Frederic Chopin(1810-1849)
       Preludes, Opus 28

Maurizio Pollini
Deutsche Grammophon 413796 *or* 431221
Recorded 1974

Arthur Rubinstein
RCA 63016
Recorded 1946

Part 18 represents the final installment of my reviews of recordings of
Chopin's Preludes.  Of course, I will be reviewing additional versions,
but those reviews will be of entire discs such as the Cherkassky 2-cd
volume of Chopin piano music on the Philips Great Pianist Series.

I'm glad to report that both the Pollini and Rubinstein performances can
be added to the list of exceptional versions of Chopin's Opus 28 Preludes.
Pollini won my heart immediately which doesn't surprise me; I generally
have an intuitive affiliation with his recorded performances.  Rubinstein
takes me some time to warm up to; initally, I tend to find some of his
rhythmic pulses rather quirky, but additional listenings always erase
that effect.

Record buyers have two choices concerning acquiring the Pollini version.
One is to buy #413796 which contains only the Preludes at full price;
this is the disc I bought a few years ago.  The alternative is to buy
#431221 which is a 3-cd set also having Chopin's complete Etudes and the
typical 7 Polonaises; this set is essentially priced as a 2-cd set.  For
those who might be wondering about the two volumes that Philips devotes
to Pollini in its Great Pianist Series, neither includes Chopin's Preludes.

Recently I read a review of a Pollini/Schumann recording, and the
reviewer put forth the premise that everyone knows by now what they think
of Pollini's interpretations.  I would tend to agree with the premise;
I sure know what I think of Pollini, and he gets my strong approval.
Those not enamored of the Pollini regimen point out that his performances
tend to take some of the 'heart' out of the music, that he displays a
mechanized style with little in the way of effective nuance.  I don't
agree with this set of opinions and actually can't understand it at all.
When I listen to Pollini, I hear the 'heart' of the music more intensely
than with most other recorded artists including Murray Perahia and Richard
Goode just to drop a couple of names.

Let's take Pollini's interpretations of the Chopin Preludes.  He
sparkles with the best recorded versions and provides an absolutely bleak
environment for Preludes 2, 4, and 6.  Power, mystery, danger, austerity,
hope, pleasure, and any other emotion tied into the Preludes are all on
fine display in his readings.  I can't imagine anyone not responding
well to the version, although reality and my imagination often don't
coincide.  My sole reservation concerns his flattening in the 9th Prelude
of the double-dotted rhythm, and many pianists employ the flattening
routine.  Likely his best performances are the powerful and fast preludes
where he can disorient the listener almost as much as Martha Argerich.

Rubinstein, as I indicated earlier in the review, shows me some quirky
rhythms, but I soon adjust to them.  His is a great all-around version
with illuminating features throughout.  Sound quality isn't very good
as aural debris can be a little intrusive on various notes; however,
Rubinstein's performances easily minimize their significance.

Don's Conclusions: These are the 13 versions which I have rated as
exceptional: Cortot, Moiseiwitsch, Agerich, Kissin, Barto, Zayas, Biret,
Freire, Planes, Bolet, Malikova, Rubinstein, and Pollini.  Please refer
to earlier Parts of my review for specific labels and catalog numbers.

Since I assume that most readers are not of a mind to house at least
13 versions of Chopin's Preludes, I think it appropriate on my part to
provide the 'short list' of those versions which are most rewarding.
That short list includes Argerich, Freire, and Bolet; each is a tremendous
achievement and required listening.  Nobody captures the fire and wild
nature of Chopin as well as Martha Argerich; listening to her version
is quite an experience as she transcends the romantic Chopin and gives
us a dazzling and perhaps 'Star-Wars' interpretation which easily surpasses
anything that John Williams is capable of creating.  Argerich disorients
the listener in the most amazing ways; at least, I am always amazed when
I listen to her Deutsche Grammophon recording.

I had no particular expectations of the Nelson Freire version on Sony,
but it made a great impression on me.  I think of it as the best version
in terms of consistent inspiration in a mainstream performance.  He
covers all bases in every single prelude, and I can't say that of any
other version I've heard over the years.  Jorge Bolet also surprised me
greatly.  Thinking of him as a Liszt specialist, his Chopin Preludes
reveals his innate understanding of Chopin's soundworld as well as
Liszt's; I consider his version the most versatile of all.

Three more comments and my swan-song is complete.  In some circles,
Ashkenazy and Rubinstein are considered Chopin's best champions.  I'm
not about to dispute this premise; Rubinstein has made more Chopin
recordings than any other pianist, and Ashkenazy isn't far behind.
However, each of them responds better to particular Chopin works than
others.  Personally, I don't find that the Preludes shows either of them
at their best.  My favorite Rubinstein comes from his Mazurka recordings,
while Ashkenazy most excels in the Nocturnes.

Concerning Chopin's Preludes, they are among a handful of piano works
from the Romantic era which are supreme in the literature: so rich and
emotionally sustaining with as wide a range of psychology as one could
find in any composition for the piano.  Buy one, three, thirteen, or
every version on the market - the work can handle any quantity you choose.

Don Satz
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