Search - Frederic Chopin, Garrick Ohlsson :: Garrick Ohlsson - The Complete Chopin Piano Works Vol. 4 ~ Scherzi & Variations

SCHERZI PATHETIQUE

Melvyn M. Sobel | Freeport (Long Island), New York | 01/02/2002

(5 out of 5 stars)

"For those of us familiar with these works--- the most eccentric of Chopin's "children"--- Ohlsson's playing might cause consternation, or delight, or both; but what is certain is that we are in the presence of a pianist whose artistry, willingness to sidestep convention, and whose breadth of psychological understanding reveal the heart, soul and intentions of compositional elements heretofore subverted or dismissed or ignored by the majority of his colleagues.



Initially, I was amazed at the length of each Scherzo: No. 1-- 11:24; No. 2-- 12:21; No. 3-- 9:15; No. 4-- 12:32. I had never seen timings like this, and I wondered if Ohlsson could sustain these most fiery and erratic and luminous of Chopin's compositions without having the works disintegrate. "Heavenly length" is something I treasure; however, it takes an artist of great wisdom dedication and focus to maintain a musical force of such cohesion.



Naturally, I should have realized from his renditions of the Ballades (Vol. 3 in Arabesque's Chopin series) that Mr. Ohlsson does indeed possess the incredible pianism needed to interpret the Scherzi in a way no other performer would dare attempt. So intense is his concentration that even at radically slow tempi, with trio sections nearly at a crawl, these Scherzi are astoundingly dramatic, probing distillations of the composer's deepest conflicts, fears, longings.



Seldom would I have ever thought to call the Scherzi "sublime," but sublime they are, and it's unacceptable to think of them in any other terms under these circumstances. So often these works become merely hectoring bombasts under the clangorous fingers of pianists whose sole aim is to rivet or impress by pyrotechnique alone. This is what makes Ohlsson's performances that much more valuable emotionally and musically: his is a subtle casting of the Scherzi into compositions rich in elemental turmoil, unrelenting beauty, passionate displays of ecstatic yearning, pathos, finely-wrought melancholy, and even the most delicious episodes of sardonic hysteria. It is Olsson's "molding of form" that captures us, changes us, so that the Scherzi can never--- ever--- be heard in the same way, in the same sense, again. We come away from these performances deep in thought, deeply moved.



In contrast, the lighter variations that follow are a blessed balm, especially the Variations on a German Air (written by a sixteen-year-old Chopin in 1826!), played so charmingly by Mr. Ohlsson. And the Op. 12 Variations, too, of 1833, are simply delightful and delectably diverse in color and mood.



All-in-all, this is a fascinating CD--- and an excursion into the Scherzi which you will not soon forget, and to which you will be innumerably drawn.



The sound world inhabited by Mr. Ohlsson is as intimate and personal as is his playing. Both the Scherzi and Variations abound in the merits of both artist and engineer.



[Running time: 65:38]"

Garrick Ohlsson continues his Chopin tradition...

07/10/1997

(4 out of 5 stars)

"Garrick Olsson's bizarre, but strangely satisfying performance of Chopin (the composer he has long been identified with) is very similar to all his other Arabesque releases (so far up to 8 volumes) in the Chopin cycle. The CD also contains some of Chopin's less known works, the minor variations. Ohlsson delivers his usual high-quality performance, but there is much more to his polished playing than technique. Ohlsson's interpretations of each piece are intensely personal, and very odd. If you're looking for pieces to compete with Arthur Rubenstein, Adam Haraciewicz, or Vladimir Horowitz, you won't find them here. His renditions are unlike any others you will ever find. Traditional readings of the pieces have been replaced with puzzling changes, though not unsatisfactory. To start, Ohlsson's timing is quirky, choppy, and at times, spastic. It brings to mind the Chopin of Claudio Arrau, also unusual in his timing. Second, every scherzo is twice as long as usual. Fast and furious this is not. Ohlsson's playing is nostalgic, dramatic, sentimental, and always dreamy. The fast parts are slowed down by about a third from most recordings, and the slow parts by half. Yet this detracts little from the overall impression it leaves you with, for unless you have listened to twenty other scherzi recordings, you wouldn't know the difference. The main question here is this: if you had to buy only one Scherzi recording, would this be it? I would say a tentative yes, with the understanding that this is not at all a standard recording, and definitly not how the composer himself would have played them. I would recommend Rubenstein's Ballade/Scherzi CD (watch out for the 3rd scherzo, however- it sounds uninspired), Any Horowitz recording, especially his 1986 recording of the 1st scherzo, and definitly anything by Adam Haraciewicz (Philips label), Van Cliburn (RCA Victor), and very possibly Claudio Arrau. Keep close in mind that Ohlsson got a name for himself through his transcendental, emotional playing, and that's what you'll find here. A good album all around, not perfect, and certainly interesting. For anyone who likes Garrick Ohlsson, Chopin's Scherzi, Musicians (especially pianists), and anyone in for romantic, languid, dramatic piano music. Summary: A good buy. Review: Evan Stephens END"

Extraordinary Performance

Steven M. Beresford | Vancouver, WA | 08/06/2008

(5 out of 5 stars)

"Ohlsson gives an authoritative interpretation of the Scherzi that is very different from other great pianists. After listening to this CD a few times, my conclusion is that Ohlsson's interpretation is probably the way Chopin played them, deeply thoughtful, superbly nuanced, unhurried and poetical. However, the slow tempi is unexpected and rather strange at first hearing.



It's important to realize that Chopin's piano did not have the rapid response of a modern Steinway or Baldwin, so the very fast performances of modern pianists almost certainly doesn't correspond to the way Chopin played them. For this reason alone, Ohlsson's interpretation on his Bosendorfer is an important addition to the repertoire that is well worth listening to."