Frederic Chopin(1810-1849)
  Barcarolle in F sharp minor

Alfred Cortot
EMI 61050
Recorded 1933
Couplings: Preludes, Berceuse, Four Impromptus
TT 68:27

Comparison Version: Benno Moiseiwitsch/Pearl 9291

I was stunned to find that I had neglected to review this Alfred Cortot
performance of the Barcarolle which is the sole Cortot version currently
on the market; I just wasn't paying sufficient attention to the other
works on the disc in addition to the Opus 28 Preludes.

Recapping a little from my three previous reviews, 'rapture' is the
defining element in chopin's highly evocative piece representing Chopin's
take on the work-world of a Venetian gondolier.  The one characteristic
common to the versions I have rated as best, including the Moiseiwitsch,
is their heightening of tension and rapture as the performance progresses
once through the lyrical and lovely 1st section; this heightening gives
the work its ultimate shape and full sweep.

Cortot's 1933 performance is in the historical category which always
brings up the issue of ancient sound quality.  There are serious record
collectors who are very particular about their sound, and they are
especially skeptical of historical recordings.

I have found that two sound considerations can make the actual performance
a secondary element in the listening experience.  One is when the piano
tone has a recessed quality and a lack of vibrancy; the other is when
the aural debris, instead of hovering over the performance, infects the
chords and notes.  When both are prevalent, you can write off any and
all interpretations.  Fortunately, Cortot's Barcarolle has fine presence
for its age with a piano tone that rings out when required.  Also, the
significant supply of interference manages not to touch any notes.

Cortot's detractors point to his sloppy playing, wrong notes, and general
lack of excellent technique.  Cortot's fans praise his sense of discovery,
improvisation, and ability to speak for the true musical personality of
the composer.

I think we can all agree that Cortot was not a 'neat' pianist; that
didn't seem to concern him in the least.  Although I definitely hear
from him some less than sterling technical moves, they tend to take
a backseat to the artistry of the man.  Actually, the only aspect of
Cortot's music-making that I don't care for is that he only intermittently
conjures up all the power at his command.

Cortot is quite different from Moiseiwitsch in the priorities on power
and lyricism with Cortot tending to favor the latter.  This all comes
out in Cortot's Barcarolle.  Yes, you will find plenty of steam, but it
arrives only on occasion.  By contrast, Moiseiwitsch just keeps tightening
the screws.

Of course, the trademarks of Cortot's artistry are on full display: the
lovely phrasing which gives off tension and urgency, superb accenting
and inflections, meaningful intervals, abundant nuances, etc.

Don's Conclusions: I'm not placing Cortot's Barcarolle among the best
versions, but it's only a short distance behind.  For those of you who
are more attracted to Chopin's lyricism than his weightier arguments,
the Cortot should be just the right match.  The performance of the
Preludes is another exceptional item as are the other works on the disc.

Don Satz
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