Chopin: Piano Sonata No. 3; Ballade No. 4; Waltzes; Mazurkas; Barcarolle

Chopin: Piano Sonata No. 3; Ballade No. 4; Waltzes; Mazurkas; Barcarolle

Chopin: Piano Sonata No. 3; Ballade No. 4; Waltzes; Mazurkas; Barcarolle
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CD Details

Composer: Frederic Chopin
Performer: Ingrid Fliter
Edition: Music CD
Audio: English (Unknown)
CD Release Date: 2008-04-29
Music Label: Angel Records
Soundtracks:
  1. Sonata for Piano no 3 in B minor, B 155/Op. 58: 1st movement, Allegro maestoso
  2. Sonata for Piano no 3 in B minor, B 155/Op. 58: 2nd movement, Scherzo
  3. Sonata for Piano no 3 in B minor, B 155/Op. 58: 3rd movement, Largo
  4. Sonata for Piano no 3 in B minor, B 155/Op. 58: 4th movement, Presto non tanto
  5. Mazurkas (3) for Piano, B 157/Op. 59: no 1 in A minor
  6. Mazurkas (3) for Piano, B 157/Op. 59: no 2 in A flat major
  7. Mazurkas (3) for Piano, B 157/Op. 59: no 3 in F sharp minor
  8. Barcarolle for Piano in F sharp Major, Op. 60
  9. Waltz for Piano in E flat major, Op. 18
  10. Waltzes (3) for Piano, Op. 64: no 1 in D flat major 'Minute'
  11. Waltzes (3) for Piano, Op. 64: no 2 in C sharp minor
  12. Waltzes (3) for Piano, Op. 64: no 3 in A flat major
  13. Ballades (4) for Piano, Op. 52: no 4 in F minor

Music reviews of Chopin: Piano Sonata No. 3; Ballade No. 4; Waltzes; Mazurkas; Barcarolle

Music Review: An award winner plays with style and musicality
Rating: 4 Stars

Cries of beautiful and wonderful don't help much when judging Fliter, who rose to a privileged echelon among young artists by winning the prestigious Gilmore Award in 2006. Now 35, she owes much of her reputation, on disc at least, to Chopin. However, she plays his music very differently from the volatile, unpredictable Martha Argerich, one of Fliter's prominent supporters. My experience with her in concert is that her sound is fairly small; Fliter is a touch pianist who relies on style and intuitive connection with Chopin's semi-improvisatory idiom. There's a nice balance of charm and intensity; I wish there was a bit more dramatic tension.

This combination of qualities shows up immediately in this CD, where Sonata #3 begins moderately and quickly moves into a quieter, more rhythmically loose style than one hears from, say, Rubinstein or Pollini. There needs to be stronger forward motion, too, but in terms of handling a musical line gracefully, Fliter is admirable. Anyone who likes sensitive pianism without self-indulgence will be pleased. In the Scherzo, which is often played for whirlwind excitement, she's a bit restrained. The Largo finds a nice pace that keeps one's attention, although I don't hear the kind of gripping phrasing that would challenge anyone's idea of great Chopin playing. Perhaps it's the smaller scale of Fliter's approach that makes this movement feel too modest. In other hands the finale thunders and builds with inexorable tension. Fliter takes a middle course, which seems to be her way in general.

The rest of the program offers a scattering from several of Chopin's favorite genres. Of all the Mazurkas, the three of Op. 59 are among the most popular. Here Fliter rises above her sonata reading -- her musical instincts are at home in a smaller form that allows for personal phrasing from bar to bar. She allows herself to free up the 3/4 time kept by the left hand, but not to the point that forward motion is impeded. I heard and like Fliter's way with the Barcarolle in concert, but here it feels a bit undernourished both rhythmically and in terms of overall sound, but her musical instincts keep the music vital, and that's most important.

Next we have the first version of the Fantasie-Impromptu, which brings out the best in Fliter. She handles the sparkling passagework very nicely, and the famous "I'm always chasing rainbows" tune could hardly be more stylish and unaffected at the same time. I favor Kissin's bravura approach to the Grande valse brillante in E flat, but it can be taken down in scale, as Lipatti and Rubinstein do, and so does Fliter. The thrills aren't there, but the style is. The remaining three waltzes are cut from the same cloth, refusing to outright dazzle us while finding enough variety to remain enticing. (I'm being vanilla in my criticism -- frankly, I think the waltz form is where Chopin should sound heady and abandoned.)

The program ends with Ballade no. 4, a masterpiece in the form and a challenge to the pianist's deepest instincts. Kissin and Pollini play this music on a grand scale, closer to the two great sonatas than to the Berceuse or Barcarolle, for example, but that smaller scale is more comfortable for Fliter, and she gives a reading that is even more restrained than Perahia's, to mention a Chopin player who became more restrained with maturity. So the roiling turbulence of the concluding section doesn't rise to tidal wave intensity here, which isn't to say that Fliter lacks command -- one of her strengths is the ability to balance even the loudest chords and rolling fingerwork.

I've gone into some detail because no one else has so far, but also because despite my criticisms, fliter is clearly an important talent and very much worth hearing in this music.
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