Frederic Chopin(1810-1849)
       Preludes, Opus 28

Alfred Cortot
Music & Arts 871
Recorded 1926
Couplings:
Four Ballades
Berceuse, Op.57
Impromptu, Op. 36
Etude, Opus 25/1
TT 77:08

This is a different performance of Chopin's Preludes than the 1933 Cortot
recording on the Philips Great Pianist Series(#456754)that I reviewed
in Parts 1 and 2.  In my review of the 1933 performance, I heartily
recommended the interpretation and easily rated it as essential to a
decent library of Chopin Prelude versions.

If anything, I prefer the 1926 set of performances; they are slightly
quicker, leaner, and convey a greater youthful vitality.  The differences
are not huge as Cortot's conception remains intact even down to the
relatively slack playing of the 24th Prelude.  Still, I notice the
distinctions every time I compare the two recordings.

If the above was all there was to report, I'd simply recommend going for
the 1926 performance.  However, there are serious sound considerations
to factor into the equation.  To put it mildly, the 1926 sound is not
nearly as fine as the sound for the 1933 issue; it's loaded with the
Rice Krispies "snap, crackle, and pop" syndrome combined with a recessed
piano tone.  This combination is quite unattractive and can make the
listening process a trial.  At the same time, Cortot's artistry does
shine through it all.  One thing is for sure - listening with headphones
is a deadly way to approach the disc as it only exacerbates the prominence
of the interference.  That's a shame given the high quality of the
performances, and it doesn't sit well that every other work on the program
is in much better sound; the Four Ballades sound particularly well
detailed with minimal aural debris.

I find myself in a bit of a quandry as to which of the two versions to
favor: prime-time Cortot in bad sound or close to prime-time in relatively
good sound.  So, I'll be keeping both recordings and listening to the
Music & Arts disc when I think my concentration levels are at their peak.

Don's Conclusions: The 1926 reading is tremendous and reveals Cortot
at his absolute best; however, aural debris is a negative factor which
potential buyers should think about.  It's probably best to sample these
performances if you tend to give high priority to sound quality.  For
those who can easily get beyond bad sound, I do recommend the Music &
Arts recording over the Philips.  Having both of them isn't a bad idea
either.

At some point in the future I'll likely be reviewing a third Cortot
performance of Chopin's Preludes from the 1940's on the Aura label.
Perhaps that performance will clarify the best route to take with Cortot
and the Chopin Preludes, but my projection is that it could well muddy
the waters even further.

Part 14 will cover the Jeanne-Marie Darre recording of Chopin's
Preludes on Vanguard Classics; if memory serves, the performance is from
1965 when she was at the peak of her popularity in the United States.
Hopefully, the sound quality will not be an issue I need to address.

Don Satz
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