Of course, Vlado Perlemuter, who was giving concerts in the 1920s, represents a very different style of Chopin playing to that of the other pianists listed above. Lithuanian-born, of Polish parentage, his first piano teacher was Moszkowski (misspelt in the notes) and then at 13 he began lessons with Alfred Cortot. Although his Chopin may have few similarities with that of his master, there is an overall consistency of style in his approach that places the interpretations in a somewhat distant era from our own. Things are unhurried. Phrases are allowed to make their effect through subtle suggestion, rather than by direct and defined statement. The overriding impression is of Chopin as an elegant personality moved in climaxes or quiet moments to express passion and poetry respectively.
Although the First Ballade doesn't quite generate the excitement that is needed (some episodes are a little heavy-handed), the other three are very successful. The wistful and delicate Third Ballade provides a suitably lighter mood after the fury of the presto con fuoco passages in the Second. When it comes to the mighty Fourth Ballade, Perlemuter gives a masterful reading. There is an extraordinarily acute feeling for the details of harmony and for the way in which the theme develops towards the climaxes of the final pages. The power and momentum of the work could not be conveyed with greater conviction. Ashkenazy (Decca), who also gives a superb reading, may be the more dynamic player, but one feels that it is Perlemuter whose cultured approach is perhaps stylistically the more secure. Zimerman's Ballades (DG) have a technical finish that eludes Perlemuter, but he is not so warm-hearted, however satisfying though the perfection of his pianism. Whilst I also enjoyed Stott's performances (Conifer), their musical stature is a bit diminished by a tendency to draw out expressive phrases.
Of the two Polonaises offered as fillers it is the Polonaise-Fantaisie that has undeniable authority. Despite a neglect of Chopin's dynamic markings in several instances, Perlemuter plays this masterwork with a gentle rhythmic impulse that lends a sense of unity to the form. The reflective atmosphere is strongly reminiscent of the Barcarolle. Sound-quality is a little out of focus at times. The piano is placed quite far back in the acoustic. The DG and Decca CDs are preferable in this respect.'