Customer Reviews

Garrick Ohlsson: The Complete Chopin Piano Works Vol. 10 - Etudes

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Ohlsson plays these with such technical security, that he can and does shape them into individual jems. The big etudes are huge, and the softer one,(like the double thirds) weave in out beautiful dynamics and colors. They are spectacular performances.

I agree with the reviewer who comments on how easily Ohlsson handles the fiendish difficulties of the great Chopin Etudes. I read somewhere that he did not practice scales, arppegios, etc. like the rest of us poor mortals - his technical studies were the Etudes!!! If this is true, I'm sure that he is so secure with the notes and technical 'study' of each etude, that he can consentrate soley on the music, rather than its technical aim. Examples: The great "Winter Wind"Etude, in c minor, simply roars in his hands, and the "Harp" and Etude in Double Thirds are like gossemer. Gorgeous sounds. The study in broken chords, I never liked until I heard Ohlsson play it. After many playings, they are still a spell-binding joy to listen to.

Chopin's two sets of Etudes, Op. 10 (1833) and Op. 25 (1837), have been known to set many pianists' teeth a-chatterin', and for good reason: they are fiendishly difficult to play and equally so to communicate easily, to render afresh. Not, apparently though, for Mr. Ohlsson, whose transcendental virtuosity enables him to subdue the nearly technically impossible and immerse himself in the sheer beauty, myriad moods, colors, textures and emotional utterances these twenty-four etudes have to offer.

So deep is Ohlsson's understanding of these studies that each literally takes on a life of its own, while, at the same time, becomes inseparable from the whole. So seemingly effortless is his technical command, so fruitful his passion, so revelatory his "voice," we become transfixed by a comforting trust in his interpretation of these works... and by our profound sense that his expressivity runs so deep within him that his musical simpatico enables us to feel completely secure--- wherever he wishes to take us. There is no bogus bravura here, no blatant showmanship, both of which are traits that would cripple these pieces.

Amidst etudes that sing, thunder, weep or misbehave, Ohlsson truly guides us, his pianism full of charismatic authenticity, balance and gossamer poetry. The ease with which Mr. Ohlsson obtains our rapt attention resides within the power of his own convictions regarding each and every one of these etudes. It is a wonderment. [Ah, Chopin, you genius, melancholy Pole!] The Trois Nouvelles Etudes of 1840, as well, are superb pieces, performed beautifully: hypnotic, wistful, nostalgic.

Consistent is the exemplary sound given this exemplary artist: rich, warm, detailed and intimate. The match couldn't be more perfect or enveloping. Excellent liner commentary, too, by Frank Cooper.

[Running time: 67:05]

This is one of those rare recordings that capture a pianist at his technical and artistic peak.

Garrick Ohlsson's rendition of the Etudes is nothing short of miraculous. If Chopin were alive to hear this he would cry out in religious ecstacy! I imagine Chopin saying, "I can now rest knowing my work has finally been given justice!" One can only hope he hears from beyond the grave. Ohlsson succesfully combines the often exclusive elements of lightness of touch combined with extreme speed, accuracy and exceptional artistry without pathos.

This performance will expand your intellect and satisfy your soul.

People buy Pollini's record of these because they haven't heard Ohlsson's.


These etudes come so easily to Ohlsson that he can play everything with speed, dexterity, and MUSICALLY!!! who would have thought?

He's incredible.