Frederic Chopin(1810-1849)
      Works for Solo Piano

1.  Polonaise in A flat major, Op.53
2.  Waltz in D flat major, Op.64/1
3.  Prelude in E minor, Op.28/4
4.  Mazurka in F minor, Op.68/4
5.  Grande Valse brillante in E flat major, Op.18
6.  Nocturne in B flat minor, Op.9/1
7.  Scherzo No.2 in B flat minor, Op.31
8.  Barcarolle in F sharp major, Op.60
9.  Nocturne in E flat major, Op.9/2
10. Etude in F major, Op.25/3
11. Mazurka in B flat major, Op.7/1
12. Ballade No.1 in G minor, Op.23
13. Etude in A flat major, Op.25/1
14. Etude in C minor, Op.10/12
15. Prelude in D minor, Op.28/24
16. Prelude in D flat major, Op.28/15*
17. Etude in F major, Op.25/3*
18. Nocturne in C sharp minor, Op.posth*
19. Prelude in D minor, Op.28/24*

Jean-Yves Thibaudet, Piano
Decca 466357
Recorded 1999
TT 78:25
Broadwood Piano Used by Chopin*

Comparisons:
Preludes.....Planes/Harmonia Mundi, Freire/Sony, Bolet/Philips
Barcarolle...Rubinstein/RCA, Francois/EMI, Cherkassky/Philips
Waltzes......Francois/EMI, Lipatti/EMI, Lympany/Dutton Labs
Mazurkas.....Rubinstein/RCA, Ashkenazy/Decca, Jonas/Pearl, Kapell/RCA
Polonaise....Rubinstein/RCA, Pollini/DG
Nocturnes....Francois/EMI, Arrau/Philips
Scherzo......Arrau/Philips, Pletnev/DG
Etudes.......Pollini/DG, Arrau/EMI
Ballade......Francois/EMI, Rubinstein/RCA

Summary: Thoroughly disappointing and dispensable

The programmed pieces on this Decca release titled "The Chopin I Love"
might well be the Chopin that Jean-Yves Thibuadet most loves, but I can't
say that I have any affection for his performances.  Just the weak tension
and articulation of his prelude readings puts the disc below the worthy
category, and there is nothing in his other performances which rises to a
competitive level.  His waltzes are generic and unexciting, the mazurkas
too smooth and suave, the heroic Polonaise lacks heroism, the etudes overly
academic, the nocturnes lack vitality, and the Scherzo and Ballade convey
little excitement and impetuosity.  Fine sound quality and the use of
Chopin's Broadwood piano in the last four tracks count for nothing when
such weak interpretations are involved.

I am often perplexed as to why an artist would want to record a
particular composer's music when there's already a host of exceptional
recordings available and the artist has nothing new to offer *and* also
can't stand up to the better mainstream versions available.  I find it
to be self-indulgent and hardly considerate of the buying public.  I
assume that many have purchased the Thibuadet disc based on his reputation,
and this is one of those times when a reputation collides with a lack
of indentification with the composer's music.

Here's more on this unfortunate recording:

Preludes - This was a disagreeable listening experience.  First, tension
is largely missing from the readings.  Second, Thibuadet's articulation
isn't nearly strong enough for the very slow 4th Prelude he gives us.
Third, he speeds along in the 24th Prelude in a perfunctory manner,
conveying little bite for such a powerful piece of music.  The repeat
of the 24th Prelude on the Broadwood simply repeats the problematic
performance on the modern Steinway - there isn't a piano on earth which
could save these performances.  Freire and Bolet are light-years ahead
of Thibaudet, and Planes shows how to give excellent performances on a
period piano.

Barcarolle - Rubinstein and Francois dive into the dance rhythms as if
they invented the Barcarolle; their readings are quite vivid and highly
masculine.  If one prefers a softer-toned performance, Cherkassky's
gorgeous rendition should more than suffice.

Although Thibaudet doesn't identify with the dance as well as a Rubinstein
or find every exquisite jem of beauty like Cherkassky, I must say that
he's a champ in the Barcarolle compared to his prelude performances.  He
is on the quick side with a timing a little under 8 minutes, but he well
conveys the emotional depth of the music.  Also, Thibaudet's enthusiasm
for the piece is quite evident, resulting in a fair share of uplifting
and exhilarating moments.  However, I can't report any special qualities,
and this piece has many advocates on record who surpass Thibaudet.  Samson
Francois is my current favorite advocate; do listen to his interpretation
which is brimming with vitality.

Two Waltzes - The Opus 64/1 Waltz is generally known as the "Minute
Waltz"; that's a bit deceptive since nobody could finish off this piece
in just one minute.  Most performances are close to two minutes, although
the slower pacing can certainly damage the music's flow and level of
unbridled excitement.

Among many superb versions of Opus 64/1, I selected Lympany, Francois,
and Lipatti as sterling examples of how to balance excitement with
elegance and bring out the intensity of the piece.  Francois is the most
distinctive with his frequent changes in tempo and dynamics, Lipatti is
the most intense, and Lympany the most elegant.  Thibaudet, as in his
prelude performances, eschews intensity and isn't particularly elegant
either.  I'd call the performance a benign one of average enjoyment and
tempo.  Back in Chopin's time, the waltz had a primitive quality which
the best performing artists capture; Thibaudet doesn't seem to have a
clue about this dance's history, giving it an overly suave quality.

Listening to Thibaudet's Opus 18 "Grande Valse brillante" only tells me
that five minutes from him is harder to sit through than the much shorter
"Minute Waltz".  A great performance gives me images of a crowded ballroom
with couples streaking through space with their feet hardly touching the
ground.  It's an exuberant and 'fun' waltz, but I doubt that it should
sound 'funny' and it sounds to me that Thibaudet is trying to make us
laugh with some of his phrasing.  Regardless, he's not exciting as he
offers another generic sounding interpretation.  One of the best recordings
I've ever heard of Opus 18 comes from Dinu Lipatti who offers as much
speed and excitement as the music can bear; Thibuadet's jittery reading
is a non-starter in comparison.

Two Mazurkas - More of the same from Thibaudet.  His F minor isn't close
to providing Ashkenazy's melancholy, Rubinstein's incisiveness, Jonas'
diversity, or Kapell's majesty.  Thibuadet projects well, but he's too
smooth throughout the piece.  As with the waltzes, Thibaudet pays little
attention to the mazurka's origins.

At this juncture, I see no point in going into further details.  Thibaudet
is certainly consistent in that not one performance on the disc can be
placed among the better versions on record.  The Broadwood piano has
much to recommend it, but Thibaudet is simply the wrong occupant.

Don's Conclusions: If, like me, you already have this Thibaudet disc,
my sympathies go out to you.  If not, don't waste your money.  The
Thibaudet is definitely the least rewarding Chopin recording I own, but
it won't be mine for long.  Fairly humorous, the disc hails the last
four tracks as being "bonus" tracks; with the playing of Thibaudet, it's
like opening up the Christmas bonus envelope and finding nothing inside.

Don Satz
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