Frederic Chopin(1810-1849)
       Solo Piano Works

Ballade in G minor, Op.23
Ballade in F major, Op.38
Ballade in A flat major, Op.47
Ballade in F minor, Op.52
Andante spianato and Grande polonaise, Op.22
Polonaise-fantaisie, Op.61
Fantaisie-impromptu, Op.66

Freddy Kempf, Piano
BIS 1160
Recorded July 2000

Comparisons:
Ballades..............Ashkenazy/Decca, Entremont/Sony
Andante spianato......Rubinstein/RCA
Polonaise-fantaisie...Rubinstein/RCA
Fantaisie-impromptu...Pires/DG, Francois/EMI, Malikova/RS

Having already recorded Freddy Kempf in discs devoted to Schumann,
Rachmaninov, and Beethoven, it seems that BIS considers him its 'main
man' for the mainstream composers and their famous piano works.  Born
in London in 1977, Kempf achieved some prominence when he played with
the Royal Philharmonic Orchestra at the age of eight.  He has won
prestigious piano competitions and has a growing audience base especially
in Russia.  Although Kempf's previous BIS discs have received much
acclaim, his performances have also been criticized by some critics as
'works in progress'; being youthful can have a few disadvantages.

Although I can't place Kempf's Chopin disc among the best on the market,
it does have much to offer.  Kempf's tempos are quite brisk, and he
provides much excitement in his fast runs; he also sparkles in a most
attractive manner.  Just one listen to the thrilling conclusion of the
Ballade in F major is a fine barometer of what Kempf offers when the
heat needs to be applied.

However, all is far from perfect.  Kempf's phrasing is not always natural
as he often shortens note values and is quite percussive.  Further,
Chopin's poignancy is not fully realized by Kempf because of his quick
tempos which sometimes sound as if he wants to go even faster; his
"Andante spianato" is evidence of the lowered emotional depth.

Here's my take on two specific performances on the recording which well
represent Kempf's approach throughout the disc:

Ballade No. 1 in G minor, Op.23 - A masterpiece having two primary themes:
the first is sad and poetic, the second is heroic.  Among many exceptional
versions, Vladimir Ashkenazy appeals with his sublime poetry while also
fully delivering the music's power and excitement.  By contrast, Philippe
Entremont stresses detail and energy; he also conveys an excellent degree
of poignancy.  With both pianists, inflections are superbly used to
enhance emotional depth.

Kempf is quite different than Ashkenazy or Entremont in that he drives
the music harder and likes to offer rather grandiose and swelling gestures.
He's also more percussive, insistent, and stormy.  These may be fine
approaches to take, but I am a little skeptical.  Kempf's insistence
subtracts from the music's flow; he is also faster than Ashkenazy or
Entremont, resulting in some loss of poignancy in the first theme.
Lastly, I generally feel that Kempf is holding himself back from going
even faster.  Well, these aren't big-time complaints.  Kempf's performance
is exciting and dramatic, and certainly has a place in the library.

Fantaisie-impromptu, Op.66 - Some key elements to look for in performances
of Op.66 are the urgency and tension of the first section, the poignancy
of the slower middle section, and an idyllic ending.  I love Anna
Malikova's tension and her sublime conclusion, and Samson Francois offers
an heroic second section that's quite appealing and distinctive.  Even
better is Maria Joao Pires who delivers the intensity of the first section
and the most tender and poignant second section I've heard on disc.

Kempf's brisk version gives plenty of excitement and tension in the first
section, although his runs would benefit from greater definition.  The
second section is attractive, but Kempf's quick pacing tends to dampen
emotional depth; the same applies to the ending.  Ultimately, the loss
of poignancy renders Kempf's performance a fine one which can't match
the best versions.

Don's Conclusions: Brisk and energetic performances which should keep
the listener alert.  With added maturity, Kempf's less than sterling
phrasing and poignancy might well improve.  As it is, the disc is very
enjoyable and worthy of shelf-space.  If your preferences veer toward a
slow and poetic Chopin, Kempf is not your man.  Very recently, I reviewed
the Chopin disc from Jean-Yves Thibuadet on Decca.  Rest assured that
Kempf's recording is a major improvement over Thibaudet's lack-luster
readings.

Don Satz