Frédéric CHOPIN (1810–1849)
Complete Nocturnes
Jan Lisiecki (piano)
rec. October 2020, Emil Berliner Studios, Meistersaal, Berlin
Reviewed as downloaded from press preview
DEUTSCHE GRAMMOPHON 4860761
[70:37 + 55:22]
Chopin composed his earliest nocturnes in 1827 at the age of 17 and
continued to write them throughout his life. The Opus 9 set, composed from
1830, was published in 1832. As the development of the piano continued,
Chopin was able to make use of greater tonal power as this became
available, and more sensitivity in expression together with finer detail in
articulation became possible. Indeed, the Opus 9 pieces are much simpler
and more repetitive than the later nocturnes, which can be more complex and
through-composed.
Opus 9 (especially No 2), have always been amongst the most popular and
enduring nocturnes. In No 1, Jan Lisiecki demonstrates right from the
outset of the first beautiful, but melancholic phrase that his is a very
Romantic view. A fluid pulse and tempo within Chopin’s Larghetto
marking is adopted, sometimes with rather idiosyncratic rubato. I
like his accelerandi combined with crescendos in the middle
section. These always reach convincing and dramatic climaxes, each time a
little different. After all, there is much exact or nearly exact repetition
in this music, but the pianist is able to maintain interest throughout.
After hearing Lisiecki, Barenboim seems positively tame, but he moves along
with a more even flow and fewer extremes. Barenboim (4530222, 2 CDs
budget-price) is perhaps rather more mature in his approach!
The second and very famous Nocturne No 2 in E-flat is given a more regular
and ‘normal’ performance. I like the way Lisiecki makes the con forza a sudden, dramatic surprise followed by a strong
crescendo to the fortissimo climax just before the end.
Moving on to one of the more substantial nocturnes, Opus 48 No 1, we find
that our pianist is well up to the challenges of the flying octaves in the
middle section and other more virtuosic passages later on. It is also a
challenging piece musically with its many contrasts in tempi and mood. In
the very slow first part, Lisiecki uses subtle rubato to help
maintain the momentum. He has a real grasp of the overall structure and
gives a superb performance. Bernard d’Ascoli (Divine Art ATH23201, 2 CDs,
budget-price -
review) plays very well too but lacks the passion of Lisiecki and
suffers from a less grateful recording.
The famous Nocturne in D-flat, Opus 27 No 2, is given a deeply thoughtful
and refined account. The delicacy of Lisiecki’s playing here is outstanding
in the fast, flighty and decorative passages, where his beautifully toned
and prepared instrument comes into its own. The climax of the piece comes
as we lead into the final return of the main theme. As we reach the
conclusion of the crescendo from forte to fortissimo,
Lisiecki seems to give us a feeling akin to a gentle diminuendo.
He interprets the climax as a relief from harmonic complexity on reaching
the return of the main melody in all its simplicity. This is just one
example of the subtlety of this player’s approach to the boundless
expressive possibilities in these nocturnes. A favourite recording of mine
in this work as well as the nocturnes as a whole is Jorge Bolet on a Decca
Eclipse LP (now on Presto Decca CD
4213632). This is a rather more straightforward account but with finely tuned
balance and beautiful melodic lines, although his recording seems a little
dated now.
Jan Lisiecki presents the nocturnes, always with beautiful tone, subtlety
of nuance, clarity of line and excellent balance, whether the music is
basically melody with accompaniment or rather more polyphonic and complex
in style. He always captures the wide-ranging moods and emotions expressed
by the composer. Lisiecki has a fabulous-sounding instrument at his
disposal and superb recording to match. However, I feel that his
performance is rather more a one-off concert experience, and the pianist’s
view is at times very personal and rather idiosyncratic. But this does not
detract from its value. This performance would provide a great evening out in a
concert hall as a one-off experience, but would not be my preferred choice
to return to frequently. His rubato is sometimes very broad and
this could become tiresome on repeated hearings. More definitive recordings
for library choices are available, especially in my view, Artur Rubinstein
(Sony Originals 88697690412, 2 CDs, budget-price) and Daniel Barenboim. But there is no shadow of doubt that Jan Lisiecki is
a very fine pianist and I am sure that anyone who loves these works
should listen to these discs.
Geoffrey Molyneux
Contents:
3 Nocturnes, Op 9
No 1 in B-flat minor. Larghetto [6:29]
No 2 in E-flat major. Andante [5:06]
No 3 in B major. Allegretto [6:50]
3 Nocturnes, Op 15
No 1 in F major. Andante cantabile [4:11]
No 2 in F-sharp major. Larghetto [3:28]
No 3 in G minor. Lento [6:15]
2 Nocturnes, Op 27
No 1 in C-sharp minor. Larghetto [5:50]
No 2 in D-flat major. Lento sostenuto [7:14]
2 Nocturnes, Op 32
No 1 in B major. Andante sostenuto [5:36]
No 2 in A-flat major. Lento [5:54]
2 Nocturnes, Op 37
No 1 in G minor. Andante sostenuto [7:47]
No 2 in G major. Andantino [5:58]
2 Nocturnes, Op 48
No 1 in C minor. Lento [5:49]
No 2 in F-sharp minor. Andantino [9:35]
2 Nocturnes, Op 55
No 1 in F minor. Andante [5:12]
No 2 in E-flat major. Lento sostenuto [5:21]
2 Nocturnes, Op 62
No 1 in B major. Andante [7:49]
No 2 in E major. Lento [6:45]
Nocturne in E minor, Op post. 72/1. Andante [4:14]
Nocturne in C minor, Op post., KK IVb/8. Andante sostenuto [3:35]
Nocturne in C-sharp minor, Op post., KK IVa/16. Lento con gran espressione
[5:01]
