In a letter to a friend Chopin described Pleyel pianos as ‘the last word in perfection’. What he identified as their ‘slightly veiled sonority’ suited his style. One observer remembered the composer saying that if he was not feeling on top form, he preferred to play on an Erard, for its bright and ready-made tone. ‘But if I feel alert, ready to make my fingers work without fatigue, then I prefer a Pleyel… My fingers feel in more immediate contact with the hammers, which then translate precisely and faithfully the feeling I want to produce, the effect I want to obtain.’ The Chopin-era Pleyel was notable for its graded timbre, topped by the silvery, ethereal quality of its treble register. Chopin’s appreciation for the Pleyel sonority of pianos is written into the very fabric of his music. When he travelled to Majorca with George Sand in the winter of 1838, a Pleyel piano had to travel with them, and the composer continued to have a Pleyel grand delivered every summer, which remained until November. This was at some expense to the company, but then the relationship was mutually beneficial: while the composer was inspired by the Pleyel sound, the company did well from his patronage and his personal recommendations, and indeed Chopin and Camille Pleyel were firm friends for many years. For this mixed recital, Hubert Rutkowski plays a Pleyel instrument from 1847, during Camille’s stewardship of the firm. The most substantial works are the G minor Ballade and the B minor Scherzo, which makes so much of that glistening upper register. There is also the C sharp minor Fantaisie-Impromptu, the B flat minor Polonaise and a selection of mazurkas, nocturnes, etude and waltz. The pianist is a President of the Chopin Society in Hamburg, and has also played and recorded under the theme of Chopin’s pupils: he is among the most distinguished Chopin pianists of our day.

"Badura-Skoda's Westminster recording of the Chopin Études is one of the most overlooked and underrated in recorded history, and deserves to be reissued." --Jed Distler, ClassicsToday.com The Études are from the celebrated 1956 Westminster recording. The Mazurkas are from a 1999 live recital, previously unissued.

This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.

Most pianists who record both Chopin concertos tend to ignore the composer’s other concerted works for piano and orchestra. As a result, the catalog contains few complete cycles, and they’re uneven at that. Those by Abbey Simon (Vox), Garrick Ohlsson (Hyperion), and Kun-Woo Paik (Decca) consistently satisfy. So does the present release with pianist Oleg Marshev.

Aside from his tone turning slightly metallic and strident in loudest passages, Marshev’s vibrant, fluent, and tastefully inflected pianism fuses power and poetry at every juncture. Listen, for example, to the First Concerto Rondo’s elegantly racing octave runs, to the sustained drama in the central minor episode of the Second Concerto’s Larghetto, or to the perky runs and roulades throughout the Grande Polonaise and you’ll hear what I mean.

Neither Krakowiak’s knotty passagework nor the glittery bravura of the Là ci darem la mano variations pose problems for Marshev’s fingers. What is more, the South Denmark Philharmonic under David Porcelijn offers alert and vividly detailed support that belies any received notions that Chopin’s orchestrations are humdrum. Both soloist and orchestra unify the potentially piecemeal Fantasy on Polish Airs with sharp accents, darkly shaded modal twists, and a real chamber-like repartée. Notice also the gorgeous textural interplay in the Krakowiak’s introduction, with sustained strings, solo horn and clarinet, and the piano’s haunting unison lines. Marshev won’t cause collectors to jettison favorite individual performances, yet his high standards add up to an easy recommendation for those who want all of Chopin’s concerted works together, not to mention Danacord’s superb engineering and Jeremy Nicholas’ succinct, information-packed booklet notes.

-- Jed Distler, ClassicsToday.com

Classical Music

CHOPIN Songs (19). CHOPIN-VIARDOT-GARCIA Seize-Ans. Aime-moi. L’oiselet. Coquette • Olga Pasichnyk (sop); Natalya Pasichnyk (pn) • NAXOS 8572499 (57:04)


It seems like 100 years ago, but it was only the late 1960s when Maria Kurenko’s now-legendary album of Chopin songs (recorded, I believe, in mono) first appeared on LP in this country. It was considered sui generis, and so it was for many years; but now here we are in the 21st century, and there are several collections of these charming pieces available, including the first-class performances by Konrad Jarnot reviewed above.


Olga Pasichnyk, a Ukrainian soprano who studied at both the Kiev Conservatory and the Chopin Academy of Music in Warsaw, gives us beautiful, charming, deeply felt, and often spectacularly sung performances of these songs. Being in the original Polish helps a lot—excepting, of course, the four extra songs in French, which are actually arrangements by Pauline Viardot-Garcia of instrumental pieces, of which more later—and it also helps that Pasichnyk has not only the voice but the technique, interpretive skills, and voice to sing them. My only caveat is that, like so many Slavic soprano voices, hers has that unusual (to Western ears) prominent vibrato, not always even under pressure, but in this case Naxos’s overly ambient sonics cover some of the edginess of the voice. Otherwise, her voice is sweet of timbre, surprisingly flexible in both range and florid ornaments, and at times quite stunning in unexpected ways. Possibly because the original texts are less cumbersome in syllabic structure, she is able to sing them at quicker tempos than Jarnot, which allows her to fit in the four extra Viardot songs (totaling about 12 minutes) to the recital while only adding four minutes to the total disc time.


Pasichnyk also possesses a quality rare among present-day singers in that she has a “smile in the voice.” This is a rare and precious asset, not to be taken lightly, and she makes the listener smile as well. The Viardot-Garcia songs are rarely performed because they are far more technically difficult than Chopin’s own songs, but again Pasichnyk rises to the challenge; listen particularly to Aime-moi, set to the music of the Mazurka No. 23 in D. This piece demands not only a polished technique but, more importantly, the ability to use that technique in a flowing, instrumental manner—in other words, to emulate the way the notes are played on a piano. Pasichnyk does this so well, and so easily, that my jaw drops to hear it. And, like everything else she sings, she has worked over her technique so well that one is scarcely aware of the immense hard work that underlies her ease of execution. I assume that Natalya Pasichnyk is her sister, though the relationship is not mentioned in the notes, but whether she is or not, she is a first-rate accompanist and also knows this style like the back of her hand. Again, no texts are included in the booklet.


FANFARE: Lynn René Bayley


It was just a few months since I welcomed a disc with Chopin’s complete songs, marvellously performed by the great Lied singer Konrad Jarnot. I even had it on my list of possible candidates for Recording of the Year but in the semi-finals it lost against Yann Beuron’s Fauré recording. It is still a very good disc but has two drawbacks: there are no texts and translations in the booklet and it is sung in German. The new Naxos disc is sung in the original Polish and while the rather meagre inlay has no room for the texts they can be accessed on the Naxos website. That’s good service but I have never quite managed to come to terms with listening to music in front of the computer. To be frank: I hate that and I have found that I am not alone. End of complaint.

The original language makes an important difference insofar as it was the Polish words that Chopin set. To sensitive song composers the musical values inherent in the sounds as much as the actual meaning of the words are essential. Here one feels an integration that seems totally authentic while Jarnot’s German texts stand out as slightly strange birds. Since he is such a distinctive interpreter, the ‘wrong’ language didn’t bother me but I get closer to the atmosphere of the songs in the Olga Pasichnyk’s readings. Coming from Ukraine, Polish obviously isn’t her mother tongue but parts of her studies were carried through in Warsaw and she was soloist at the Warsaw Chamber Opera from 1992. Hers is a truly lovely and beautiful voice and she is a most sensitive singer, producing ravishing pianissimos. The majority of these songs are lyrical and poetic and Olga Pasichnyk is an ideal interpreter. It also seems that a female voice is more natural in this repertoire, though that may just be prejudice. But she also has the required power Hulanka (tr. 4), this outgoing, burlesque dance, where she responds with some stirring chest notes while otherwise retaining the elegance and sensitivity.

She is also careful with words and the whole recital is so alive and ‘lived-in’. Just listen to her inflexions of the text in Sliczny chlopiec (tr. 8) and the hushed intensity in Melodia (tr. 9). She certainly covers all the interpretative facets of these songs. One of my favourites is Moja pieszczoyka (tr. 12), a delicate waltz, that I can’t remember hearing better sung, and Piosnka litewska (Lithuanian Song)(tr. 16) is another highlight, simple and enchanting.

Her sister Natalya is an extraordinarily flexible accompanist and contributes greatly to the overall impression.

As a bonus we are offered four out of the twelve songs the famous singer Pauline Viardot arranged from mazurkas by Chopin. Viardot was a technical phenomenon with a range of three octaves and virtuoso technique and the songs were written to show off her ability. Chopin was also satisfied with the songs and they are splendid showpieces. Olga Pasichnyk has both the brilliant top as well as a contralto depth – listen to Coquette (tr. 23) – and the technique to negotiate the vocal fireworks.

The recording is fully worthy of the interpretations and anyone wanting a recording of this lesser known part of Chopin’s oeuvre need look no further. At super budget price and sung in the original Polish – the Viardot songs are in French – and with texts and translations available on the internet this is a self-recommending issue.

Göran Forsling, MusicWeb International

Wolfram Schmitt-Leonardy has gradually built a distinguished catalogue of recordings over the years on Brilliant Classics, and each new release from this German pianist tends to be welcomed in effusive terms by the international press. His accounts of Chopin have met with particular praise. A previous release of the Ballades, Impromptus and Preludes (BC95210) was celebrated by Classics Today as achieving ‘a fusion of impassioned ardour and classical textual rigour… the best of Schmitt-Leonardy’s Chopin adds up to a stimulating and compelling listening journey well worth travelling, even if you’ve heard these works hundreds of times.’ Individual discs of Mendelssohn (BC93975), Schumann (BC93136) and Brahms (BC92512) have likewise attracted admiring comments. According to Gramophone, ‘Wolfram Schmitt-Leonardy’s superb technical and musical command holds unflagging interest throughout the [Brahms] variation sets, which easily hold their own among the top versions available.’ With these new recordings, made in 2011 and 2015, Schmitt-Leonardy returns to Chopin, and to ‘his wildest children’ according to Schumann: a comment which has been much parsed for its implications of structural incoherence as well as indomitable passion. In truth, Chopin’s struggle with the larger, multi-movement form has by no means failed, but rather resulted in a more accurate and elaborated mosaic of interrelations, coherencies and references, which cannot be discerned by casual listening or glancing at the scores. Chopin’s ability to balance these elements comes from neatly hidden formal concessions and the use of several compositional tools found in the music of Bach; combined, these aspects award Chopin’s sonatas continuity. Even if the First Sonata is the work of a student, it nonetheless demonstrates some of those Bachian connections and a lyric poise which would come to full bloom in the Second. This work is centred around the grave Funeral March which has become perhaps Chopin’s best-known individual piece. Bachian principles of counterpoint and polyphony are even more richly satisfied by the final sonata of the trilogy, at least until the grand and sweeping passion of its concluding Rondo.

The Polonaise in C-sharp minor, Op. 26 No. 1 and the Polonaise in E-flat minor, Op. 26 No. 2 were composed by Fr�d�ric Chopin in 1836. Both of them were dedicated to Josef Dessauer. Both Polonaises require considerable technique and stamina to be performed well. The Polonaise opens with a fiery Allegro appasionato in C-sharp minor, the primary theme preceded by descending octaves. The section climaxes with a series of virtuosic arpeggio figures which give way to a tender melody. This is then followed by a repetition of the theme. After this opening section there is a new theme introduced in the enharmonic D-flat major. This new theme is then developed and followed by a new left hand melody, which increases the tension until a repeat of the meno mosso. This polonaise is very diverse in textures, dynamics, and moods, and sometimes is considered one of the best polonaises by Chopin.

Includes nocturne(s) for pno by Frédéric Chopin. Soloist: Bernard d'Ascoli.

"Feltsman’s nocturnes seem to have been available twice before, first on Urtext Records and then on Camerata. This apparently is their first review in Fanfare. They were recorded as far back as 2000 in the Moscow Conservatory’s Great Hall, with superb sound engineering. Feltsman gives us one of the great sets of the nocturnes. This is music of suggestions and inferences, and Feltsman absolutely nails them. The First Nocturne sounds like a cradle song. For No. 2, Feltsman writes that Chopin provided embellishments to it for his students, so Feltsman has added ornaments following Chopin’s lead. The results are charming. No. 3 seems pensive. A childhood reminiscence with a dark side appears in 4, with a resemblance to Schumann’s Kinderszenen. No. 5 offers a story told among friends. A walk at nighttime occurs in 6. One watches a sunset in 7. No. 8 presents a reverie along with a sip of wine. For 9, we may think of someone writing a diary entry. No. 10 seems about thinking of the beloved. No. 11, on the other hand, is about love lost, with a sense of resignation.

No. 12 could take place by a stream. In 13, we contemplate death—there is a resemblance here to the funeral march of the Second Sonata. No. 14 perhaps takes place on a summer evening. An important question is posed during 15. No. 16 apparently contains the recollection of a dance. An intimate conversation is related during 17. No. 18 may portray a dinner between two lovers. No. 19 is about a lover’s despair. The sentiment in 20 is of the poignancy of young love. No. 21 sounds mazurka-like. I can think of two digital recordings of the nocturnes in Feltsman’s league, by Daniel Barenboim and François Chaplin, but Feltsman’s may prove the most satisfying on a regular basis.

Feltsman’s Barcarolle is fluid and majestic. His Berceuse is a pianistic kaleidoscope, with shifting textures and colors.

It’s perhaps worth remembering that the first recording by Feltsman issued on a U.S. label was Chopin’s preludes. He really is a Chopin player to the manner born. His sense of line is infallible, and no detail is so small as to escape his attention. Plus, he has the rare ability to convey an atmosphere, which is essential to a great Chopin style. That Feltsman has made a considerable career playing Bach may not be coincidental, given Chopin’s love for Bach and the subtlety of the Pole’s harmony. What’s more, Feltsman’s love for Chopin absolutely comes across in these recordings. You really can’t fake the excitement and affection that suffuse these readings. Feltsman here matches the greatest Chopin performances preserved in recorded sound. These [recordings] are likely to remain touchstones for decades to come."

FANFARE: Dave Saemann

CHOPIN Etudes, opp. 10, 25. 3 Nouvelles Études • Hardy Rittner (pn) • MDG 904 1747-6 (SACD: 61:30)

Hmm. Another recording of the Chopin etudes? That was my very first thought when I was asked to review the current recording. I have so many different versions of these works as it is—why would I need another? Because I thought that one always needs to be reminded of how great these works truly are, and the pianist—well period-instrument pianist, that is—Hardy Rittner was a name new to me. The pianist chooses to use a Conrad Graf Piano (c.1835, 244cm, 6.5 octaves) that he feels has the necessary dynamic breadth, along with moderator pedals, which allow for changes of color appropriate to the music, and which all together is a historically plausible instrument, as Chopin did play on Graf pianos throughout the 1830s (even though the pianist admits that Chopin did eventually prefer the Pleyel pianos). So what does the recording sound like? In general the upper registers of the instrument are thin and the lower registers are muddled. But this gives little impression of how fine a performance this truly is. What is most important is how the pianist uses these timbres in his survey of the works.

Beginning with op. 10/1, the first etude bursts forth with energy; the individual notes sparkle with clarity and vivacity, while the collected arpeggios ebb and flow. The dreaded op. 10/4 is given a whirlwind performance—one of clarity, yet one full of forward momentum. My favorite of the op. 10 etudes, however, was a Horowitz favorite: No. 8 in F Major. Here Rittner basks not only in the continuously paced arpeggios, but relishes the quirky and bouncing left-hand figures. The first of the op. 25 etudes is also spectacularly played: the accompanimental arpeggiations shimmer underneath a gently lilting melody. The etude that follows (in F Minor) has never been given a better performance than here; there is, no matter the tempo, always a sense of grace present. But the faster etudes are not the only highlights of the disc; the mysterious aura of op. 10/6 and the brooding quality of the lovely “Cello” Etude, op. 25/7, are brought to the fore in these performances. Yet some of the true highlights of this disc are the little-played Trois Nouvelles Études. They provide relief from the storm of the two major books and as they are programmed here—between the two larger sets rather than after them—they feel like an integral part of this recital, not an afterthought. The second of the three is my favorite. It is beautifully phrased and sensitively voiced. In this pianist’s hands it is a true gem.

That said, there are also moments that disappoint. The etude in thirds (op. 25/6) feels like a study. There is a lack of sensitivity and a lack of overall dynamics (rather more like one overall dynamic throughout: medium loud). The op. 25/3 in F Major sounds a bit clunky at times and is tarnished by an odd sense of tempo fluctuation. But these are minor quibbles when one is reviewing a recording of 27 etudes. Whether one has a set (or more) of the Chopin etudes, I would recommend hearing the etudes as Chopin might have. And with performances of this caliber in phenomenal SACD sound, how can one go wrong?

FANFARE: Scott Noriega

Classical Music

CHOPIN Ballades. Fantasy. Polonaise-Fantasy • Vladimir Feltsman (pn) • NIMBUS ALLIANCE 6128 (64:13)

"Vladimir Feltsman is an important Chopin pianist. One of the special joys of th[is] album is Feltsman’s marvelously erudite program notes. I find it intimidating as a critic to review an artist who writes about music better than I do. Feltsman’s style in the [ballades] is meticulous and dramatic. The First Ballade receives a beautifully proportioned reading, with a brilliant dénouement. In the Second Ballade, Feltsman alternates between lyric and tragic poetry. His Third Ballade gives us a touchingly rendered narrative, with a B section of high drama. The last ballade comes off as a miniature novel, with lots of plot twists. Feltsman’s Fantasy is a virtuoso statement of musical architecture. In the Polonaise-Fantasy, Feltsman’s playing is tonally lavish, with an improvisatory feel; his use of pedal here is very telling. The album was recorded in the Frank Gehry-designed Fisher Performing Arts Center at Bard College. I’ve heard Feltsman play the Schumann concerto in concert, and the sound engineering on this disc is a good approximation of what it’s like to hear him live. I would rank Feltsman’s ballades among the best I know, along with Rubinstein, Kissin, Ohlsson, and Graffman.

It’s perhaps worth remembering that the first recording by Feltsman issued on a U.S. label was Chopin’s preludes. He really is a Chopin player to the manner born. His sense of line is infallible, and no detail is so small as to escape his attention. Plus, he has the rare ability to convey an atmosphere, which is essential to a great Chopin style. That Feltsman has made a considerable career playing Bach may not be coincidental, given Chopin’s love for Bach and the subtlety of the Pole’s harmony. What’s more, Feltsman’s love for Chopin absolutely comes across in these recordings. You really can’t fake the excitement and affection that suffuse these readings. Feltsman here matches the greatest Chopin performances preserved in recorded sound. These [recordings] are likely to remain touchstones for decades to come."

FANFARE: Dave Saemann

Robert Lortat: The Chopin Recordings (Recorded 1928 & 1931)

"After Debussy and Schumann, Nelson Goerner comes back to the composer who revealed him to the great audience of recorded music: Chopin. His first Chopin recordings won him high praise and countless distinctions (3 Diapasons d’Or!): ‘Everything he touches seems 'right’ wrote Gramophone in a recent issue. Nicknamed ‘the great poet of the piano’, he now attacks Chopin’s 24 Préludes, which he chose to record live, in a single go, in Poland where he is particularly appreciated and considered an essential pillar of the Chopin Institute. As a complement, Nelson Goerner opts for the Barcarolle Op. 60, the Polonaise Op. 44 and the Berceuse op.57.

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REVIEW:

This is a disc that can only solidify Goerner's reputation as one of the outstanding Chopin exponents of his generation. His interpretations are never less than original, deeply considered, and filled with characteristic detail. That they also exhibit rare qualities of wisdom and discernment make him someone to return to, again and again.

– Gramophone