Chopin: Life According to Chopin (CD review)

Chopin’s Greatest Piano Solos. Jeffrey Biegel, piano. GPR Records GPR10014.

Every artist appears to love some composer more than others. American pianist, composer, arranger, teacher, and Steinway artist Jeffrey Biegel seems to love Chopin. In this album, he seems absolutely to adore Chopin. According to the album title, he must live Chopin. Not that he can’t play other music just as well, as his many previous recordings like the most-recent Bach on a Steinway (2010), A Steinway Christmas Album (2011), and A Grand Romance (2013) attest. It’s just that he looks as though he has a special affinity for Chopin and communicates an extra-special joy in communicating the man’s tunes. Thus, it’s a treat to find some of Mr. Biegel’s favorite Chopin in the 2014 release Life According to Chopin.

Interestingly, according to a booklet note, “Until the age of three, Mr. Biegel could neither hear nor speak until corrected by surgery. The ‘reverse Beethoven’ phenomenon can explain Mr. Biegel’s life in music, having heard only vibrations in his formative years.” What’s more, Mr. Biegel has filled his life with personal innovation. For instance, he “initiated the first live Internet recitals in New York and Amsterdam in 1997 and 1998, and, in 1999, assembled the largest consortium of orchestras (over 25) to celebrate the millennium with a new concerto composed for him.”

So, yes, Mr. Biegel is an artist of immense talent, boundless creativity, and high repute. It’s hard not to like his Chopin performances, even for someone like me who for years never thought he’d find anyone he’d like as well as the Chopin interpreters he grew up with: Rubinstein first, then Cliburn, Pollini, Ashkenazy, and others. Yet Biegel takes his place alongside them, doing Chopin proud.

Mr. Biegel begins the program with the Waltz in D-flat, Op. 64, No. 1, the “Minute” waltz that he says “every young pianist MUST play.” Well, he’s not a young pianist anymore, but I’m glad he played it. Even though you may have heard it a hundred times, Biegel makes it come alive, fresh and new, with his lilting manner and gentle phrasing. With him it’s not just another lickety-split, look at how masterly a pianist I am; it’s a surprisingly amiable, lyrical piece that soars. Like all of Biegel’s Chopin, it shows us an artist at the service of a composer’s music rather than an artist using a composer’s music merely to show off his virtuosity.

And so it goes through a dozen selections and over seventy minutes of music. Here, I couldn't help pick favorites among Biegel's favorites. The Waltz in C-sharp minor, Op. 64, No. 2, for example, is dazzling in both its technical showmanship and its graceful, rhapsodic beauty. The Barcarolle in F-sharp Major, Op. 60 ebbs and flows wonderfully from one tonal region to another. The Nocturne in D-flat Major, Op. 27, No. 2 is as light, sheer, and gossamer as any reading you'll find as Biegel plays it in this transcription by Theodor Leschitezky. I could go on, and as you can guess, I probably will. I love every track on this disc.

Biegel produces music with passion and soul, never distorting the notes but adding an intimate touch of joy and expressiveness to them. One listen to the Andante Spianato, Op. 22 gives you an idea of what I mean; it's conveys real inspiration and feeling in every phrase. It's delightful in its smooth, fluent motion and ever-changing line. Then, the familiar Fantasie-Impromptu No. 4 in C-sharp minor, Op. 66 ("I'm Always Chasing Rainbows" was the pop-song treatment) is never flashy but glides along rhythmically, effortlessly, stylishly, producing an uncanny sensation of improvisation with precision.

If you like Mr. Biegel's piano playing, if you like Chopin, heck, if you just like music, you cannot go wrong with this album. And it helps that it sounds so good.

Recorded at Patrych Sound Studios, New York, in 2013 by producer Joe Patrych, Biegel’s Chopin album sounds as good as anything he’s done. Like most good piano recordings, this one sounds rich,  warm, resonant, and very, very clean, with virtually no distortion, brightness, hardness, edginess, dryness, or anything else to distract one from the music. It's quite realistic, with its clear, solid transient impact and natural, lifelike acoustic setting.


To listen to a brief excerpt from this album, click here:

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Meet the Staff

Meet the Staff
John J. Puccio, Editor, Publisher, Reviewer

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 Jon 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.
Karl W. Nehring, Contributing Reviewer

For more than 20 years I was the editor of The $ensible Sound magazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simpleminded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.

For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Arcam CDS50 CSD/SACD CD player, Goldpoint SA4 Passive Preamp, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE loudspeakers. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my cell phone. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
Bryan Geyer, Technical Analyst

I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.

Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.

William (Bill) Heck, Contributing Reviewer

Among my early childhood memories are those of listening to my mother playing records (some even 78 rpm ones!) of both classical music and jazz tunes. I suppose that her love of music was transmitted genetically, and my interest was sustained by years of playing in rock bands – until I realized that this was no way to make a living. The interest in classical music was rekindled in grad school when the university FM station serving as background music for studying happened to play the Brahms First Symphony. As the work came to an end, it struck me forcibly that this was the most beautiful thing I had ever heard, and from that point on, I never looked back. This revelation was to the detriment of my studies, as I subsequently spent way too much time simply listening, but music has remained a significant part of my life. These days, although I still can tell a trumpet from a bassoon and a quarter note from a treble clef, I have to admit that I remain a nonexpert. But I do love music in general and classical music in particular, and I enjoy sharing both information and opinions about it.

The audiophile bug bit about the same time that I returned to that classical music. I’ve gone through plenty of equipment, brands from Audio Research to Yamaha, and the best of it has opened new audio insights. Along the way, I reviewed components, and occasionally recordings, for The $ensible Sound magazine. Recently I’ve rebuilt--I prefer to say reinvigorated--my audio system, with a Sangean FM HD tuner and (for the moment) an ancient Toshiba multi-format disk player serving as a transport, both feeding a NAD C 658 streaming preamp/DAC, which in turn connects to a Legacy Powerbloc2 amplifier driving my trusty Waveform Mach Solo speakers, supplemented by a Hsu Research ULS 15 Mk II subwoofer.

Mission Statement

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. --John J. Puccio

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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa