Immersion in Chopin

Mike I have been immersed in many different types of music this weekend but thought you might be interested in tomorrow night for me.

Chopin Birthday Concert
Pollini - Royal Festival Hall London

Fryderyk Chopin: 24 Preludes, Op.28
Interval
Fryderyk Chopin: Ballade No.1 in G minor, Op.23
Fryderyk Chopin: 2 Nocturnes, Op.27
Fryderyk Chopin: Etude in A flat, Op.25 No.1
Fryderyk Chopin: Etude in F minor, Op.25 No.2
Fryderyk Chopin: Etude in F, Op.25 No.3
Fryderyk Chopin: Etude in A minor, Op.25 No.4
Fryderyk Chopin: Etude in C sharp minor, Op.25 No.7
Fryderyk Chopin: Etude in B minor, Op.25 No.10
Fryderyk Chopin: Etude in A minor, Op.25 No.11
Fryderyk Chopin: Etude in C minor, Op.25 No.12

Maurizio Pollini is undoubtedly one of the greatest pianists alive today. This season marks the 50th anniversary of his first prize at the renowned Chopin Competition in 1960, and since that time he has been strongly associated with the composer's music. Pollini's most recent Chopin disc for DG drew universal accolades, praising his 'sublime technical mastery and exquisite poetic subtlety' (BBC Music Magazine). Along with Krystian Zimerman's recital, this second special Chopin birthday concert promises to be a highlight of the season.

Level 5 Function Room at 6.15pm - Pre-concert talk by Lady Rose Cholmondeley, President of The Chopin Society. Chopin's visit to Britain. With readings from Chopin's letters. Admission free.

The Festival Hall is a big room, but I am six rows from the front so should see the action up close

Lontano, I am torn between being happy for you and choking with envy.

Please report on the concert later in the week.

Lontano - what I would give to switch places with you!!!! I really do need to work harder at winning the lottery and then move to Europe (my dream) so I can see and experience these great artists. How depressing.

Mike - I've been attached to the piano and piano music since I was four. My life has really been an "Immersion in Chopin," so to speak, ever since. The first three LP's I ever bought in 1972 or 1973 were of Chopin. I still collect the recordings and I play/practice Chopin probably the most edging out Beethoven by only a small margin, I suspect. So thanks for starting this thread.

Of course, you have already named two of the best: Zimerman and Pollini. Other no-brainers are Rubinstein, Arrau, Argerich, Ashkenazy, Moravec, Pires, Ax, Perahia, Sokolov, Katsaris, Pogorelich, Berezovsky, Kissin, Lortie, Lugansky, Mursky & Tharaud. Really too many to name and all deserve a listen. Don't be afraid to try others too. I could go into details of some of these later.

The younger players like Blechacz, Tharaud, Li, Fliter, Ott are all quite good, as well. I'm sure I've missed someone that someone else may recommend....

Mike, since you are probably in your infant stages right now with Chopin (Preludes / Etudes only?) I'm not sure if you'd want to dig deeper in these alone or expand out? By the way, the Preludes and Etudes are pinnacles of piano repertoire and were/still are ground breaking works never been equalled.

For an alternative to Blechacz Preludes try Martha Argerich. Two extremes possibly; the former being very straight/almost classical and the latter being very passionate and exciting. Rubinstein is pretty much still the benchmark in so many areas. Start with the Mazurkas here.

You seem to like Pollini so you can expand out in all directions with him if you like. You can hear about two-thirds of Chopin through Pollini, I'd say.

The main Chopin offerings (all centered around the piano!!) are as follows:
- Concertos, (and Miscellaneous works with Orchestration)
- Mazurkas
- Waltzes
- Polonaises
- Preludes
- Etudes
- Sonatas
- Scherzos
- Ballades
- Impromptus
- Nocturnes
- Chamber Works
- Miscellaneous Pieces
- Polish Songs (Voice/Piano)


If you want to move on from the Preludes/Etudes I'd start in three ways.

1) Anything from the Nocturnes, Mazurkas, Waltzes will be enjoyable and easier to listen to.
2) Another group would be similar in nature/stature to the Ballades you have: Scherzos, Impromptus, Sonatas, Polonaisen, and some of the big miscellaneous pieces like the Fantasy, Barcarolle, or Berceuse.
3) Concertos and chamber works.

Hope this helps. If you have particular questions please ask. I'm off to practice now!!!
Regards,
Doug

Well, Edna Stern qualifies as a young pianist and is releasing a Chopin recording in March ( here bottom of page) , so try
this
for some recommendations by her for reading and listening.

Jeff A

Jeff, I have Edna Stern doing some Bach, and will be glad to pick up some Chopin, thanks.

Florestan, I am amazed you didn't mention Arturo Beneditti Michaelangeli, I am quite taken with his Mazurkas.

I have come to believe that Chopin is a composer of the first rank, like a Bach or a Beethoven. So much originality and beauty, and what a sense for drama!

I will move on to the Nocturnes and Polonaisen, per your suggestion.

If I am to have only one copy of the sonatas, who would it be? I want something I can live with for a long time. A stunning performance recorded with clarity and balance, with bass.

Mike, yes, I need Chopin as much as I need Bach or Beethoven etc. All speak a different language and all are very different characters though. One thing I find in common about most "classical" composers though is that in general their music seems geared to seek a one on one relationship with the listener/performer. By this I mean the music is a personal expression of the composer and we, as users, are in a sort of conversation with them (if you can connect with what they were trying to say.) It makes the most sense when we walk the road alone to go meet with them. The best music, IMHO, is of this nature and not the more party pieces etc. that aren't as direct and are more fitting for a crowd.

Chopin, with out a doubt mostly fits in this category and it is very much one on one music. Very introspective and emotionally deep.

One of the best sets if you like solitary listening in the dead of night or on a cool, foggy day is the Nocturnes.

If you want all out drive and passion similar to the Ballades then you must hear the Scherzos.

If you want fantastic character pieces that are all to often overlooked listen the Mazurkas.


Again, very hard for me to single out only three because you will miss out on so much if you stop there.

Mike, I have to run now but can get more specific later. For the character pieces like the Waltzes, Mazurkas, Polonaises, Nocturnes you really should have Rubinstein as a reference. Then get your favorite artists like Pollini, Pires, etc.

Don't forget, their are different ways to play Chopin. You'll have to find your liking. Being that you already like Pollini and Blechacz I suspect you will like the more lean, classical, straight take. Others will play with more flexibility and have more extremes/contrast and perhaps pedal more etc.

Regards,
Doug

Mike, since you so like Pollini, do not forget his classic account of the first piano concerto with Kletzki on EMI Great Recordings of the century, made when he was about 20. While I have many sets of the nocturnes, I like Moravec's classic set very much.

By spooky coincidence, I am out on Wednesday night to a recital by Emanuel Ax who will be playing
Chopin : Polonaise Fantaisie Op.61
Chopin : Three Mazurkas Op.56
Schumann : Fantasy Op.17
Schumann : Fantasiestucke Op.12
Chopin : Four Mazurkas Op.41
Chopin : Andante Spianato and Grande Polonaise Op.22

No doubt I will be making a request for CD recommendations later this week..

Ah, Chopin! My territory

Mike, do you have this:



Like Blechacz, but with more levels of sound...

I'll prepare my list of Chopin must-haves!

quote:

Originally posted by mikeeschman:
Lontano, I am torn between being happy for you and choking with envy.

Please report on the concert later in the week.

I have just got back from an evening with Pollini. It was a very good concert and I had a great view of his playing, looking into the keyboard from his right hand side so I could see all his keyboard work - quite amazing how his hands move so quickly. No doubt about it, he is a piano great and the audience loved it. When I got to the festival hall, the queue for returned tickets was large and they also crammed about 200 extra seats into the auditorium by putting extra chairs on the stage around the piano, so those guys got a super up close view.

After he did a CD signing and I got first place in the huge queue. He came in, shook my hand announced that he would sign one CD per person as he was tired. Here is a pic of him signing my CD.

He is back in London for a series of concerts in early 2011, including The Well Tempered Clavier Book 1, Beethoven Piano Sonatas Op.109-111, Schubert Sonatas etc. Tickets on sale now to Southbank members and from next Monday to general public.

Hi Lontano,
#*$& 4(*&#$*&% !!! Seriously, lucky you !

I have no doubt that he would be tired. His program was huge (maybe not in length) but certainly technically and physically. Only the cream of the crop can pull off a program like this (although many try). I don't want to diminish what an athlete does (in light of the recent Olympics) but I personally would sooner place a musician like Pollini at the top of any podium. For the intellectual prowess and physical training (fine motor skills) that takes a lifetime of dedication I have so much admiration for these guys.

Were there any highlights for you? Any wisdom to reveal? What is Pollini like live? Did you go to the pre-concert talk?

quote:

Originally posted by Florestan:
Were there any highlights for you? Any wisdom to reveal? What is Pollini like live? Did you go to the pre-concert talk?

Highlights for me were the Nocturnes - I like the simple beauty of them. I could have listened to Nocturnes all night.

Live he comes across as a nice humble man, walks quietly onto the stage, takes a bow and then sits down at his Steinway, with "Pollini" engraved on the side and gets on with it. No words at all. When he attacks the keyboard in a simple graceful manner it is very impressive.

I did not go to the talk as I decided on a nice meal instead. He was very nice when he arrived at the signing table and humbly offered his hand for a handshake.

Funnily enough I went to a lunchtime recital in Sheffield today, and the pianist (not Pollini) started off with three Chopin nocturnes. Lovely stuff, and a perfect way to escape the rigours of the workplace for an hour and a bit.

Very tempted by the Pollini Beethoven concert - may try and grab a ticket on Monday.

And what elegant fingers he has!

Droodzilla,

Who was the pianist in Sheffield?

Hi Dan

It was a guy called Tim Horton, a member of Ensemble 360, who are now the mainstay of Sheffield's Music in the Round concert series:

Music in the Round

Do you know him?

The rest of the programme was Bartok (can't remember the title of the piece) and Ravel's "Gaspard de la Nuit".

I know Tim Horton!

I've met him a couple of times, he comes to Huddersfield Uni to give classes/coaching.

He is a great pianist, very underrated!!

He went to the same school as I did (albeit many years before - we had the same English teacher).

Good stuff!!

He's good alright! The last part of Gaspard looked incredibly hard, but seemed not to phase him one bit.

Gaspard is insanely difficult. Bravo, Tim!

I must head over to Sheffield and see them.

I think they do a bit in Barnsley too...

Listened again to the Zimerman 4 Balladen.

The acoustic of the recording is bright and sometimes bass shy, giving the effect of some distance from the instrument.

But the voicing and articulation are very clear, especially benefiting the inner voices.

Beautiful conception, this performance.

Mike,

The Zimerman are the best, IMO. I think I've heard everything else...

I've recently got hold of these:

http://www.amazon.com/Chopin-P...id=1267655321&sr=8-5

and

http://www.amazon.com/Chopin-F...d=1267655321&sr=8-13

They are rather unique, but he reveals some rather interesting inner parts.

Yundi Li is a good Chopin pianist too. The recording quality and production of Li's releases are top-notch. Worth a dabble.

Today's Guardian newspaper has published a 5 star review of the concert I attended.

Pollini recitals are major events, but they have become unpredictable of late. One takes a seat uncertain whether Pollini will give us the intellectually concentrated pristine pianism that marked his imperious middle years or the disconcerting, almost take-it-or-leave-it interpretations that have become more common recently.

There were moments in this Chopin anniversary recital, 200 years after the composer's birth, when this more fanatically austere side of Pollini's playing took over. The handling of the G minor Ballade, for instance, which Pollini first played in London in 1968, is now almost unbearably unbending and breathless. Yet this was the exception, not the rule. The two Opus 27 nocturnes were characteristically shorn of all exhibitionist cliche, but were exquisitely balanced.

Pollini's determination to present Chopin as an intensely serious artistic innovator illuminated the whole recital. The emphasis in the 24 preludes of Opus 28 was always on the pieces' harmonic experimentalism, an approach which benefited immensely from the rich, dark palette of Pollini's favoured Steinway/Fabbrini instrument. And, where lesser artists can only make the technical brilliance of the Opus 25 Etudes into an end in itself, Pollini's concentrated and unremitting playing triumphantly insisted that the eight he included in this recital had a more ambitious artistic purpose.

Nowhere was this more so than in No 11 in the set, in which the swirling dexterity and pulsating rhythmic drive of the A minor Winter Wind study seemed to leave the 19th-century behind and vault forward into the 20th. This was a Chopin recital of the highest seriousness, with Pollini the right man for the occasion, making an irresistible case for Chopin as one of the greatest of all musical innovators.

And some other reviews - 3 stars in the telegraph and 4 stars in the times

Thanks for the reviews Lontano,

I found it interesting that the Telegraph and Times review more succinctly described Pollini's musical style (at least this is the impression from what I hear in every Pollini recording that I own and everything I have come to know about the man.) For example,

quote:

But overall it was as if Pollini were deliberately restraining the music’s expressivity.

quote:

He constantly spurned chances to ingratiate, dazzle or sentimentalise.

I think this is OK as I find different points of view very interesting. I understand that this is Pollini's point of view and nothing more. The same goes for any musician; it is only one interpretation.

The name of this thread is "Immersion in Chopin." In thinking about this (and also by extension, "Immersion in composer x, y, or z." I just wonder if this is possible by only listening to one interpretation / viewpoint? Does a better understanding of any composer and his music come from immersing ones self into the different perspective that are available (whether we initially agree with them or not)? Or is it best to seek what we are comfortable with only, get extremely familiar with it, and be satisfied that we need look no further?

What does anyone else think it takes to get "Immersed in a composers music." Can one get on with a composer whose personality clearly is the polar opposite of ones own character?

Regards,
Doug

Dear Doug,

I find great difficulty with Pollini, and your question is at the very heart of getting to know music through recordings.

I suspect we all start by listening to comfortable records - performances that largely agree with how [if we had the skill] we would perform the music ourselves!

The truth about immersing ourselves in the composer requires us to listen to a great range of performances! For certain we will all have individual performances that seem too far off the path. For me, I have yet to enjoy anything from certain performing artists - Beethoven, or Bach for examples for me from Glenn Gould, for example - but I suspect that listening [for example] to a Bach Brandenburg Concerto the range might easily take in Busch in 1935 and Linde in 1980, and enjoying each for its unfolding of the music.

I so wanted to post to this thread - but apart from finding Pollini a step too far in anything he played [very clean and so cold as to be positively Polar, IMHO] I can imagine Chopin played in a masculine way without being occasionally so removed from the warmth inherent in all great music - I have yet to find the pianist who could seem to guarantee a sane balance of warmth and structural objectivity with Chopin, and so without a guiding star this great composer has remained for me enigmatic at best. Last autumn I was at a concert in Warsaw, and this objectivity with human warmth was displayed in a live [open air concert] by a young Polish pianist. Amazing, vital performances that totally captivated. Tomorrow I will hunt out his name. And a photo for this thread. Of course there are no commercial recordings. He was a normal looking Polish man, not handsome, so not recordable, as the photo is crucial these days!

ATB from George

George, surely there must be a few pianists who play Chopin up to your requirements, even if they are all likely pushing up daisies. What about Lipatti's Waltzes? Hard to imagine a more perfect Chopin recording......