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The Originals: Chopin: Etudes Op.10 & Op.25

Maurizio Pollini (Artist) Format: Audio CD
3 out of 5 stars 2 customer reviews
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Audio CD, October 14, 2014
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$5.87 $8.24
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Track Listings

Disc: 1

  1. No.1 in C
  2. No.2 in A minor "Chromatique"
  3. No.3 in E "Tristesse"
  4. No.4 in C Sharp minor
  5. No.5 in G Flat "Black Keys"
  6. No.6 in E Flat minor
  7. No.7 in C
  8. No.8 in F
  9. No.9 in F minor
  10. No.10 in a Flat
  11. No.11 in E Flat
  12. No.12 in C minor "Revolutionary"
  13. No.1 in a Flat "Harp Study"
  14. No.2 in F minor
  15. No.3 in F
  16. No.4 in A minor
  17. No.5 in E minor
  18. No.6 in G Sharp minor
  19. No.7 in C Sharp minor
  20. No.8 in D Flat
  21. No.9 in G Flat "Butterfly Wings"
  22. No.10 in B minor
  23. No.11 in A minor "Winter Wind"
  24. No.12 in C minor

Product Details

  • Audio CD (October 14, 2014)
  • Number of Discs: 1
  • Label: Deutsche Grammophon
  • ASIN: B00LWIKABI
  • Average Customer Review: 3.0 out of 5 stars  See all reviews (2 customer reviews)
  • Amazon Best Sellers Rank: #363,702 in Music (See Top 100 in Music)

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3.0 out of 5 starsDG “The Originals” Remaster inferior to the original CD release
By jt52 on August 25, 2015
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The 3-star rating applies only to the sound quality of the new “Originals” release of Maurizio Pollini’s celebrated performance of the Chopin Etudes. Pollini’s Etudes remains a justly famous and pre-eminent interpretation of this wonderful music and one of this famous pianist’s signature achievements. This remastering unfortunately doesn’t do anything to elevate the experience.

I am baffled by how Deutsche Grammophon could let this pass release through any sort of reasonable quality control process. The original CD release has richer sound with a more impactful bass. The remaster has a thinner and less rich sound, with more distortion in treble. Some harshness is present in both the original CD release and this Originals remastering pointing to weak origjnal engineering – so we aren’t dealing with a perfect original recording from an engineering standpoint -- but the remastering doesn't improve matters. The more lyrical Op. 10 no. 10 Etude has a broader and more flowing texture than many of the other more technically-focussed etudes; the remaster does nothing to make Pollini’s sound richer or more true to the sound of the instrument.

You’ll have to excuse me for something of a rant here. I’ve recently been listening to a digital recording of a baroque opera produced in an obviously resource-constrained setting at a provincial opera house in Corsica at about the time this remaster was released. Yet the engineers generated a recording with audiophile-level sound. In contrast, the producers of this Original remaster worked for one of the premier classical labels with much more expertise and money available, and they produce an inferior product like this reissue.Read more ›
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3.0 out of 5 starsA serviceable introduction to Chopin's etudes that leaves much unsaid
By Phillip Huang on December 20, 2014
This was the first recording of the Chopin etudes I've heard and I just can't bear to listen to it anymore. Technically, it's commanding. (Although honestly, what studio recording isn't technically perfect these days?) But musically, Pollini has absolutely nothing to say. I know Pollini fans will jump on me saying that he is being "faithful to the score" or "faithful to the composer" or "letting the music speak for itself". He's not, unless you think playing Chopin without any imagination, color, or romanticism is somehow being faithful to the composer.

The best etudes are the fast and furious ones like 10/4 and 25/11. But the most problematic etudes are the slower and more lyrical ones like 10/3, 10/6, 25/1, 25/5 or 25/7 that really suffer from Pollini's straight-ahead and monochromatic approach. Obviously none of these etudes sound bad. (It's honestly impossible to make these etudes sound bad if all the notes are in order.) But there's so much more to this music than what Pollini gives us here. The one Chopin etudes set that I'd recommend above all others is Cortot. Even in the dated 1930s sonics, and even when Cortot was missing notes left and right, he still gives us more of Chopin's music than what Pollini gives us here. I'd also recommend listening to Sokolov in op. 25 (sadly he didn't record op. 10), which features brilliant virtuosity, excellent poetry and beautiful sound, and Ashkenazy's first recording from Melodiya (NOT the Decca studio recording). Rubinstein and Richter also gave excellent performances of individual etudes, the former in his 1964 Moscow concert, and the latter scattered across many live recordings (you can find some in the Prague boxset).Read more ›
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