Chopin Recordings

[Dry Brett Kavanaugh]

According to Koczalski, one of his pupils, Chopin was fond of introducing improvised ornaments into his music, especially mazurkas.

 
The book I have on Chopin performance is Eigeldinger's Chopin as Pianist and Teacher. I can't see any other references to any sort of improvisation.

NB Eigeldinger notes that in fact in editions passed on by Chopin's pupils there are more ornamental variants of nocturnes than of mazurkas.

I'm listening to Koczalsk's Chopin recordings. The playing is old-style (pre-WWI style?), but very likable.

[Dry Brett Kavanaugh]

Recently I listened to Francois's waltzes recorded (1958 mono) five years before the better-known 1963 stereo recording. In contrast to the polished and calculated playing in the stereo recording, the performance in the 58 mono recording is raw, fast, and dynamic. His touch is too hard for my preference, but the rhythm is liberational and experimental and the music is spontaneous and luminous. The music has an unique/strange charm and it has a feel of hotel lounge music (Hilton, rather than Ritz).

[AnotherSpin]

Recently I listened to Francois's waltzes recorded (1958 mono) five years before the better-known 1963 stereo recording. In contrast to the polished and calculated playing in the stereo recording, the performance in the 58 mono recording is raw, fast, and dynamic. His touch is too hard for my preference, but the rhythm is liberational and experimental and the music is spontaneous and luminous. The music has an unique/strange charm and it has a feel of hotel lounge music (Hilton, rather than Ritz).

François was a regular at Paris jazz clubs and friends with many jazz musicians. That love for jazz — its freedom, spontaneity, and emotional punch — really shaped his approach to Chopin. You can hear it in the rhythmic looseness, the instinctive phrasing, the sense that he's taking real risks. His Chopin feels alive, almost improvised.

[Mandryka]

Recently I listened to Francois's waltzes recorded (1958 mono) five years before the better-known 1963 stereo recording. In contrast to the polished and calculated playing in the stereo recording, the performance in the 58 mono recording is raw, fast, and dynamic. His touch is too hard for my preference, but the rhythm is liberational and experimental and the music is spontaneous and luminous. The music has an unique/strange charm and it has a feel of hotel lounge music (Hilton, rather than Ritz).

Thanks, I didn't know this existed, and I'll listen to it later (it's on Spotify) I'm very keen on his stereo waltzes.

[Dry Brett Kavanaugh]

Thanks, I didn't know this existed, and I'll listen to it later (it's on Spotify) I'm very keen on his stereo waltzes.

Lortat's waltzes are interesting as well, but they are so distinctive. I'm not very comfortable with them.

[Mandryka]

Lortat's waltzes are interesting as well, but they are so distinctive. I'm not very comfortable with them.

I thought the first Francois was vulgar! Enormous contrast from the wonderfully refined , delectable, stereo recordings. I guess I don't like my Chopin Hot Club de France style.

I'll listen to Lortat later - there's Cortot too of course.

[Kalevala]

I thought the first Francois was vulgar! Enormous contrast from the wonderfully refined , delectable, stereo recordings. I guess I don't like my Chopin Hot Club de France style.

I'll listen to Lortat later - there's Cortot too of course.

Love what I've heard of Cortot's Chopin.   

K

[Holden]

I'll give the Francois a whirl while also mentioning my preferred set of complete waltzes - Anievas.

[George]

Not a huge fan of the Waltzes, but when I do, I usually listen to either Rubinstein or Arrau.

[Dry Brett Kavanaugh]

I thought the first Francois was vulgar! Enormous contrast from the wonderfully refined , delectable, stereo recordings. I guess I don't like my Chopin Hot Club de France style.

I'll listen to Lortat later - there's Cortot too of course.

Cortot is great! I like Fiorentino too.