Frederic Chopin(1810-1849)
       Preludes, Opus 28

Claudio Arrau III
Philips Great Pianist Series 456712
Recorded 1973

Jorge Bolet I
Philips Great Pianist Series 456724
Recorded 1974
Live at Carnegie Hall

It has been a great pleasure listening to Chopin's Preludes from these
two tremendous artists of the 20th century.  Because of one essential
difference between their interpretations, I favor the Bolet and consider
it one of the finest on the market.

I have been familiar with the Arrau for many years and never have warmed
up to it.  In the past, I didn't give it much thought, but the review
process forces one to come up with reasons for various conclusions.  As
it happens, I was very fortunate to pick the Bolet recording as a 'partner'
for Arrau; Bolet's performance readily tells me why I admire the Arrau
but do not love it.

There a host of stunning and illuminating aspects of Arrau's reading.
However, listening straight-through reveals a heaviness to the playing
that I do not appreciate.  Switch to Bolet, and I hear a transparency
to the music and textures that's miles removed from Arrau's approach.

Much of this has to do with Chopin's music itself.  Unlike Schumann,
Chopin's music tends to have a weight on it, and Arrau adds an additional
layer of burden through some thick textures and a uniformly serious
demeanor.  Arrau just doesn't lift off, while Bolet is always floating
through the atmosphere.  A great example is the 7th Prelude which is
heavier with Arrau than any other performance I've heard; Bolet is light
as a feather.  This prelude has an essential 'lifting of spirit' element
that Arrau passes by.

For sheer pleasure, I can't think of any version that pleases as much
as the Bolet.  Even though he handles the bleak preludes very effectively,
there's never any indication of heaviness.  How he can convey a totally
bleak terrain in a light manner is beyond my comprehension, but he surely
does so.

Another great aspect of Bolet's performances is that he's nearly as
disorienting and wild as Argerich.  Preludes 5 & 16 are wild and crazy
rides.  Intense desperation permeates Bolet's 8th Prelude, and the 14th
is reckless and dangerous.  It sounds as if all hell is breaking loose
in the 18th Prelude, while the final prelude conveys the primitive side
of life in all its brutality.

There are other joys in these interpretations.  Bolet is so often
floating on air as in the 3rd and and 23rd Preludes.  The despair of the
4th Prelude is breath-taking, and the 12th Prelude is so lean and detailed.

Overall, Bolet does as well as Argerich in stretching the emotional
boundaries of Chopin's Preludes.  From hushed and featherly displays all
the way to the core of desperation and total disorientation is a long
route to traverse.  Bolet takes us on this journey with great inspiration
and distinction.

Recorded sound for Bolet is not as fine as for Arrau who receives a
deeper soundstage.  However, Arrau would have been better off with a
brighter sound, as the depth only exacerbates the heavy feel of the
performances.  Bolet does have to suffer some audience noise, but
performances like his easily drown out the extraneous intrusions.

Don's Conclusions: If you crave a heavy dose of Chopin, Arrau's
interpretations will win the day.  For all others, I feel that Bolet is
the better selection and one of the prime choices on record.  Thinking
back to the previous versions I have covered, only the Freire and Argerich
capture my heart as much as Bolet.  His peformance is very special and
an essential acquisition for Chopin enthusiasts.

Don Satz
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