Frederic Chopin(1810-1849) Barcarolle in F sharp minor Alfred Cortot EMI 61050 Recorded 1933 Couplings: Preludes, Berceuse, Four Impromptus TT 68:27 Comparison Version: Benno Moiseiwitsch/Pearl 9291 I was stunned to find that I had neglected to review this Alfred Cortot performance of the Barcarolle which is the sole Cortot version currently on the market; I just wasn't paying sufficient attention to the other works on the disc in addition to the Opus 28 Preludes. Recapping a little from my three previous reviews, 'rapture' is the defining element in chopin's highly evocative piece representing Chopin's take on the work-world of a Venetian gondolier. The one characteristic common to the versions I have rated as best, including the Moiseiwitsch, is their heightening of tension and rapture as the performance progresses once through the lyrical and lovely 1st section; this heightening gives the work its ultimate shape and full sweep. Cortot's 1933 performance is in the historical category which always brings up the issue of ancient sound quality. There are serious record collectors who are very particular about their sound, and they are especially skeptical of historical recordings. I have found that two sound considerations can make the actual performance a secondary element in the listening experience. One is when the piano tone has a recessed quality and a lack of vibrancy; the other is when the aural debris, instead of hovering over the performance, infects the chords and notes. When both are prevalent, you can write off any and all interpretations. Fortunately, Cortot's Barcarolle has fine presence for its age with a piano tone that rings out when required. Also, the significant supply of interference manages not to touch any notes. Cortot's detractors point to his sloppy playing, wrong notes, and general lack of excellent technique. Cortot's fans praise his sense of discovery, improvisation, and ability to speak for the true musical personality of the composer. I think we can all agree that Cortot was not a 'neat' pianist; that didn't seem to concern him in the least. Although I definitely hear from him some less than sterling technical moves, they tend to take a backseat to the artistry of the man. Actually, the only aspect of Cortot's music-making that I don't care for is that he only intermittently conjures up all the power at his command. Cortot is quite different from Moiseiwitsch in the priorities on power and lyricism with Cortot tending to favor the latter. This all comes out in Cortot's Barcarolle. Yes, you will find plenty of steam, but it arrives only on occasion. By contrast, Moiseiwitsch just keeps tightening the screws. Of course, the trademarks of Cortot's artistry are on full display: the lovely phrasing which gives off tension and urgency, superb accenting and inflections, meaningful intervals, abundant nuances, etc. Don's Conclusions: I'm not placing Cortot's Barcarolle among the best versions, but it's only a short distance behind. For those of you who are more attracted to Chopin's lyricism than his weightier arguments, the Cortot should be just the right match. The performance of the Preludes is another exceptional item as are the other works on the disc. Don Satz [log in to unmask]