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 a blessing Jul 22, 2008
Not only is this great artistry, where Chopin's fairy tale, angelic and perfect music is given the room it needs to breath, expand itself and stretch past the grasp of sentimentality...Rafal makes me happy to be alive knowing that one can listen to him: here on the earth where I can experience the joy he fills each phrase with.
5 of 7 found the following review helpful:
Chopin's Preludes Op 28 Jun 02, 2008
Frederic Francois Chopin 1810-1849
Chopin is one of the most innovative and original of all composers. He wrote almost exclusively for the piano and redefined the capabilities of the instrument. To his contemporaries Chopin was considered unique and avant-garde. Many of his compositions are conceptually, harmonically, and structurally 50 to 75 years ahead of their time. Yet, unlike most cutting-edge artists, he was respected and revered during his lifetime.
Chopin earned his living by teaching piano (at outrageous fees) to the nobility and from the sale of his music. As much as possible, he avoided giving concerts. However, when he did perform in public, tickets were extremely expensive and sold within hours to the Paris elite.
Chopin is one of the most influential forces in 19th century music. Late 19th and early 20th century composers such as Brahms, Scriabin, Rachmaninoff, Debussy, Faure, Tchaikovsky, and Ravel owe him a large debt. Today, virtually every work he published remains in the active repertoire.
Chopin: 24 Preludes Op.28
It is believed that Chopin composed almost all of his twenty-four preludes between 1836 and 1839. He edited, revised and completed them while visiting Majorca with George Sand in 1839. The set was published in that same year as his opus 28. Since their debut, the preludes have been among Chopin's most esteemed works.
The title prelude was not used in its traditional sense by Chopin. These works are not introductory. Rather, they define a mode of expression and display an endless variety of mood and emotion.
Chopin's inspiration for the preludes may never be known. However, he was an ardent admirer of Johann Sebastian Bach. A century earlier Bach had composed the Well Tempered Clavier in two books. Each book contained twenty-four preludes and fugues in all the major and minor keys. The "Forty-Eight" as they were called, were written by Bach to demonstrate the attributes and capabilities of keyboard instruments tuned to "even temperament" (the tonal configuration used today).
Chopin, who studied and played Bach's Well Tempered Clavier his entire life, may have sought to illustrate the expressive capabilities of the Nineteenth Century piano.
Chopin's preludes are a protean tour de force of emotional depth, musical inspiration and pianistic originality. The concept of aggregating twenty-four diverse pieces, evolved with such spontaneity through the circle of fifths*, was revolutionary. Especially since some of these works (notably numbers 2, 5, 14 and 18) are so abstract.
Chopin's genius for contraction and abstraction has had a lasting influence in music. After him, many composers produced sets of preludes: Alkan (1847), Scriabin (1888 - 1896 for Op 11), Rachmaninoff (1903 for Op 23 and 1910 for Op 32), and Debussy (1910 Book I and 1913 Book II). Prokofiev`s Visions Fugitives was published 76 years after Chopin's Preludes, while the Op 34 Preludes of Shostakovich appeared 94 years after Chopin's! That's quite a long reach. However, no one has been able to approach the artistic heights of the inimitable Polish Master. Today over a century and a half after their appearance, they remain the state of the art, the standard.
This is especially remarkable since Chopin is so introspective. However, due to the pervasiveness of his emotional expression, the listener is able to identify and personalize Chopin's message instinctively. This quality has dictated the overwhelming and lasting popularity of the preludes.
Chopin's conception for the preludes was very modern. Economy is the rule and redundancy anathema. Many preludes consist of little more than an exposition (theme or motif) stated, developed, usually abbreviated upon recapitulation and concluded. The concept is that less is more. In fact, only three preludes (13, 15, 21,) of the twenty-four have true subordinate (middle or contrasting) sections. And even in these preludes, Chopin abbreviates or transforms the recapitulations - not only to expedite, but to intensify. {Other preludes with subordinate themes or episodes (6, 8, 17, 19, 20, 22) maintain the same mood or motif and thus cannot be described as contrasting.}
Chopin's order of preludes is well conceived. The key element appearing throughout the set of twenty-four is contrast. The light and shade that Chopin produces among these pieces is truly extraordinary. Below is a brief description of each prelude.
No. 1 C Major {MT, MT1, Coda}: The opening prelude has a modern flavor due to its harmonization. It possesses an aspiring and exciting drive.
No. 2 A Minor {MT}: In direct contrast to the vitality of the first prelude, this exceptional piece is dominated by a Dies Irae motif in the bass. The Dies Irae, from the Gregorian Chants, is sung at funeral masses. Consisting of just one theme that begins in the key of E Minor, it reaches the tonic, A-minor, nine bars prior to conclusion. This unusual harmonic scheme, displaying some particularly discordant distortions of the Des Irae bass line, has given this prelude a unique status in piano literature.
No. 3 G Major {MT, MT1, Coda}: This prelude has the quality of an etude (study or exercise) for the left hand. It has a bright, youthful exuberance and ends in a rippling flourish up the keyboard.
Note: by now we know that Chopin intends to journey through the preludes via the circle of fifths.*
No. 4 E Minor {MT, MT1}: One of the boldest, most expressive tone poems ever penned. Beneath an almost stagnant melody, Chopin creates a left hand accompaniment of harmonic chord progressions which would seem much more characteristic of the twentieth century than the mid - nineteenth.
No. 5 D Major {MT, MT1, Coda}: An extremely animated, abstract piece which lasts only thirty seconds, but requires a formidable technique. It is well contrasted to both the previous and succeeding preludes.
No. 6 B Minor {MT, MT1, ST, MT2}: A lugubrious tone dominates this prelude. The melody resides in the bass while accompanied by repeated notes in the treble. Even though a short, middle section does exist, it retains the mood of the opening theme. A favorite of piano students due to its apparent simplicity, this somber piece demands an interpretive depth far beyond the printed page.
No. 7 A Major {MT, MT1}: A very short mazurka full of grace, elegance and innocence.
No. 8 F Sharp Minor {MT, EP, MT1, Coda}: Once again Chopin presents a marvelous contrast. The eighth prelude plunges the listener into a vortex of agitation. The melody is executed by the thumb of the right hand while the remaining fingers produce the swirling effect. In the bass the left hand must negotiate an ostinato figure which is not synchronized with the treble. Once described as an eagle flying over a horrible abyss, this prelude is one of the most difficult of the set.
No. 9 E Major {MT, MT1,Coda}: A stately, majestic march eliciting invincibility.
No. 10 C Sharp Minor {MT}: A brilliant foil to its predecessor, this flighty and ephemeral piece lasts only half a minute. It was once dubbed "The Night Moth" due to the flittering effect produced by the right hand.
No. 11 B Major {MT}: A short, happy piece evoking contentment.
No. 12 G Sharp Minor {MT, EP, MT1, Coda}: A forceful presto full of rhythmic drive and a feverish urgency; it is well contrasted to its predecessor and successor.
No. 13 F Sharp Major { A: MT, EP, MT, CT; B: ST, TR; A1: CT1, Coda.}: This prelude, the first to have a true contrasting middle section, has the character of a Nocturne. The opening section has a placid theme supported by an ostinato bass. The middle {B} section, which is more reflective and melancholic, has a deliberate chord accompaniment. The recapitulation is abbreviated to the Closing Theme of the opening section with a short coda featuring a reference to the Middle {B} Section.
No. 14 E Flat Minor {MT, MT1 Coda}: A dark and murky piece where both hands play in unison in the bass. This would seem to be the precursor to the enigmatic finale of the famous "Funeral March" Sonata Op 35.
No. 15 D Flat Major { A: MT, EP, MT; B: ST, ST, TR; A1: MT1 }:The famous "Raindrop" Prelude is the longest of the set. It is believed that the continuous repetition of the note of A-flat
(G-sharp) throughout the work simulates rainfall. The "A" Section opens with a sunny Main Theme followed by a somewhat sullen episode which migrates to a restatement of the Main Theme. Via an unresolved cadence, the Main Theme surrenders to the appearance of the "B" Section where storm clouds gather and climax to a heavy pulsating. In the Transition the storm abates allowing for the return of an abbreviated restatement of the Main Theme to a quiet conclusion. NOTE: According to George Sand the middle section of this prelude may be the musical evocation of Chopin's vision of a procession of monks, which he experienced while ill at the Monastery in Valldemosa.
No. 16 B Flat Minor {MT, MT1, Coda}: One of the most fiendishly difficult pieces ever written. Soaring scales interwoven with precipitous leaps and twisted scale fragments in the treble are set against a relentlessly driving bass. It concludes with both hands racing up the keyboard. This fantastic virtuoso showpiece is rarely heard due to its daunting technical challenges.
No. 17 A Flat Major {MT, ST I, MT1, ST II, MT2}: A beautiful song-like work which is narrative in nature. The Main Theme is stated and followed by Subordinate Theme I. Notice how Chopin transforms the first reprise of the Main Theme. It is quoted in a bold and poetic manner over a deep bass. Suddenly, Subordinate Theme II appears and traverses through a kaleidoscope of modulations. The final statement of the Main Theme is rendered over a magnificent bell-toll. The last seven bars of this prelude are marked perdendosi - the equivalent of our modern fade-out.
No. 18 F Minor {MT}: One critic described this prelude as "suicide". It has a fiercely defiant and declamatory character climaxing in chaos and devastation.
No. 19 E Flat Major {MT, EP, MT1, Coda): Once again Chopin produces an astounding contrast. This prelude, so full of joy and exhilaration, is the antithesis of both its predecessor and successor. The luminous melody must be articulated over widely spaced arpeggios in both hands. When performed by a great artist, the technical challenges are transparent to the listener, who hears only the poetic magic of this work.
No. 20 C Minor {MT, ST, ST}: Of this piece George Sand wrote: "Chopin has written a prelude that blows louder than all the mighty trumpets of Meyerbeer." She was referring to early nineteenth century composer Giacomo Meyerbeer, 1791 - 1864, whose orchestral inventiveness influenced greater composers such as Richard Wagner. This prelude, a short but solemn funeral march, lasts only thirteen bars. In fact, in the original version Chopin did not repeat the 4 bar subordinate section. He did so at the suggestion of music critic Francois Henri-Joseph Blaze.
No. 21 B Flat Major {MT, ST, MT1, Coda}: This prelude begins with a pleasing melody accompanied by a unique legato bass which consists of chords of the third, fourth, fifth and sixth. Initially the Subordinate Theme is more animated, buts ebbs for the recapitulation, in which the Main Theme is abbreviated and acquires a sense of urgency. It climaxes in a cascade of legato thirds, fourths, fifths, and sixths sliding down the keyboard.
No. 22 G Minor { MT, ST, MT1}: This prelude should sound like a tumultuous revolution due to the jarring octave melody in the bass and the biting responding chords in the treble. A startling modulation to the distant key of D-flat for the Subordinate Theme intensifies the uproar and encourages an increase in tempo for the condensed recapitulation, which surges to a tilt-like climax. A short silence follows the "tilt" and three chords end this ferocious piece.
No. 23 F Major {MT, MT1}: The penultimate prelude provides a respite between the upheaval of its predecessor and the voluptuous sweep of the final prelude. However, this pastoral piece is unique in musical literature. In the final bar Chopin introduces the minor seventh (the note of E-flat) to create an unprecedented, unresolved cadence - leaving the piece floating in air.
No. 24 D Minor {MT, EP, TR, MT1, Coda}: Knowing that the Preludes would need a memorable closing piece, Chopin produced this masterwork, which provides a virtuoso conclusion to this immortal group. Opening with a highly original, ostinato bass, which requires an enormous stretch for the left hand, a stark, Beethoven-type theme appears and dominates the work. In fact, this final prelude echoes the spirit of the great German composer. Like many of Beethoven's works, this prelude is written on a titanic scale--even though confined to just two and one-half minutes. It is one of the few altruistic outpourings of perhaps the most introspective composer of all. In the dramatic recapitulation and coda, containing numerous technical challenges, Chopin requires the pianist to traverse the entire keyboard. The cataclysmic struggle concludes with three bell tolls deep in the bass - or as Andre Gide said: "At the floor of hell."
Legend: MT Main Theme ST Subordinate Theme CT Closing Theme EP Episode TR Transition
*Circle of Fifths: The arrangement of the twelve keys in ascending fifths: C Major (no sharps or flats), G Major (1 sharp), D Major (2 sharps) etc. It presents the key signatures in their natural order by increasing the number of sharps and flats progressively. In the Preludes Chopin accompanies each Major key signature with its relative Minor: C Major/A Minor, G Major/E Minor, D Major/ B Minor etc.
I would recommend Blechacz's recording of the Preludes. I think he displays maturity beyond his years and a good deal of perspective in performing these works. There's nothing revolutionary here, except to say that this is a young pianist much more concerned with the content of the music and the intent of the composer than establishing new speed records for prelude numbers 3, 5, 8, 16 and 24.
Regarding the magnificent Two Nocturnes of Opus 62, Blechacz is better with the second in E Major. The agitated middle section is well executed and eclipses most other performances I have heard.
Overall, I think this young artist may blossom into one of this century's great Chopin interpreters.
Recommended Recordings:
From my collection of 34 performances of the Preludes, I have chosen the following as my favorite recordings:
Maurizio Pollini - his 1975 DGG recording, a cogent balance of intellect and passion, remains the ne plus ultra. Every prelude is crafted masterfully.
Martha Argerich - her 1977 DGG recording is an example of both blazing virtuosity and insightful interpretation. Considering her predilection for quick tempi, her dynamic control is incredible. Note: purchase the two disc Philips "Great Pianists of the Century" re-issue of Argerich's preludes. They remixed the 16th prelude to edit the mistake in the bass in the fifth measure.
Seta Tanyel - her 1993 recording for Collins Classics is absolutely stunning. Her performance is lyrical, athletic and esoteric. She is consistently unaffected and convincing.
Juana Zayas - her 1997 recording for Music & Arts reveals an exceptional combination of speed, power, and eloquence with an élan that is unequivocally magnificent. I consider Zayas and Tanyel in a virtual tie - with just an eyelash separating them from Pollini and Argerich.
Bella Davidovich - gives a positively top-drawer performance on her 1985 recording for Philips. The 1949 Chopin Competition winner plays with sublime grace and authority. Her performance of the 24th Prelude could be called "Chopin on steroids". It's that amazing!
I believe that these five recordings are essential for any collector of the Chopin Preludes. All are immensely satisfying.
Other recordings of note:
Evgeny Kissin - renders dazzling yet cerebral performances of the immortal 24on BMG (RCA).
Cyprien Katsaris - recording for SONY, he demonstrates exceptional command, clarity, precision and velocity. If it weren't for his individualistic accentuation and pedaling, which are at times disconcerting, his reading would contend with Pollini and Argerich.
Nikita Magaloff - his 1975 Philips recording is distinctive with consistent fidelity to the text.
Alain Planes - gives a refined, reflective and captivating performance on Harmonia Mundi.
Arthur Rubinstein - his 1946 recording is still a landmark. Unfortunately, BMG's CD transcription of the performance is marred by poor sound quality. It should be re-issued using current technology.
Howard Shelley - his 1987 recording for IMP is also outstanding.
Claudio Arrau - brings his unique level of intensity to the Preludes. Arrau's performance of the 24th Prelude alone is worth the price of the Philips CD.
In addition:
Vladimir Ashkenazy (both recordings), Rafal Blechacz, Guiomar Novaes, Livia Rev, Jean-Francois Latour, Alicia de Larrocha, Garrick Ohlsson, Idil Biret, Ivan Moravec, Jorge Bolet and Alexander Brailowsky also give very enjoyable performances.
2 of 2 found the following review helpful:
"Hats off, Gentlemen, a genius!" May 22, 2008
Anyone who doubts we are living in the Golden Age of Piano Playing need only listen to this recording by Rafal Blechacz, who from the photographs in the booklet appears to be about fifteen. Whatever his age, he has produced one of the most sublimely beautiful Chopin recordings I've ever heard. Blechacz is about as far from the "chrome-plated, soulless virtuoso" as can be imagined. Not that he lacks anything in virtuosity: his playing of #16 is as powerful as anyone's. But virtuosity is not what his playing is about. He finds a deep vein of melancholy poetry in #8 that is far removed from the facile excitement we usually hear. #2, 4, and 6 are inward and gloomy. Even preludes I've always thought of as minor (#9 and 14, for example) emerge as masterpieces (the latter a sort of second cousin to the finale of the Funeral March Sonata). Of the two isolated preludes, the A Flat is a minor, but charming, work, while the Op. 45 if one of Chopin's greatest works. Blechacz concludes his recital with Chopin's two last, arguably greatest, nocturnes, played as beautifully as I've ever heard. (a propos of nothing, does anyone else think the opening theme of the last nocturne sounds like "I'm a Yankee Doodle Dandy"?) I could go on and on, but why bother? I'll just add that the sound is fabulous.
By the way, after I wrote my review I came across the two-star review above. Since I'd singled out #8 I decided to check out the comment by listening to the prelude in question on my headphones. There is no gimmickry or inaccuracy. Rather than simply crushing all those thrity-second notes together in a jumble, Blechacz employs a great deal of tempo plasticity, which some may find mannered (I don't), but which is certainly not the result of sloppiness. On the contrary, it is an attempt to find the inner core of poetry in a work usually played as an empty virtuoso piece.
1 of 5 found the following review helpful:
 Superficial and just plain sloppy May 22, 2008
For several listens, I was impressed with this release and the pianism. The second I put on headphones however, you can hear how much has been engineered. Case in point-that devilish number eight-the runs are incredibly sloppy and completely out of sync-I wondered why i hadnt noticed before but on my stereo the left hand was so dominant-perhaps to blur the lack of rhythmic accuity-and after that I starting noticing little things everywhere. This is actually a pretty bad performance. For those with the Tharaud Preludes-which I recommend as the finest ever-including Rubinstein[46], Cortot, Moiseiwitsch, Kissin, Argerich, etcetc--you can tell from Prelude 1 how much more of an artist Tharaud is than Blechacz-despite the blog on the back about the poetry of the young man-which I never felt a sense of after those first couple listens. Dont bother with these, they are superficial.
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