Customer Reviews

Chopin: Études, Opp. 10 & 25

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4 star:		(2)
3 star:		(2)
2 star:		(0)
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The Seattle Times has stated that pianist Murray Perahia has the "soul of a poet, the mind of a thinker, the hands of a virtuoso..." While he has always been granted an abundance poetry & thoughtfulness concerning the depth of his interpretations at the keyboard, the sheer virtuosity of his technique does not as often get the credit that it deserves. On this Masterworks Expanded Edition of the Chopin Op.10 & Op.25 Etudes, sparks are flying about everywhere, showing the full range of Perahia's technical chops. I had the good fortune of hearing Perahia play the Op.25,#1 & the Op.10,#4 at his return recital at Carnegie Hall this past November. He was brilliant that evening, and he is brilliant here on this Direct Stream Digital Remastered cd. These are among Murray Perahia's finest Chopin performances to date. Now offered with a generous bonus sampling of Chopin Impromtus from earlier Perahia releases, this cd is a top level choice ( and a Grammy Winner in its original release for Best Instrumental Soloist Performance ) from among Perahia's extensive catalog of highly acclaimed recordings. At mid-price, this album is a temptation too inviting to pass up.

Long a resident of London, Murray Perahia achieved a "he can do no wrong" status with english critics, and tis 2002 set of Chopin Etudes received Record of the Month from the Gramophone, as his previous Chopin record, of the four Ballades, received a Grmophone Award as best keyboard recording of the year. The pianist has spread his Chopin recitals across four decades, and I was enamored of the first one on Sony, which contained Sonatas No 2 and 3. But the boat left me behind on the dock somewhere. Perahia's later Chopin became so much less spontaneous, imaginative, brilliant and enjoyable. A pianist who was never very inward became increasingly like a professor giving a keyboard demonstration - every ingredient is in place except passion and personality.

The British have an appetite for pianists who stay nearly within boundaries (was anyone's blood fired up by Solomon and Dame Myra Hess?), but I am a bit baffled why so many amazon reviewers are enthralled b these Etudes. comparing them for two minutes with Pollini's dazzling account should be enough to demonstrate what's lacking. Yet I realize that musicians hate being compared to past greats. On its own terms, Perahia's account is posed and stylish, to a fault, I would say. His technique is flawless but rarely used to excite us. His pacing and tempo choices are impeccable. I realize that there is a whole class of listeners who believe that no such thing as magic exists, that the score sits there on the counter like flour, waiting to be picked up and used in a recipe. For them, this is a perfect set of Chopin Etudes, but I will keep searching for charisma, personality, originality, and bravura showmanship - all the things you don't find on the recipe page.

Disclaimer: I'm not an expert on classical music, much less on classical music performances, so my reviews represent a newcomer's take on classical CDs. Take that for what it's worth.

I should begin this review by saying that if you don't already have Chopin's etudes on CD, don't even finish reading this--order a copy of them immediately! Chopin's etudes are brilliant piano works, virtuosic without a trace of excess and exquisitely beautiful. From the quiet loveliness of op. 10 no. 3 to the fury of the "Winter Wind" etude (op. 25 no. 11), the compositions cover the full gamut of emotions.

This performance of the set is excellent. A delicate touch of rubato and a crisp, clear tone throughout the tracks makes this a thoroughly listenable recording. The addition of the impromptus is also a nice addition, though I didn't enjoy any of them as much as the etudes themselves. Overall, this record is a great buy.

When I started learning a few of the etudes myself, I went out looking for a good recording to listen to. This Perahia recording is a good, solid performance from a very respected pianist. While some reviewers have critisized it for lack of emotion, I don't agree. His playing is in no way flat, and I would argue that he doesn't over-dramatize the music as it may be tempting to do. His choices are solid, and his mastery of these pieces is indisputable. I would highly recommend this recording to anyone looking for a good recording of the etudes.

This set and Pollini's set of Etudes are my two favorites. The sound quality on this recording is especially excellent. If I were you, I'd get this one and Pollini's and consider them all you'll ever need of complete sets of Chopin's Etudes.

I don't think I know of any other pianist who can play with as much lightness of tone as Murray Perahia. His God-given talent enables him to makes it sound as if though his music is floating. In addition, he has a technique that enables him to run technical passages with such fluency that it can sound almost like a breeze of notes. But, like all musicians, there are some things that don't come easily for Perahia. Perahia's challenge is delivering heroic grandeur, something that one should want in these etudes. In the etudes that require punch and heavy drama, Perahia will inevitably sound as if though his limits are being pushed. The form in which this comes is often a harshness of tone that almost seems to belie his gift of sensitivity. I guess none of us are perfect. So, my complaint with this album is its lack of any kind of fire, anything intense. In such etudes as the "Revolutionary", there is not much revolution to boot. I would love to go away with renewed passion after listening to such ground-breaking works, but I just don't get it here.

But perhaps I'm being a bit unfair to a pianist who had just recovered from a serious hand injury. This isn't playing that fails to arouse any kind of emotion. I'm actually surprised how flawlessly strong his technique is; his hand injury hasn't caused any kind of technical setbacks. And while this disc lacks throbbing excitement, it is full of hair-rising virtuosic playing--playing that pulls out lots of detail. Some of the etudes are more suited to this approach than others; Perahia's approach seems to work the best with the 5th etude, the "Black Key". The sheer thrill of hearing these etudes played with such ease makes this CD worth the listen.

So, despite its setbacks, this is a fine album. It just doesn't stand up near the top of the list of Perahia's achievements, a pianist who elsewhere sends me into raves.

This CD is definitely a "must" for all classical music collectors. Particularly, it addresses to those aficionados who adore Chopin's musical output and consider him a forerunner of the modern piano. Yet, no less this recording is intended to those who instantly succumb to the charms of the unique flavours that compound - by means of his intelligent virtuosity and poetic approach - the renditions of the keyboard genius Murray Perahia.

Whatever he choses to play, but especially in Chopin pages, this tireless musical gold-digger is fond of offering us the very essence of the music he interprets, its deepest meanings and most fascinating facets. For the Chopin Etudes opp. 10 & 25, Perahia conjures up from his marvellous keyboard a stunning palette of feelings such as tender love (op.25, No.7 - "Cello"), despair and melancholy (op.10, No.3 - "Tristesse"), exuberance (op.10, No.5 - "Black Key"), grief, boldness and fury (op.10, No.12 - "Revolutionary"), or natural phenomena such as rain (op.10, No. 4 - "Torrent"), tempest (op.25, No.11 - "Winter wind"), spring aromas (op.25, No.2 - "Balm"), starry sky or big weaves of the ocean (op.25, No.12 - "Ocean").

In other words, through this prize-winning recording, Perahia is sharing with us all that Chopin's music has so uniquely treasured. And - believe me! - he is doing it in grand style!

A welcome bonus are the extra tracks with the 4 Impromptus (from an older recording of Perahia), especially the wonderful Fantasie-Impromptu in C sharp minor op.66, a distinguished jewel concluding a remarkable achievement!

As a personal note, I am proud to add that I`ve had two times the rare opportunity to listen to Murray Perahia performing live to a crowded Romanian Athenee (a gem concert hall in Bucharest), during the recent editions of the "George Enescu" International Festival in 2007, and 2009 respectively. On the former occasion, Perahia offered a sparkling recital that included Chopin's Etudes op.10 No.4 and op.25 No.1, along with the 3rd Ballad, gathered, as one of the encores, by the above invoked Fantasie-Impomptu. On the latter one, Perahia assumed gloriously the double role of conductor and soloist of his renowned Academy-of-Saint-Martin-in-the-Fields, in Mozart and Bach keyboard concertos. Overwhelming and unforgettable experiences for me!

Both his live concerts and his recordings made me regard Murray Perahia as a subtle poet of the piano, a mature artist who loves to combine artistic boldness with stylistic rigour in order to obtain valuable renditions of the masterpieces he tackles.

Don't hesitate to buy this CD, as it is still available!

Chopin Etudes are like Shakespeare plays; they are the yardstick of a performer. Performances of Chopin's Etudes are ubiquitous, and the thousands of recordings of these pieces invariably bring out the best in those brave enough to show the world just how accomplished they are. So, as ridiculous as this may sound, in the face of unbelievable competition from the greatest pianists both past and present, I truly believe this recording is the BEST ever made. I prefer other moments in other recordings (Ashkenazy, Pollini), but this recording, to my mind, is as close to perfection as any pianist is likely to get in a recording studio, both from musical and technical points of view. The masterful musicianship is so authoritative that a listener could foolishly forget how physically difficult it is to produce results like this. It may be the greatest recording by a pianist ever made (as preposterous as that sounds.) It simply sidesteps all criticism.

Murray Perahia has been one of my favorite pianists for over thirty years. His technique is stunning, his tone production is beautiful, and it is always a pleasure to listen to him play. For those interested in the beauty of these etudes this is a perfect recording. When I want more fire, the young Ashkenazy on Melodiya 1959 is a good choice although the recording is in suboptimal sound. The Pollini is also an incredible recording but I listen to it less often then the first two listed. There are obviously many other fine recordings of theses etudes and you should explore them if you have time and money. Better yet hear them in a live recital preferably in a smaller hall where you can hear the color of the piano. As an amateuer pianist of 50+ years I can only listen in awe. Murray Perahia's recording is a great place to start.

It is hard to imagine anybody playing such pieces as the Chopin Etudes other than pianist Murray Perahia. As an exemplar of Chopin tradition he also has an affinity with the composer and the visionary interpretation to match the grand scale and textures the etudes demand.

Perahia crosses the rub-icon from pragmatism to poetry and transforms each etude into a tone-poem of the highest quality displaying his supreme musicianship. The course of each etude is made predictable rather than a journey of novel and indeed, breathtaking surprises. Within the opening Etude in C major, Op.10, Perahia is able to summon a well drilled execution of the breathtaking broken arpeggios throughout, as well as defining its vividly rhythmic character and clarity.
The most thrilling aspect here is his ability to convey the entire etude as one long seamless phrase.

The third etude Op.10 in E major, fulfills everyone's desires. Perahia offers warmly expressed playing that captures every interpretative detail, most notable for its passion and finesse.

Opus 25 begins with one of the most spectacular essays in tone colour ever written, and Perahia's performance displays its inner voices and harp-like contours with exquisite beauty. Op.25, No.7, acts as a kind of 'slow movement' for Op.25, and stands as one of Chopin's supreme examples of how the unlikely combination of Baroque and Italian Opera is fully resolved. Perahia gives each a new kind of power and meaning. It is also remarkably fugue-like in the interplay between the melodies of both hands, and Perahia defines the sumptuous left-hand 'cello' melody with a deep, inner lament while shaping the most subtle and exquisite soprano coloratura right-hand melody with unstressed astonishment.

There is nothing in the whole of the piano repertoire that is quite as punishing and sadistic for the pianist as the the opening and closing sections of Op.25 No.10. Not even Liszt or Rachmaninov ever wrote such a prolonged and violent chromatic sequence of octaves for both hands. But what an introduction! Perahia's mezzo forte monophonic rumble of the first two triplets gives way to a crescendo of towering proportions, that finally lead seamlessly into the first theme and the embedded melodic line.
For a work of such violence, Perahia's beauty and pathos are only too obvious. It is said that Horowitz once remarked that Op.10 No.1 was the most difficult of Chopin's etudes. Personally, I think he was wrong, for it is the final etude Op.25 No.12,(The Ocean) in my estimation, that is the most difficult out of Op.10 and 25.

This work is, on close scrutiny, a very clever rewrite of Op.10 No.1. It is only pianists like Perahia, Ashkenazy, Polini and Anievas, that have the innate ability to attain the high level of concentration required to take command of its sweeping broken arpeggios in both hands,delicate cross-rhythms, syncopation's, and, of course a full four voice contrapuntal line, a constant reminder of Chopin's love of the music of Bach.

While Perahia is able to summon torrents of sound for the grandest moments in the etudes, he is also able to produce the subtlest gradations in dynamics and infuse soft passages with the most persuasive, lambent tone.

The four Impromptus are not among Chopin's most important works, but they should not be underrated. Perahia conveys their characteristics of elegance, charm and inner reflection with superb artistry, musical purity and sincerity. He is well able to match the best publicized piano virtuosos of the day, and with none of their musical distortions.

I can hardly wait for Perahia's upcoming concert in Toronto during his 2009 tour! It is only unfortunate that he can no longer play through his program for his dear late friend; the legendary Greta Kraus.

Author: Raymond Vacchino M.Mus. (Classical Music Critic)