Frederic Chopin(1810-1849)
Preludes, Opus 28
Chopin's twenty-four Preludes of Opus 28 are the most popular set
of preludes in the classical music repertoire. Each of Chopin's
preludes is in a different key arranged in the same manner as Hummel's
Opus 67 Preludes: major keys are followed by their relative minor while
progressing through the cycle of fifths. Chopin maximizes diversity by
contrasting emotions and tempo so that energy is alternately accumulated
and released.
The number of recorded versions is huge, and I start off in Part 1 with
seven performances for your consideration:
Vladimir Ashkenazy Decca 460991 Recorded 1976
Alfred Cortot Philips 456754 Recorded 1933
Benno Moiseiwitsch Testament 1196 Recorded 1948
Maria Joao Pires Deutsche Grammophon 437817 Recorded 1992
Ivo Pogorelich Deutsche Grammophon 429227 Recorded 1989
Livia Rev Hyperion 66324 Recorded 1988
Irina Zaritzkaya Naxos 8.550225 Recorded 1988
All the above recordings are in print except for the one from Livia Rev
which I've seen now and then in used cd bins. Only the Pogorelich has no
couplings and is a very short disc timing out at about forty-five minutes
although his tempos are on the slow side.
The first Chopin Preludes disc I ever owned is the Zaritzkaya which
originally had the Enigma Classics logo in addition to the Naxos;
the catalog number was also different as well. Over the years, I've
accumulated a large number of recordings as my love for these pieces has
never diminished. So, let's get to the matter at hand and see how these
seven artists convey Chopin's magic.
Prelude No. 1 in C major(Agitato) - Arpeggiated chords are rising to
the heavens in this very short and absolutely gorgeous prelude which
also allows us to hear the elaboration of a two-note trill. The least
compelling of the seven versions is from Zaritzkaya, and hers is mighty
fine. She prefers rich and full textures with a minimum of bumps along
the way; the reading is very good but not as emotionally nourishing or
lovely as the others.
Ivo Pogorelich gives us a distinctively light touch and stark textures,
but I can imagine many listeners craving a richer performance. Vladimir
Ashkenazy is very slow as he luxuriates in the music and offers a lovely
confection. However, if your primary desire is 'lovely music', look no
further than Livia Rev's gorgeous performance; its fantastic lyricism and
subtlety melts my heart.
In addition to Rev, I'd hate to be without Cortot, Moiseiwitsch,
and Pires who are quicker than the norm. Cortot injects a compelling
degree of urgency into his reading, Moiseiwitsch is irresitably insistent,
and Pires really opens up the heavens to her arpeggiated chords with a
kaleidoscope of colors. In essence, the C major is all about 'reaching
out', and these four versions are among the best at conveying that emotion.
Prelude No. 2 in A minor(Lento) - This piece is quite a contrast after the
C major. Chopin takes us from a spritually 'reaching out' environment to
a world where reaching out has only resulted in getting smashed down, with
total despondency the primary emotion to deal with. As such, the A minor
is a perfect companion to the C major in terms of the contrast and depth of
expression.
Playing very slowly can enhance the sense of despair, and Zaritzkaya and
Pires execute this approach effectively. Pogorelich, Ashkenazy, and Rev
take a quicker and more rhythmically active stand with fine results. The
main consideration is that each of these five versions well conveys the
despondency of the music.
Cortot and Moiseiwitsch are at an entirely higher level of interpretaion
than the other five. Again, Cortot brings exquisite urgency to the
forefront as he gives the music a 'pleading' quality that wins my heart.
Moiseiwitsch plays just like I would expect from a Russian legend of the
keyboard; this is an 'industrial strength' interpretation where hope is a
wasted emotion and the futility of life is certain.
Prelude No. 3 in G major(Vivace) - This is vivacious music with the
foundation of a rippling left-hand figure. In the conclusion, the same
figure is taken over by the right hand; the transition is one of the most
memorable ones in the piano literature.
I have problems with three of the readings. Rev can be sluggish,
particularly with the right hand melody; it's a bad way to go in music
which exudes vitality. Pires is much too weak with her right hand
projection; the result is that balance is skewed toward the left hand
figure which she sometimes plays with a vengence. Surprisingly, I don't
think well of Cortot's interpretation; it is too hung up on nuance with a
resulting loss in natural flow and momentum.
The best two versions come from Pogorelich and Moiseiwitsch. Both are
the quickest of the seven versions and give highly virtuoso performances.
Their left hand figures leap off the page in stunning fashion; the
transitions are quick-silver and natural as can be. I should mention that
Moiseiwitsch's sound from the right hand tends to break now and then, but
his ever-confident manner erases that negative consideration.
Prelude No. 4 in E minor(Largo) - Melancholy, contemplative, and poetic,
the E minor is one of Chopin's best known preludes. Falling right-hand
notes combine with falling left-hand chords to convey an intense sadness
which Ashkenazy somehow manages to avoid. Cortot and Pires excellently
convey the sadness but use the climax to go over-board; I don't feel they
create a sufficiently tense foundation to justify the highly overt display.
Excellent versions come from Pogorelich, Zaritzkaya, and Rev who are
ever-so sad; Pogorelich uses a very slow tempo to stretch the sadness, and
it works beautifully. By a slight edge, I favor the Moiseiwitsch reading
which has the added advantage of a strong virility which is one of his
trademarks.
Updates: Though she started superbly with a inspiring C major Prelude,
Maria Joao Pires is falling on hard times due to her predilection to engage
in emotional outburts which sound contrived; she also can play too loudly
for the mood being expressed.
Irina Zaritzkaya is doing quite well. For the most part, she hits the
right buttons and offers idiomatic performances which are enjoyable and
poignant. Ashkenazy has been about on the same level as Zaritzkaya; I
can't say he has been one of the more intense pianists of the group, and
an additional dose of resolve would be beneficial.
Livia Rev has been a step up on Ashkenazy with some gorgeous music-making.
My sole reservation at this point is that 'gorgeous' can lead to losses
of vitality. Pogorelich has been excellent, providing one of the more
distinctive performances. He clearly has given much thought as to how to
best approach each prelude, and nobody has the edge on him when it comes
to hands doing exactly what the mind demands. Pogorelich was born to
play keyboards.
Alfred Cortot has everything it takes to give us one of the outstanding
recordings of Chopin's preludes. He is a master of nuance, expression,
phrasing, spacing, and articulation. However, he can be neglectful of
the music's momentum while he strives to convey nuance. Also, Cortot
has displayed some signs of the 'over-board' mentality which has been
detrimental. When Cortot is 'on', he's about the best there is.
Benno Moiseiwitsch is starting to accumulate a commanding superiority over
the other six versions. His technical skills are superb as well as his
connection to emotional themes and their depth. As I mentioned earlier,
the virile nature of his interpretations stands out consistently. Using
the tradtional verbage, Moiseiwitsch is a 'man's man' in performance style.
He offers confidence, boldness, security, and stature. It would have been
fantastic to hear him in state of the art sound; as it is, a bunch of hiss
and other typical problems of old recordings can't make a dent in
diminishing Moiseiwitsch's impact.
Prelude No. 5 in D major(Allegro molto) - With constant cross-rhythms
which seem to be spinning out of control, this fast and exciting
prelude only lasts about thirty seconds. As is the general case with
cross-rhythms, detail is a critical element which Zaritzkaya provides
little of. She is too relaxed and offers insufficient angularity; the
reading is 'pretty', and Chopin offers much more than a pretty prelude.
The other versions are substantially better as they do offer fine
detail and the spinning sensation which are so important in this prelude;
Pogorelich displays fantastic virtuosity with quick-silver fingers. My
favorite of the seven is from Livia Rev; her detail is superb, and she
takes me to the edge of reason. That she can manage to deliver such
impact at a relatively slow tempo is amazing.
Prelude No. 6 in B minor(Lento assai) - If you're feeling 'low', don't
listen to Moiseiwitsch's version of the 6th Prelude. The others, except
for Ashkenazy and Pogorelich, offer compelling melanchoy on the side of
resignation(Cortot gives urgency). But Moiseiwitsch is the exemplar of
crushed hopes with a huge weight and strong delivery. At the same time,
he captures every ounce of poignancy. His is surely a commanding
interpretation that would suck all the hope out of an emotionally
depressed person.
Ashkenazy's problem is that he glosses over the most melancholy motifs
in the prelude; that just won't cut it. Pogorelich is exhibiting a couple
of patterns as he progresses through Opus 28. Fast preludes are played
extremely fast, and slow ones extremely slow; in both cases, his textures
are lean/thin. Very slow playing with lean texture creates wide intervals,
and it's no easy feat to fill in those spaces. With the B minor, I don't
feel that Pogorelich succeeds. The texture is so thin that empty space
creeps into the interpretation with damaging impact on poignancy and
continuity.
Prelude No. 7 in A major(Andantino) - The basics of the A major are
comfort, security, and grace. However, the piece is also a mazurka with a
twinkle in its eyes and a preference for youthfulness. There's little of
either quality in the performances of Rev, Pogorelich, and Pires. Again,
Pogorelich has the slowest tempo of the group, and my patience is waning.
Ashkenazy, Moiseiwitsch, and Zaritzkaya do offer fine youth and that
critical twinkle. Cortot is downright playful and wins the day. He's
light on his feet and quick with a pristine quality that I can't resist.
Prelude No. 8 in F sharp minor(Molto agiatato) - Agitation reigns supreme
in this bleak prelude of heavy angst. Benno Moiseiwitsch is sensational,
even better than he's been up till now; the tension is tight as can be as
Moiseiwitsch conveys the whirling figures/emotions to perfection. His
quiet yet confident conclusion puts the end to any reason for optimism. In
comparision, Zaritzkaya, Pogorelich, and Rev are more pretty than agitated;
they don't come close to hitting the target. Pires, Cortot, and Ashkenazy
are major improvements over those three versions but still pale next to the
reading from Moiseiwitsch; it's all in the tension.
Prelude No. 9 in E major(Largo) - A melancholy bass-line, trills, and
double-dotting add up to a drama of heroic proportion. Ashkenazy likely
goes beyond heroic as he bangs out those notes; Cortot is the opposite
in that he's slightly reticent. Although this must be starting to sound
repetitive, Moiseiwitsch gives an outstanding performance with amazing
detail for a 1948 recording; his trills are particularly stunning and
strong. Another exceptional reading is from Liva Rev who offers the
greatest inevitability and poetry of the group. Zaritzkaya is quite slow
and gets bogged down in inertia, while Pogorelich lives up to his penchant
for giving the slowest Largo of the reviewed versions. He's stark and much
too subdued; when he hits a climax, the contrived nature of it is so
obvious.
Prelude No. 10 in C sharp minor(Allegro molto) - Pogorelich finally goes
to the head of the class with a strongly detailed and punched C sharp
minor; his descending runs are magnificent from a structural and artistic
viewpoint. Rev gives a performance with very little punch and is too
relaxed; the 'molto' is missing, and I can't imagine how Rev came up with
the notion that 'comfortable' is the way to approach this piece. Ashkenazy
is faster than Pogorelich and just as powerful, but his descending runs
can't hold a candle to Pogorelich in terms of detail. Of course, the tubby
London sound doesn't help Ashkenazy. The other versions are fine, but I
consider Pogorelich well beyond the competition.
Prelude No. 11 in B major(Vivace) - Just as in the 10th Prelude, Rev
insists on a relaxed approach. Her 'pretty' version is a good example
of how limiting it is to only concentrate on music's beauty. I love the
B major, and beauty certainly plays a significant role. However, it's
the tension and urgency which combine with the poetry to make the piece
of Chopin's most rewarding miniatures. Rev gives us no urgency or tension
of any magnitude; she's also slow which just adds to the lack of enjoyment.
Pires is similar to Rev, except she's more animated; to me, she gushes and
that isn't good.
Ashkenazy finds a way to edge Rev and Pires out for bottom position.
Totally unlike Rev, Ashkenazy provides the urgency and tension but not
the beauty. I would think an excellent pianist like Ashkenazy would have
to give much thought and planning into expunging the music's poetry. How
does he do it? Simply underinflect initially, overinflect later, and always
use a less attractive rhythm.
Pogorelich gives an interesting reading of the B major, somewhat perverse
and insulting. He offers some sort of perpetual motion delivery couched
in a carnival-type setting. The music has no meaning, since it's entirely
light-hearted and in the nature of a farce. Yet, I do like listening to
it, so I'll put Pogorelich with Rev and Pires.
With Pires and Rev taking the 'pretty' route, I expected the same from
Zaritzkaya. For once, my projection was right on target. These are three
lovely readings of little substance. I suppose that Cortot does offer some
decent tension, but that's about it. Will Cortot make everything right?
No - he's off to the races with the wrong piece of music. Moiseiwitsch
conveys as much nuance as possible at his fast pace, but that won't cut it.
Well, six okay versions and one throw-away surprises me greatly. There
*are* some fantastic recorded performances of the B major, but they will
have to wait for another time.
Prelude No. 12 in G sharp minor(Presto) - This prelude reminds me of a
frantic chase with the Devil. Pogorelich is certainly frantic enough, but
his left hand is simply too powerful much of the time; he's out of balance.
Although Rev does provide a dark reading, she's not willing to hit the
envelope and ends up rather mundane; a mixture of Rev and Pogorelich would
be a major improvement.
Another major improvement would be listening to Zaritzkaya who offers a
fast and thrilling performance with all balances intact; macabre happenings
are at peak levels. Pires and Ashkenazy could have been thrilling, but
their diversity of dynamics and pacing is minimal next to Zaritzkaya; the
same comments apply to Cortot. Surprisingly, Moiseiwitsch isn't nearly as
wild as usual, although the conclusion finds him in top form.
Half-Time Report: Benno Moiseiwitsch has a huge advantage over the other
performances, although he has been less than magical of late. Cortot is
a distant second but well ahead of the remaining versions; I'm starting
to feel that Chopin's Preludes do not play into his strengths.
Rev has much to offer concerning excellent pacing, sensitivity, and beauty
of expression, but I do wish she would muster greater gusto; Zaritzkaya
tends to have this problem also. Ashkenazy and Pires are leaving me flat,
and Pogorelich is a role-model in having a formula for prelude-grouping
approaches. All slow music is very slow, all fast music is very fast, and
texture is universally sparse. There's something wrong with this formula;
it doesn't account for the unique qualities of each prelude.
In Part 2, I'll finish off the review of these seven recordings of Chopin's
Preludes. At this moment, I'm somewhat exasperated with the majority of
them. So many lost opportunites to present Chopin in his best light.
Don Satz
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