CHOPIN De l‘enfance à la plénitude
ANNE QUEFFÉLEC,
Piano
Mirare 096
/ *****
This is not a new recording, but its 81 minutes
contain a microcosm of Frederic Chopin’s art of pianism and composition, from his prodigious
childhood (hence the title which translates roughly as Childhood of Plenty) to his all-too-premature death at the age of
39. His earliest recorded work and last creative utterance are the bookends to
this marvellous anthology. The first 20 minutes are virtually unknown,
beginning with two juvenile Polonaises,
in B flat major and G minor, remarkable efforts by a mere 7-year-old.
By 18, the Polonaise
in F minor, with its more sophisticated touches, begins to reveal an
originality that we recognise as the adult Chopin. His love for native Poland is also deeply felt in
his last work, the Mazurka in A minor
(Op.67 No.4), from 1848, his penultimate year. Its simplicity, also found in
the late Waltz in A minor, shows that
he had come a full circle.
In between these are the great
stand-alone works from 1842 to 1846, including the sublime Berceuse (Op.57) and endlessly lyrical Barcarolle (Op.60). Veteran French pianist Anne Queffélec mines the
rich vein of cantabile in these, and nimbly scales the torrid virtuosic heights
of the Fourth Ballade (Op.52) and Fourth Scherzo (Op.54), which form the
pinnacle of Chopin’s oeuvre. The transformation of talent and potential to
outright genius and “industry leader”, to use modern parlance, is the
overriding joy of this album.
STRAVINSKY Le Sacre du Printemps
100th Anniversary Collector’s
Edition
Decca 478 3729 (20 CDs) / *****
Igor
Stravinsky’s epoch-making ballet The Rite
Of Spring for Sergei Diaghilev’s Ballets Russes premiered to an infamous
riotous reception 100 years ago in Paris . Yet a year later it was hailed as one
of the 20th century’s great masterpieces. This handsome box-set
brings together 38 orchestral recordings of this iconic classic from the vast
catalogue of the Universal labels. The earliest dates from 1946 with Eduard van
Beinum conducting the Concertgebouw Orchestra in grainy monoaural sound, while
the latest is the slick 2010 account by Gustavo Dudamel and the Simon Bolivar
Youth Orchestra of Venezuela. How times have changed and orchestras have
progressed.
While
most performances take between 32 and 34 minutes, the range of timings can
differ widely, from Antal Dorati’s Minneapolis Symphony (1959) account that
frenetically flies under the half hour to Leonard Bernstein’s expansive 37
minutes with the Israel Philharmonic (1982). There are two versions from
Herbert von Karajan and the Berlin Philharmonic from 1965 and the mid-1970s,
his pristine unruffled approach in the former drawing disparage from Stravinsky
himself, who called it, “too polished, a savage pet rather than a real one”.
For this pair of ears, the version
by Riccardo Chailly and the Cleveland Orchestra (1985) is the one to beat,
uniting primal savagery and sumptuously balanced orchestral sound, with all the
fine details to boot. There are three versions of Stravinsky’s original score
for piano duet here, the glitziest coming from Vladimir Ashkenazy and Andrei
Gavrilov (1990). A further bonus is Stravinsky conducting his own Violin Concerto with violinist Samuel
Dushkin from 1935. For lovers of this endlessly fascinating score, this release
is a godsend.
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