Frederic Chopin(1810-1849)
       Preludes, Opus 28

Idil Biret
Naxos 8.550366 *or* 8.554536
Recorded 1991/92

Back in 1992 Naxos released the Chopin Preludes disc by Idil Biret.
When the company subsequently decided to have a muti-volume set of all of
Chopin's piano music, it simply gave the Biret disc a different catalog
number and cover art.  Both discs are currently available with identical
couplings of other Chopin pieces, so the only issue is whether to go for
one of them.

I could dismiss Biret's performances as not among the best concerning
crushed hopes, sparkle, power, tenderness, disorientation, despair,
brutality, etc.  However, there are a few factors which combine to make
Biret's readings one of the most rewarding on the market.

First, unlike most of the Naxos piano discs I've heard(murky and recessed),
this Biret disc has clear, stark, and up-front sound.  In and of itself,
it isn't a big deal except for how Biret uses the sound which brings me
to the second point - Biret tends to be an 'examiner' of Chopin's Preludes,
clarifying the lines and textures of the music.  I never did think of Biret
as an examining type of artist, but she certainly goes full tilt on this
set of performances.

Of course, examining-type readings can easily sink into an academic and
dry affair, but Biret will have none of that.  Her readings are full of
deep feeling and clearly show a love for each Prelude.  In this regard,
she reminds me quite a bit of Rosalyn Tureck's Bach recordings of the
Goldberg Variations and the Well-Tempered Clavier.

Every prelude is thoroughly enjoyable as Biret traverses her way through
a wealth of emotional themes and structures.  Better than Argerich? More
rewarding than Zayas? Well, in this review project I'm not getting into
these minor differentiations in quality.  Simply put, Biret's is a version
to keep and play often; the combination of examination and heart-felt
playing results in a 'lovingly incisive' set of performances.

Here's a little more on her interpretations:

Preludes 1 thru 8 - In the 1st Prelude, Biret poetically examines the
ascending lines.  The 2nd, 4th, and 6th Preludes are appropriately bleak,
and the 3rd finds Biret providing a highly effective swirling bass line
contrasted by the sparkling upper voice.  More examination takes place in
the disorienting 5th Prelude, her 7th is enticingly serene/lovely, and the
8th is packed with angst and desperation.

Preludes 9 thru 16 - Biret offers an excellent 9th Prelude with plenty of
ceremony and a slightly halting rhythm which is distinctive and attractive.
She streaks through the 10th Prelude; both the 11th and 13th Preludes are
played quickly but in a caressing and supple manner.  Although Biret's
12th Prelude isn't a wild one, she does provide very strong accenting and
emotional involvement.  In the 14th Prelude, she puts every note under a
microscope, allowing the listener to get a great picture of the music's
powerful structure.  The first section of the 15th Prelude is given a
wonderful blend of sadness and nostalgia, while the stern second section
is commanding and takes no prisoners.  Biret conveys the necessary
independence of voices in the 16th Prelude, while maintaining excellent
interplay.

Preludes 17 thru 24 - Love and urgency drench Biret's 17th Prelude, and
pin-point articulation highlights the 18th Prelude.  Biret's 19th, 21st,
and 23rd Preludes just about put me into a trance; her swaying rhythms
are very impressive.  In the 20th Prelude, Biret moves from command and
declarations to abject despair so naturally that I feel I'm listening to
two sides of the same genetic material.  Her bass line is quite strong in
the 24th Prelude, although I'm not thrilled with her sense of intergration
between the voices.

Don's Conclusions:  The next time you want some Chopin under the microscope
combined with great lyricism and emotional investment, don't hesitate to
play Biret's version.  With the additional incentive of very low price,
this stunning performance is mandatory for one's musical library.  Biret
joins Moiseiwitsch, Cortot, Argerich, Barto, Kissin, and Zayas in the
winners' circle.

I'll be taking a little break from Chopin's Preludes and moving on to other
pastures.  Upon my return, the Claudio Arrau and Nelson Freire recordings
will be reviewed.

Don Satz
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