Customer Reviews

Chopin: Piano Concerto No. 1 in Em/ Variations, Op. 2

5 star:		(7)
4 star:		(0)
3 star:		(1)
2 star:		(1)
1 star:		(1)

 

 

If you like your Chopin pianism percussive, or even merely aggressive, this CD is not for you. The 1851 instrument has a gentle and rarified sound, and a fortissimo here can't be compared with the results of a rabid assault on a contemporary Steinway or Bosendorfer.

The performance overall is fairly loose-limbed, a surprise from Mackerras who usually errs on the side of trim efficiency. I do not consider the relaxed tempi a result of sleepwalking, but rather a reaction to the bell-like resonance of the keyboard sound. Often musicians will slow down if the beauty of their work surprises them, to prolong and deepen the happiness, and that's my explanation for what happens on this CD.

This is a great second version of the concerto to own. It will force you to reexamine a lot of your assumptions about Chopin, unless of course your temperament does not allow for such things.

Emanuel Ax follows up his excellent performance of Chopin's 2nd Piano Concerto with this splendid version of the first concerto, which again is also performed on a vintage 1851 Erard piano. Just as he did with the first concerto, Ax is content to give an understated performance, that is still replete with drama. It is one which certainly works well on this instrument. Again, he is superbly backed by Mackerras and the period instrument ensemble Orchestra Of The Age Of Enlightenment. Those who prefer Argerich's dramatic interpretations may find this recording a bit of a disappointment. However, I think Ax's interpretation is as valid as hers. Once more, the sound quality is exceptional.

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Ax has, in my estimation, a brilliance for being subtle. His playing won't jump out and smack you upside the head (such as Kempff's playing does to me) - you have to be paying attention. His playing will provide the listener with sheer delight to the sense, if the senses are tuned into what he is doing.

This CD is no exception. Although is all-around great, the most shining gem on this CD is the second movement of the Chopin Concerto. Here, Ax does an exceptionally brilliant interpretation - and he is backed by an orchestra wonderfully sympathetic to his style of playing. He doesn't "jump out," and neither do that (they couldn't anyways; they're on period instruments).

But don't just take my word for it - buy it and hear it yourself! ...this CD is a delight. More than that, it's fun!

My main gripe with this CD is that Track 5 starts not at the beginning of the Variations on La Ci Darem La Mano, but halfway through. It's definitely a fault, but I don't know whther it just affects my CD or all CDs of this particular recording. I considered returning it, but would miss it too much, so I have to put up with the inconvenience of listening to the rather soporific rendition of Walz No 3 if I want to catch the beginning of the Variations. This beginning, is actually a bit of a snore itself, but then Ax gets going to produce some fireworks towards the end. On balance, I consider Nikolai Demidenko's performance of these Variations (without orchestral accompani,ment) to be far superior to Ax's.

Another "gripe" is that the abovementioned Walz No 3 (or Op 34 No 2, to be precise) is erroneously called "Grand Valse Brillante" on the cover!

I rushed to buy this disk after hearing an hour long radio program in which Emmanuel Ax discussed the conerto in detail, playing excerpts of this recording, alongside those by Martha Argerich and Ivo Pogorelich. I would have been very pleased to own any of these interpretations, but found this one,played on a smaller piano with a very different sound from the huge modern concert instruments, particularly rewarding. I also highly recommend Ax's series "the Concerto According to Manny", a CBC 12 disk production from CBC RAdio Two, which discusses many of the great piano concerti.

Some ten years back - as the musical world commemorated then 150 years from the death of the Polish composer - Sony Classical released two wonderful CDs comprising Chopin works for piano and orchestra. First class performers were involved in the project: pianist Emanuel Ax, conductor Sir Charles Mackerras and the Orchestra of the Age of Enlightenment.

In order to enhance the result of these recordings with regard to sound qualities and stylistic adequacy, a special historical piano was sought after and finally employed. Namely, an Erard produced in 1851 in London and kept in good shape at the University of Birmingham, in England. The liner notes in the accompanying booklet -, signed by the pianist, writer, music critic and `musical archeologist' John Bell Young - competently establish the historical context and the romantic atmosphere in which Chopin composed the pieces performed here and emphasize particular features of the chosen instrument for these recordings. Young even quotes Emanuel Ax who praised `this dulcet' Eratrd's sound richness, its dynamical range and interpretive valences and commented on the orchestral textures in Chopin's output.

By listening to this CD, one gets enraptured by Emanuel Ax's pleasure of playing such a wonderful music on this very special Erard with its differences between bass and treble, favoring improvisational abilities of the soloist, his taste for rubato and graceful touch. His fabulous technical skills and unmatched musicality are wonderfully highlighted in the daring opening movement of the E minor Concerto or in that heartfelt and sweet paraphrase after `La ci darem la mano'.

I discovered with true enchantment these recordings now when the musical world celebrates 200 years from Chopin's birth. I consider them a compelling, illuminating and reassuring Chopin interpretation. Recommended!

The only album of recent release that I have heard that is more engaging than Ax's masterpiece is John McArthur's, "HIDDEN." Besides that, Emmanuel continues to amaze and delight the ears of any piano fan and he is still #1 in my book.

I heard Emanuel Ax play the Chopin Concerto No. 1 in concert. It was stunning. I immediately bought this CD, hoping it would replicate the experience. I was dismayed that not only did this historic piano sound honky-tonk and tinny, but the high registers were out of tune as well. I didn't make it through an entire listening of the CD - it was simply too painful! I'm scared to give it another chance. I would NOT recommend this recording to anyone who wants to relax and enjoy the beauty of Chopin!!

I own ths cd and it has the most incredible music on it.

Period instruments aside, I doubt you could find a more metronomic, sleep-walking rendition of Chopin's Piano Concerto No. 1, Op. 11 than this. I was a bit shocked, actually. Could barely sit through it myself without nodding off. What were Ax and MacKerras thinking? Or were they? Sounds to me like both of them were sight-reading the score... and the OAE got prodded into playing (where and when required).

The Allegro maestoso moves ponderously along, Sir Charles half-heartedly attempting to tutti some life into things but not gaining much ground, and, then, Ax enters... and things don't get at all better. Just more academic. Even the Romanze seems measured. I couldn't wait for it to end, it was so, I don't know, lacking. Again, I had visions of both artists (and orchestra) merely reading through it. The Rondo pumps its way to the end, mercifully and dutifully. The vivacity seems manufactured, artificial.

Ditto with Ax's solo reading of the A Minor waltz (one of my all-time favorites). Here, the 1851 Erard does nothing to enhance his somnambulistic rendering. The Op. 2 "Variations," as the concluding work, by this time, is merely a bore.

The orchestral sound is thin, stringy, and the brass too tinny. The OAE sheds no real "light" on Chopin, nor does MacKerras, who, I suppose, is to blame. But, then, again, Ax hardly shines any new illumination, either.

[Running time: 64:08]