Vlado Perlemuter - Chopin: Piano Works (2015)
BAND/ARTIST: Vlado Perlemuter
- Title: Chopin: Piano Works
- Year Of Release: 2015
- Label: Nimbus Records
- Genre: Classical Piano
- Quality: flac lossless (tracks) +Booklet
- Total Time: 05:59:49
- Total Size: 1.08 gb
- WebSite: Album Preview
Tracklist
01. Nocturne in B Major, Op. 9, No. 3
02. Nocturne in F Major, Op. 15, No. 1
03. Nocturne in F-Sharp Major, Op. 15, No. 2
04. Nocturne in G Minor, Op. 15, No. 3
05. Nocturne in C-Sharp Minor, Op. 27, No. 1
06. Nocturne in D Flat Major, Op. 27, No. 2
07. Nocturne in C Minor, Op. 48, No. 1
08. Nocturne in F Sharp Minor, Op. 48, No. 2
09. Nocturne in E Flat Major, Op. 55, No. 2
10. Nocturne in E Major, Op. 62, No. 1
11. Sonata No. 2 in B-Flat Minor, Op. 35: I. Doppio movimento
12. Sonata No. 2 in B-Flat Minor, Op. 35: II. Scherzo
13. Sonata No. 2 in B-Flat Minor, Op. 35: III. Marche funebre
14. Sonata No. 2 in B-Flat Minor, Op. 35: IV. Finale - Presto
15. Sonata No. 3 in B Minor, Op. 58: I. Allegro maestoso
16. Sonata No. 3 in B Minor, Op. 58: II. Scherzo
17. Sonata No. 3 in B Minor, Op. 58: III. Largo
18. Sonata No. 3 in B Minor, Op. 58: IV. Finale - Presto non Tanto
19. Barcarolle, Op. 60
20. 24 Preludes, Op. 28: No. 1 C Major
21. 24 Preludes, Op. 28: No. 2 A Minor
22. 24 Preludes, Op. 28: No. 3 G Major
23. 24 Preludes, Op. 28: No. 4 E Minor
24. 24 Preludes, Op. 28: No. 5 D Major
25. 24 Preludes, Op. 28: No. 6 B Minor
26. 24 Preludes, Op. 28: No. 7 A Major
27. 24 Preludes, Op. 28: No. 8 F-Sharp Minor
28. 24 Preludes, Op. 28: No. 9 E Major
29. 24 Preludes, Op. 28: No. 10 C-Sharp Minor
30. 24 Preludes, Op. 28: No. 11 B Major
31. 24 Preludes, Op. 28: No. 12 G-Sharp Minor
32. 24 Preludes, Op. 28: No. 13 F-Sharp Major
33. 24 Preludes, Op. 28: No. 14 E-Flat Minor
34. 24 Preludes, Op. 28: No. 15 D-Flat Major
35. 24 Preludes, Op. 28: No. 16 B-Flat Minor
36. 24 Preludes, Op. 28: No. 17 A-Flat Major
37. 24 Preludes, Op. 28: No. 18 F Minor
38. 24 Preludes, Op. 28: No. 19 E-Flat Major
39. 24 Preludes, Op. 28: No. 20 C Minor
40. 24 Preludes, Op. 28: No. 21 B-Flat Major
41. 24 Preludes, Op. 28: No. 22 G Minor
42. 24 Preludes, Op. 28: No. 23 F Major
43. 24 Preludes, Op. 28: No. 24 D Minor
44. Prelude in C-Sharp Minor, Op. 45
45. Fantasy in F Minor, Op. 49
46. Berceuse, Op. 57
47. Études, Op. 10, No. 1 in C Major
48. Études, Op. 10, No. 2 in A Minor
49. Études, Op. 10, No. 3 in E Major
50. Études, Op. 10, No. 4 in C-Sharp Minor
51. Études, Op. 10, No. 5 in G-Flat Major
52. Études, Op. 10, No. 6 in E-Flat Minor
53. Études, Op. 10, No. 7 in C Major
54. Études, Op. 10, No. 8 in F Major
55. Études, Op. 10, No. 9 F Minor
56. Études, Op. 10, No. 10 in A-Flat Major
57. Études, Op. 10, No. 11 in E-Flat Major
58. Études, Op. 10, No. 12 in C Minor
59. Études, Op. 25, No. 1 in A-Flat Major
60. Études, Op. 25, No. 1 in F Minor
61. Études, Op. 25, No. 3 in F Major
62. Études, Op. 25, No. 4 in A Minor
63. Études, Op. 25, No. 5 in E Minor
64. Études, Op. 25, No. 6 in G-Sharp Minor
65. Études, Op. 25, No. 7 in C-Sharp Minor
66. Études, Op. 25, No. 8 in D-Flat Major
67. Études, Op. 25, No. 9 in G-Flat Major
68. Études, Op. 25, No. 10 in B Minor
69. Études, Op. 25, No. 11 in A Minor
70. Études, Op. 25, No. 12 in C Minor
71. Trois nouvelle études No. 1 in F Minor
72. Trois nouvelle études No. 2 in D-Flat Major
73. Trois nouvelle études No. 3 in A-Flat Major
74. Ballade No.1 in G Minor, Op. 23
75. Ballade No.2 in F Major, Op. 38
76. Ballade No.3 in A-Flat Major, Op. 47
77. Ballade No.4 in F Minor, Op. 52
78. Polonaise in F-Sharp Minor, Op. 44
79. Polonaise-Fantasie in A-Flat Major, Op. 61
80. Scherzo No.3 in C-Sharp Minor, Op. 39
81. Mazurka in A Minor, Op. 59, No. 1
82. Mazurka in A-Flat Major, Op. 59, No. 2
83. Mazurka in F-Sharp Minor, Op. 59, No. 3
84. Mazurka in B Major, Op. 63, No. 1
85. Mazurka in F Minor, Op. 63, No. 2
86. Mazurka in C-Sharp Minor, Op. 63, No. 3
87. Mazurka in C Major, Op. 24, No. 2
88. Mazurka in B Minor, Op. 33, No. 4
89. Mazurka in E Minor, Op. 41, No. 1
90. Mazurka in C-Sharp Minor, Op. 41, No. 4
91. Mazurka in C Major, Op. 56, No. 2
92. Mazurka in C Minor, Op. 56, No. 3
93. Mazurka in F Minor, Op. 68, No. 4
94. Mazurka in A Minor, Op. 17, No. 4
95. Mazurka in C-Sharp Minor, Op. 30, No. 4
96. Mazurka in C-Sharp Minor, Op. 50, No. 3
97. Tarantelle in A-Flat Major, Op. 43
Disc 1 - Perlemuter’s Chopin represents by far the most extensive part of his Nimbus discography. It’s also the repertoire by which, one assumes, posterity will best remember him, though my own view is that his Ravel recordings are in a way more candid evidence of his musicianship, and were, moreover, made earlier so better preserve his virtuosic and digitally elevated musicianship at its late peak. There are individual Chopin discs, and a 6 CD boxed set which consolidates all his recordings for the company. His Etudes vary in tempo decisions. The first two of the Op.10 set are quite deliberate whereas the third, in E, is up to tempo, its contrary motion octaves dispatched with authority. There is an unhurried nobility about the fifth, though No.7 can seem somewhat impersonal. The Op.25 set sports a finely poetic A flat, and a direct, affecting (within his limits) C sharp minor. There’s marvellous pointing and a sense of colour in the – again – deliberately phrased G flat.
Disc 2 - This selection of Nocturnes reveals Perlemuter’s aesthetic to be decidedly different from his teacher Cortot, and indeed such as, say, Rubinstein or Moravec. The sense of directness established by his Fauré Nocturne recordings is apparent here too. This can be heard not merely in linear directness but in a gimlet, directional approach that eschews decorative sensibilities. Thus his Op.9 No.3 is fast, almost terse. He lashes into the central panel of Op.15 No.1 with vehemence, and there is natural authority, clarity and subtle nuance in its Op. companion in F sharp minor. His D flat major (Op.27 No.2) is lit by colour shading, pellucid runs and a refined tonal palette. His Op.62 No.1 is extremely fast and will sound brusque to those weaned on the pianists noted above.
Disc 3 - His Third Scherzo doesn’t have the fleetness or grand seigniorial sense of fantasy of, say, Moiseiwitsch, whose mature 1949 recording is considerably quicker but also more inimitable than Perlemuter’s own. The Mazurkas are an intriguing case study. I find them decidedly straight, as if he were involved on a demystifying quest. Op.59 No.1 is too cut and dried, Op.63 No.2 is tonally quite hard, up to tempo, but uningratiating. Op.68 No.4 is unruffled, unaffected, unindulgent, rather matter of fact. Throughout, in these works, his aesthetic is decidedly individualistic and uncompromising, refusing to countenance intimacies or too many inflexions.
Disc 4 - Here we find Perlemuter at his most consistent, his most consonant and his most intriguing. He’s strong, virile when necessary and he avoids any externalised romantic show. His Preludes have an integrity about them which is not granitic but which impresses through sheer authority. That said, his technique is not what it was, and unsympathetic auditors will find some of these performances too clinical in detail and too cool in feeling.
Disc 5 - His Ballades offer a consistently more engaging balance between expression and hauteur. Despite a few trivial slips, the G minor is characterful and richly engrossing, and the equality of free-wheeling drama and introspection embedded in the Second in F is purposefully realised. The third Ballade is very fine indeed and the Fourth, if anything, finer still in its sense of lyrical expression and narrative drama. The Polonaises offer virtuosic flair. I might be inclined to recommend this disc first to a newcomer to his Chopin recordings. It is conspicuously intelligent playing, tonally rich, musically elevated, wholly rewarding.
Disc 6 - This is an august pairing that shows Perlemuter to have retained his fabled digital finesse well into the 1970s and beyond, though his playing in 1974 is clearly and I think demonstrably superior. Fortunately both sonatas were taped in 1974. The B minor is captivating in its sectional control, tonal sophistication and sense of characterisation. If it doesn’t aim at the highest level of emotional involvement, then that was Perlemuter’s way. The companion B flat minor [No.2] is a powerful study in contrasts, with tonal beauty, a stratified sense of colour and a profoundly moving funeral march at its heart.
01. Nocturne in B Major, Op. 9, No. 3
02. Nocturne in F Major, Op. 15, No. 1
03. Nocturne in F-Sharp Major, Op. 15, No. 2
04. Nocturne in G Minor, Op. 15, No. 3
05. Nocturne in C-Sharp Minor, Op. 27, No. 1
06. Nocturne in D Flat Major, Op. 27, No. 2
07. Nocturne in C Minor, Op. 48, No. 1
08. Nocturne in F Sharp Minor, Op. 48, No. 2
09. Nocturne in E Flat Major, Op. 55, No. 2
10. Nocturne in E Major, Op. 62, No. 1
11. Sonata No. 2 in B-Flat Minor, Op. 35: I. Doppio movimento
12. Sonata No. 2 in B-Flat Minor, Op. 35: II. Scherzo
13. Sonata No. 2 in B-Flat Minor, Op. 35: III. Marche funebre
14. Sonata No. 2 in B-Flat Minor, Op. 35: IV. Finale - Presto
15. Sonata No. 3 in B Minor, Op. 58: I. Allegro maestoso
16. Sonata No. 3 in B Minor, Op. 58: II. Scherzo
17. Sonata No. 3 in B Minor, Op. 58: III. Largo
18. Sonata No. 3 in B Minor, Op. 58: IV. Finale - Presto non Tanto
19. Barcarolle, Op. 60
20. 24 Preludes, Op. 28: No. 1 C Major
21. 24 Preludes, Op. 28: No. 2 A Minor
22. 24 Preludes, Op. 28: No. 3 G Major
23. 24 Preludes, Op. 28: No. 4 E Minor
24. 24 Preludes, Op. 28: No. 5 D Major
25. 24 Preludes, Op. 28: No. 6 B Minor
26. 24 Preludes, Op. 28: No. 7 A Major
27. 24 Preludes, Op. 28: No. 8 F-Sharp Minor
28. 24 Preludes, Op. 28: No. 9 E Major
29. 24 Preludes, Op. 28: No. 10 C-Sharp Minor
30. 24 Preludes, Op. 28: No. 11 B Major
31. 24 Preludes, Op. 28: No. 12 G-Sharp Minor
32. 24 Preludes, Op. 28: No. 13 F-Sharp Major
33. 24 Preludes, Op. 28: No. 14 E-Flat Minor
34. 24 Preludes, Op. 28: No. 15 D-Flat Major
35. 24 Preludes, Op. 28: No. 16 B-Flat Minor
36. 24 Preludes, Op. 28: No. 17 A-Flat Major
37. 24 Preludes, Op. 28: No. 18 F Minor
38. 24 Preludes, Op. 28: No. 19 E-Flat Major
39. 24 Preludes, Op. 28: No. 20 C Minor
40. 24 Preludes, Op. 28: No. 21 B-Flat Major
41. 24 Preludes, Op. 28: No. 22 G Minor
42. 24 Preludes, Op. 28: No. 23 F Major
43. 24 Preludes, Op. 28: No. 24 D Minor
44. Prelude in C-Sharp Minor, Op. 45
45. Fantasy in F Minor, Op. 49
46. Berceuse, Op. 57
47. Études, Op. 10, No. 1 in C Major
48. Études, Op. 10, No. 2 in A Minor
49. Études, Op. 10, No. 3 in E Major
50. Études, Op. 10, No. 4 in C-Sharp Minor
51. Études, Op. 10, No. 5 in G-Flat Major
52. Études, Op. 10, No. 6 in E-Flat Minor
53. Études, Op. 10, No. 7 in C Major
54. Études, Op. 10, No. 8 in F Major
55. Études, Op. 10, No. 9 F Minor
56. Études, Op. 10, No. 10 in A-Flat Major
57. Études, Op. 10, No. 11 in E-Flat Major
58. Études, Op. 10, No. 12 in C Minor
59. Études, Op. 25, No. 1 in A-Flat Major
60. Études, Op. 25, No. 1 in F Minor
61. Études, Op. 25, No. 3 in F Major
62. Études, Op. 25, No. 4 in A Minor
63. Études, Op. 25, No. 5 in E Minor
64. Études, Op. 25, No. 6 in G-Sharp Minor
65. Études, Op. 25, No. 7 in C-Sharp Minor
66. Études, Op. 25, No. 8 in D-Flat Major
67. Études, Op. 25, No. 9 in G-Flat Major
68. Études, Op. 25, No. 10 in B Minor
69. Études, Op. 25, No. 11 in A Minor
70. Études, Op. 25, No. 12 in C Minor
71. Trois nouvelle études No. 1 in F Minor
72. Trois nouvelle études No. 2 in D-Flat Major
73. Trois nouvelle études No. 3 in A-Flat Major
74. Ballade No.1 in G Minor, Op. 23
75. Ballade No.2 in F Major, Op. 38
76. Ballade No.3 in A-Flat Major, Op. 47
77. Ballade No.4 in F Minor, Op. 52
78. Polonaise in F-Sharp Minor, Op. 44
79. Polonaise-Fantasie in A-Flat Major, Op. 61
80. Scherzo No.3 in C-Sharp Minor, Op. 39
81. Mazurka in A Minor, Op. 59, No. 1
82. Mazurka in A-Flat Major, Op. 59, No. 2
83. Mazurka in F-Sharp Minor, Op. 59, No. 3
84. Mazurka in B Major, Op. 63, No. 1
85. Mazurka in F Minor, Op. 63, No. 2
86. Mazurka in C-Sharp Minor, Op. 63, No. 3
87. Mazurka in C Major, Op. 24, No. 2
88. Mazurka in B Minor, Op. 33, No. 4
89. Mazurka in E Minor, Op. 41, No. 1
90. Mazurka in C-Sharp Minor, Op. 41, No. 4
91. Mazurka in C Major, Op. 56, No. 2
92. Mazurka in C Minor, Op. 56, No. 3
93. Mazurka in F Minor, Op. 68, No. 4
94. Mazurka in A Minor, Op. 17, No. 4
95. Mazurka in C-Sharp Minor, Op. 30, No. 4
96. Mazurka in C-Sharp Minor, Op. 50, No. 3
97. Tarantelle in A-Flat Major, Op. 43
Disc 1 - Perlemuter’s Chopin represents by far the most extensive part of his Nimbus discography. It’s also the repertoire by which, one assumes, posterity will best remember him, though my own view is that his Ravel recordings are in a way more candid evidence of his musicianship, and were, moreover, made earlier so better preserve his virtuosic and digitally elevated musicianship at its late peak. There are individual Chopin discs, and a 6 CD boxed set which consolidates all his recordings for the company. His Etudes vary in tempo decisions. The first two of the Op.10 set are quite deliberate whereas the third, in E, is up to tempo, its contrary motion octaves dispatched with authority. There is an unhurried nobility about the fifth, though No.7 can seem somewhat impersonal. The Op.25 set sports a finely poetic A flat, and a direct, affecting (within his limits) C sharp minor. There’s marvellous pointing and a sense of colour in the – again – deliberately phrased G flat.
Disc 2 - This selection of Nocturnes reveals Perlemuter’s aesthetic to be decidedly different from his teacher Cortot, and indeed such as, say, Rubinstein or Moravec. The sense of directness established by his Fauré Nocturne recordings is apparent here too. This can be heard not merely in linear directness but in a gimlet, directional approach that eschews decorative sensibilities. Thus his Op.9 No.3 is fast, almost terse. He lashes into the central panel of Op.15 No.1 with vehemence, and there is natural authority, clarity and subtle nuance in its Op. companion in F sharp minor. His D flat major (Op.27 No.2) is lit by colour shading, pellucid runs and a refined tonal palette. His Op.62 No.1 is extremely fast and will sound brusque to those weaned on the pianists noted above.
Disc 3 - His Third Scherzo doesn’t have the fleetness or grand seigniorial sense of fantasy of, say, Moiseiwitsch, whose mature 1949 recording is considerably quicker but also more inimitable than Perlemuter’s own. The Mazurkas are an intriguing case study. I find them decidedly straight, as if he were involved on a demystifying quest. Op.59 No.1 is too cut and dried, Op.63 No.2 is tonally quite hard, up to tempo, but uningratiating. Op.68 No.4 is unruffled, unaffected, unindulgent, rather matter of fact. Throughout, in these works, his aesthetic is decidedly individualistic and uncompromising, refusing to countenance intimacies or too many inflexions.
Disc 4 - Here we find Perlemuter at his most consistent, his most consonant and his most intriguing. He’s strong, virile when necessary and he avoids any externalised romantic show. His Preludes have an integrity about them which is not granitic but which impresses through sheer authority. That said, his technique is not what it was, and unsympathetic auditors will find some of these performances too clinical in detail and too cool in feeling.
Disc 5 - His Ballades offer a consistently more engaging balance between expression and hauteur. Despite a few trivial slips, the G minor is characterful and richly engrossing, and the equality of free-wheeling drama and introspection embedded in the Second in F is purposefully realised. The third Ballade is very fine indeed and the Fourth, if anything, finer still in its sense of lyrical expression and narrative drama. The Polonaises offer virtuosic flair. I might be inclined to recommend this disc first to a newcomer to his Chopin recordings. It is conspicuously intelligent playing, tonally rich, musically elevated, wholly rewarding.
Disc 6 - This is an august pairing that shows Perlemuter to have retained his fabled digital finesse well into the 1970s and beyond, though his playing in 1974 is clearly and I think demonstrably superior. Fortunately both sonatas were taped in 1974. The B minor is captivating in its sectional control, tonal sophistication and sense of characterisation. If it doesn’t aim at the highest level of emotional involvement, then that was Perlemuter’s way. The companion B flat minor [No.2] is a powerful study in contrasts, with tonal beauty, a stratified sense of colour and a profoundly moving funeral march at its heart.
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