Search - Frederic Chopin, Idil Biret :: Chopin: Scherzi and Impromptus; Allegro de concert

Fabulous impromptus but something's lacking in the Scherzi

Hexameron | 03/14/2007

(4 out of 5 stars)

"Idil Biret's recordings for Naxos are not only extensive and diverse, but usually of high quality. Her Berlioz-Liszt, Rachmaninov, and especially Brahms, have all been outstanding. Her excursion into Chopin's music has also produced some phenomenal results: the Mazurkas, Etudes, Variations etc. And on this particular recording, Biret is completely successful with the Impromptus and the marvelous, if underrated, Allegro de concert. However, her executions of the Scherzi are messy, disjointed, and overwhelming with idiosyncratic staccato.



Biret is stellar in the central lyrical interlude of the first Scherzo. But in the scherzo theme itself, she plays slow and with a disconnected phrasing: there are too many starts and stops without any legato. Even in the virtuosic ending, all her technical precision means nothing when she's not even engrossed in the passion of the music. I've heard so many bad renditions of the second Scherzo, but Biret actually does a fine job in this one. With the delicacy of a kitten's paw and the violence of a panther's claw, she demonstrates dynamic control in the central section, and a satisfying sonority in the scherzo theme. Unfortunately, she fails to deliver in the third Scherzo. She is above-average in the poetic central section, but she is completely inadequate in the framing scherzo theme. Towards the end she builds up some steam only to fail to make a cohesive stream out of the passagework. The fourth Scherzo is not that bad. Biret really delves into Chopin's pathos of the middle part; overall, she seems more inspired in this performance.



For some reason, Biret truly shines in the Impromptus. Her suave interpretation of the first Impromptu's opening theme and her ethereal articulation of Chopin's melancholy musings are distinctive. In the second Impromptu, Biret's delivery is a triumph. From the fragile opening to the booming crescendo of the march-like theme toward the middle, Biret displays top-notch poise and strength. The third Impromptu is almost as good as it gets: Biret's delectable phrasing and rubato definitely does justice to Chopin's angelic music. The Fantasie-Impromptu is not as special, but I've heard so many eminent pianists play this, that it's hard for Biret to match them. I think her greatest weakness is in the fast barnstorming moments; her manifestation of Chopin's sorrow in the slower bars is immaculate, though.



Last, but unquestionably not the least, is Chopin's sublime Allegro de concert Op. 46. I think Biret makes up for her inconsistencies and empty emotions in the Scherzi with her lovely realization of this piece. This lengthy but absolutely beautiful work is given the best treatment in Biret's hands. Biret's arsenal includes a full-blooded attack and a melting lyricism. She has completely regained that rich legato and warmth that was lacking in the Scherzi. In my estimation, this is the best piece on here, a breathtaking and often disregarded Chopin work.



Bottom line: For those interested in a superlative display of technical power and musicality in the Scherzi, look elsewhere. However, don't let that deter you from sampling her spellbinding interpretations of the Impromptus and the Allegro de concert."