Search - Frederic Chopin, Evgeny Kissin :: Chopin: 24 Preludes, Op. 28; Sonata for Piano No. 2, Op. 35; Polonaise, Op. 53

It's the expressivity, stupid

John Grabowski | USA | 09/19/2002

(2 out of 5 stars)

"What's happened to Kissin's playing lately has made me sad. Oh sure, he's still famous and packs them in, but his playing has become increasingly harsh, ugly and unfeeling. There isn't an ounce of poetry in these Preludes. Banging, yes, and lots of volume, but all the blood, sweat and tears don't produce much *music.* Cortot expended half the energy and got five times the results. For example, the First Prelude has clumsy and heavy phrasing. It sounded to me like a first year piano student learning how to "feel" the music for the first time, only of course Kissin has more technique than any first year student. The Second prelude bears far too much weight and pathos. Kissin gives it the gravity of the finale of the Tchaikovsky Pathetique Symphony--and it can't really withstand it and turns out distended. (And this from someone who *likes* a player such as Ugorski!) The Third is all speed and no charm, and someone has to teach Kissin what leggieramente means. The Fourth is hampered--as are many including the "Raindrop"--by monotonous rhythmic regularity. Some pianists can really shade and color works like these. Not here. Yet I enjoyed some of Kissin's earlier discs (the Carenegie Hall recitals) so much, compared with this.The Sonata is much the same, and I won't go into details for danger of repeating myself. Except to say the Funeral March really drives my point home: Kissin bangs hard. He gives you deep, black bass notes. But Rubinstein, with less effort, is more frightening, more about *death.* The biggest disaster is the unfelt, undramatic encore piece, the famous Polonaise, Op. 53. No charm, no excitement, nothing but lots of loud, steely notes and excessive technique. Yo, Gene, you're not playing the Hammerklavier Sonata here. Virtuosity takes a back seat to expression. And in Kissin's hands, all these pieces turn out to be about virtuosity. No argument that he has it, that he can dazzle, but it's not enough, and the disc comes off as shallow.For better Preludes, try Arrau (both Philips and Decca, if you can find that latter), Moravec, Cortot (1926), Sofronitsky, Pogorelic, heck, even Kapell (for the Sonata, one of his last performances, I believe)."

Quite simply, breathtaking

jared | New York | 03/15/2000

(5 out of 5 stars)

"Mr. Kissin's playing never fails to excite me. His playing, especially on this disc, has tremendous authority, energy, beauty and above all a sense of effortless. The preludes of Chopin may be short pieces but many of them are technically just as challenging as the Etudes. A few examples are the B flat minor and G sharp major. Kissin makes them sound easy with his incedible technique. The rythmic drive is so intense in the G sharp that it makes your heart beat faster. If you want just purely beautiful poetic playing sample the F sharp or the heartwarming E flat. The sonata while not my favorite work is astonishing indeed. The scherzo is equally exciting and brilliant as Rubenstein's, just listen to the chromatic fourths to see what I mean. The finale is the freakiest I have ever heard, truly bone-chilling. Last but not least is the Polonaise. This performance makes it live up to its nickname as the "Heroic Polonaise". Truly excellent rythmic drive again ( except in the middle section with the left-hand octaves where I expected more fire, but I respect his choice not to get too wild here) making you feel like polonaising. An altogether excellent release with an equally excellent recording quality."

Certainly not as subtle as Rubenstein, but brilliant!

C. Moss | 07/15/2000

(5 out of 5 stars)

"For those who are seeking to compare Kissin's Chopin Preludes to the recordings of Rubenstein or Horowitz, FASTEN YOUR SEAT BELTS! Kissin takes a much more highly percussive approach to these works than the pianists of former times. Certainly, Chopin's piano was not capable of producing many of Kissin's bombastic effects, but when viewed in a "non-purist" light, this recording is quite electrifying and pleasing. However, it is a new painting of Chopin's notes that does not hold up to being an "HIP" or interpretation according to the composer's intentions. However, it is a brave, bold rendering of music from a century and a half ago. Kissin is undoubetedly one of our century's finest pianists, but it is a miracle that no hammers or stings broke during the recording of these Chopin Preludes! If the listener can accept a highly unique approach to traditional literature, then this CD will be greatly appreciated. But if you cherish subtlety, keep looking! Personally, I loved this CD!"