Frederic Chopin (1810-1849)
Barcarolle in F sharp
Inspired by the songs of Venetian gondoliers, Chopin composed his
Barcarolle in F sharp major in the winter of 1845. As such, it is one
of his 'late' works and the most famous Barcarolle for solo piano in the
world. I tend to think of Chopin's Barcarolle as a multi-faceted water
dance, but many primarily consider it a nocturne with a swaying rhythm
evocative of relaxing waves.
There are four basic reasons why I find Chopin's Barcarolle so compelling.
First, it's always good to have transcendent melodies, and the Barcarolle
is loaded with them. Second, the architecture represents Chopin at his
mature best. Third, the variety and depth of emotional themes is stunning.
Most important from my view, this music revolves around rapture; it
begins immediately and only increases and tightens as the work progresses.
Generally speaking, the first three to four minutes of the work is strong
on poignancy and tenderness. However, once the Bachian introduction to
the second section is complete, the music heats up considerably as it
drives toward its destination.
Here are twenty-seven versions for your consideration:
Claudio Arrau..........Philips 464694(1980)
Vladimir Ashkenazy.....Decca 466708(1999)
Idil Biret.............Naxos 8.550366(1991)
Shura Cherkassky.......Philips 456742(1953)
Jane Coop..............Skylark 9902(1990's)
Laure Favre-Kahn.......Arion 68448(1998)
Vladimir Feltsman......Urtext 048(2001)
Madeleine Forte........Romeo Records 7214(2002)
Samson Francois........EMI 74457(1966)
Adam Harasiewicz.......Philips 464025(1965)
Vladimir Horowitz......RCA 68008(1979)
Evgeny Kissin..........RCA 63259(1998)
Paul Komen.............Globe 5162(1996)
Dinu Lipatti...........EMI 66956(1948)
Benno Moiseiwitsch.....Philips 456907(1958)
Benno Moiseiwitsch.....Pearl 9192(1961)
Alain Planes...........Harmonia Mundi 901721(2000)
Murray Perahia.........Sony 42400(1985)
Mikhail Pletnev........Virgin 61836(1988)
Maurizio Pollini.......Deutsche Grammophon 431623(1990)
Sviatoslav Richter.....BBC 4021(1961)
Arthur Rubinstein......RCA 63004(1928)
Arthur Rubinstein......RCA 63016(1946)
Arthur Rubinstein......RCA 63029(1957)
Arthur Rubinstein......RCA 63046(1962)
Vladimir Sofronitsky...Philips 456970(1960)
Juana Zayas............Music & Arts 1006(1996)
Admin. Notes - The above listing does not represent every recording of
the Barcarolle that is available. However, it's most of them, and I'm
satisfied with the choices. I should point out that an earlier Ashkenazy
version is available through both Decca and the Philips Great Pianist
Series. The pianist probably the least well known is Juana Zayas, but
be assured that this Cuban artist is easily among the better Chopin
performers.
Dispensable Versions - I'm very pleased to report that none of the
twenty-seven performances is less than enjoyable. All of them well
capture the work's tenderness/poignancy, Bachian influence, tension and
intensity, and rapture of the climaxes. It is only in comparison to one
another that some rise to the top while others shrink.
Problematic Versions - Mikhail Pletnev offers a rather different view
of the Barcarolle, using frequent changes in tempo, dynamics, and rhythm.
His version, at over 9 1/2 minutes, is quite slow; yet, his introduction
is quick and he misses making heart-felt points. What counts most is
whether Pletnev can keep a rocking-cradle rhythm intact and convey natural
phrasing while he's reinventing the music. My conclusion is that he is
only partially successful; the phrasing suffers the most along with some
tendency toward empty intervals and slack proceedings. A comparison
with the Feltsman version is instructive since Feltsman also frequently
changes tempo and dynamics. However, Feltsman is not as extreme and has
no problem maintaining a basic and natural pulse. To Pletnev's credit,
he gives a menacing quality to the Bachian introduction to the second
section, and he clearly has given a distinctive interpretation of the
entire work. But when the dust settles, I'd rather listen to his Chopin
Scherzos on Deutsche Grammophon.
Idil Biret's version shows that messing around with tempo can be a risky
business. She does it often and starts at the beginning of the work;
after the first two chords ring out in enticing fashion, Biret speeds
through the descending figures. Thereafter, she constantly slows down
or speeds up with no favorable effect or coherence that I can detect.
Well, those are the negatives. On the plus side, her tension and rapture
are quite effective, and Biret consistently conveys a fine sense of
Chopin's soundworld. Chopin's Preludes are on this same disc, and I
think the world of Biret's performance; her Barcarolle is well of that
mark.
Evgeny Kissin sounds good initially, but doubts creep in with continued
listening. There's something not quite right with the lower end of the
keyboard; bass-lines are indistinct and cause damage to the music's
tension and intensity. Kissin can go slack now and then, but the major
problem is one of rapture. I want to feel that the pianist is in a state
of rapture, and Kissin isn't there. Particularly in the climaxes, I
sense Kissin keeping his distance from the music's emotions. Of course,
the weakly defined lower voices exacerbate the situation.
Paul Komen's performance is a pleasant one which can't stand up to most
of the recorded alternatives. The tension he supplies is consistently
low, although that by itself also comes from some better versions. The
additional problem is that Komen's first section does not convey as much
feeling as those better versions. Of course, this is all based on
comparison; Komen sounds fine in isolation.
Worthy Versions - The Canadian pianist Jane Coop provides a warm and
glowing performance which is quite comforting. Her phrasing is idiomatic
and lovely, and I am very taken with her approach except for one important
element - tension and intensity tend to be in short supply. This is
most evident from 3 1/2 minutes to 4 minutes into her performance which
is right after the Bachian introduction to the middle section. Coop is
so subdued that there's not even the anticipation of intensity. So,
this is an excellent interpretation which I think most listeners would
greatly enjoy; just don't expect the 'burners' to be at full tilt.
Contrary to his stereotype, Maurizio Pollini does his best work in the
first three minutes where poignancy and gentle persuasion are so important.
Thereafter, he is curiously underpowered at important points where rapture
should be intensified. This isn't prime-time Pollini, and the same
applies to the Ashkenazy version which just doesn't deliver enough tension
once past the Bachian introduction.
Claudio Arrau's version, like Pletnev's, runs over 9 1/2 minutes, and
it's because he frequently employs hesitations. The use of hesitations
doesn't have to damage momentum and it can enhance poignancy. Unfortunately,
I don't think that Arrau's hesitations are anything to write home about;
momentum is definitely affected as is rapture. Arrau does provide his
customary aristocratic demeanor and architectural command, but those
hesitations are a significant detriment.
Like Idil Biret, Vladimir Horowitz engages in a steady stream of changes
in tempo and dynamics. However, his phrasing is much more attractive
than Biret's, and his articulation is more incisive.
Admirable Versions - Although she gives a highly rewarding performance,
I expected better from Juana Zayas. All aspects are exceptional except
that the rapture she provides is a little low compared to superior
versions such as the Sofronitsky and Harasiewicz; her reduced tension
and intensity are the main culprits. This is not a surface-bound reading
by any means, but that last ounce of emotional tie-in is missing. Still,
the disc's main offering is Chopin's Opus 28 Preludes, and the Zayas
performance is among the best.
Murray Perahia's first few minutes are superb; his poignancy and tender
love shines through. However, his tension after the Bachian introduction
is flacid and doesn't perk up until the conclusion.
The performance of Madeleine Forte is among the best on record and the
Erard Piano Paris 1881 housed at the Yale University Collection of Musical
Instruments is a gorgeous and vibrant piano ringing with brightness and
definition. The fly in the ointment is a cancerous static which can
drive a sane person crazy on headphones. I don't know where it comes
from, but Aliens would be wise to use it when they attack Earth. Even
so, this is a performance which must be heard as Forte uses the piano
to perfection to bring out Chopin's architecture and vitality.
I can't imagine anyone not taking a liking to the Alain Planes
performance on a 1902 Steinway. The piano tone is delectable as is
the Planes reading which is relatively relaxed and softer than most.
He's about as conventional as they come, and that doesn't bode well upon
continued listenings. Also, rhythmic vitality is on the low side; Forte
is much better in this regard. Actually, if Forte had the Harmonia Mundi
release, I have no doubt the results would be at the top level.
Excellent Versions - What I most love about Rubinstein's Chopin
interpretations is how well he blends his classical approach with a
freshness bordering on improvisation, and he fully conveys this blend
in each of his four performances. The 1928 Rubinstein is the quickest
and most impetuous, the two middle readings possess a superb mix of
poignancy and drive, while the 1962 version is the slowest and reveals
a wealth of insight gained though maturity. I feel that sound quality
becomes the most significant factor, and it is problematic for the 1928
and 1946 releases as both recordings have some aural debris that can
infect the notes and chords. So, these two earliest readings reside in
the excellent category with the two most recent ones at a higher level.
Exceptional Versions - In addition to the two most recent Rubinstein
recordings, I've placed a few other versions in the exceptional category.
Dinu Lipatti's performance is a role-model of poignancy and drive; my
sole reservation concerns a rather glassy and dim recorded sound.
You won't hear a better first section than the one from Vladimir Feltsman
who uses hesitations and changes in tempo and dynamics beautifully. He
is so distinctive and incisive in this first section that I consider the
reading a must for listeners. Richter is sensational, or at least I get
this impression through the worst sound of the 26 versions. Lipatti's
sound might be on the dim side, but Richter's is thoroughly recessed.
Under these conditions, I can't rate the recording at the top level.
Shura Cherkassky's performance is likely the most uplifiting of all
interpretations reviewed. It absolutely glows from start to finish
and is another 'must hear' recording of the Barcarolle.
Benno Moiseiwitsch is one of the most masculine sounding pianists I've
ever heard, and this quality shines through in both of his performances.
However, there are some differences. The Philips, originally on EMI,
is a studio recording; the Pearl is from a private recital. As it
happens, Moiseiwitsch tended to be more free-wheeling in intimate
surroundings. The Philips version has a more moderate tempo and is also
more stately; intense feelings share time with urgent refrains. For
reasons explained below, the Philips is just a notch less rewarding than
the Pearl.
Samson Francois reminds me some of Horowitz in that both like to use
unusual phrasing and spacing in Chopin's music. However, Horowitz can
often sound quirky and self-serving while Francois is distinctive and
idiomatic. So it is with the Barcarolle as Francois offers phrasing and
details that no other artist conveys; I particularly love his hushed
ascending passage which begins at 1:24 into his performance.
Best Versions - I have four versions in this exalted territory, and each
of them is stunning throughout the Barcarolle. Each captures the music's
architectural sweep, its sublime melodies and emotional messages, and
the intense rapture of the piece. What separates these four interpretations
from the rest of the field is their build-up of rapture, intensity, and
drive once the second section commences. They are the only versions
that have kept my rapt attention from start to finish through a month
of heavy listening.
The performances come from Adam Harasiewicz, Laure Favre-Kahn, Vladimir
Sofronitsky, and Benno Moiseiwitsch on Pearl. The Harasiewicz does not
have fantastic sound, but it is quite fine for its time period; piano
tone is excellent and overall sound is well blended without any recessed
notes. Although I haven't found Harasiewicz superb in Chopin miniatures
such as the Preludes, he rises greatly in Chopin's more extended piano
works such as the Scherzos, the Fantaisie in F minor, and the Barcarolle.
He has an uncanny sense of Chopin's architecture and sweep, giving us a
glorious last five or so minutes. The drive and tension in Harasiewicz's
reading is tremendous, resulting in a musical force of distinction and
continuity. His 2-cd set also includes the three Piano Sonatas, four
Scherzos, four Ballades, and the Fantaisie in F minor. As you might
have gathered, I consider the set an essential component of one's music
library.
Who is Laure Favre-Kahn? Judging from the cover's photograph, she
is young, lean, and comely in appearance. As the liner notes reveal,
Favre-Kahn was born 1976 and entered the Conservatory in Avignon at the
age of seven. She met Bruno Rigutto in 1990, and he remains a good
friend and advisor. Favre-Kahn has toured in the United States, but
most of her concerts are close to home.
The sound given Favre-Kahn is wonderful in all respects, and it even
blooms at increased volumes. Although she certainly doesn't look the
part, Favre-Kahn's Barcarolle is one rugged testament to Chopin. In
fact, it's the most rugged, focused, and determined version I know.
Right from the start, it's clear that Favre-Kahn is going to project
strongly and sweep me off my feet. This is the "stuff of champions" and
the version I would keep if I could have only one. Unfortunately, the
remainder of her Chopin program is generally at a much lower level. Life
does have its complications, but I do feel that her Barcarolle is worth
the full price of the disc.
Nobody offers the emotional intensity of Chopin's music as well as
Vladimir Sofronitsky who pierces the heart at every turn in the Barcarolle.
He does the same in Scriabin's music, and I tend to think of him as the
'master of emotional heat'. To my ears, Sofronitsky has conquered the
theory of Intonatsia which deals greatly with musical tension supplied
and spacing employed. He's simply a marvel and an essential part of the
music library. His Philips Great Pianist set has additional Chopin music
and an equal share of Scriabin; naturally, I consider the set a must-buy.
Recorded sound isn't bad at all in that it never clouds the music and
always allows Sofronitsky's pin-point articulation to fully project.
The Moiseiwitsch performance on Pearl has an urgency to it bordering on
desperation. In this private recital, he offers the fastest version on
record and is clearly swept up with Chopin's most extreme emotions. You
won't find another version like it, so you might as well invest in this
2-cd set. I should warn you that the sound quality sure isn't vintage
1961, but Moiseiwitsch overcomes the obstacles at every turn. The set
also includes some Chopin Etudes and his 3rd Piano Sonata, Mussorgsky's
Pictures at an Exhibition, and Schumann's Carnaval, Kreisleriana, and
Symphonic Etudes. All in all, this set and the Sofronitsky are as good
as historical recordings can be.
Don's Conclusions: The cream of the crop comes from Favre-Kahn on Arion,
Adam Harasiewicz on Philips, Vladimir Sofronitsky, and Benno Moiseiwitsch
on Pearl. I also would never part with the Feltsman or Cherkassky
versions. Further, there are plenty of other fine recordings which cover
a wide variety of tastes.
Chopin's Barcarolle is considered in some circles the most beautiful of
his piano works. I'd say that it's the most rapturous of his creations
and one of his most potent works for solo piano. Overall, acquiring the
six versions noted above should do the trick for those wanting a limited
number of alternative performances. If only one, I think that Favre-Kahn
offers the best combination of sound and performance.
Don Satz
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