Frederic Chopin(1810-1849)
       Preludes, Opus 28

Tzimon Barto
EMI/Seraphim 73571
Recorded 1992
Couplings:
Three Nocturnes
Cantabile in B flat
Contredanse in G flat
TT 65:33

Seraphim releases once premium-priced EMI recordings.  Although liner note
information is minimal, the recordings are priced to compete with companies
such as Naxos.  These Tzimon Barto performances have been on the market
since the early 1990's and enjoy a fine reputation but not at the highest
levels.

Mr. Barto is an American pianist and conductor highly successful in Europe
as well as the United States.  While studying at the Julliard School of
Music, he won the Gina Bachauer Piano Competition two years in a row.  He
also was awarded "Most Outstanding Student" by the Tanglewood Institute for
his talents as a conductor.  Barto has primarily recorded for EMI and his
output includes works of Ravel, Prokofiev, Rachmaninov, Liszt, Chopin,
Bartok, Gershwin, Falla, Schumann, Bach, and Joplin.

In addition to his musical endeavors, Barto is accomplished in five
languages, is writing a cycle of thousands of poems, and is also a body
builder.  So don't insult him in any particular language; he just might
put you in the hospital.

Giving the Barto performances just a quick listening tells us one thing
very clearly.  His tempos are among the slowest you will ever hear.  Barto
tops the forty-six minute mark, and any performance well over forty minutes
is slow indeed.  Does this result in performances which are 'dead in the
water' or highly poignant readings of great depth and impact which also
illuminate the music's details and structure.?

I am very pleased to report that the performances are consistently in the
latter category.  These are fantastic readings which often come with their
own slant on every emotional theme.  Argerich has a niche of her own based
on erasing centers of gravity, and I feel that Barto also has carved out a
spot of distinction and creativity.  Put another way, Argerich takes me on
a frenetic journey into Chopin's extreme thoughts; Barto takes me into
Chopin's notes in an entirely non-academic manner.

Here are some of my observations:

1st Prelude - Barto's slower tempo allows him to linger over the swells in
the piece; it's a lovely touch and reading with fine urgency.

3rd Prelude - The detail of the running left-hand is fully realized and
makes for an interesting performance.

4th Prelude - Barto stretches out the sadness in similar fashion to the
equally slow Pogorelich version.

5th Prelude - As in the 3rd Prelude, Barto reveals the architecture of
fast-moving music, and he does so without dampening excitement.  Also,
he uses an irresistable side-ways rhythm.  This is a transcendent
interpretation.

6th Prelude - An extremely bleak piece, Barto provides an image of crushed
hope in line with the incisive Moiseiwitsch version.  Barto's intervals,
though very wide, are always packed with meaning.

7th Prelude - Ever so slow, this luxuriating performance still maintains
the necessary sparkle.

9th Prelude - Although much slower than Kissin, Barto also gives a highly
ceremonial reading which is thoroughly enjoyable.

13th Prelude - You won't find a more gorgeous performance than Barto's as
he continues his slow and luxuriating ways, all of it enhanced by perfect
pacing.

14th Prelude - Barto slows down this fast and dynamic music; it remains
dynamic and every note and nuance is magnified.  The tension is tremendous
although very different from Argerich's.

15th Prelude - Of great contrast, Barto makes the most of it.  His first
section is heart-wrenching, and the second section builds up inexorably
with suspense toward the climax.

16th Prelude - I think of this piece as a barometer of hand coordination
combined with the ability to make each hand sound like it is in its own
world.  Barto easily passes the test and offers a very exciting
performance.

19th Prelude - Music of 'swells', Barto lovingly offers effective swells
draped in a sparkling package.

23rd Prelude - Barto's reading is so delicate and air-borne that I feel
like I'm in heaven.  Aslo, there's no performance more beautiful.

24th Prelude - Barto uses his bass-line excellently to elicit greater
tension, and he would likely be a natural for Scriabin's piano music.

Don's Conclusions: Barto's is another great performance of Chopin's
Preludes which merits a spot with Argerich, Cortot, Kissin, and
Moiseiwitsch.  "Slow, luxurious, and illuminating" is how I would describe
the interpretations.  Barto obviously takes some major risks with his
tempos, and he routinely avoids the pitfalls of empty intervals.

I wasn't expecting anything like what I got from Barto.  His is a version
which rates much greater recognition than it has received.  Speaking of
great recognition, that's what I've given the last three reviewed versions.
I'll try to come up with something less worthy in Part 6, and I think I
have just the recording to start balancing the scales.

Don Satz
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