Chopin: Nocturnes
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CD Details
Composer: Frederic ChopinPerformer: Ivan Moravec
Edition: Music CD
CD Release Date: 1991-06-25
Music Label: Nonesuch
Soundtracks:
Music CD 1
- Nocturne in B flat minor for piano, Op. 9/1
- Nocturne in E flat major for piano, Op. 9/2
- Nocturne in B major for piano, Op. 9/3
- Nocturne in F major for piano, Op. 15/1
- Nocturne in F sharp major for piano, Op. 15/2
- Nocturne in G minor for piano, Op. 15/3
- Nocturne in C sharp minor, Op. 27/1
- Nocturne in D flat major, Op. 27/2
- Nocturne in B major, Op. 32/1
- Nocturne in A flat major, Op. 32/2
- Nocturne in G minor, Op. 37/1
- Nocturne in G major, Op. 37/2
- Nocturne in C minor, Op. 48/1
- Nocturne in F sharp minor, Op. 48/2
- Nocturne in F minor, Op. 55/1
- Nocturne in E flat major, Op. 55/2
- Nocturne in B major, Op. 62/1
- Nocturne in E major, Op. 62/2
Music reviews of Chopin: Nocturnes
Music Review: Moravec is Moravec
Rating: 4 Stars
I have owned and studied this recording for quite awhile. At first, I was taken by Moravec's gorgeous tone, his shading of melody. The real litmus test, for me, is the strange, mysterious Op. 32 B Major... The "Big" Nocturnes are much more accessible and easier, in making an impression. But Moravec, the more I listen to the Op. 32, has won me. At first, I was taken aback by his liberal rubato; more a drastic change of tempo (that phrase you will find in many of my reviews)... Chopin was a great admirer of Mozart and Bach. Many scholarly musicologists have written that the commonly-held view that Chopin's music may be rightly played with a great range of rubato are disputed by his contemporaries; that his own peformances were much more strictly held within a limited use of rubato... Who is to know? For in Moravec's liberties, he gives to me, at least, a convincing reading. Beautiful, moving, living, breathing melody. And the same writers who write of Chopin's playing being strict in rhythm, also write that he recommended to his students that they listen to great singers to grasp the sense required to play his melodies. Well, singers must breathe, rubato in that sense, is built into the very mechanism of the voice. My take, now, after much study and contemplation, is, "does the performer convince me?" I'm not one to sit with a metronome or even tap my foot... I just listen, and MOravec, in the listening, brings every Nocturne to life, gives the melodies breath, the sweeping, sometimes, accompaniments, breadth. And what a tone, the eveness he brings to his touch is musicality, pure and simple. Love this recording, as I do Rubenstein's. But where do Moravec and Rubenstein begin and CHopin end? Are there any other recordings anyone might recommend of the Nocturnes? I'm curious to know of a contemporary pianist's interpretations. As a pianist, I find myself struggling greatly; learning the notes, mastering the technique required for the Ballades and Scherzi, is just the beginning. That done, how personal can one make this music without losing sense of the composer's intention? Any answers out there? I'm open-minded and would appreciate anyone who has time to respond to my comments.
Description of Chopin: Nocturnes
If Moravec had made only these recordings, he would still be esteemed as one of our greatest pianists. He makes the piano sing throughout this set--coloring the music with exquisite tonal shadings, reflecting the changes of mood with total conviction, and providing moment after moment of revelatory beauty. Many critics consider this the greatest set of the Chopin Nocturnes ever recorded, even finer than the superb stereo set by Rubinstein on RCA. The 1966 recordings, made in two different venues, are still outstanding examples of beautiful-sounding, realistic piano sound. --Leslie GerberNocturnes CDs
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