Maurizio Pollini, piano. DG B0014190-02.
I mean, who would you rather listen to playing the music of Frederic Chopin (1810-1849) than Maurizio Pollini? He made his EMI recording of the First Piano Concerto over half a century ago, and the disc is still the best value for performance and sound you can buy. In the 1970's, he began recording for DG, and now they have compiled a program of some of his best Chopin, dating from 1972 to 2008.
Things begin with three Etudes, Nos. 10, 11, and 12, from Op. 25, recorded in 1972. No. 10 has a rather noisy opening section before settling in to a sweet little central theme. No. 11 reminds one of a winter storm, and, appropriately, silent-movie houses often used it as such. No. 12 is largely melodramatic and repetitious, but it has a wonderfully grandiose quality to it. Pollini, of course, is dazzling throughout, whether he's on a rampaging tear or taking the most serene and leisurely stroll.
Next, recorded in 2008, we find three Waltzes, Nos. 1-3, op 34, which is where Chopin was sublime, and Pollini is positively sparkling. Age has obviously not dampened Pollini's virtuosity, his high good spirits, or his affection for Chopin's music. These three waltzes are basically of a fast, slow, fast nature, the trio of them working structurally well as a whole.
After the Waltzes is the Ballade No. 4, recorded in 1999, beginning gently, questioningly, until its increasing dynamism culminates in a ferocious climax. Following that are three Polonaises, recorded in 1975, including my favorite, the stately and imaginative Polonaise in A flat major, op. 53. When I was a youngster I almost asked my parents to get me piano lessons just so I could play it. Never happened. Shortly after my initial enthusiasm, I heard Van Cliburn play it, and I knew I could never compete. Pollini is almost as good as Cliburn in the work, maybe better depending on your point of view.
The recital ends with the Scherzo No. 2 in B flat minor, op. 31, which Pollini recorded in 1990. It's seriously playful, exciting, lyrical, poetic, and graceful by turns, with the pianist never missing a nuance.
There is a surprising uniformity of sound among the various pieces, despite their recording dates. The latest recordings display perhaps a touch more clarity, solidity, and impact, but for that matter they all come across fine. The piano is resonant and full, with a pleasant ambient bloom surrounding the instrument. Moreover, the piano itself never appears too wide or too distant but always pretty much in the room with the listener. It's hard to knock any part of this collection.
About the Author
Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.
Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.
When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.
So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job.
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