Chopin Piano Works
View record and artist detailsRecord and Artist Details
Composer or Director: Fryderyk Chopin
Label: Erato
Magazine Review Date: 10/1994
Media Format: CD or Download
Media Runtime: 164
Mastering:
DDD
Catalogue Number: 4509-92403-2
Tracks:
| Composition | Artist Credit |
|---|---|
| (26) Preludes |
Fryderyk Chopin, Composer
François-René Duchâble, Piano Fryderyk Chopin, Composer |
| (3) Impromptus |
Fryderyk Chopin, Composer
François-René Duchâble, Piano Fryderyk Chopin, Composer |
| Fantaisie-impromptu |
Fryderyk Chopin, Composer
François-René Duchâble, Piano Fryderyk Chopin, Composer |
| (16) Polonaises, Movement: No. 6 in A flat, Op. 53, 'Heroic' |
Fryderyk Chopin, Composer
François-René Duchâble, Piano Fryderyk Chopin, Composer |
| (16) Polonaises, Movement: No. 7 in A flat, Op. 61, 'Polonaise-fantaisie' |
Fryderyk Chopin, Composer
François-René Duchâble, Piano Fryderyk Chopin, Composer |
| (4) Ballades |
Fryderyk Chopin, Composer
François-René Duchâble, Piano Fryderyk Chopin, Composer |
| Sonata for Piano No. 2, 'Funeral March' |
Fryderyk Chopin, Composer
François-René Duchâble, Piano Fryderyk Chopin, Composer |
| Sonata for Piano No. 3 |
Fryderyk Chopin, Composer
François-René Duchâble, Piano Fryderyk Chopin, Composer |
Author: Joan Chissell
I enjoyed Duchable most in the two sonatas monopolizing the third disc, and the A flat Polonaise and the Op. 61 Polonaise-fantaisie sharing the second disc with the Ballades—all originally recorded back in 1983-4. With his commanding technique and unflagging sense of direction, coupled with exceptional self-discipline in matters of rubato, this 41 - year - old French pianist plays with a classical authority always commanding respect, even if in lyricism his phrasing seems to me to lack the intimate charm and poetry of rivals like Artur Rubinstein, Ashkenazy and quite a few others. Purists should note that in the B flat minor Sonata's Marche funebre he follows in Rubinstein's questionable footsteps in a cortege approaching from afar (in a long-sustained crescendo) which after the Elysian vision of the trio, gradually recedes into the distance again (in a long-sustained diminuendo).
Of the Ballades, I thought him at his best in the swift-changing sorrow, pride and defiance of the First in G minor, not forgetting its blazingly brilliant coda. The Second finds him again breathtaking in its presto con fuoco outbursts, but less than magical in its lilting main theme. Surely taken too fast, the Third is disappointing in its lack of poised, courtly grace, with a far too insistently urgent, hard-toned build-up to the final climax. And what a shame that in an otherwise sympathetically conceived Fourth, he rushes the last brief fff outburst (marked ritenuto) just before the dramatic silence heralding those five heaven-sent pianissimo chords. I also thought this second disc inferior to the other two in sound quality.
The Preludes and Impromptus on the first disc, new to this country, were not recorded until 1988. Though less potently atmospheric than those of long-established favourites, including Pollini, Ashkenazy and Argerich, the Preludes are shapely and truthful enough—especially the ones in untroubled major keys. If also a little bland (partly because of insufficiently contrasted middle sections) the Impromptus bring further reminders of Duchable's enviable fluency, particularly the C sharp minorFantaisie-impromptu. In conclusion I can only add that bearing in mind the age and quality of these recordings, together with not over-generous playing time, I feel it would have been wiser to offer the set in the medium- rather than full-price range.'
Of the Ballades, I thought him at his best in the swift-changing sorrow, pride and defiance of the First in G minor, not forgetting its blazingly brilliant coda. The Second finds him again breathtaking in its presto con fuoco outbursts, but less than magical in its lilting main theme. Surely taken too fast, the Third is disappointing in its lack of poised, courtly grace, with a far too insistently urgent, hard-toned build-up to the final climax. And what a shame that in an otherwise sympathetically conceived Fourth, he rushes the last brief fff outburst (marked ritenuto) just before the dramatic silence heralding those five heaven-sent pianissimo chords. I also thought this second disc inferior to the other two in sound quality.
The Preludes and Impromptus on the first disc, new to this country, were not recorded until 1988. Though less potently atmospheric than those of long-established favourites, including Pollini, Ashkenazy and Argerich, the Preludes are shapely and truthful enough—especially the ones in untroubled major keys. If also a little bland (partly because of insufficiently contrasted middle sections) the Impromptus bring further reminders of Duchable's enviable fluency, particularly the C sharp minor
Chopin Piano Works
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