3 comments about Chopin: Études & Ballades.

1. This disc offers a breathtaking interpretation of 24 etudes by Frederic Chopin, together with 2 ballades.
   I have heard many performances of Chopin's etudes, but never something like this. It is simply incomparable. Gavrilov has a technique like a machine gun, but its not the only strong point of his playing here. On the one hand, his "firework brilliance" and deadly speed of fingers must depress every professional pianist and we can just stare and envy. We shouldn't admire just the skills of the performer, but also the mechanism of the instrument he performs at, because likely not every piano could receive such an airstrike from Gavrilov's fingers without getting crashed after several bars. On the other hand, the sound is beautiful and romantic. The lyrical etudes (especially the one in E-flat minor Op.10 No.6) are magical poems to dream.
   Great variety of moods, a phenomenal technique, and the best performance of the Chopin etudes ever made, be sure!
   This is a MUST.



2. Gavrilov plays the Etudes for all their worth. What overwhelms me most about Gavrilov's playing is the love with which he approaches every note. I get the impression that the C major Etude (Op. 10 No. 1) is his favourite. Whereas Pollini sounds rather irritated when he plays it, Gavrilov plays it with a lot more beauty. It is obvious that he's spent endless hours shaping and shading each Etude, and yet they still sound spontaneous.

   In my mind the Ballades are even more impressive, and they prevent me from readily dismissing Gavrilov as an important Chopin interpreter. Gavrilov approaches them with a lot of tenderness and thought, and he is able to capture the spirit of the Ballades through his direct and unassuming approach. Some of the slow parts in the G minor Ballade are rendered with exceptional beauty, and sound almost like the 'hoo-hoo's in the 2nd movement of Rachmaninov's 2nd Concerto.

   Gavrilov has a lot more ability and a lot less ego than a lot of other, very much grumpier, pianists. I enjoy his fresh approach. If you can't appreciate the beauty, which is actually quite simple, there is the excitement. Gavrilov will never fail to hold your attention.




3. To my mind, Gavrilov plays the Etudes beautifully. He treats the more powerful studies, e.g. Op.10 Nos. 1, 4, 12 and Op.25 Nos. 10, 11 & 12, with a dazzling technique, as if driven by some supernatural force. In the more lyrical pieces, e.g. Op.10 Nos. 3 & 8, and Op.25 Nos. 1, 2 & 7, he surprised me with a very understated and introspective approach. I was not as impressed by his performance of the Ballades, but they are still an excellent addition to what is one of the best recordings of the Etudes I have heard, and that includes Pollini and Ashkenazy!

No comments about Adam Harasiewicz Plays Frédéric Chopin.

2 comments about Mad about Chopin.

1. Well, if two points determine a line than this review will certainly reinforce the idea that "Mad About Chopin" is missing some of the essential works by the composer. Yes, we have the "Minute Waltz," but we do not have either the "Military Polonaise" or the "Polonaise in A Major," not to mention the "Nocturne in E-Flat Major." So while this is an adequate Chopin collection, it is certainly not the best in my collection. For some reason, the "Mad About" series is not as strong when it focuses on a particular composer. Go figure.



2. This CD is a very good start for anyone that's not familiar with Chopin's music. It includes about every facet of his work, including a sonata, a ballade, mazurkas, polonaises etc... But no nocturnes? And not even one movement of a piano concerto? And only one impromptu? Also, there are a little too much mazurkas on the CD. Aside from these defects, the CD really is a great buy.

1 comments about Chopin: Piano Sonatas; Nocturnes.

1. I am a HUGE fan of Chopin's piano works, and this is a great recording. The Sonatas are wonderfully performed and the Nocturnes and Ballades are gorgeous. They are filled with emotion. Pollack does a wonderful job of performing. I love his interpretation of the pieces, especially of the nocturnes and the Funeral March.

   I only wish there were more of Chopin's nocturnes on this disc, but that is the only drawback. It is a great recording of wonderful music, and it's cheap! How great is that!

3 comments about The Faenza Codex.

1. Here's an example of how wrong-headed the great Marcel Peres can be at times, and of how desperately hard it is to perform medieval music well. I see that two previous reviwers have praised this CD highly; I can't imagine why. As a listening experience, it makes no sense to have all nine vocal works first and then ten instrumental works of the same style from the same source. But that's just the beginning of the problems. The countertenor, Gerard Lesne, is one of the prime Baroque soloists of our age, with a voice of incomparable natural richness. The other three singers are almost equally qualified, yet the ensemble is awful -- thick and muddy, over-freighted and under-articulated. The tempi are way too slow, the hockets hang over each other like horn players' bellies, and the whole butterfly sprightliness of this repertoire is melted into a texture reminiscent of a salted slug.
   Then Peres sits down at his imaginary instrument, his clavicytherium, built I suspect after a painting by Fra Angelico or some contemporary. The thing has all the tonal charm of a schoolboy banging the rusty bars of the playground fence. Plus, Peres doesn't seem to play it very well.
   
   Ensemble Organum has produced some of the finest recordings of early music ever made. Their CD of the Ockeghem Requiem, for instance, is immortal. But this one? "Ja ha," as my mormor used to say, "ever body make mistakes."



2. I agree with the previous reviewer that the vocal arrangements were quite good. They were lively and pleasant. One of my coworkers who sings in a choir remarked at how well they handled difficult passages.
   
   I feel that the keyboard works were balanced and clear. Most music of this era is interpreted with ensembles which gives the music more color. Given here that they are played on an ancestor of the harpsichord, the clavicitherum, there is a "black and white sketch" aspect to the instrument which colors the music. Upon repeated listening the intrinsic worth of the music can be heard in spite of the limitations of the instrument.
   
   This CD is a worthy purchase.



3. This is a bugdet-price CD devoted to a 15th century codex found in Faenza (Italy): here we have the oldest collection of paraphrasis for a keyboard instrument, built around poliphonic secular pieces from Ars Nova's composers (notably Machaut and Jacopo da Bologna).
   The original vocal works (not in the codex itself) are very well performed by Pérès and his own ensemble, with warmth and (remarkable aspect) satisfacting italian pronunciation.
   Frankly speaking, the major interest would be in the keyboard transcriptions, performed by Pérès on a copy of a 15th century 'clavicytérium': sadly, I find his account sometimes a bit too cold and uniform, becoming gradually interesting only after repeated listenings; of course, careful comparation with the original work may help the listener.
   Booklet notes and translation are good, so it's a true pity that I can't give full 5 stars to this nice CD.

1 comments about Russian Piano School: Sviatoslav Richter, Volume Six.

1. Sviatoslav Richter offers us the best of his craft in this historic documents that gathers his early recordings.
   
   His Bach is very interesting; combining clearness, precision and expression., The Fantasy is played steely but the Italian Concert remind us to the first ages of Glenn Gould.
   
   His Haydn is simply distorted; there is neither humor nor grace; besides it is extremely fast and very inexpressive. His Beethoven simply lacks of soul and definition. There is abundant exhibitionism but nothing else.
   
   Finally his Chopin sounds effective and precise, even a bit of coldness and expression.
   
   Recommended for historic reasons.

No comments about Brahms: Hungarian Dances WoO1; Waltzes Op39.

1 comments about Brahms: Piano Sonata No. 3; Ballades, Op. 10.

1. I've just recently heard Brahms's Op. 1 and 2 piano sonatas for the first time, performed by Idil Biret on the Naxos label. While I think the Op. 1 and 2 are remarkable for having been conceived by a 20 year old Brahms, they were still light and admittedly average. I find myself completely shocked, however, at the progression found in this third sonata. In addition to this sonata, the Ballades are also powerful and exquisite gems that deserve as much praise as the Op. 5. For those already familiar with the works, I'm afraid I won't be of much help in comparing Biret to Perahia or Kissin or anyone else. My familiarity with these pieces stems only from Biret's recording here. Nevertheless, she plays these works with astounding endurance, intensity and passion. I don't know if her interpretation is the most refined or if her phrasing is immaculate. But she plays with fire and energy that surely enhances the inherent drama in these works. In the lyrical sections, she is warm, gentle, melancholy and very patient to express all that Brahms has to say.
   
   The Piano Sonata No. 3 is mindboggling. The music material and the caliber of the themes is much improved from the last two sonatas. I don't know what happened in between Op. 2 and Op. 5, but Brahms has written his greatest piano sonata here. It's a shame he didn't return to the form later in his life since at the tender age of 20 he has managed to compose such a good one. The first movement sounds more like Liszt with its virtuosic flare; of course the dark but majestic main theme is pure Brahms. Biret really creates a hellfire of torrential piano chords during the course of this movement. She contrasts this in the gentle moments where her delicacy is quite apparent. The second movement is another stunning piece. Where did Brahms find these ideas? His melancholy and passion is absolutely sublime in this movement; the gradual release of romantic feelings at the end is of such gorgeous proportions. It also seems reminiscent of Liszt. Biret really taps into her reflective side and actually gives vocal powers to the piano strings.
   
   The last three movements of this sonata are original and melodically unique. The Scherzo contains a delightful waltz-like theme and a contemplative trio section. Biret plays both sections with outstanding dynamics and control. The Intermezzo is a splendid and poignant work that explores a dark mood, very similar to Beethoven's Funeral March movement from his Piano Sonata No. 12. Some of the most quiet and brooding music occurs in the middle and Biret showcases her tremendous mastery of dynamics. She bids pianissimo and then commands forte in a single bar. The finale is an exciting epilogue to this grand sonata, played with energy and enthusiasm. Biret's fusion of technique and singing tone is especially emphasized here. The music itself is wonderful all throughout. Under Biret's fingers, the virtuosic sections scintillate in the style of Alkan and Chopin.
   
   Although I have no other recording to use as a measure, I believe Biret does a magnificent job with the Ballades. She delivers drama and raw emotion. And there is nothing missing or weak in her execution. The first Ballade is mindblowing in its originality and its overwhelming sinister nature. Again, I am reminded of Liszt with the menacing bass chords and funeral atmosphere. Biret plays this piece with full-blooded passion, creating a cloud of angst throughout the work. The second Ballade explores lighter and more romantic material; Biret exhibits her graceful touch and ability to summon a serene wall of sound from the piano. The third Ballade is my least favorite but still attractive with its ternary form in the style of an Intermezzo. The fourth Ballade, though, is my personal favorite. Brahms unearths a ghostly mist of haunting music. Biret understands this music and she plays with all the appropriate depth and feeling.
   
   Bottom line: For piano masterpieces of Brahms's youth, this CD is a must-have. Biret's virtuosity and nuanced playing makes these works incredibly engrossing. The music breathes, the drama is bursting, the melodies are clear, and the budget price of this disc makes it highly recommendable.

1 comments about Louis Kentner Plays Liszt.

1. To talk about the significance of this outstanding pianist is to talk about one of the most distinguished pianists of the Century. His musicality and technique were superb. A magnificent musical Ambassador of his native Hungary and other additional evidence of the musical tradition of that beloved country who saw to born artists of the stature of Sandor Vegh, Erwin Niyreghihazi, Bela Bartok, Joseph Szigetti, Edith Farnadi, Ferenc Fricsay, Andor Foldes, Gyorgy Sandor and Andras Schiff among others.
   A true champion in what concerns to Liszt 's playing.
   He was the first pianist who gave the European premiere of Bartok 's Piano Third Concerto with Adrian Boult conducting.

2 comments about Debussy: Solo Piano Music, Vol. 2.

1. This is an essential CD. The most poetic and finest reading of Debussy's masterly etudes. Far better than Uchida and anybody else. Get your copy before it becomes unavailable.



2. In this second installment of Frankl's fine traversal of Debussy, we find him tackling the more esoteric piano works: Estampes, the Twelve Etudes, Nocturne, La Boite A Joujoux and the curious Masques. Simultaneously, he offers up the obviously more familiar: the Children's Corner, Danse, L'Isle Joyeuse and, of course, Pour le Piano.

   Frankl, at no time, is anything less than an instinctive and sensitive interpreter of Debussy. Some may cavil at tempi or a lack of warmth here and there, but these are rare occurences. It is true that Frankl's Debussy is direct, yet he never really misses the mark, and he is far from wayward.

   His Estampes are finely-etched "prints," incisive and satisfying, keenly reined impressionism at its purest. True, as well, is his excellent performance of Pour le Piano. Just give a listen to the way he pedals the overtones in the opening "Prelude." It washes over you. And following "Sarabande" is atmospheric and noble; the "Toccata," spritely. It's lovely pianism.

   The Children's Corner is charming, its opening "Dr. Gradus" spontaneously halting and uncertain--- exactly as would be a child's-eye-view of the problems inherent in Clementi. "Jimbo's Lullaby" is, perhaps, given a tad more gravitas than we're used to, but in the process Frankl evokes a most unusual sense of nostalgic mystery, as he does equally well in "Snow Is Dancing."

   The reader should be reminded that when these original vinyls were released (@1964), Frankl was one of the first artists to tackle Debussy's last works, the Twelve Etudes for Piano, and, the Uchida set on Philips not withstanding (amazingly!), his performance of this music is as imaginative and penetrating as it was nearly 40 years ago--- and can stand (almost) next to Uchida, which is no mean compliment.

   The La Boite A Joujoux is a delight... and a wise choice to situate after the monumental Twelve Etudes.

   The sound, as on Volume 1, is well-rounded, full and mercifully lacking in resonant ambience. The piano SOUNDS like a piano, and with Frankl's impeccable touch and technique, his style and detail, well, we get to hear everything.

   Yet another Vox Box two-fer well worth the money.