|
|
alternatively
CD:
AmazonUK
AmazonUS
|
Fryderyk CHOPIN (1810-1849)
Nineteen Waltzes
1. A-flat Major, (Brown-Index 21) [1:26]
2. D-flat Major, Op. 70, No. 3 [2:53]
3. B Minor, Op. posth. 69, No. 2 [3:45]
4. E Major, (Brown-Index 44) [2:38]
5. E-flat Major, (Brown-Index 46) [2:31
6. E Minor, (Brown-Index 56) [2:53]
7. E-flat Major, Op. 18 [5:56]
8. G-flat Major, Opus posth. 70, No. 1 [2:27]
9. A-flat Major, Opus posth. 69, No. 1 [3:56]
10. A Minor, Op. 34, No. 2 [5:13]
11. A-flat Major, Op. 34, No. 1 [5:56]
12. F Major, Op. 34, No. 3 [2:42]
13. E-flat Major, (Brown-Index 133) [2:05]
14. A-flat Major, Op. 42 [4:05]
15. F Minor, Opus posth. 70, No. 2 [3:28]
16. A Minor, (Brown-Index 150) [2:49]
17. C-sharp Minor, Op. 64, No. 2 [3:41]
18. A-flat Major, Op. 64, No. 3 [3:52]
19. D-flat Major, Op. 64, No. 1 [2:03]
Mordecai Shehori (piano)
rec. October 2010, Las Vegas
CEMBAL D’AMOUR CD156 [63:58]
|
|
This sequence of Chopin waltzes was recorded in the first two
weeks of October 2010 by Mordecai Shehori, and it demonstrates
his investigative mind at work once again. He’s not a musician
to allow established protocol to hinder a new look either at
source material or at matters of presentation. So, quickly dispatching
the question of opus numbers in a booklet note entitled ‘The
Pointlessness of Opus Numbers as a Guide to a Composer’s Development’,
he has arranged the sequence chronologically. He has also investigated
the ‘Julian Fontana’ versions of four waltzes, Op. 69 Nos 1
and 2, Op. 70 Nos 1 and 2. Fontana, a friend of the composer,
copied Chopin’s music, and it was he who saw these four waltzes
to paper; they survive only in sketch-like form. Shehori has
incorporated the early sketch version into the Fontana, usually
in the form of the last repeat. His notes underline Shehori’s
commitment to this practice.
The proof as ever, is in the eating. Shehori is on record as
decrying a lack of textual fidelity by even the greatest pianists.
His own approach is faithful and imaginative. His D flat major
Op.70 No.3 has great tenderness, and a warmth that, say, Rubinstein
never truly sought to cultivate in this work, remaining as he
did more austere and extrovert than Shehori’s more introspective
limpidity. Shehori is certainly more inclined to explore the
rubato and rhythmic implications of the B minor (that posthumous
Op.69 No.2) than Rubinstein or even Lipatti, whilst in the E
flat major (Brown Index 46) he investigates the Tyrolean yodel
that Chopin infiltrated into the music. Shehori’s booklet note
includes a passage on this matter and it makes for engaging
reading, and indeed listening, in the light of it.
In the E flat major Op.18 Shehori shows a distinct independence
from Rubinstein in his classic 1954 studio recording, being
more athletic in accenting and dynamic in phrasing – indeed
more explosive all round. His approach in the G flat major Op.
posth. Op. 70 No.1 is quite measured. He is not much pursuant
of the kinds of colour that Rubinstein and Lipatti found here,
rather more on the structural and rhythmic bases of the music.
Nor does he seem much to endorse the ‘L’Adieu’ element of the
A flat major Op. posth. Op.69 No.1, given that his tempo is
quite brisk and that his interest centres of the harmonic steps
in the left hand, which are explored to advantage. He emphasises
details such as this, which other pianists are apt to conjoin
to an all-purpose ‘beautiful tone’ – not that Shehori’s tone
is anything but highly attractive.
He does prefer a rather ‘sec’ approach to the A flat major Op.34
No.1. His avoidance of metricality, as well as a broader tempo,
gives the music a light, tripping immediacy, reinforced by the
quite immediate recorded quality. It’s anything but grand seigniorial.
Shehori’s little nagging left hand accenting illuminates the
A flat major Op.42; this deft harmonic pointing is itself one
of Shehori’s points, as are a well judged control of rubati
and accelerandi.
This enterprising, very personal approach will win Shehori admirers.
His slant is sometimes unusual, always thoughtful, and he has
a particular gift for generating intensity and spontaneity in
the recording studio.
Jonathan Woolf
|
|