Frederic Chopin(1810-1849) Preludes, Opus 28 Alfred Cortot Music & Arts 871 Recorded 1926 Couplings: Four Ballades Berceuse, Op.57 Impromptu, Op. 36 Etude, Opus 25/1 TT 77:08 This is a different performance of Chopin's Preludes than the 1933 Cortot recording on the Philips Great Pianist Series(#456754)that I reviewed in Parts 1 and 2. In my review of the 1933 performance, I heartily recommended the interpretation and easily rated it as essential to a decent library of Chopin Prelude versions. If anything, I prefer the 1926 set of performances; they are slightly quicker, leaner, and convey a greater youthful vitality. The differences are not huge as Cortot's conception remains intact even down to the relatively slack playing of the 24th Prelude. Still, I notice the distinctions every time I compare the two recordings. If the above was all there was to report, I'd simply recommend going for the 1926 performance. However, there are serious sound considerations to factor into the equation. To put it mildly, the 1926 sound is not nearly as fine as the sound for the 1933 issue; it's loaded with the Rice Krispies "snap, crackle, and pop" syndrome combined with a recessed piano tone. This combination is quite unattractive and can make the listening process a trial. At the same time, Cortot's artistry does shine through it all. One thing is for sure - listening with headphones is a deadly way to approach the disc as it only exacerbates the prominence of the interference. That's a shame given the high quality of the performances, and it doesn't sit well that every other work on the program is in much better sound; the Four Ballades sound particularly well detailed with minimal aural debris. I find myself in a bit of a quandry as to which of the two versions to favor: prime-time Cortot in bad sound or close to prime-time in relatively good sound. So, I'll be keeping both recordings and listening to the Music & Arts disc when I think my concentration levels are at their peak. Don's Conclusions: The 1926 reading is tremendous and reveals Cortot at his absolute best; however, aural debris is a negative factor which potential buyers should think about. It's probably best to sample these performances if you tend to give high priority to sound quality. For those who can easily get beyond bad sound, I do recommend the Music & Arts recording over the Philips. Having both of them isn't a bad idea either. At some point in the future I'll likely be reviewing a third Cortot performance of Chopin's Preludes from the 1940's on the Aura label. Perhaps that performance will clarify the best route to take with Cortot and the Chopin Preludes, but my projection is that it could well muddy the waters even further. Part 14 will cover the Jeanne-Marie Darre recording of Chopin's Preludes on Vanguard Classics; if memory serves, the performance is from 1965 when she was at the peak of her popularity in the United States. Hopefully, the sound quality will not be an issue I need to address. Don Satz [log in to unmask]