Frédéric CHOPIN (1810-1849)
Etudes, Op. 10 (1829-1833) [26:35]
Trois nouvelles Etudes (1839-40) [5:14]
Etudes, Op. 25 (1833-1837) [29:41]
Hardy Rittner (piano - Conrad Graf c. 1835)
rec. 14-16 November 2011, Konzerthaus der Abtei Marienmünster
MUSIKPRODUKTION DABRINGHAUS UND GRIMM 904 1747-2 [62:43]
Chopin’s Etudes played on historic instruments
is not an entirely new phenomenon, and this recording by Hardy
Rittner comes up against one for which I have a particular fondness,
Opp. 10 and25 played by the late Tatiana Shebanova
on the Fryderyk Chopin Institute label, NIFCCD007. This is a
performance with a good deal of soul and poetry, richly recorded
with what feels like warmth and affection and in a fine acoustic.
This is not part of her cycle for the Dux label by the way (see
review).
This said, you’ll hunt long and hard for recordings of
Chopin’s piano works played on historical instruments,
and while I am sure there must be others around I’ve been
hard put to find comparisons. Hardy Rittner’s choice of
a period instrument by Conrad Graf is based on Chopin’s
own enthusiasm for these instruments and its historical plausibility
and suitability for the repertoire. Chopin’s preference
for Pleyel pianos is well known, but the technical aspects and
other arguments in favour of the Conrad Graf are well made in
Hardy Rittner’s additional notes.
Rittner’s performance is good, and starts well with a
full blooded Allegro in C major, the first of the Op.
10 set. Technical prowess is here in abundance, but as the cycle
progressed I was always being reminded of the emotional connection
with the music I have from Tatiana Shebanova, and which is much
less apparent with Rittner. The third Etude Op. 10, Lento
ma non troppo is a case in point, with the melody being
compressed through unsettling rubato mannerisms. If you were
to sing it this way they would send you out of the audition
pretty quickly. The fast etudes are all fine, and Rittner’s
blisteringly impressive abilities are not in question. I nearly
cried hearing the sheer beauty in Shebanova’s Op. 10
No. 6, Andante again, and nearly threw the CD out of the
window hearing Rittner suck all of the eloquence from the music
with his perverse rushing. This aspect of his playing recurs
all too often, and, historic interest or not, I’m afraid
in the context of my collection dooms this recording to the
cardboard box under the bed, which is even lower status than
the difficult to access cupboard behind the sofa.
It is good to hear the heroic Allegro con fuoco final
etude of the Op. 10 on a historic instrument, but this
piece shows up a ‘deadness’ in the treble which
might have something to do with tuning, but certainly makes
it hard to give credibility to the singing line. Moving on to
the Etudes Op. 25 and the less expressively complex music
makes for less stressful listening. There is a rather undifferentiated
quality to many of these etudes in this recording however, and
Rittner chews up the E minor Vivace in a way which makes
even Horowitz seem conventional. The C sharp minor Lento
has a beautiful central section here, but the main theme is
smudged and indistinct. Chopin’s stormy forcefulness is
delivered convincingly, such as in the opening Allegro con
fuoco of the B minor etude and the A minor Lento,
and there are indeed many impressive moments in this recording.
Having admired Hardy Rittner’s Brahms
recordings I was all revved up and ready to go all the way with his Chopin.
Alas the reality has let me down with a bump. Returning to this recording
in uncritical mode, allowing it to roll along whilst doing spring cleaning
in July, on can sense how there can be plenty of uncritical enjoyment to be
found from Chopin’s genius on this recording. The troubling treatment
given to some of the most tender moments remain however, and only if you think
you might like Chopin played in a way which provides sensations akin to going
down a steep hill in a shopping trolley would I suggest this for a try. There
is excitement to be had in the etudes where bravura playing is to the fore,
and the sound of the Conrad Graf piano is distinctive enough to give the project
plenty of historic value. The recording is up to MDG’s usual high standards,
but Hardy Rittner’s concertina approach to some of Chopin’s most
beautiful melodies is too crushingly depressing to put this release anywhere
near the front rank of choices for these etudes.
Dominy Clements
Crushingly depressing at crucial moments.