Customer Reviews

Chopin: 4 Ballades, Barcarolle in F Sharp Major, Op.60; Fantasy in F Minor, Op. 49

5 star:		(17)
4 star:		(4)
3 star:		(4)
2 star:		(0)
1 star:		(0)

 

 

There are some works for solo piano so rich with suggestion that they require having more than one interpretation close by: Schubert's Impromptus, Beethoven's late sonatas, and Chopin's Ballades. I love Arrau's 1960's recording of the Ballades on Philips (sadly unavailable on CD right now), and Pollini and Gavrilov are pretty hot too. It is a credit to Zimerman's unique artistry and mindblowing technique that he brings something so vital and new to pieces that are for me the apotheosis of Chopin's expressive genius. As the Amazon reviewer says, Zimerman's performance here is Chopin writ large, and for that reason I think the first, second and third are brilliant successes. I'd pick Zimerman over any other here, and I guarantee the power with which Zimerman projects the youthful passion of the first will blow you away. I think his reading of the fourth (perhaps the greatest of these masterpieces) isn't as searchingly meditative as Arrau, but it's still outstanding. If this weren't enough though, the Bacarolle is gorgeously done--a wonderful bonus. In it you can hear Chopin anticipating the shimmering tones of Debussy, and it's no surprise that Zimerman is a superb interpreter of both Debussy and Ravel (listen to his recordings of Debussy's Preludes and Ravel's piano concertos--they're incredible). So with Arrau currently unavailable on CD (c'mon Philips--give it up), you should make Zimerman your first choice, and don't forget the Chopin piano concertos he recorded with Giulini.

I have to take issue with the editorial review. Gerber characterizes this performance as "big," "20th-century," and having "little shading." This describes many recordings from the mid-20th century: powerful virtuousity without warmth, beauty of tone, or nuance. This is not true of Zimerman. My first impression of Zimerman's ballades was of quiet beauty, the drama almost understated. With repeated listenings I realized that the climaxes are indeed quite powerful, but that they grow out of the calm serenity of the context so organically that they do not jar. Zimerman never plays an ugly note: his tone never becomes brittle or clangy. Comparing these performances to others, I found that Zimerman invariably uses slower overall tempos. In the 4th Ballade he takes almost 12 minutes, Moiseiwitch and Perahia about 10, and Solomon 9 and a half. At the very beginning Zimerman seems to lack forward momentum in comparison, but his approach soon weaves a spell that is totally absorbing. Zimerman is a storyteller rather than an actor: the passions are not missing, they are simply put into context. I do not find Zimerman's playing lacking in shading. He uses a variety of pedal techniques and touches, and his rubato is very natural. If he lacks anything that Rubinstein has, it might be characterized as a sense of humor. These are very sober readings. But very beautiful -- I expect I will go back to them more often than most others. The sound of this disk is indeed close. On headphones it is fascinating to listen to the voices so spacially separated: the countrapuntal effects become so much more apparent. In my living room it sounds as if there is a gorgeous piano in the room with me -- I actually prefer this to a more reverberant acoustic that tries to con me into thinking I am in a concert hall (Perahia on Sony).

I am a pianist myself and know the hazards that Chopin can present to the player: overexcitement, relying too much on momentum, not to mention the thousands of technical pitfalls. Zimermann goes above and beyond these and gives the ballades a superb performance that is meticulous in every way. I can only imagine the intense thought process that went into the preparation of this performance. The accuracy of the passagio, especially in the treacherous g minor ballade, is unmatched. However, the same thought, accuracy and self-control that makes this a stellar performance also takes away from it. The music lacks some breathing room in places, momentum in others, and in general feels drier and less driven by passion than the classic recordings of the more romantic Rubinstein or Horowitz. Even taking this into account, these recordings are among the absolute best, and I recommend them thoroughly.

This is a set of Chopin Ballades like no other. It won't be everyone's cup of tea, but for those who respond to it, it is a revelation. Zimerman will have no truck with Chopin as the frail, fragile salon pianist, too puny to play in a concert hall. This is heroic Chopin, Chopin writ large, Chopin unfettered; this is "big," red-blooded Chopin, virile and muscular. I've heard, and have recordings of, many versions of the Chopin Ballades, but I've never heard them before on this enormous scale. Fortunately Zimerman's performances here are captured in excellent sound (recorded in 1987, I think it's the best piano sound I've heard from DG). If you play this recording on a first-class audio system, you will be amazed at the huge dynamic range of Zimerman's playing, at the distance between pianissimo and fortissimo. Listen, for example, to the buildup to the stunning first climax in the first Ballade. But there is no lack of delicacy, of sensitivity, of beautiful poetic playing. The Barcarolle and the Fantasie are given comparably distinguished readings. And the whole is illuminated by Zimerman's effortless big technique, his handsome tone, his clarity, his characteristic laser-beam intensity and concentration.

You could make a strong case that of the pianists born since 1950 and coming to prominence in the last quarter of the twentieth century, Krystian Zimerman is the most notable. Born in Poland in 1956, he studied at Katowice Conservatory and won first prize at the 1975 Warsaw Chopin Competition, the youngest of all the contestants. Since then he has gone on to enjoy a major international career, although I believe his career has been primarily centered in Europe. For a pianist of his eminence over the last quarter-century, for a pianist of his skill and versatility, his recorded output is surprisingly modest, bespeaking his meticulous preparation and his reluctance to record until he feels he can make a definitive statement.

I just wish that he would give us more Chopin; so far we have been offered only a tantalizingly small portion. This magnificent recording, the best Chopin Ballades I've ever heard, makes me hungry for more.

INTRODUCTION: Given the vast, poetic and narrative qualities of Chopin's marvelous Ballades, they would almost seem tailor-made for Zimerman's exquisite and considerate pianism. And when first listening to this well-recorded disc, one is easily destined to believe so is in fact the case. But, there is a deeper-level problem that only reveals itself upon repeated listening.

REFERENCES: Demidenko (Chopin: Ballades; Third Sonata); Ohlsson (Garrick Ohlsson - The Complete Chopin Piano Works Vol. 3 - Ballades)

Zimerman's Ballades have all the qualities that are associated with his celebrated Chopin playing. They are indeed very beautiful--not a single tone, chord, run or phrase can be faulted in this respect. They are also highly thoughtful--one is never in doubt Zimerman's brain is working at full capacity at all times. Furthermore, they are well-nigh immaculate--studying the score, I doubt there is any fault to be found whatsoever in Zimerman's realisation. So, what is the problem then? Well, the more you listen to this disc, the more you start wondering whether something is missing. What is missing is the penetration to deeper levels which is what distinguishes the greatest Ballades renditions from the almost-great ones (Zimerman is joined by Kissin and Ashkenay in this category).

I do think Zimerman is indeed trying to dig further down the endless pianistic invention and abundance created by Chopin. In the First and Third Ballades, and to some extent also the Barcarolle, he actually is rather successful at it; as a matter of fact, I would rank his Third as close to 'the best' in the catalogue as is virtually possible, due to the just-right pacing and lovely rendition of one of Chopin's most jolly compositions. However, in the Second and Fourth Ballades together with the Fantaisie, his efforts fall short in the end due to the lack of impetuous and naturalness. As has been noted elsewhere about Zimerman's pianism, it sometimes sounds too good to be true--i.e. it is so meticulously well thought out that it fails to deliver in the musical department. Great musicians surely have great brains; the very greatest distinguish themselves by firmly keeping their intellect as a means rather than as an end in itself. (Although I do admire Zimerman's celebrated Debussy Preludes, I find the same critique applicable as an explanation of why they sound too good--that is too studied or perhaps too intellectual...--Claude Debussy: Préludes)

Not sure what record Leslie Gerber describes in the editorial review; it surely doesn't sound like this one. Also a big portion of caution is needed vis-à-vis The Riviera Reviewer who (in a way a feat in itself!) manages to get most facts wrong--e.g. 'the waltz-like rhythms in sections of the Ballades', referring to the 6/4 and 6/8 measures (see further the comments below his review). Far more sensibility can be found in the reviews of Santa Fe and John Grabowski who, respectively, find that '[t]he result is more than a bit calculated' and that '[a]fter a while the safeness grows stale; what he is going to do in a particular moment becomes almost predictable'.

DG's sound reproduction is amongst the more successful attained from this source. I've always failed to understand why the, obviously very competent, German engineers at DG seldom manage to produce a truly natural piano sound. This disc, though, proves there are noteworthy exceptions to this rule.

TIMINGS: Ballades--9:33, 7:43, 7:26, 11:52; Barcarolle--8:54; Fantaisie--13:55

If I had to limit my collection of recordings of the Ballades to only one disc, I would choose this one. I have not always been an admirer of Zimerman's playing. I used to think that he was perfect to a fault and that his playing could be elegant and refined to a point of being detached. I hesitated buying this disc because of this incorrect impression. I was totally taken by these performances. His performances are passionate, individual and mature. I particularly love the way he builds to the end of the F minor Ballade -- one is just swept along in his growing surge of power and brilliance. The Barcarolle and Fantasie are also beautifully played. This is a luxury class performance. The stereo sound is first class. By way of comparison, my collection currently includes Perahia, Tryon, Ax (out-of-print), Davidovich (out-of-print), Ashkenazy, Rubinstein, Arrau, Vasary, Entremont. I enjoy them all (with special honorable mention to Ax and Davidovich).

This disc is light years ahead of the competition. As is his custom, the playing is extremely clean and and impeccably recorded. The 4th Ballade is without question the best part of this disc and absolutely has no equals- I have heard about 30 versions of this work and nothing compares. Zimerman organizes the very complicated writing in the coda and brings you to the heart of this music. I own about 750 classical CD's and this is definitely in the top ten.

In terms of piano music, it doesn't get much better than the Chopin ballades - they play out fiery wordless narratives in melting harmonies and bravura energy, and they are close-stitched with elated counterpoint, which in the 4th ballade marks the peak of Chopin's textural mastery of his instrument. Krystian Zimerman may not give Chopin the crunching force of Richter, but his playing has refinement, delicious timing, and a rubato angular enough to pull our ears into these pianistic folktales with new urgency. I remember reading a review of this CD that stood befuddled by Zimerman's treatment of Chopin's flying fioritura ornaments - he lurches into ticking, elegant staccato polyrhythms rather than the usual flubbed mush of notes; in fact, the care with which Zimerman treats even ornaments indicates the refinement of the record as a whole. A treasurable recording.

As others have written, Zimerman's playing on these pieces is refined, gorgeous, impeccable - in short, perfect in every way. This is also its biggest fault. I loved this disc at first, then became bored with it, in favor of the more idiosyncratic, *interesting* interpretations of, say, Rubinstein or Cortot or Horowitz.

It's not a *bad* disc, but it's more of a reference interpretation than a piece of art. I recommend it as an excellent introduction to the Ballades; it digests and exposes easily, and sets the stage for more inventive interpretations that might otherwise be considered abrasive or sloppy.

And, if it seems to be the apex of performance and interpretation, well, you could pick much worse discs to stop at. (But I would at least give the Rubinstein a listen...)

Nobody plays Chopin like Zimerman. Period. When I listen to his treatment of the 4th Ballade especially, I absolutely melt.

This is definitely #1 on my list of discs I would want if stranded on an island. Absolutely fabulous.