Chopin Recordings

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

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rubio

Quote from: George on October 18, 2010, 10:07:46 AM
You like them more than the DG set?

Ouch, I didn't notice. It's of course the DG set I have and cherish :). I have not heard the RCA set.
"One good thing about music, when it hits- you feel no pain" Bob Marley

Oldnslow

I haven't heard the earlier set of Mazurkas by Luisada. In fact the only other CD I have by him is his debut CD of Chopin from years ago on a french label called Harmonic. This new set is really something special. It is a hybrid Super Audio CD recorded in Japan on a wonderful piano. I just can't stop listening to it.....one of the best piano recordings I own for sure.

Mandryka

#962
I heard a couple of nocturnes  recently -- Op 27/1 and Op 62/2

Listening to the playlist of Op 27/1s  it became clear to me that  Moravec's. Cortot's and Sofronitsky's (1960) recordings dwarfed  all the others.

There were lots of other absolutely fabulous pianists  -  Weissenberg and  Van Oort for example - but they appeared a bit   inferior in the shadow of these two. And others, like Runbinstein (1930s), Wirssaladze , Pollini, Godowsky, just seem to be beautiful note spinners with nothing important to say at all.

Ciani's recording on DG just may be a third way. His style is not unlike Sofronitsky -- I'd be surprised if he wasn't influenced by Sofronitsky's late style in Chopin. I'll certainly be listening carefully to that Ciani Op 27/1 sometime in the future.

Of course there's a fourth category: the ones I never want to hear again because they trivialise the thing beyond recognition: Bolet (on Marston) , and Boegner I'm afraid.

Anyway - that's what I thought when I listened to a whole bunch of them recently.

In Opus 62/2 the the alpha-pianist was Pletnev.

In Pletnev's recording , there's no shortage of lyricism, but there's also a feeling of  ambiguity: sometimes the left hand is given as much prominence as the right. And for me that makes for a more interesting listening experience, if a more challenging one.

Moiseiwitsch recorded this nocturne too -- he's polished, deeply felt, very much in the traditional schemas of soothing night music in the form of melody with accompaniment.

I get bored with both those schemas very quickly.

I quite liked Ciani and Weissenberg too in this.


But I also can't help thinking that this nocturne is not quite as successful as the one that comes before it. There's less going on in it to stimulate the brain maybe, though it is no doubt beautiful.
Wovon man nicht sprechen kann, darüber muss man schweigen

Herman

I have Sofronitsky in 27/2, but not in 27/1.

What's the provenance of yours, if I may ask?

Mandryka

Wovon man nicht sprechen kann, darüber muss man schweigen


Mandryka

Quote from: George on November 13, 2010, 08:41:05 AM
Can you post the dates for those recordings, please?

1960 -- January or February. :-*
Wovon man nicht sprechen kann, darüber muss man schweigen

George

Quote from: Mandryka on November 13, 2010, 10:05:57 AM
1960 -- January or February. :-*

Thanks. I just wanted to make sure they were different than the ones in the Brilliant box, which they are.

ccar

#968
Quote from: Mandryka on November 12, 2010, 09:43:44 PM

Listening to the playlist of Op 27/1s  it became clear to me that  Moravec's, Cortot's and Sofronitsky's (1960) recordings dwarfed  all the others.


Prompted by Mandryka's comments on a previous post, I went into relistening to a few recordings of the C sharp minor Nocturne Op.27/1. Cortot described it as Chopin's most accomplished and fervent dream for the piano. It is one of the most famous Nocturnes and many pianists record it, even outside the complete set.

Before listening to a few recordings I tried to be helped by a quick look at the music sheet. I am not a musician and I don't pretend to do any serious music analysis. But I feel that if I get my own basic reading of a piece it helps me to discover more interesting details and possibilities in the various interpretations I look to. In this Nocturne, the beginning Larghetto introduces a longing and soft melancholic singing motif, with repeating left hand chords in contrast with beautiful agogic notes on the right, producing an almost hypnotic or remembering atmosphere.  This motif is then reintroduced, perhaps in a less restful way, preparing the contrasting second motif. This second part motif is marked Più mosso and builds in a crescendo of passionate agitation, almost like a dream that suddenly turned into a nightmare. The initial tension apparently resolves into a quick valse-like motif but follows by a repeated dramatic climax. In the third and final part, in Tempo primo, the initial lyric and resting motif returns.

My personal interests in this Nocturne are to discover how each pianist depicts the atmosphere, the color or character of each motif,  how they mold Chopin's wonderful transitions between the parts and particularly how they get from this miniature the sense of a complete dramatic episode. And at the end of each listening, at least with the more magical interpreters, I also hope for the illusion of being touched by that small mystery.

In this wandering spirit I first relistened two of the top suggestions of Mandryka  - Sofronitsky and Moravec. Sofronitsky is one of the great giants of the piano and many of us also regard Moravec as one of the most inspiring artists of his generation. Listening and comparing their readings of the Op. 27/1 Nocturne was very rewarding.   But how apart are the worlds of these two artists. For me it exemplifies brilliantly, once again, how the same piece can (must?) be given in so many rich but different and complementary ways. And how limited are the common judgments of the "best recordings" or the "right and wrong way" of playing, being it Chopin or whatever. 
   
In Moravec's the first motif is stated with the most profound intimacy and fragility. The right hand notes seem almost suspended and the left chords add like a continuous floating tone, giving the piece a wonderful misty atmosphere. In the initial reintroduction of the first motif there is a first hint of tension and its singing character is more clearly defined. The second motif is presented in the same dreamy atmosphere but the tension is then slowly apparent, not by  dynamic or color effects but by a brilliantly defined  rhythmic progression and phrasing that builds the first 2 dramatic climaxes of the second part. The transition to the Tempo primo is completely natural and this last part is given as a beautiful hymn-like conclusion.             
 
Nothing could be more different from Moravec than Sofronitsky. With Sofronitsky the dramatic tension of the piece is immediately anticipated. When his right hand sounds the first notes there is an instant painful poignancy that sets the tone of the whole piece. And those left hand chords seem so much more unpredictable and disconnected, adding to that right hand lyric theme an even more aching unsettledness.  With Sofronitsky there is never any sweetness in that first motif introduction. But then, curiously, the first motif reintroduction is much more restful, and it creates an even more intense contrast with the tension of the following second part motif. Sofronitsky uses a right hand rubato to magnify the beginning of the dramatic crescendo of the second motif introduction and then builds it into the first passionate climax using full tones to create a myriad of expressionist colors. The valse-like motif is immersed in a torrent of piano sound and just prepares a second strong dramatic climax in the end of that middle part. He resolves it into an almost unnoticed transition to the repeating first motif, as if continuing the same dramatic flow into the more lyric first theme, now given as a dark and distant solemn epilogue. 

Going to the shelves I had the joy of listening this Nocturne played by quite a few pianists, many already and rightly mentioned in this thread. But I also remembered some less mentioned artists who, for me, gave us beautiful readings of this piece. So, for those who venture to explore some less frequented waters, I would also suggest the recorded versions of Andrzej Wasowski (1989, Concord Concerto), Vitalij Margulis (1981, Inak) and Youra Guller (1956, Doron; 1975, Tahra).



        

George

Indeed, Wasowski is great.

Yesterday I listened to Sofronitsky's Chopin Scherzo from that Russian Piano School set. My goodness!! I love the way he plays the dramatic parts intensely and the relaxed parts (often right alongside the intense parts) with great depth and beauty. I don't even like the Scherzos that much, but Sofronitsky has sure sold me on them.

Verena

I wonder why Wasowski is not much well known. I also really like his Nocturnes and Mazurkas.
Don't think, but look! (PI66)

George

Quote from: Verena on November 14, 2010, 02:11:28 PM
I wonder why Wasowski is not much well known. I also really like his Nocturnes and Mazurkas.

I imagine if he had been on a Major Label, he would have been very famous.

Mandryka

#972
Quote from: George on November 14, 2010, 01:51:29 PM
Indeed, Wasowski is great.

Yesterday I listened to Sofronitsky's Chopin Scherzo from that Russian Piano School set. My goodness!! I love the way he plays the dramatic parts intensely and the relaxed parts (often right alongside the intense parts) with great depth and beauty. I don't even like the Scherzos that much, but Sofronitsky has sure sold me on them.

Yes -- the Scherzo opus 20 is really savage. Indescribable. A real summit IMO.

Pogorelich's Scherzo CD is good I think.

Ccar mentions Margulis. I have and really like his Cd with the second sonata. Unfortunately the nocturnes Cd is pretty hard to find. But yes, I think he's an interesting and individual  pianist. I have also picked up some Scriabin by him -- but I don't think I have ever played it!

I'm less convinced about Wasowski myself.  He's one of the pianists who never looks so good when I do the comparative ting with my Squeezebox. The Op 27/1 sounded quite nice when I played it just now though.

Wovon man nicht sprechen kann, darüber muss man schweigen

George



Picked this one up today for $6.99 in near mint condition. I almost didn't buy it, but judging from the price on amazon, I am sure glad I did.  :)

Philoctetes

Quote from: George on November 28, 2010, 10:51:46 AM


Picked this one up today for $6.99 in near mint condition. I almost didn't buy it, but judging from the price on amazon, I am sure glad I did.  :)

Plus, Alexis is a can't miss pianist.

springrite

Quote from: George on November 28, 2010, 10:51:46 AM


Picked this one up today for $6.99 in near mint condition. I almost didn't buy it, but judging from the price on amazon, I am sure glad I did.  :)

Good stuff, but unmistakably Slavic.  ;)
Do what I must do, and let what must happen happen.

Antoine Marchand

Quote from: George on November 28, 2010, 10:51:46 AM


Picked this one up today for $6.99 in near mint condition. I almost didn't buy it, but judging from the price on amazon, I am sure glad I did.  :)


;D

Mandryka

#977
Interesting that he retains his popularity -- I'm a fan myself, even in Chopin. He's an extreme point of view  though -- just like Moravec is an extreme.

Surely there are some conservatives and romantics here -- we can't have a Weissenberg love in. A fight would be more interesting.

This is IMO the greatest thing he ever did. Not Chopin -- Scriabin. But can't resist posting it here. The gentleness and humanity of it is awesome


http://www.youtube.com/v/KIv2KmBOeTQ






Wovon man nicht sprechen kann, darüber muss man schweigen

Bogey

Without going through all 49 pages, any mention of YURY BOUKOFF's Chopin that any of you rememeber?
There will never be another era like the Golden Age of Hollywood.  We didn't know how to blow up buildings then so we had no choice but to tell great stories with great characters.-Ben Mankiewicz

PaulSC

You are the first to mention Yury Boukoff.

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