Search - Frederic Chopin, Federico Mompou, Alexandre Tharaud :: Chopin: Préludes

One of the Finest Preludes on Disc[!] from a rising star

Ryan Morris | Chicago, IL | 09/09/2008

(5 out of 5 stars)

"Alexandre Tharaud is one of the greatest pianists among the new stable of pianistic talent. His only rival among the new breed maybe Vgenny Sudbin. He is that good. He started out on Naxos with a cycle of Poulenc and Milhaud, also recorded some modern music such as Boulez and Dutilleux before hitting stride with Harmonia Mundi. My first disc revevlation came with his Bach Italiano disc, a disc which still provides so much pleasure that I cant help but listen at a sitting each time. His Ravel cycle was fabulous. His Arpeggione sonata was pretty good, Couperin and Rameau were top-tier. His recent journey into Chopin has been a fabulous treat for the listener. His waltzes were utterly compelling.

Now to this absolute masterful interpretation. If only to provide an idea of my experience with these pieces, I have somewhere near 40 different versions. From Cortot, to Moiseiwitsch, to Argerich, to Arrau, Bolet, Pogorelich, and more, I would rival these with any and would now claim them to be my reference version.

Listen to number eight. Recent chopin winner Rafael Blachaez plays it yet towards the end apex, cannot sustain a timely phrase and, if you listen closely with headphones, many sloppy passages will be revealed. Not so with this release. I have been far-up to find any qualms with this-let alone some[as did the gramaphone reviewer] want a tad more sentiment in the more passionate preludes. HogWash. These are nearly ideal and the absolute best modern versions available.

I would not want to be without Cortot 34, or Moiseiwitsch, or some other historical versions[not to mention a few modern ones[stay away from Pogorelich[worst released by a major pianist-even my father, who doesnt listen all that well was appalled].

THE ABSOLUTE HIGHEST RECOMMENDATION



CHOPIN PRELUDES op28

recommended recordings

1. Tharaud

2. Cortot 34, 42

3. Arrau

4. Moravec

5. Sokolov

6. Argerich

7. Moiseiwitsch

8. Bolet[carnegie Hall & Eloquence

Worst Recordings;

1. Pogorelich

2. Barenboim"

Tharaud Transforms Chopin's Preludes Into A Deeply Felt Expe

Raymond Vacchino | Toronto, ON. Canada | 09/07/2008

(5 out of 5 stars)

"Pianist Alexandre Tharaud conveys deeply felt affinities for the Chopin Preludes, which are considered the most perfect examples of the romantic lyrical miniature.

He has the vitality and poetic "lift" of the finest Chopin pianists, such as Vlado Perlemuter, which this recital is dedicated to. Tharaud also performs Chopin's three Etudes, Op. posth., coupled with Mompou 'Musica callada-No.15. 12 preludes-No.9. El largo.



In the first Chopin Prelude in C major, Tharaud conveys the passion, the impatient ardour, with which this brief work sweeps along, and his accurate rendering and punctuation of the syncopated figure, carries the feverishly melodic line forward throughout. Effective pedalling brings out its expressive character, and avoids any dry effects. In the playing of the seventh Prelude in A major, Tharaud magnificently captures the tender, nostalgic poetry of these few bars and instills the quality of sentiment required, avoiding any excess. A momentary lingering at its opening is unusual, however, Tharaud's overall concept and shaping makes it quite charming.



The entry into the eighth Prelude displays a hint of Tharaud's virtuosic temperament. The playing captures the theme's intensity by the turbulent effervescence of its accompaniment, and embraces each of its sometimes despairing, but ever passionate inflections. Tharaud becomes extremely tender in the A flat major Prelude, forming an admirable contrast.



Chopin as a young man, had a great love of opera, especially Italian, and Tharaud conveys the F minor Prelude as an excerpt from a grand opera, and plays in a frankly declamatory style. This piece not only shows Italian lyricism, but the fact that Chopin's composition teacher, Joseph Elsner, always hoped that Chopin would write operas. It should be pointed out how innately beautiful Tharaud's contrasts are between the nocturne-like B flat major and the tempestuous G minor Prelude.



The concluding D minor Prelude is so heroic, and Tharaud's performance is consumed by the dramatic fusion of the melodic elements which convey its passion, pride, and tenacity. The 'Trios Nouvelles Etudes' are beautiful and original pieces, especially the first. Tharaud captures its elegant fluency, and carefully defines the hidden inner motifs. In the second, Tharaud conveys its freshness, and a certain underlying melancholy. This leads to the last of the set, in D flat major, and is filled with a graceful legato and staccato playing throughout. Tharaud's performances of the works by Mompou are brilliant! He captures the vast range of characteristics that lend themselves to the impressionistic era.



Alexandre Tharaud is an extremely artistic pianist and his playing of the Chopin Preludes are seriously engaging.



I am certain that his upcoming performance of the twenty-four Chopin Preludes in Toronto will be the highlight of the evening!





Author: Raymond Vacchino M.Mus. Classical Music Critic"

Delicate, somber, but at times hesitant, too

Santa Fe Listener | Santa Fe, NM USA | 11/30/2008

(4 out of 5 stars)

"In a roundup of the best CDs of 2008, one of the NY Times' classical music reviewers picked this CD, prompting me to have a listen. Frankly, I'd never heard of Tharaud, a Paris-born pianist on the verge of turning thrity. In the liner notes he states that the Chopin Preludes are "shot through with violence and death." But as the puzzled Gramophone reviewer pointed out, the approach here is often hesitant, if not outright reticent. Tharaud's interpretation is somewhat somber but never blodly dark. I waited until Prelude No. 8 before I heard anything really distinctive.



It's clear that Tharaud has a rounded tone and a delicate touch. He's not drawn to dramatic extremes of expression -- if you doubt that, compare any of the preludes where violence might be an option, such as No. 12, and listen to the volatile Martha Argerich, who makes Tharaud sound calmly civilized. Overall, "civilized" is the right word for this performance. Before extolling it, one should experience the recent recording by Rafal Blechacz on DG, a young Polish pianist whose talents I think really are extraordinary. Leaving comparisons aside, I enjoyed this account without being deeply affected."