includes a fascinating article on the search for them. Some people might be interested to know that the late Edward Said was among his pupils in Cairo (and Said mentioned that all of his future teachers combined--and he later studied at Juilliard--didn't have the talent of Tiegerman's pinkie).

Severin Esienberger – studied with Leschetizky. Opal/Pearl contains a live recording of his PC 2 which is notable for its strong, exciting and poetic playing (and remarkable for the horrible Cincinnatti Conservatory Orchestra too).

Leopold Godowsky (officially Lithuanian, but historical geographic accuracy in that area--as the Poles well know and exploit--has always been a bit slipshod) – Marston (Records) have just released volume 2 of a planned 3 volume, 2-disc each series which will contain all of his recordings. The Chopin playing, on the surface, can seem disappointing and sober, but it comprises a greater individuality and intellect than initially meets the ear.

Josef Hofmann – essential listening. Again we have Marston to thank for putting out another "complete recordings" series (initially on VAI). His Chopin can sound vulgar at times but is never less than interesting and quite often exceptional. I have a particular soft spot for his PC 1 with NYPO / Barbirolli, a very characteristic performance that perhaps shows him in his best sound.

Ignacy jan Paderewski – essential listening. Another Leschetizky pupil. Later Poland's Prime Minster. Many of his recordings can be found in the volumes put out by Pearl. As Donald Manildi has said, however, avoid the Philips GPOC series for him (and Hofmann, and pretty much everyone else).


Artur Rubinstein – His Chopin recordings cover such a large period that they are, from beginning to end, essential listening.

Adam Harasiewicz – first prize winner at the fifth Chopin Competition. His recorded output does not reflect such a bright light, however. On Philips exists 1960s recordings of the complete nocturnes and preludes – not recommended by me. A later recording from 1992 on Discover International (sonata 2, 62/1, 47, 54...) does not convince me that he's improved as a pianist either.

Krystian Zimerman – one of the top Chopin pianists of today. His studio recordings can seem too polished--which is a natural characteristic of his playing, sometimes going too far when he has time in the studio to play around (reminds me of Demidenko)--but live in concert he can be an overwhelming force. His sonatas 2 and 3 are among the best. Worth exploring in full.

Andrzej Wasowski – it is interesting to note that this "authentic" Chopinian has his roots going back to Liszt (both his mother, Princess Maria Wasowska, and his later teacher Margerita Trombini-Kazuro were pupils of pianists who'd studied under Liszt). Later he studied with Wuhrer and Michelangeli among others. He became famous for his mazurkas, for putting the rustic dance back into them and for his subtle observance of beats. More than once he was called the greatest Chopin pianist of modern times. His 1980 recording of the mazurkas is important to hear. I haven't heard his complete nocturnes yet.

Felicja Blumental – her recordings come from her time in Brazil ('40s and '50s). A mixed disc of mazurkas, nocturnes and polonaises contains good playing but is not recommendable beyond that. I have not heard her waltzes yet.

Josef Turczynski pupils – a subdivision of Polish pianists

Maryla Jonas – essential listening. Thirteenth in the second Chopin Competition. Unique in sound, rhythm, style, womanhood (fascinating life story, much more interesting than Szpilman's). Her Chopin mazurkas on Pearl (in poor transfers, unfortunately) are among the glories of recorded Chopin pianism.

Halina Czerny-Stefanska – shared first prize (with Bella Davidovich) at the fourth Chopin Competition. There is a well-known story of how her recording of Chopin's PC 1 was initially mistaken for Lipatti's. Worth hearing is a disc on Pearl (again, poor transfers courtesy of Roger Beardsley), the Supraphon disc which contains the aforementioned PC 1, and her complete nocturnes on Japanese RCA.

Witold Malcuzynski – placed third in the third Chopin Competition. A strong Chopinian who often reached the soul of the music. Unfortunately mostly everything is out-of-print, but keep an eye out for a 2-CD Disky set which contains sonata 2, polonaises and ballades (and the Rachmaninoff PC 3). Also an EMI 2-CD Artist Profile set, though I think the former is preferable.

Russian Pianists

Josef Lhevinne – essential listening. One of god's gifts to pianism. The 7 Chopin recordings on Naxos (transferred by Marston) are indisputably some of the greatest ever put down.

Rosina Lhevinne – wife of Josef, a great pianist and teacher (Cliburn, Browning). Her recording of Chopin's PC 1 (Japanese Vanguard) is notable for its simple beauty and gorgeous tone.

Sergei Rachmaninoff – essential listening. God's other gift to pianism. Everything he ever put down must be heard.

Heinrich Neuhaus – teacher of so many, he was also an excellent pianist of Romantic composers including Chopin. His 2-CD Denon set (available from Japan) which contains a 1949 all-Chopin recital is worth hearing, as is a Denon CD containing his PC 1.

Stanislav Neuhaus – son of Heinrich, and teacher of Lupu and Engerer. Evidently a highly strung (and highly drinking) virtuoso who was known as a Chopin specialist. All that's in print Chopin-wise is his very last recital which took place in 1980 (2-CD Denon, from Japan). It contains the four ballades, barcarolle, berceuse, sonata 3 and A-flat major waltz. Very energetic, wild and, unfortunately, quite monochromatic playing. The Largo of the third sonata is notable for its beauty and tenderness.

Leo Sirota (born Kiev) – essential listening. Studied with Busoni. His Chopin disc on Arbiter contains some of the most beautiful and timeless romantic Chopin playing ever caught on record.

Sviatoslav Richter – I have always maintained the position that Richter is not a Chopin pianist. He treats the composer very one-dimensionally in my opinion, and if it were not for his incomparable virtuosity he would not be convincing in the slightest. By no means a natural Chopinian. His recordings range far-and-wide.

Emil Gilels – Much more interesting and intelligent playing here than Richter's. A very objective pianist who could unleash torrents of emotion when he wished to, as is evinced by his sonata 2. He understood that the third sonata inhabits a totally different world from the second; and, unlike most pianists, he put that understanding into effect. A good PC 1—not quite at the level of the previous two pieces—and a thrilling Ballade 1 mostly round out the repertoire of a pianist I'd never have expected as an excellent Chopinian. Very soon, I've heard, Melodiya will release the '50s recording of his complete Preludes.

Yakov Fliere – he is here because someone else mentioned him. Undoubtedly a great pianist--his Liszt PC 2 and Khachaturian PC (both with Kondrashin) have no competition--he was not at his best in Chopin. Currently there is a 2-CD Melodiya release of his complete mazurkas. It was how I first heard them, and though quite middle-of-the-road now, it was an excellent intro. Hopefully Melodiya will release much more in the future.

Victor Merzhanov – tenth prize at the fourth Chopin Competition. His sole Chopin on CD is an excellent recording form 1975 of the op. 28 Preludes, available on Vista Vera.

Igor Zhukov (sometimes spelled Shukov)– essential listening. One of the supreme masters. His third sonata and op. 28 preludes are among the most magnificent--and suitably depressing--recordings of the pieces ever made. The preludes are available on Melodiya--with his equally great Scriabn op. 11 preludes--and third sonata from a live Wigmore Hall recital on a Denon DVD. Also hunt around RMCR for alternative live recordings of the above pieces. I hope Melodiya will soon release his earlier op. 58 recording.

Grigory Ginzburg – essential listening. Another of the supreme masters. His op. 25 etudes are the equal of Ashkenazy's (first recording) and Sokolov's. His mazurkas are sublime. All available on out-of-print Arlecchino. Hopefully the recent Ginsburg tribute of live recordings (available from Russiandvd.com) will continue with some Chopin.

Benno Moiseiwitsch (born Odessa) – essential listening. Studied with Leschetizky. His Chopin is notable for its immense beauty, lyricism and refinement. The Chopin discs on APR and Pearl are mandatory purchases.

Nikolai Demidenko – not his best recordings. The ballades and sonata 3 are somewhat mannered and perfunctory with only brief flashes of his immense talent. Perhaps best is a mixed disc of polonaises (early and late) with an exceptionally beautiful Berceuse. All available on Hyperion at budget price now.

Grigory Sokolov – essential listening. Probably the greatest living pianist. His op. 25 etudes (op111/Naïve), Polonaise-Fantaisie (radio broadcast) and PC 1 (out-of-print Denon) are as good as it gets. Not a natural Chopinian, but through his incredible versatility and virtuosity he is mostly convincing in the extreme. Other notable performances include the four impromptus (radio broadcast). His nocturnes, sonata 2, sonata 3 and mazurkas are not as convincing, however.

Vladimir Ashkenazy – his pre-Decca recordings are essential listening. Look for his first recording of the complete etudes (BMG/Melodiya or Classound), and the two volumes entitled "The Young Ahskenazy" which were put out by Testament. Later performances do not reach these alpine heights.

Boris Berezovsky – interesting (if sometimes clearly trying to be different) Chopin etudes--not first-rate but worth hearing all the same--and a superb PC 2 (radio broadcast). I haven't heard his Chopin-Godowsky disc (and probably won't in the future either) but I have no doubt that he's one of the top pianists today.

Mikhail Pletnev – a worthwile Chopin disc on DG exists, and in the past he has played a selection of Chopin mazurkas in recital. Best of all, however, is almost certainly the radio broadcast of his op. 28 Preludes – exceptional performance, showing him at his most imaginative best.

Ivo Pogorelich (Russian trained, and included here as there won't be a Croatian category) – controversial since the beginning, his early (1980) Chopin recordings reveal a fully-formed pianist with an astounding imagination and technique. All of his commercial Chopin (DG) is worth hearing, but for me most amazing have been his recent performances of sonata 3 and nocturnes 55/2 and 62/2 – music stretched to infinity with the most overwhelming emotion and largesse.

Eliso Wirssaladze – exciting and intense (if monochromatic) complete etudes on Live Classics. Her other LC discs, though, have been disappointing – bland pianism, little rhythmic life. I have not heard her scherzi yet. The Russian Piano School CD is a good place to start (and, perhaps, finish).

Samuel Feinberg – one of history's great Bach pianists, his little Chopin that exists (some mazurkas and ballade 4) is excellent and recognisably old-fashioned (huge amounts of rubato in the ballade).

Bella Davidovich – Born in Baku, Azerbaijan, formerly Soviet Union. Tied for first (with Czerny-Stefanska) in the fourth Chopin Competition (I have a live recording of the two of them playing Chopin's C Major Rondo for two pianos). So far I am only familiar with her concerti – good but not remarkable readings. I'm looking forward to hearing her preludes and ballades, however.

Lev Oborin – placed first in the first Chopin Competition. In my opinion his third sonata on a Russian Piano School CD is nowhere near deserving of that placing.

Vladimir Tropp – a Denon CD exists which reveals a Michelangeli-like sculpting and temperament. It contains probably the best recording of the second sonata in the past 10 years.

Vladimir Horowitz – his early Chopin recordings (etudes and mazurkas) are superb. Later recordings can be mannered, vulgar, and just outright pointless. The earlier the better in other words. Recordings are spread across quite a few labels, so visit IPAM (International Piano Archives at Maryland) for details.

Alexander Kobrin – 2005 prize winner at the Van Cliburn competition. The Japanese label King International have released a disc of op. 28 and 35 which contains some excellent and imaginative playing. It also contains the first ever commercial recording of Chopin's "Trill" prelude in E-flat minor.

Nikolai Petrov – a 1989 recording of the ballades and scherzi can be recommended for its stylish playing and fine balance between repose and release.

Alexander Brailowsky (born Kiev) – no less a pianist than Rachmaninoff was deeply impressed by him as a student. Studied with Leschetizky, received advice from Busoni and was influenced by Plante, his early recordings can be beautiful and idiomatic (an early sonata 3 and PC 1). His later performances can sound stiff with an unforgiving sound and lack of poetic imagination. Two of his RCA releases (Brailowsky plays Chopin on 2 CDs, and the disc of the PCs in the Legendary Performers series) are worth hearing.

Shura Cherkassky (born Odessa) – essential listening. Studied with Hofmann and apparently Saperton. Highly individual, very colourful playing, must be heard live to be appreciated. As someone else mentioned, the BBC Legends Chopin disc should be heard. Also his op. 28 Preludes (I intend to hear the Orfeo recording soon) and etudes.

Andrei Gavrilov – highly virtuosic playing which easily turns crude and one-dimensional. He has yet to achieve the depth he's capable of, though his current recitals of the complete nocturnes may very well reveal that. His recordings are on EMI and DG and his etudes stand out for their stunning technical skill. An all-Chopin recital from '99 on K&K unfortunately does not show that he's matured as an artist.

Konstantin Igumnov – his last recital, a live recording from 1947 available on Dante, of him playing the third sonata is messy but quite interesting and beautiful. He was ill then, and it does not reflect his apparent greatness as a pianist. 

Simon Barere (born Odessa) – studied with Essipova and Blumenfeld. What you'd call a staggering virtuoso. He could play anything, and played it with an almost idiotic speed. His third scherzo has no competition in terms of virtuosity. The APR Carnegie Hall discs are essential listening for piano aficionados.

Italians

Arturo Benedetti Michelangeli – essential listening. For starters listen to his live sonata 2 on BBC Legends (previously Music & Arts). There's also a large amount of Chopin included on Aura (15 CD box-set or individual CDs).

Maria Tipo – her complete nocturnes (EMI) are very beautiful indeed – slow, dark yet colourful, very moving. As are her complete ballades live on Aura. Very highly recommended.

Dino Ciani – one of the saddest piano losses of last century occurred when this young Italian died in a car crash. His complete Chopin nocturnes (Agora, with another recording on DG) are among the greatest of all performances. They come from right at the end of his life and could hardly be more Chopinesque. His complete etudes in the Dynamic box-set aren't as successful.

Aldo Ciccolini – along with Ciani, his complete nocturnes are the most beautiful I've heard. This studio recording from 2002, played on a Fazioli, has everything these pieces need: a gorgeous sound, legato, dynamic range, beautiful phrasing, strong, dark emotion and so on. I'm sure they're Ciccolini's greatest accomplishment. His live third sonata on Japanese Camerata is excellent too, just not quite such a perfect achievement.

Maurizio Pollini – for me one of the most overrated Chopin pianists. Some of his early recordings are superb, mostly for the passion and perfect technique he exhibited. Later recordings, especially studio efforts, are invariably emotionally empty and vapid, with nothing to offer other than ten fingers. His recent recording of the complete nocturnes is no less disappointing. Better than the recital I heard him play of these in Salzburg, but they are still too linear, too constricted and too unvaried in expression, dynamics and emotion. Not recommended.

Sergio Fiorentino – essential listening. Probably more than anything else recording-wise, I want the release on CD of Fiorentino's Chopin. He recorded a huge amount (the complete etudes, ballades, impromptus, preludes, waltzes, Polonaise-Fantaisie), almost all during the '50s, yet only a tiny fraction is available on CD and most of that from the last ten years of his life. What is available, though, is among the best. His live sonata 2 on APR is astonishing, as is the 64/2 waltz in the same set. His studio third sonata on APR was recorded in a single take (I don't find it as convincing as the second sonata, though it is remarkable for its beauty of sound and phrasing). I haven't heard the few Concert Artist discs yet, and cannot, despite serious effort, find the Saga CDs of his complete Nocturnes from 1960.

Romanians

Dinu Lipatti – another pianist I find direly overrated. His Chopin has very little character, his tonal beauty is not remarkable, his rhythmic life is not remarkable, his conceptions are not remarkable, there are simply no distinguishing characteristics in his playing that I can find. Unfortunately, it seems a case of loss begetting unwarranted reputation.

Clara Haskil – it is a good thing that her reputation does not rest on her Chopin, otherwise she'd be in oblivion by now.

Youra Guller – the most notable of the three (and a very attractive woman). Her eleven mazurkas and five nocturnes on Dante are worth hearing for their tonal beauty. A late recording on Nimbus entitled Art of Youra Guller I found almost unlistenable.

French pianists

Samson Francois – a highly individual pianist who studied with Cortot, Long and Lefebure. His performances are thrilling and intense, sometimes aggressive, sometimes mannered, but almost always fascinating and enthralling. Undoubtedly a great artist and pianist.

Jean-Philippe Collard – this excellent Faure pianist also plays some very good Chopin. A French EMI disc containing his four ballades and third sonata shows off stylish, sensitive playing and an excellent technique. I have not heard anything else.

Vlado Perlemuter – born in Poland but moved to France as a child--and studied with Cortot--hence his inclusion here. A very stylish if lightweight third sonata exists on BBC Legends, coupled with op. 28 preludes that I found phlegmatic. I don't find his Nimbus recordings as convincing as the aforementioned sonata, though the disc of mixed nocturnes has some very lovely moments in it (I don't think of it as highly as Val does, however).

Cecile Ousset – a 2-CD EMI set of ballades, scherzo, and sonatas 2 and 3 contains good but unremarkable Chopin playing.

Laure Favre-Kahn – Rigutto pupil. Transart contains a recent live performance of the complete waltzes (plus A minor op. post). Very lively, thrilling playing, her rubato sometimes sounds studied and artificial and the piano sound is not always kind to the ear, but the evening itself must have been a very engaging experience (how many pianists can pull off a night of waltzes in recital?). 

South American pianists

Rosita Renard – essential listening. Like Arrau and Edwin Fischer, she studied with Martin Krause, a great Liszt pupil. Her January 19 1949 Carnegie Hall recording on VAI contains some astounding Chopin playing – 9 etudes and 2 mazurkas.

Claudio Arrau – essential listening. Krause pupil. His live op. 28 Preludes on APR are among the greatest large-scale Chopin recordings. His live PCs on Music & Arts are also notable, as are his pre-war Chopin recordings available on Marston. I am not convinced by his American Decca recordings—ballades and scherzi, though there's a great Fantaisie-Impromptu in there—nor by his Philips recordings. His nocturnes are remarkable, but as Herman says, he was even better live and earlier on, and they can border on the ponderous at times.

Martha Argerich – another overrated Chopin pianist in my opinion. Very one-dimensional with little to offer other than dash and verve. Her recordings should be heard, and then be put aside in favour of more colourful and imaginative pianists.

Nelson Freire – an important pianist with a monster technique, he plays in the Argerich vein but with a greater range. His Chopin is worth hearing (preferably live) but certainly is not essential. I have not heard the recent recording of sonata 2 and op. 10 yet.

Guiomar Novaes – her 1949 Town Hall recording, though in awful, almost impenetrable sound, is worth hearing (when it can be heard) for the fervour and beauty of the playing. The two mazurkas and 25/9 etude are particularly great. Her VoxBox Chopin does not reach this level of achievement.


The school of David Saperton and his pupils

David Saperton – Godowsky's son-in-law, taught a number of excellent Chopin pianists. His complete etudes on VAI--his only surviving Chopin--are highly virtuosic in an old-fashioned manner, with a good deal of textual alterations and so-called romantic indulgences. In a word: vulgar. His freedom with music and the text rubbed off a good deal on his students, though thankfully not to such an intervening and tasteless degree.

Jorge Bolet – probably Saperton's most famous pupil. The 2-CD Marston set of live Chopin recordings is essential, as it contains a truly loving performance of the third sonata, some sonically luxuriant nocturnes, and thrilling readings of waltz 64/1, waltz in E minor op. posth, and the Andante Spianato e Grand Polonaise. Also unmissable is his 1974 Carnegie Hall recording of Chopin's op. 28, available in Philips GPOC. His Chopin recordings on Decca should be avoided.

Abbey Simon – his Chopin on VoxBox is definitely worth hearing – a lovely, characterful op. 58 and lively, fascinating performances of the complete etudes. I haven't heard his complete Nocturnes yet but imagine they'll be of the same high quality. Like Bolet, he played a Baldwin.

Sidney Foster – just a few small pieces of his Chopin exist from live recitals, available on an IPAM 2-CD set. They warrant hearing though – a fast yet musical 10/4 with an interventionist left-hand; dashing performances of 10/5 and 10/8, and a lovely performance of nocturne 48/1.

Julius Katchen – this is new info to me, but according to IPAM he was a pupil of Saperton's for a while. Unlike the above three, however, I don't think his playing reflects this. One of the most exciting virtuosi, the newly released 8-CD Original Masters set contains a disc of his Chopin playing (sonata 2 and 3, Fantaisie, Ballade 3 – previously available in the Australian Art of Katchen series). I wouldn't rate it quite as highly as the above three, though it's incredibly exciting and alive playing all the same.

Other Chopin pianists

Dirk Schafer – Dutch pianist. An Opal/Pearl disc contains a good deal of Chopin, revealing an uninspired and uninspiring pianist who had a lovely tone. I imagine he would have been more interesting live, as the notes mention how much he hated recording and needed an audience (perhaps merely a statement to excuse the recordings, however). Probably one of the first pianists to darken the concert hall while playing.

Gyorgy Cziffra – essential listening. Hungarian. A remarkable pianist, notable for his frightening virtuosity, marked individuality, and the personal rhythmic life of his playing. His Chopin, collected in a 5-CD EMI box, should be bought by everyone interested in great pianism. 

Natan Brand – essential listening. Israeli-American pianist. Studied with Nadia Reisenberg (Hofmann pupil) and Dorothy Taubman. He was a truly imaginative virtuoso who followed in the line of Anton Rubinstein--both in artistic beliefs and lineage. I hope that the new 2-CD Palexa set achieves its goal of publicising him, because in my opinion he was one of the great virtuosi of last century, a remarkable musician and a pianistic loss for our times on the scale of Ciani's.

Julian von Karolyi – essential listening. Born in what is now Slovakia. Studied with Cortot and Dohnanyi among others. Ninth prize in the second Chopin Competition. His playing was remarkable for its virtuosity and fecund imagination, as evinced by his op. 28 Preludes, complete etudes, first and second scherzi and a number of other pieces available in an out-of-print 2-CD Arkadia set. On Melodram is available his live PC 2 as well as the same op. 28 preludes and Barcarolle in the Arkadia set.

Ivan Moravec – essential listening. Czech pianist. The beauty of his playing, his refined and elegant phrasing, and his huge tonal palette make for very arresting listening. Every Chopin recording he's made must be heard (and I admit I haven't heard his first recording of op. 28 yet).

John Browning – American pianist. Studied with Rosina Lhevinne. A very dry, perhaps even academic style, he had the ability to play anything and his complete etudes on RCA do make for some quite good listening. The recent live Chopin recital on MSR--recorded the night of the Kennedy assassination--while strongly played is again plagued by a rather matter-of-fact quality.

William Kapell – American pianist. Another great loss for music fans in his early death. His recordings of sonatas 2, 3, and the mazurkas are outstanding performances. Anyone interested in Chopin should investigate in full.

Tamas Vasary – Hungarian pianist. Small-scale, lightweight Chopin; middle-of-the-road readings, occasionally beautiful but without notable distinguishing characteristics. His recordings could, possibly, make for a decent introduction to Chopin, but offer little to the seasoned listener.

Van Cliburn – American pianist. Studied with Rosina Lhevinne. Aside from his excellent and very clean sonata 3, I am not familiar with his Chopin performances.

Momo Kodama – Japanese pianist. Studied with Schiff, Nikolaeva, Perahia and Gornostaeva. Her immensely characterful and beautiful Chopin playing can hardly be attributed to her teachers. The disc on Exton contains an astonishing third scherzo, third sonata and fluid impromptus. In her late 20s, she has a great career ahead of her. 

Earl Wild – American pianist. I am only familiar with his complete nocturnes, which are plagued by a cartoonish, Disney World-like way of phrasing. When this does not interrupt, however, the playing has moments of great beauty and character.

Paul Badura-Skoda – Austrian pianist. He has said in an interview that in Poland he's viewed as a Chopin pianist. Based on his four ballades, fantaisie and barcarolle—a disc on Valois recorded in 1992—I don't for a second believe this. However his readings, played on a 1923 Bosendorfer Imperial, are sometimes engagingly light and clear, and though low-powered they do compensate for this with some notable insights. The sound is quite lovely too.

Pianists who don't make the cut

Murray Perahia – a distinctly mediocre talent who has been bolstered by 1) media hype, 2) his reputation based upon the pianists he studied with, 3) studio editing. Not recommended.

Nikita Magaloff – same as above. In a word: dull. Avoid.

Alfred Brendel – I recently read that his recording of the Polonaises evoked the quip "Germany invades Poland again". Very suitable. Avoid.

Piotr Anderszewski – a farce of Chopin playing on his recent Virgin disc. The cover photo pretty much sums up the sad affair. Avoid.

Valery Afanassiev – an even greater farce. His mazurkas make Anderszewski's sound alive. Haven't heard the mixed nocturnes yet. Avoid at all costs.

Alexis Weissenberg – aggressive, unforgiving, monochromatic Chopin. Avoid.

Ferruccio Busoni – though I think his Bach Prelude in C is one of the great piano recordings, I also think his Chopin is like a steel trap.

Francois-Rene Duchable – superficial, overly virtuosic Chopin. Nothing to offer emotionally. Avoid.

Nikolai Lugansky – faceless playing on his Erato disc (op. 28 preludes & nocturnes). Haven't heard the etudes but based on everything else I've heard I can't imagine they'll be anything special.

Wilhelm Backhaus – should have stuck to Beethoven. Avoid.

Wilhelm Kempff – should have stuck to Beethoven. Avoid.

Freddy Kempf – should have stayed at the conservatory. Avoid.

Yes, we have no bananas

ezodisy

oh god what an embarrassment. lol! You owe me a pint

You know your coach is mad when Robbie Keane doesn't even make the bench

Peregrine

Quote from: ezodisy on January 25, 2009, 12:38:35 PM
oh god what an embarrassment. lol! You owe me a pint

You know your coach is mad when Robbie Keane doesn't even make the bench

Don't be silly, it was(is) a great post, you must have had far too much time on your hands back then...

But you're right, I do owe you a pint!

;D

Don't want to talk about football....
Yes, we have no bananas

ezodisy

Quote from: Peregrine on January 25, 2009, 12:44:24 PM
Don't be silly, it was(is) a great post, you must have had far too much time on your hands back then...

But you're right, I do owe you a pint!

;D

Don't want to talk about football....

lol! Sorry. Some of it is good and useful, I think so, but the bottom is embarrassing and pretty much despicable. Not only is it horribly arrogant, but it sounds like a bad imitation of Dan Koren  :'( :'( :'(

I must have written that before hearing Kemal Gekic (who'd go in the Greatest list)

Peregrine

Quote from: ezodisy on January 25, 2009, 12:54:10 PM
lol! Sorry. Some of it is good and useful, I think so, but the bottom is embarrassing and pretty much despicable. Not only is it horribly arrogant, but it sounds like a bad imitation of Dan Koren  :'( :'( :'(

I must have written that before hearing Kemal Gekic (who'd go in the Greatest list)

Ha! Ha! Yes, it is quite 'Koren-esque', nowt wrong with that!  ;)

Good to see your views on Afanassiev's Chopin haven't changed! I've still got the Denon CD with his selection of Mazurkas, utterly bizarre, but can't let it go for some strange reason...
Yes, we have no bananas

Peregrine

Quote from: Peregrine on January 25, 2009, 12:19:11 PM
Momo Kodama – Japanese pianist. Studied with Schiff, Nikolaeva, Perahia and Gornostaeva. Her immensely characterful and beautiful Chopin playing can hardly be attributed to her teachers. The disc on Exton contains an astonishing third scherzo, third sonata and fluid impromptus. In her late 20s, she has a great career ahead of her. 

Not a pianist I'm familiar with, is this the disc you were originally referring to?:

http://www.amazon.co.uk/Chopin-Piano-Sonata-No-Scherzo/dp/B0013GBD9W/ref=sr_1_1?ie=UTF8&s=music&qid=1232921419&sr=1-1

Yes, we have no bananas

aquablob

Ah, I remember that post!!

sidoze...

So have you checked out any more of Earl Wild's Chopin yet? Ballades/Scherzi or the Etudes? I know what you mean about his phrasing, but I think he offers a unique take on most of these pieces. Whether or not it "works" is up to the listener, I suppose, but I tend to find his interpretations convincing. I like his Op. 52 quite a bit (maybe not my #1 favorite).

Glad you agree with me on Cziffra and Michelangeli, too!

ezodisy

Quote from: Peregrine on January 25, 2009, 01:14:02 PM
Not a pianist I'm familiar with, is this the disc you were originally referring to?:

http://www.amazon.co.uk/Chopin-Piano-Sonata-No-Scherzo/dp/B0013GBD9W/ref=sr_1_1?ie=UTF8&s=music&qid=1232921419&sr=1-1

yeah that's the one, they re-released it and it's quite easy to get now. Her Messiaen Vingt Regards are pretty amazing too in perfect sound, one of the best recordings IMO. I have the Chopin CD and will copy it, awesome scherzo 3 IMO. Will take a week or two for me to get the disc though.

aquarius, nope only Wild's Nocturnes, which I still think have a strange bubblegum flavour (can't find any other way to describe it). The phrasing seems gimmicky to me.

I'd probably take back that comment about "Tropp--best 2nd sonata in past 10 years". I heard it last year and wasn't really impressed. Without a doubt the most characterful 2nd sonata in the past 20-odd years is by Natan Brand IMO.

Anyway it's not really important. All these different readings means there's a lot to enjoy

aquablob

Quote from: ezodisy on January 25, 2009, 01:48:30 PM
Anyway it's not really important. All these different readings means there's a lot to enjoy

No doubt.

Holden

A great repost so please don't delete it.

Yes, I would add Gekich to the list and I suppose that you'll have to write up Blechaz as well.

There is one notable, but not surprising omission in your survey (you may differ, of course). His recorded Chopin output just fills up one CD yet this is some of the best Chopin playing I've ever heard. I'm talking about Solomon Cutner, better known for his perusal of the classical period repertoire. I'm not sure if you've heard this but can I strongly suggest that you do. It was you, Tony, that put me onto Sokolov and one or two others so I'm trying to return the favour.
Cheers

Holden

ezodisy

Quote from: Holden on January 25, 2009, 02:37:58 PM
A great repost so please don't delete it.

Yes, I would add Gekich to the list and I suppose that you'll have to write up Blechaz as well.

There is one notable, but not surprising omission in your survey (you may differ, of course). His recorded Chopin output just fills up one CD yet this is some of the best Chopin playing I've ever heard. I'm talking about Solomon Cutner, better known for his perusal of the classical period repertoire. I'm not sure if you've heard this but can I strongly suggest that you do. It was you, Tony, that put me onto Sokolov and one or two others so I'm trying to return the favour.

Cheers Holden. I didn't get around to buying that CD -- had heard the Berceuse and a ballade (4?) on a mixed disc but I think that's it. Will check it out some day, not listening to much Chopin lately, except for some old favourites. I suppose Nelson Goerner, a pianist Maciek has been mentioning lately, would be another to check out

George

Quote from: ezodisy on January 25, 2009, 12:54:10 PM
Maria Tipo – her complete nocturnes (EMI) are very beautiful indeed – slow, dark yet colourful, very moving. As are her complete ballades live on Aura. Very highly recommended.

I certainly agree about the Nocturnes. As for the Balllades, this release on Aura, I assume it's her 1979 performance? I have her live Ballades on Ermitage and was wondering if they are the same. The ballades are paired with the LvB Op 109 and a Mozart sonata.