My Random House Unabridged Dictionary defines "classic" as "a work of the first rank, esp. one of demonstrably enduring quality; an artistic production considered a standard; a work that is honored as definitive in its field; something noteworthy of its kind and worth remembering; one that is considered to be highly prestigious or the most important of its kind." One might easily apply all of those meanings to Maurizio Pollini's 1960 EMI recording of Chopin's Piano Concerto No. 1 in E minor, Op. 11.Frederic Chopin (1810-1849) was only around twenty years old when he wrote his two Piano Concertos, writing the Concerto we know today as No. 2 before he wrote No. 1, but publishing it later, thus giving it the misleading number 2. So, if Concerto No. 1 seems more mature and has become more popular, it's because it wasn't Chopin's first attempt in the genre. And the reason I mention the composer's age when he composed the piece is because Pollini was only eighteen when he recorded it, shortly after he won the International Ettore Pozzoli Piano Competition in Seregno, Italy (1959), and the International Chopin Competition in Warsaw, Poland (1960). Youth serves youth.
In the first movement, Pollini is in equal measure poetic and heroic without an ounce of sappiness, a movement that comes through all the more powerfully for its straightforwardness. When Pollini executes the famous main theme, it, too, flows effortlessly with a gentle, expressive, unforced charm. I suppose you could call it a restrained passion, which makes it all the more passionate.
Chopin himself described the second movement Romanze as "...calm and melancholy, giving the impression of someone looking gently towards a spot which calls to mind a thousand happy memories. It is a kind of reverie in the moonlight on a beautiful spring evening." Such is Pollini's interpretation, which lingers dreamily in the moonlight as much as any other account, the pianist striking every note with uncluttered assurance and conveying a mood of unlimited tranquillity. Pollini floats the melody along in the most lyrical possible manner, yet never drawing attention to anything but the music.
Finally, in the closing Rondo Vivace, Pollini produces an interpretation both playful and vigorous, his unaffected technique dazzling and persuasive.
Pollini recorded the accompanying solo works in 1968, and they lend an added value to this mid-price bargain. The solo pieces include the Nocturne No. 4 in F, Op. 15, No. 1; Nocturne No. 5 in F sharp, Op. 15, No. 2; Nocturne No. 7 in C sharp minor, Op. 27, No. 1; Nocturne No. 8 in D flat, Op. 27, No. 2; the Ballade No. 1 in G minor, Op. 23; and the Polonaise No. 6 in A flat, Op. 53, "Heroique." They demonstrate the pianist's range in Chopin interpretation, from the most quiet and serene pieces to the most bravura.
EMI recorded the Concerto in 1960 at Abbey Road Studio No. 1 and remastered it using Abbey Road Technology in 2001, releasing it at the time in their "Great Recordings of the Century" line. This newly released, 2010 edition in the "EMI Masters" series uses the same 2001 mastering, so if you already have it, you don't need to buy it again. For those of you new to it, I assure you it is a must buy.
The sound is remarkably strong, clear, robust, and dynamic for its age (or for any age). The piano sparkles, well focused and crisply defined. The orchestral support spreads out behind the piano like an extension of the solo instrument itself, with respectable transparency, air, or depth. EMI recorded the accompanying short pieces in Paris eight years later, again reproducing the sonics quite well, cleanly and warmly.
Should I also mention that this recording of the Concerto is about my absolute favorite recording of anything, anywhere, any time. It is perfect.
JJP
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