Frederic Chopin(1810-1849)
       Preludes, Opus 28

Evgeny Kissin
RCA 63535
Recorded 1999
Couplings:
Piano Sonata, Opus 35
Polonaise in A flat, Opus 53
TT 67:06

The liner notes to this all-Chopin disc state that "Evgeny Kissin's
extraordinary virtuosity and powerful interpretations have placed him at
the forefront of the world's new generation of young pianists".  At the
forefront Kissin has certainly been, and it started with his performance
of the Chopin Piano Concertos at the tender age of 12 under the direction
of Dmitri Kitaenko at the Great Hall of the Moscow Conservatory.  That was
almost twenty years ago, and Kissin continues to strengthen his probability
of immortality to the present day.  In Part 3, I covered the Argerich
version from the 1970's of Chopin's Preludes; she is a living legend, and
Kissin is well on his way to joining her.

The above being said, matching the excellence of the Argerich recording
is an extremely difficult task.  Also, I find it a little difficult to
review the Kissin after Argerich because Argerich astounds me - Kissin
does not.  However, Kissin's performances have one advantage over Argerich
and also Moiseiwitsch and Cortot.  Although he never astounds, he is more
consistently engaging.  Each reading of a prelude is highly enjoyable and
sometimes illuminating; at no point do I feel like putting on another
version.

I'd like to tell you about these performances in the groupings given below:

Bleak Preludes(2-4-6-20) - Kissin is particularly effective in the bleak
preludes where hope is a vanishing commodity.  Using strong articulation,
perfect inflections, and superb spacing, Kissin conveys the collapse of
'spirit' as well as any other pianist.  Check out the descending spirit in
his 20th Prelude; it just keeps falling with inevitability.

Disorienting Preludes(5-8-12-14-16-18-22-24) - This category is very much
a tribute to Martha Argerich.  She plays these eight preludes like no other
artist, and establishes an almost impossible standard to meet.  Kissin
doesn't meet it, but his power, command, and austerity are at high levels.
He definitely knows how to 'turn it on' and dig deep into Chopin's
desperation.

Sparkling Preludes(1-3-7-10-11-19-23) - These pieces sparkle with life's
pleasures.  They have a hedonistic element which comes wrapped in elegance.
Most of the sparkle has to come from the right hand, and Kissin's
beautifully conveys all the splendor of these preludes.  I most love how
angelic he sounds in the 23rd Prelude; add in a great forward momentum and
voice interplay, and this version is one of the best on record.

Ceremonial Prelude(9) - The 9th Prelude is the only one in the set having
a ceremonial presence, and most pianists don't give it high priority.
That's certainly not the case with Kissin who makes it the centerpiece of
his interpretation.  He uses a strong swagger to create the effect, and I
consider the performance illuminating and exceptional of its type.

Tender/Contemplative Preludes(13-21) - These two preludes convey a delicate
tenderness combined with a contemplative/nostalgic mood.  Kissin is also
excellent in these pieces with wonderful inflections denoting the poignancy
of Chopin's thoughts.

The Prelude of Contrasts(15) - Although there is much contrast among the
twenty-four preludes, the 15th Prelude is the only one with great contrast
between the first and second sections.  The first section is so tender and
nostalgic, then the second beckons all the power from the bowels of the
Earth.  Kissin gets it just right; his second section is particularly
effective and foreboding.

The Prelude of Love(17) - There's nothing like romantic love, so I'm
placing the 17th Prelude into this category.  Chopin had an intense love of
women, and this prelude can be thought of as expressing all those healthy
and urgent emotions.  Again, Kissin is on target with a lovely and surging
performance.

Don's Conclusions:  Evgeny Kissin's RCA recording of Chopin's Preludes is
thoroughly rewarding from start to finish.  Kissin is always at the service
of the music's needs, shifting from one mood level and style of playing to
another with the greatest of ease.

Earlier in this review, I indicated that Kissin, unlike Argerich, never
astounds me in any particular prelude.  However, from an overall viewpoint,
his performance is astounding for its consistency of excellence.  Recorded
sound is excellent, and I am very impressed how well the recording handles
an appreciable increase in the bass controls.  Let's add Kissin to the
essential list along with Argerich, Cortot, and Moiseiwitsch.

Of course, there are many more versions to cover.  Part 5 will deal with
the inexpensive recording from Tzimon Barto on EMI/Seraphim with Arrau,
Freire, and Planes soon to follow.

Don Satz
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