Chopin: 24 Preludes, Op. 28; Sonata for Piano No. 2, Op. 35; Polonaise, Op. 53

Disappointing

We had seen Peter Ort play the preludes in person. Unfortunately, he does not have this on a CD so we bought Kissin's CD. It is pleasant but it is not the electric performance I was hoping for. December 1, 2007

Great Artist, Great Performance

Kissin is clearly one of the best pianists, perhaps the very best, to come along in recent years. He deserves the sobriquet, "the new Horowitz" although he is unique in his own right. His facility with the preludes is inspiring. However, I like a piano that has a mellower sound than the one on this recording. In some instances this one seemed a little too brilliant or lacking in overtones so as to detract a bit from the enjoyment of listening to this wonderful artist. Regardless, I'm happy to own this recording. February 19, 2006

Turning the Chopin 2nd Sonata into the "Appassionata"

In their different ways, both Pollini and Kissin play Chopin's big works, like the Second Sonata, as if they were Beethoven. On this CD Kissin enlarges the frame of the sonata to fit the Appassionata--and I excitedly went along. Carpers should remember that Horowitz distorted Chopin far more than Kissin ever could. RCA's inside-the-lid piano sound is unrealistic but adds to the thrill. Passage work like this can be heard only once in a lifetime. Five stars.

But the Preludes are another story. The world was once entirely on Kissin's side. Ten years ago he was considered an insightful, sympathetic Chopin interpreter who had a marvelous sense of touch to go with his world-dominating technique. (The evidence of his instinctive gifts is there from a Tokyo recital on Sony, made when Kissin was fifteen.) I don't hear that inspired interpreter in these Preludes, which despite dazzling moments are often clumsy and coarse. No more than anyone else do I know the reason for this change. We will have to hope that this adored artist steps back from the precipice of showmanship and begins to play with his heart once again. Three stars. November 8, 2005

Exciting pianism.

This third Kissen Chopin recital to be issued certainly provides some exciting pianism. It is hard to imagine how ten fingers can be coordinated to produce the rippling effects in Prelude 3, the whirlwinds in Prelude 8, the headlong galloping in Prelude 16, and the terrifying swirl of sound in the Sonatas's finale. It is also hard to imagine how much one would need to pay in order to sit in such close proximity to the piano as it is recorded here. Never have I heard the three repeated notes at the bottom end of the keyboard sound as powerful as they do at the close of Prelude 24.

Chopin offers much more than opportunities for technical display, however, and few of these additional components are evident here. The tears below the surface of Prelude 4 are disregarded, the cantilena of Prelude 6 is more mechanical than vocal, and the Sonata's Scherzo is rushed rather than refined. Most successful is the Sonata's "Funeral March" - something I thought I never wanted to hear again. Perhaps the enforced slow tempo allows Chopin's voice to come through.

The engineers have captured the tension and excitement of Kissen's performances, but I am not sure that he has captured the essential refinement and eminently patrician qualities that typify Chopin's music.
January 20, 2005

Wonder!

Great!

I have never heard such "Finale.Presto" from his "Funeral Sonata"!! It's hallucinatory voyage through what is unknown for human beings. Amazing use of pedal and surpriseing tecnique, creating spectral, nightmare-like vision of the "after death". Amazing, really amazing! Kissin (and Chopin above all) express the inexpressible. December 15, 2004

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