Chopin Recordings

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

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George

Quote from: kishnevi on March 26, 2010, 06:49:53 PM
George, you should have had brackets and made it a March Madness play-off.
I don't have most of the versions you list--just four (Rubinstein, Pollini, Argerich, and Arrau (studio).  But I do have one you don't mention, the relatively recent one by Blechacz.  Is he one you've simply not heard, or one you've listened to and found wanting?

I just haven't heard it yet. I think I assumed that he plays in that modern style that I am not fond of. Am I wrong?

Holden

Quote from: George on March 26, 2010, 06:21:51 PM
And thanks very much for your post, Holden.

I have no idea why, but the live Bolet and live Arrau never completely clicked for me. I enjoy them both, but I don't consider them a top choice. I can't say exactly why, only that the performances just don't "speak" to me as a number of others do.

I agree with your point that these works are part of a whole and should be played that way (though Richter would perhaps argue the contrary) but it was impractical for me to compare 27 sets of preludes in this manner. My plan is to listen to the 6 top choices as a set over the next few weeks and see how they come across that way. At any rate, I like a slow 2nd prelude and a big, epic final prelude. These two preferences eliminate a lot of performances right off the bat, though I try my best to be open minded.


...and that's the thing about the Chopin Preludes. They are an enigma in themselves because Chopin never stated why he wrote them. it's interesting that numbers 4 and 6 were played at his funeral.

Why where they composed? Was there meant to be a fugue with each one like Bach's WTC? Is this why you get so many widely varying yet acceptable performances of this work. It is one of my favourite all time compositions
Cheers

Holden

George

Quote from: Holden on March 26, 2010, 06:54:07 PM

...and that's the thing about the Chopin Preludes. They are an enigma in themselves because Chopin never stated why he wrote them. it's interesting that numbers 4 and 6 were played at his funeral.

Why where they composed? Was there meant to be a fugue with each one like Bach's WTC? Is this why you get so many widely varying yet acceptable performances of this work. It is one of my favourite all time compositions

I have always loved the nocturnes a lot more (I could listen to them every night), but the preludes are special indeed.

kishnevi

Quote from: George on March 26, 2010, 06:53:38 PM
I just haven't heard it yet. I think I assumed that he plays in that modern style that I am not fond of. Am I wrong?

Mmmm--not quite sure what you mean by modern.
In fact, now that I think of it, it's been a while since I've listened to any of these recordings, so I'd better not comment in detail on them--only say that my general impression  of Blechacz was that I liked him better than Pollini and Rubinstein,  and possibly Arrau.

It's too late tonight, but guess what I'll be listening to tomorrow after I come home from work?

Dancing Divertimentian

Quote from: George on March 26, 2010, 04:34:42 PM
2. Moravec (Supraphon)- I had previously thought the much rarer, OOP VAI preludes were better than these, but after comparing them side by side, these are the clear winner. The piano tone is clearer and the playing is alternately more beautiful and more exciting.

Right on!

Moravec = Chopin heaven.

I think it's the exoticism of his playing that enthralls. Rich and colorful with a daring that illuminates each bar. 
Veit Bach-a baker who found his greatest pleasure in a little cittern which he took with him even into the mill and played while the grinding was going on. In this way he had a chance to have the rhythm drilled into him. And this was the beginning of a musical inclination in his descendants. JS Bach

George

Quote from: kishnevi on March 26, 2010, 07:29:55 PM
Mmmm--not quite sure what you mean by modern.

More like Pollini, less like Arrau.

Quote
It's too late tonight, but guess what I'll be listening to tomorrow after I come home from work?

Working for the Weekend by Loverboy?  ;)

I am in the process of downloading that Blechacz and plan to listen to it this weekend.  8)

George

Quote from: Dancing Divertimentian on March 26, 2010, 07:37:22 PM
Right on!

Moravec = Chopin heaven.

I think it's the exoticism of his playing that enthralls. Rich and colorful with a daring that illuminates each bar.

Only his Ballades have disappointed me. I have tried a few times, but can't seem to follow him.  :-\

Otherwise, yes, his Chopin is superb. 

kishnevi

Quote from: George on March 26, 2010, 07:39:37 PM
More like Pollini, less like Arrau.

In that case--he's more on the Arrau side than the Pollini side, I think.  But I'll have to listen to them all again to be sure.

Quote

I am in the process of downloading that Blechacz and plan to listen to it this weekend.  8)

I'll be interested in your opinion.

Dancing Divertimentian

Quote from: George on March 26, 2010, 07:41:06 PM
Only his Ballades have disappointed me. I have tried a few times, but can't seem to follow him.  :-\

How interesting. I think I'll give his Ballads a spin again soon and see how they measure up.

Who do you like in the Ballads, btw?
Veit Bach-a baker who found his greatest pleasure in a little cittern which he took with him even into the mill and played while the grinding was going on. In this way he had a chance to have the rhythm drilled into him. And this was the beginning of a musical inclination in his descendants. JS Bach

George

Quote from: Dancing Divertimentian on March 26, 2010, 07:52:14 PM
How interesting. I think I'll give his Ballads a spin again soon and see how they measure up.

Who do you like in the Ballads, btw?

When I last compared, I liked the live Tipo best. Perahia was one of my first and I recall liking that set as well. Gulda's set is a technical marvel. 

George

Quote from: kishnevi on March 26, 2010, 06:49:53 PM
George, you should have had brackets and made it a March Madness play-off.

;D 

I am always looking for ways to compare recordings and keep it fun, you might be onto something there.

Quote
I don't have most of the versions you list--just four (Rubinstein, Pollini, Argerich, and Arrau (studio).  But I do have one you don't mention, the relatively recent one by Blechacz.  Is he one you've simply not heard, or one you've listened to and found wanting?

I actually listened to this one this morning. His tone is nice and his technique is sound. However, his playing lacks the depth I hear in Cortot, Moravec and Sokolov and that last bit of excitement I hear in Katsaris, Argerich, Sokolov and Fiorentino.   

Peregrine

Some recitals over at Symphonyshare from Nantes 2010. Not pianists I'm familiar with, but have seen praise for them both over at RMCR -

Momo Kodama

Impromptu en fa dièse majeur opus 36
Nocturne en ut mineur opus 48 n°1
Quatre Mazurkas opus 41
Scherzo n°3 en ut dièse mineur opus 39
Deux Nocturnes opus 27
Moderato (Feuille d'Album) en mi majeur
Sonate n°3 en si mineur opus 58
Scherzo n°2 en si bémol mineur opus 31
Valses opus 34 n°2 et n°3
Variations brillantes en si bémol majeur opus 12
Quatre Mazurkas opus 24
Fantaisie-Impromptu en ut dièse mineur opus 66

http://bit.ly/coC4gB


Anne Queffélec

Ballade n°3 en la bémol majeur opus 47
Ballade n°4 en fa mineur opus 52
Nocturne en sol mineur opus 37 n°1
Scherzo n°4 en mi majeur opus 54
Trois Mazurkas opus 50 No 1
Trois Mazurkas opus 50 No 2
Trois Mazurkas opus 50 No 3
Valse en fa mineur opus 70 n°2
Valse en mi bémol majeur "Sostenuto"
Berceuse en ré bémol majeur opus 57
Barcarolle en fa dièse majeur opus 60
Nocturne en sol mineur opus 15 n°3
Cantabile en si bémol majeur
Largo en mi bémol majeur
Valse en la bémol majeur opus 69 n°1

http://bit.ly/bjhhpq
Yes, we have no bananas

George

Quote from: Peregrine on March 30, 2010, 10:52:36 AM
Some recitals over at Symphonyshare from Nantes 2010. Not pianists I'm familiar with, but have seen praise for them both over at RMCR -

Anne Queffélec

I enjoy her Satie, so I should check that recital out, Thanks!

Scarpia

Listened to Samson Francios' recording of the third Sonata.  I was mightily impressed with his 2nd, but this one didn't have the same effect.  He's better at the apocalyptic than the ecstatic Chopin.

George

Asked this in the Rubinstein thread, but it seems more appropriate here:

Anyone know why Rubinstein and Moravec didn't record these for their complete sets?

Also, which are your favorite performances of these two works?

Verena

QuoteAlso, which are your favorite performances of these two works?

Rubinstein's first set and the few Sokolov performances of individual Nocturnes I have listened to. If only Zimerman or Sokolov were to record a set..
Don't think, but look! (PI66)

Verena

sorry George - I misread your question ..
Don't think, but look! (PI66)

George

Quote from: Verena on March 30, 2010, 03:04:05 PM
Rubinstein's first set and the few Sokolov performances of individual Nocturnes I have listened to. If only Zimerman or Sokolov were to record a set..

I LOVE Zimerman's Concerti with the Polish Orchestra. Best I have heard of these two works.  :)

Verena

QuoteI LOVE Zimerman's Concerti with the Polish Orchestra. Best I have heard of these two works.

Zimerman's Ballades on DVD are also great (not the same recording as the CD, although I think it was recorded the same year); I also love many of his early Chopin recordings
Don't think, but look! (PI66)

George

Quote from: Verena on March 30, 2010, 03:30:58 PM
Zimerman's Ballades on DVD are also great (not the same recording as the CD, although I think it was recorded the same year); I also love many of his early Chopin recordings

I only have the CD version of his Ballades. I recall that he played them in a "for the concert hall" manner. I should revisit them, for when I last heard those recordings I had a narrow definition of how these works should be played.