Chopin chez Pleyel

Alain Planès | Format: MP3 Download

Product Details

• Original Release Date: October 22, 2009
• Label: harmonia mundi
• Copyright: 2009 harmonia mundi
• Total Length: 1:19:53
• Genres:
• ASIN: B002X35MS2
• Average Customer Review: 4.5 out of 5 stars  See all reviews (2 customer reviews)
• Amazon Best Sellers Rank: #266,902 Paid in MP3 Albums (See Top 100 Paid in MP3 Albums)

Customer Reviews

Most Helpful Customer Reviews

6 of 7 people found the following review helpful:

4.0 out of 5 stars Is This How Chopin Played?, March 5, 2010

By 

Paul S. Rottenberg "stevenrothbardt" (Ft. Lauderdale, FL) - See all my reviews
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This review is from: Chopin: Chopin chez Pleyel (Audio CD)

This is a very interesting new release on Harmonia Mundi of Alain Planes playing a Playel piano of 1836, the make which Chopin liked, for the 200th anniversary of Chopin's birth. Mr. Planes also has attempted to reproduce a specific recital which Chopin gave, and even how Chopin played. He read as many descriptions as he could find of Chopin's technique and manner (use of rubato and ornaments, etc.) before making this recording, but, of course, we can't be sure exactly what Chopin sounded like, since writing about music is notoriously difficult and the interpretation of that writing (as of music itself) is always subjective, at least to some extent.

Some listeners may have to adjust their ears to the sound of this 19th century French piano, but if you've heard Emanuel Ax's excellent recordings of the two Chopin Concertos on an 1840s Erad piano with Charles Mackerras and a period band (Sony), then you will be prepared. But, is this how Chopin sounded? Does it matter? Chopin was a genius, and, like Beethoven, he probably surprised listeners each time he played, with something a little different from the printed score. After all, it was his music, so he could do whatever he wanted.
According to Nicolas Dufetel, who wrote the notes for this album, and who refers to the writings of the scholar Jean-Jacques Eigeldinger, who wrote several studies of Chopin's style as a composer and as a pianist, Chopin "was a great pedagogue, and his disciples were numerous. Many of them took notes during their lessons, sometimes directly in the scores[....]" In addition, says Dufetel, "Chopin often wrote out himself the indications intended to help his pupil practice." Chopin also included copious comments on how he wanted everything done, including fingering, pedaling, and ornamentation, so that we have "a direct medium [italics] between the work and Chopin's playing." In this recording, "Alain Planes has assembled a number of elements that derive directly from Chopin," and that, for example, the Nocturne op.9 no.2 may not "'sound' exactly as it would in the average [...] version, but is enriched by variants suggested to his pupils by the composer himself." It's due to these "extras" that the timings for these pieces tend to be longer than most other recordings made with the standard text. See timings below.
Alain Planes obviously isn't Chopin, but he is an interesting interpreter of all of these great pieces, and certainly deserves our full attention to his daring project. His playing is fluid and warm and lacks nothing of the virtuosity many expect in this music. This may prove to be the most valuable entry to this year's celebrations, making us listen to a great composer in new ways.

If you're interested in timings, I offer this short comparison of other recordings to the present one by Planes.

In the Andante spianato, Ax recorded it at 4:08, Planes at 4'59.

In the Ballade, op. 47, both Rachmaninov and Rubinstein clock in at 7:19, while Anderszewski comes in at 7:58, Planes at 8'32.

In the Preludes, Kissin does No. 4 in 1:58, No. 9 in 1:28, No.11 in .34, and No. 13 in 3:05, Planes does No. 4 in 1'54, No.9 in 1'14, No.11 in '39, and No.13 in 3'03.

In the Etudes, op. 25, Pollini does No. 1 in 2:11, Perahia in 2:24. In No. 2, Pollini comes in at 1:27, Perahia at 1:35. In No. 12 ("Revolutionary"), Pollini does it in 2'30, Perahia in 2:38. Planes's timings are: 2'35, 1'44, 2'45.

Rubinstein does Mazurka Op. 41, No. 2 in 2:11, and No. 3 in 1:10. He also plays the waltz op. 42 in 3:46. Planes's timings are: Mazurka's--1'24 & 1'57, Waltz: 4'26.

Compare these timings with Planes's, keeping in mind that he does add ornamentation,etc., and you have an idea of how these performances are different from most others. A must for pianists, especially those Chopin lovers, as who isn't?

1 of 1 people found the following review helpful:

5.0 out of 5 stars Chopin: Chopin chez Pleyel, September 4, 2011

By 

Bjorn Viberg (European Union) - See all my reviews

This review is from: Chopin: Chopin chez Pleyel (Audio CD)

Chopin: Chopin chez Pleyel is a 2009 Harmonia Mundi recording starring pianist Alain Planes. Mr Planes has here tried to recreate how Chopin played himself when he played in a rare concert that Chopin performed in 1842. He has even played on the same piano, i.e., a Pleyel piano from 1836. Nicolas Dufetel has written the music notes. English translation by Charles Johnston. Is this how Chopin truly played? Probably not. Even so a very enjoyable recording. Highly recommended. 5/5.