Frederic Chopin(1810-1849)
   Fantaisie-Impromptu, Op.66

Boris Petrushansky...Agora 146(1997 - 5:25)
Angela Lear..........APR 5551(1993 - 5:40)
Vladimir Horowitz....Sony 45818(1989 - 4:30)
Jorge Bolet..........Everest 9028(1961 - 4:46)

An under-rated pianist, a scholar-artist, and two legends contribute
to this Part's recordings of the Fantaisie-Impromptu.  My most recent
connection to Petrushansky came from his wonderful recording of the
Brahms Variations and Fugue on a Theme by Handel which is on the Symposium
label.  Angela Lear, also a musicologist, had six Chopin volumes released
by APR; each is titled "The Original Chopin" because her research of
autograph scores and other original documents indicated many errors in
the established playing of Chopin's music.

The Horowitz version is on a Sony disc titled "The Last Recording" and
consists of material that he never before recorded; in addition to other
Chopin performances, Haydn and Liszt round off the program.  The Bolet
effort is part of an Everest disc devoted to Chopin.

Concerning Horowitz, does he still have the chops in 1989 to convey the
power of the Fantaisie-Impromptu?  Yes indeed, as he whacks those keys
with full force whenever needed.  Also, if anything, some listeners would
take exception to his very quick tempo in the 2nd section.  With plenty
of power and thrust, there's no need to worry about Horowitz's advanced
years.

There are memorable aspects of Horowitz's performance in addition to
simply being able to whack keys.  Right from the start it's clear that
he is going to offer a tension-filled reading.  Even the 2nd section is
permeated with tension, and his varied dynamics, tempo, and rhythm are
irresistable.  This 2nd section rivals Ashkenazy's for my affection, and
I find the entire performance one of the best on record.  It's not a
performance from an elderly man or a young one, but a man whose vitality
for music will not recede and who offers a lifetime of experience and
emotional growth.

Boris Petrushansky does one thing that holds his version back from being
among the best on record.  He begins the 2nd section magnificently with
great dignity *and* poingnancy, making delectable changes in tempo and
dynamics.  At some point, he just basically repeats his earlier style
of the section, but now he is more subdued as if he swallowed half a
librium.  As I've commented before, the 2nd section needs variety
throughout its length; also, this subdued business is a downer.  Still,
Petrushansky delivers the full steam of the 1st section, and the first
minute or so of the 2nd section is as fine as Ashkenazy's.  Boris is the
'real deal', and I heartily recommend this Agora disc and any other disc
of his you can get your hands on.

Angela Lear is one relaxed pianist; she must have swallowed the other
half of Petrushansky's librium tablet.  Seriously, there are some benefits
to her approach.  The 2nd section is very appealing as she injects plenty
of feeling into the music with a slowly caressing touch.  However, as
in her performance of the Barcarolle which I reviewed a few days ago,
there is a prevalent lack of tension.  I'll give the interpretation a
mild recommendation for the fine 2nd section.

I'm a little disappointed with Jorge Bolet's performance.  He is quick
and often quite powerful, but that extra ounce of feeling just isn't
there as the angst is particularly lacking in both sections.  Further,
the soundstage is too deep as if he's playing from the bottom of a canyon.
However, the reason I'll remember this version is the weakest first note
of the work I've ever heard.  Overall, I can't recommend the interpretation.

Don's Conclusions: The Horowitz Fantaisie-Impromptu is the gem of the
four versions.  Petrushansky is a good choice, Lear is marginal, and
Bolet can be safely passed.

If all goes as planned, there will be a Part 4 with versions from Simon,
Cziffra, Kempff, and Perahia remaining.  Also, more reviews of Chopin's
Preludes should be finished within a few days, and there are a couple
of ripe pickings you don't want to miss.  They took me by surprise, and
I love great surprises.  Don't we all?

Don Satz
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