Tír Na HiFi

The Castro and Arrau performances for me however do not have the same intimately hushed feel to them as does the Barenboim. They are more robust performances but, to my ear, Barenboim’s are the more delicate, gentle, expressive and intimate and reflective performances which seem to me to have a more serene feel to them. Barenboim, to my ear, consistently gets to the essence of the works and continually conjures up that contemplative and dream like atmosphere in these works. If I had to choose just one of these three sets it would definitely be the Barenboim.

A personal summary:

I genuinely get listening fatigue and my attention constantly wanders if I listen to solo piano music for a prolonged period of time. It has always been that way with me. However, I have always liked Chopin’s nocturnes but I would rarely sit and listen to them in one sitting. For me they are interesting pieces of music in that they are very easy to come to terms with in relation to form and structure; there is nothing complicated about them. Chopin does not tell stories or paint pictures, but rather presents "pure" music of the most expressive kind. They are simple, straightforward works. However, simplicity in Art can disguise profound depths of emotion and perception. These works are very subtle. This music has the power to move one imperceptibly. Dissonances and modulations abound but one is rarely shocked by them as they are done in such a masterly way. They are very beautiful works and at their very heart are always simple, serene melodies accompanied by lovely, subtle harmonies. There is a lot to be said for that!

As Tom’s introduction points out Chopin did not invent the romantic nocturne for solo piano. The honour of developing the nocturne goes to the Irishman John Field (1782-1837) who was a pupil of Clementi and Field was himself apparently a wonderful virtuoso as capable as Hummel and Liszt. Chopin was introduced by his teacher to the music of John Field whose Nocturnes inspired Chopin to compose for this genre. Chopin eventually heard Field play in Paris in 1832. Though Field was the 'inventor' of the Nocturne, it is Chopin who took the name and the general concept of a dreamy melody over a broken chord accompaniment, relying on liberal use of the sustain pedal and the offset of a contrasting middle section before a reprise of the opening material, and made it famous. Field’s concept of the nocturne was therefore adopted and developed by Chopin.

If you have not heard Field’s works and you enjoy Chopin’s music then it would be well in your interest to seek them out as they are really well worth a listen.

This CD would be a good and inexpensive introduction to Field’s piano music should anyone be interested....





It is beautiful music beautifully played and comes recommended.

fergus wrote:


The Castro and Arrau performances for me however do not have the same intimately hushed feel to them as does the Barenboim. They are more robust performances but, to my ear, Barenboim’s are the more delicate, gentle, expressive and intimate and reflective performances which seem to me to have a more serene feel to them. Barenboim, to my ear, consistently gets to the essence of the works and continually conjures up that contemplative and dream like atmosphere in these works. If I had to choose just one of these three sets it would definitely be the Barenboim.

That's interesting indeed. I have the Arrau and the Pires, and the Arrau is like gossamer compared to Pires's steely sound, although some of that may be the recording. I agree that the softest, gentlest touch is required here, and as a consequence I can't imagine Pollini at all. Definitely some further listening needed.

Diapason wrote:

fergus wrote:


The Castro and Arrau performances for me however do not have the same intimately hushed feel to them as does the Barenboim. They are more robust performances but, to my ear, Barenboim’s are the more delicate, gentle, expressive and intimate and reflective performances which seem to me to have a more serene feel to them. Barenboim, to my ear, consistently gets to the essence of the works and continually conjures up that contemplative and dream like atmosphere in these works. If I had to choose just one of these three sets it would definitely be the Barenboim.

That's interesting indeed. I have the Arrau and the Pires, and the Arrau is like gossamer compared to Pires's steely sound, although some of that may be the recording. I agree that the softest, gentlest touch is required here, and as a consequence I can't imagine Pollini at all. Definitely some further listening needed.

you can borrow my pollini until Ivan comes up with a tweeter..... some time this year!!

Thank you. I still have that other Chopin disc you loaned me too.

Diapason wrote:Thank you. I still have that other Chopin disc you loaned me too.

what did you think?

how has the bleeding edge of digital recording aged? If anything is going to reveal its shortcomings it's your cdp....

Haven't listened to it too closely, but I had no "early digital" issues to what listening I did. Will listen again and report.

Since there are no Nocturnes on that disc, we probably shouldn't discuss it any further on this thread! (But have you seen the amazon reviews? Worth reading.)