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Chopin Etudes Concerts
Written by: Klavier (Yuan Huang)
Nobuyuki Tsujii – Preliminary Round Recital at The 13th Van Cliburn International Piano Competition
The 13th Van Cliburn International Piano Competition finished with a somewhat controversial result. The two youngest in the competition shared the first place. Haochen Zhang from China who celebrated his 19th birthday during the concours set himself as the youngest winner ever and also the first Chinese winner in the history. 20-Year-Old Noboyuki Tsujii from Japan, was the first Japanese winner and more importantly the first BLIND winner ever in one of the highest standard piano competitions in the world. Haochen’s solid technique and self-prossessed performance through out the competition was a guarantee to one of the top prizes。His maturity in musical thoughts did not reflect his young age but it was certainly one of the best. However, the real topic today is Nobuyuki.
Blind since birth, Nobuyuki was probably the most beloved competitor among all, opened his first recital at 7:30pm May 23, at the Bass Performance Hall with an ultimate program including the 12 Chopin Etudes from Op.10 and the most famous etude by Liszt, the Paganini Etude No.3 "la Campanlla". These etudes are no wonder among of the most difficult and elegant etudes ever written for piano. Nobuyuki swept the 12 Chopin Etudes with such immense energy and extraordinary accuracy that not even a normal pianist could easily bring out on stage with their eyes opened. His visually impaired appearance with open-mouthed performance astonished the whole concert hall that night and somehow shadowed many of other outstanding competitors’ sparkle.
Nobuyuki’s Chopin Etudes was to me really amazingly finished. I deeply admired him for his efford, courage, patience and his attitude through his tough way toward such great success. Not only because of his limitation in learning the sheet music and his unlikelihood of seeing the keyboard, but he did play the music with his heart and expressed his own art. Most of his performances in the competition were exceptionally well, and besides his Chopin Etudes, I perticularly loved his romantic expression of the Chopin 1st Piano Concerto and the electrified "Appassionata" by Beethoven, they all deserve a "Bravo". To Nobuyuki probably the major problem fell into the Chamber Music part and the sometimes in his Rachmaninoff Piano Concerto No.2 which revealed the drawback of communication with other people. While others were also marvelous in this competition, I do not want to say he made an overwhelming victory(over other competitors), but clearly he spoke out loud his belief to the world: "There are no barriers in the field of music"
Nobuyuki Tsujii’s Personal Website: http://www.nobupiano1988.com/english/index.html
Jun.14, 2009
音乐会中的肖邦练习曲
主笔：神秘客人
第13届范·克莱本国际钢琴比赛带着备受争议的结果拉下帷幕。其中最年轻的两个选手分享了冠军的宝座。来自中国的张昊辰在比赛期间度过了19岁的生日而成为该比赛历史上最年轻的选手， 同时也是首位获得冠军的中国钢琴家。 而20岁来自日本的辻井伸行则是首位获得冠军的日本钢琴家，而更重要的是， 他是首位在世界最高规格的钢琴比赛中获得冠军的盲人钢琴家。整个比赛过程中，张昊辰拥有超凡而稳定的技巧， 并一直冷静沉着地演出， 这无形中为其争取最高的奖赏铺上稳固的台阶。他的音乐风格之成熟与其年级极不相称，但却是当中最优秀的一个。不过这次的话题并不在他，而是辻井伸行。
自出生就失明的辻井伸行，可以说是大赛中最被宠爱的人，于5月23日晚上7点半在Bass Performance Hall揭开他比赛的序幕。独奏会曲目中包括了12首肖邦练习曲作品10，还有李斯特最著名的一首练习曲， 帕格尼尼练习曲第3首“钟”。而这些练习曲无论在技巧的难度上或者艺术造诣上毫无疑问都属于钢琴练习曲中巅峰之作。辻井伸行的演绎充满活力同时也保证了高度的准确性， 即使是一个双目健全的钢琴家也不是轻易就能在台上演绎出来的。他以视力障碍的姿态出现在舞台上，却演奏出令人目瞪口呆的水准，不但震惊了整个演奏厅的观众也同时盖过了不少优秀参赛者的锋芒。
辻井伸行的肖邦练习曲在我看来是很优秀的一次演出。我深深佩服着他在这条艰苦迈向成功的路程上所付出的努力，勇气，耐心和态度。 不仅仅因为他在学习乐谱上充满着障碍和难度以及他不能看到键盘的位置， 更因为他确实用了他的心去表演着他的艺术。在这次比赛中，他大部分的演出都非常的成功，除了肖邦练习曲之外，我特别喜欢他那浪漫的的肖邦第2钢琴协奏曲以及震撼人心贝多芬“热情”奏鸣曲，为此而高呼Bravo也实在不为过。对辻井伸行来说， 可能最主要的问题是在他室内乐的演出， 以及拉赫玛尼诺夫第2钢琴协奏曲的某些段落， 这是他跟合作伙伴之间在沟通上的障碍。其实其他参赛者在这次比赛中也相当出色， 所以我并不认为辻井伸行获得压倒性的胜利，不过他倒是向所有人证明了他的信念："音乐的世界并没有界限"
辻井伸行的个人网站: http://www.nobupiano1988.com/english/index.html
2009年6月14日
Chopin Etudes Concerts
Written by: Klavier (Yuan Huang)
Eun Mi Ko, Recital in Eastman School of Music
EunMi Ko, a current Doctor of Musical Arts Degree student at Eastman School of Music, gave a recital on April 29, 2009 at Kilbourn Hall at school containing the complete 24 Etudes by Chopin. She had been doing the same program in March and April which should be praised and encouraged as they are one of the biggest challenge for pianists to put them all together in one recital. Her main instructor Rebecca Penneys is also an excellent pianist and had recorded the complete Chopin Etudes commercially.
She is so generous to send me a private CD copy of this concert and I do found sparkles in her energetic performance. Her nice pick of an encore piece was the 12th Section/Piece from Schumann’s Op.9 "Carnival", entitled “Chopin“.
Eun Mi Ko’s Personal Website: http://www.eunmiko.com/
May.24, 2009
音乐会中的肖邦练习曲
主笔：神秘客人
Eun Mi Ko(高银美), 目前修读纽约伊士曼音乐学院音乐艺术博士生学位，于2009年4月29日在学校的Kilboun音乐厅举行了一次独奏音乐会， 内容为24首肖邦练习曲。 她自三月开始到现在就一直以这个曲目作为音乐会曲目，这是十分值得赞赏并值得鼓励的，因为这套作品是钢琴家们最大的挑战之一， 尤其是要在现场中挑战全部24首。她主要的老师Rebecca Penneys也是一位出色的钢琴家并且录制过全套肖邦练习曲的录音。
她很大方寄了一张这次音乐会的CD给我， 她的演奏相当有爆发力，也有不少精彩的地方。 最后她挑了一首很不错的返场曲， 来自舒曼的作品9，《狂欢节》中的第12段，标题：肖邦。
Eun Mi Ko的个人网站：http://www.eunmiko.com/
2009年3月24日
Chopin Etudes Recordings
Written by: Klavier (Yuan Huang)
(009) Jeanne-Marie Darré
Original Released by Pathe in two 10" LPs
Recording Company: Toshiba-EMI
Catalogue Number：YMCD-1065
Recording Date：1952
Just finished the review of Backhaus, then immediately reviewed another Chopin Etudes for my friend’s Magazine (a recording, by a thirteen-year-old girl of chinese origin, which I will post it later) and now again one more review. Considering a couple versions, I settled down to Darre’s. For three reasons, First, this recording is very rare, besides the original LP, then only this reissue in CD. Second, there are only limited reference on Darre which is not fare to her achievement. Third, this year is the 10th Anneversary of her death.
First time I came across the name Jeanne-Marie Darre was about 10-11 years ago. Although her last days already, Darre was still new to me as I just became a member in Classical Music. I have to devote my appreciation to the late Pianist and Teacher Mr. Shigui Hong, his 《Dictionary of Famous Foreign Pianists》in the 80’s introduced to me many great names in the history, including Darre. Darre receive instruction from two of the great figures in Paris Conservatory, Isidor Philipp and Marguerite Long and graduated with excellence. Since then, she had been toured around as one of the greatest female pianist. Darre inheritted the tradition of Franch Pianism, beautiful voicing and formidable passion. Her young recording was brilliant, almost all of her 78rpm records are included in VAI’s CD: "Darre Early Recordings", which included several etudes by Chopin and Liszt. My first Darre recording was her Saint-Saens’s Concertos in EMI. She made herself famous with these concertos since young, as early as 21 years old she had already done something phenomenal with all five Saint-Saens Piano Concertos in one concert. Meanwhile, her Chopin was also impressive and it was not a challenge for her to play the complete etudes in the concert. However, many of the CD issues of her recordings were 60’s or even 70’s and sort of lacking in passion and power.
This rare Chopin Etudes recording measured Darre’s ability at her peak, and it was one of the most important solo works she did after the 78rpm era. The record was released by Pathe in two separate album in 10" LP format. I had no idea what was the feedback at that time, but its never been reissued in 12" format was such a lost, and not to mention in CD format. Now this set of albums was still hard to find in the internet 2nd hand record stores, and once it was bidded to an unexpected price on ebay and a much higer price could be set with her signatures. Undoubetly, her greatness is still recognized by many music lovers. During the years 1998-99, Yamano Music Co. in Japan joined hands with Toshiba-EMI and released a 10-CD series of "Great Female Pianist of Angel", which included Marguerite Long, Lili Kraus, Eileen Joyce, Jeanne-Marie Darre, Harriet Cohen, Gina Bachauer, Moura Lympany and Marcelle Meyer’s great recordings. These CDs were out-of-stock soon after and became a hot collectable. It seems the number of copies made was too small that even reissued in the years 2000-2001 they were still out-of-print immediately. Even the local Japanese collectors are still consider these are great albums today. Due to its limited offer and only locally available, at the time of unpopular/undevelopped internet services around the world, most of the foreign collectors or music lovers do not even know the existance of these CDs, and when they know about these recordings later on there is no way to get a single copy anymore. Thanks to Yamano Music, Darre’s Chopin Etudes was finally realized on CD. I had been looking for this CD for years without any result and was finally got it from Japan. It was not cheap but for such an unusual recording, it is worth. Well, not if I know somebody in Japan would I be able to encounter this copy.
Now back to the recording itself, Darre did not play in a fast speed which did disappoint me at the first place since I was really expecting her playing with super virtuosity. On the other hand, Darre’s clarity, purity and solidity in her performance shows her qualification. When I replayed these etudes again, I told myself, brilliance does not require showing off. I do realize sometimes studio recordings are more or less conservative and do not reflect one’s real musical characteristic in a live concert , and thus I will not doubt that Darre will play with higher glory in concert, and I will not question if Darre have the ability to show off. Same here, you can actually tell, from some of the etudes, that Darre is equipted with marvelous technique to conquer the most demanded pieces. Fast arpeggio, Chromatic scale on weak fingers, rapid double thirds, powerful chromatic parallel octaves etc, all of these are amazingly finished. However with one big exception, the Winter Wind Etude, that is not my taste at all. I can tell this CD remastering did take a good effort, it eliminated most of the surface noice from the source however this usually sacrificed some details in the recording and could result in a rather cold or rough sound. Have to point out that, during the editing process, there is a significant sound quality changing at bar 49 of Op.10 No.1 which affected the consistancy and continuity between bar 48 and bar 49.
Apr. 29, 2009
唱片中的肖邦练习曲
主笔：神秘客人
(009) Jeanne-Marie Darré/简妮-玛丽·达雷
最早由百代唱片以两张10寸密纹唱片发行
唱片公司：东芝EMI/山野乐器
唱片编号：YMCD-1065
录音时间：1952
刚刚写完了巴克豪斯，紧跟着帮朋友的杂志写了另一篇肖邦练习曲的碟评(13岁华裔女孩的录音，出完了杂志再放上来好了)，然后现在马不停蹄开始了新的一篇。 不知道最近什么刺激，那么有欲望写东西，就当是弥补这荒废了1年多的光阴吧，看着自己这么久没有更新了，自己都觉得内疚。考虑了很久，把拿在手上的几个版本思前想后， 最终还是把这次的位置给了Darre。选择Darre， 有几个原因。 其一，该录音十分罕见，除了原LP外，就只出过这唯一一次CD，其二，Darre太少被介绍了，这对她的艺术成就来说有点不公平， 其三，今年刚好是Darre逝世10周年的时间，仅以此文悼念。
初次知道Darre，大概也正是10-11年前，当然了，尽管那时已是Darre的垂暮之年， 但对于当时只是一个接触古典音乐不深的我来说，这位钢琴家还是很陌生的。这不能不感谢已故著名的著名钢琴教育家洪士銈先生，正是他在80年代编写的《外国著名钢琴家词典》让我认识了Darre还有很多其他伟大的名字。Darre曾受教于巴黎音乐学院最著名的两个教授Isidor Philipp和Marguerite Long， 并以优秀的成绩毕业。 自毕业后，Darre已经作为出色的演奏家在各地巡回演出， 她继承了法国学派优秀的发声特点， 演奏中既能激情洋溢， 也可抒情如歌。 她年轻时候的录音精彩华丽， 她几乎全部的78转唱片录音都收录在VAI出版的CD《Darre Early Recordings》里面， 当中也不乏肖邦和李斯特的练习曲。 我最早接触Darre的录音应该是EMI出版的圣-桑协奏曲，而Darre的圣-桑协奏曲也的确闻名，早在她21岁时候，就不可思议地在一场音乐会当中演奏了全部圣-桑协奏曲， 并获得巨大的成功。 然而Darre的肖邦也不是泛泛之辈，以全套肖邦练习曲作为演奏会曲目对她来说并没有什么难度。可惜的是，她的不少CD录音都已经60年代后的甚至70年代的， 纵然仍有着她的音色， 但却欠缺了一份年轻的激情和冲劲。
这套鲜为人知的肖邦练习曲全集是纪录着Darre盛年时期的录音之一，也是Darre在脱离78转唱片之后的重要独奏录音， 是在当年百代唱片公司以10寸密纹唱片的形式分两张唱片独立出版。当年出版后的反应如何我不得而知， 不过这个版本后来并没有再版为12寸密纹唱片始终是一个遗憾，更不用说再版成CD了。现在这套密纹唱片即使在网络二手唱片市场上都十分罕见，在ebay网上曾几何时一度追捧至极高的价格， 而有着Darre签名的唱片更是天价， 可见Darre还是深受一部分乐迷的宠爱的。 1998-99年间， 日本的山野乐器公司联同东芝EMI发行了10 CD的《天使唱片中的伟大女钢琴家》系列， 当中收录了Marguerite Long, Lili Kraus, Eileen Joyce, Jeanne-Marie Darre, Harriet Cohen, Gina Bachauer, Moura Lympany以及Marcelle Meyer的优秀演绎，此系列一出版即备受追捧， 被奉为日本收藏者争相拥有的对象。 而当年出版数量好像供不应求，以致在2000-2001年再版后依然很快绝版，即使是日本本土的收藏家到现在依然十分重视这套录音。 由于录音产量不多而且仅在当地发行，在网络信息技术并不完全普及的当年， 海外的乐迷很多并不知道该套录音的存在， 而在后期得知该唱片的资料后， 已经无从入手。 Darre的肖邦练习曲的首次CD化， 实在不能不感谢山野乐器的慧眼识英雄。为此录音 寻觅多年不果， 最后还是在日本的二手市场购得，价格来说并不便宜， 然而对于这样弥足珍贵的录音来说，这样的价格对得住它了， 只是感慨，要不是幸运认识在日本居住的朋友， 我又如何能得偿所愿呢。
说回录音， Darre并没有弹得很快， 说实在当我第一次听的时候， 对她的演奏速度是有那么一点失望的， 因为我确实很期待Darre的这套录音会激情洋溢，会令我有技惊四座的感觉。 不过其实法国派本身就不是炫技派，而Darre的演绎晶莹剔透，扎实的声音，均匀的节奏其实正正体现着她技术的稳健，当我再品味这些练习曲的时候，我告诉自己， 其实精彩并不需要炫耀。 当然了，录音室的录音偏保守的情况也不是没有遇到过，我不会怀疑Darre的现场演绎会更精彩， 也并不怀疑Darre有着炫耀技术的本钱。 正如某些技术型练习曲，还是能听到Darre过人的能力，流畅的琶音，均匀的半音阶，整齐的双三度，扎实的平行八度，都相当精彩。不过像冬风练习曲那样，就有点令我失望了。CD版本制作应该花了不少功夫， 降噪效果很显著，但却容易因此削弱了演奏中的细节位置， 会令Darre的音色显得稍微粗糙。 但需要指出的是， 在编辑处理过程中，Op.10 No.1的主题再现(第49小节)部, 有着明显的剪接问题导致第48小节和第49小节之间承接出现不小的败笔。
2009年4月29日
Chopin Etudes Concerts
Written by: Klavier (Yuan Huang)
Kinda Crazy
On March 15th, 2009, Kemal Gekic gave two recitals in the USA, and I could only say "Kinda Crazy". Although I could not attend it myself, the programs are already breath taking:
1st Recital:
Time: March 15th, 2009, 3pm
Location: Amaturo Theater of Broward Center for the Performing Arts, Fort Lauderdale, Florida, USA
Program: Chopin 27 Etudes
Chopin 4 Ballades
2nd Recital:
Time: March 15th, 2009, 8pm
Location: Amaturo Theater of Broward Center for the Performing Arts, Fort Lauderdale, Florida, USA
Program: Liszt 12 Transcendental Etudes
Liszt b Minor Piano Sonata
He played such big works in the same day, what else could I comment besides "Kinda Crazy"?
Official Website of Kemal Gekic：http://www.kemalgekic.com/
Mar. 20, 2009
音乐会中的肖邦练习曲
主笔：神秘客人
2009年3月15日， Kemal Gekic在美国演出了两场音乐会，而这两场音乐会的内容，我只能用“疯子”来形容， 尽管我没有机会亲临其境， 但光看曲目已经足以让我目瞪口呆：
第一场演奏会:
时间: 2009年3月15日 下午3点
地点: 美国佛罗里达州，劳德尔堡，Amaturo Theater of Broward Center for the Performing Arts
曲目: 肖邦27首练习曲
肖邦4首叙事曲
第二场演奏会:
时间: 2005年月15日 晚上8点
地点: 美国佛罗里达州，劳德尔堡，Amaturo Theater of Broward Center for the Performing Arts
曲目: 李斯特12首超级技巧练习曲
李斯特b小调钢琴奏鸣曲
同一天内， 6-7个小时内，演出了如此庞大而艰深的曲目， 我觉得仅仅能用两个字形容， 就是“疯子”
Kemal Gekic的官方网站：http://www.kemalgekic.com/
2009年3月20日
Chopin Etudes Recordings
Written by: Klavier (Yuan Huang)
(008) Wilhelm Backhaus
Recording Company: MonoPoly
Catalogue Number： GI-2026
Recording Date：Jan. 1928 (Op.10), Jun. & Jul. 1928 (Op.25)
When naming the most important Chopin specialists, Cortot and products of Liszt and Leschetizky would be considered with the highest priority. However, it was Backhaus, a Beethoven expert, who officially recorded the first ever set of Chopin’s 24 Etudes in the history.
God, a title of supreme adoration. If this has to be conferred on the legenary pianists, Bakchaus, with no doubt, will be honored one position. Backhaus’ achievement should mainly refer to his contribution on compositions of German-Austrian tradition. His gorgeous technique, his in-depth thought of compositions is the very foundation of his distinguish accomplishment. In 1928, our God, at age 44, introduced the 24 Etudes first time in the recording history, and such interpretation is still considered a competitive version nowaday. These etudes have been reissued several times back in the LP era and it is now still remained an important figure in CD reproduction. The long famous Pearl Label should be the first one to make the CD available, which did caused a sensation among us: OMG~~Finally!!
Pearl did several great jobs in reproducing CD versions of historical recordings and the transfer was decently done. While on the other hand, their preparation in text material is handicapped. At lease, most people think it will be better if more details are provided, even only for their historical importance. With regard to their production of this Backhaus Chopin Etudes, Pearl provided 1927 as the recording year which was incorrect information. I have no idea where they got this number, but I would rather believe the more accurate one in later reissues by other companys. I would also assume that because of Pearl’s release was too famous and nobody else reissued in almost a decade, and as a result, many articles now still state that Backhaus recorded them in 1927, which is clearly a reference from Pearl’s CD. Since year 2000, some other smaller labels resurfaced this version on CD again, among them including The Piano Library company which is now closed down due to their large amount of unauthorized releases of historical music, and the relatively new label MonoPoly from Korea. They were probably the most important ones at a time. Not known to many, there was actually another rare issue with higher authority: The 12CD set of 《Legendary of Wilhelm Backhaus》released in 1998, co-produced by EMI-Toshiba and Shinseido, limited to 1000 sets and available in Japan only. EMI-Toshiba inidcated Jan. Jun & July in 1928 as the recording date. That was the first and the only time a CD version by EMI itself, besides these Etudes, some other selections were also the first time on CD. Too bad it was not an international reissue and without wide circulation, they became extremely hard to find since then and were mainly kept within the circle of Japan collectors. People sigh and envy but what really can we do? That’s what japanese always like to do with the reissues of historical music material: Charity begins at home.
Backhaus was name The Lion on Keyboard, and his superb mechanism and powerful style also impress us in the Chopin Etudes. Swift speed, solid tempo, well equiped technical skill are all beyond your expectation. You will be shocked from the very beginning of the album, it was a breathtaking performance of the Op.10 No.1. I do not mean it was perfect and you will ocationally hear his finger visited the neighbor key, but more to discover is his balance on both hands which brought out the beauty from the lower melody. It was more musical than many others. Those like Op.10 No.2 and Op.25 No.6, which require more delicate fingerwork, seemed effortless to him. His incredible speed did not generate an excitement of technically showing off but rather a natural tempo impression, yet he did work out within a shorter time. Op.10 No.3, was not much special probably due to its extreme popularity. No.11 was the same, too solid and I would say it is tonal elegancy and rhythm variation. While on the book of Op.25, they are performed with consistent manner. He brought out the colorful sound, the musical refinement, and the brilliance of melodies, his spontaneous and masterly expression walked me through all of them till the last note of the c minor etudes. Better to point out, Backhaus add extra notes at the end of some etudes to link up the following pieces more smoothly. There are people consider that superfluous, while to me they sounded as lovely as a friend giving a casual private performance.
Backhaus did not disappoint me with his Chopin Etudes(like most of his other recordings), the only letdown might just be his lionlike style sometimes weakened certain interesting point in the music. But so what? Who told you the God never wrong? Too perfect leaves only cold in manner.
Feb. 19, 2009
唱片中的肖邦练习曲
主笔：神秘客人
(008) Wilhelm Backhaus/威廉·巴克豪斯
唱片公司：MonoPoly
唱片编号：GI-2026
录音时间：1928年1月4日-5日 (Op.10), 1928年6-7月(Op.25)
当所有人把肖邦专家的名头挂在Cortot，以及Liszt和Leschetizky的传人身上的时候， 以演奏贝多芬作品最为著名的Backhaus竟然出人意料地作为历史第一人录制了这套殿堂级的钢琴作品。
神，一个令人顶礼膜拜的称谓。如果要将其冠于历史钢琴家们身上，Backhaus无疑要分享一个席位， 而绝不应备受争议。 巴克豪斯的成就主要体现在他对德奥体系作品上的贡献， 其精湛的技术， 对作品深层次的理解， 正是他伟大成就的重要支柱。 1928年我们这位年近半百的神，为录音史册上添上了24首肖邦练习曲的标题， 这是一次至今仍该被承认为不朽的演绎。 不朽并非随便加冕的， 在LP的年代， 就已经被多次发行， 直到今天，其CD再版也一直被重视。老资格的Pearl应该是首个发行CD版本的公司，可以想象当年此举为乐迷们带来的无限惊喜: Backhaus，肖邦练习曲，CD版本终于三为一体了。
Pearl公司在发行CD版本历史录音的贡献是不可多得的， 在转录的过程上， Pearl做的已经不错了， 不过在曲目介绍和录音资料方面， Pearl的制作并算不上一流， 至少在很多人认为，对于发行这类重要的历史录音来说，提供专业详尽的资料介绍是理所当然的，然而Pearl没有做得够好。在Backhaus的这个肖练录音上， Pearl也没有做足功夫，录音年份为1927，我不知道此根据是从何而来， 但至少我更相信后来发行的其他CD版本所列的更详细的录音时间。而正因为Pearl的版本在91年出版之后风靡一时，近10年间，几乎没有别的公司再版， 因此到目前为止还是不少资料说Backhaus的这个是1927年时候的录音，估计也就是参考了Pearl的资料所致。 到2000年之后，另外一些小型公司开始再度出版此重要录音，中断了Pearl的“垄断”， 当中包括了因未获授权而出版大量历史录音的The Piano Library公司(已关闭)，以及当时初涉古典音乐界的韩国公司MonoPoly， 这两个版本都是当时比较重要的版本之一。 不太为人所知的是，在此之前，其实还有一个更加权威而值得珍藏的出版：1998年来自日本的东芝EMI(EMI-Toshiba)和新星堂(Shinseido)合作并限量1000套发行的12 CD 《The Legendary of Wilhelm Backhaus》。EMI-Toshiba所写的录音时间，就是1928年1月，6月和7月。这是自1928年以来，首次(也是至今唯一一次)以母公司名义发行的CD版本，除了肖邦练习曲收录在内，并有不少其他录音首次CD化，可惜没有海外发行也没有广泛流传， 估计大部分成为了日本本土收藏者的挚爱，外地人只能望洋兴叹，不过这也是日本人对再版历史录音的一贯作风：肥水不流外人田。
Backhaus被誉为键盘上的狮王，他刚劲浑厚的风格同样被运用在肖邦练习曲上， 凌厉的速度，稳健的节奏，扎实的技巧已经让你佩服不已，从Op.10 No.1开始， Backhaus就能把你的注意力吸引过来。我并不认为这是完美无瑕的一曲，你会听到他碰到旁边的键，但你更能听到左右手均衡的力度，以勾勒低音部分的旋律线， 这比很多毫无技术瑕疵的录音更具音乐感。对手指独立性要求极高的Op.10 No.2，Op.25 No.6，在Backhaus手上，毫无难度，然而其不可思议的演奏速度却没有让你感到丝毫的炫技感，很自然的速度感觉，实际上却只用了比一般人少的时间演奏完毕。 Op.10 No.3我觉得倒是好坏参，或者是因为听得太多煽情的版本了。 No.11也是如此， 比No.3更硬朗， 以至让人觉得忽略了音色和节奏的变化效果。 然而在Op.25的演绎中，他合理地分配出如歌的段落，精致的乐句以及华丽的旋律， 行云流水般的演绎， 把我一直带到最后的c小调《大海》练习曲而终结。 略为一提， Bakhaus在某些练习曲的结尾略加了一些装饰音， 令前后曲更有衔接感，当然有人会不以为然认为是画蛇添足， 然则我倒觉得更有一份亲切感， 难道这不像是一个朋友在为你私人演奏般的随意么？
Backhaus的这套录音没有让我失望（就如他大部分录音一样）， 或者让你失望的或者只能是狮王般的作风有时让某些趣味的旋律显得生硬， 然而这又是什么很至关重要问题么？ 即使是神， 谁说不可以有瑕疵？过于完美，难道不会多了一分冷峻么？
2009年2月19日
(Last Update: Dec.12, 2007)
** Comercial Recordings of 24 Etudes Op.10&Op.25 **
All are original copies unless indicated as MP3 copy
Total Count: 156 Sets (Own 146 Sets), Pseudonym Sets are not counted here
Please click on the following links to open the Listing
Page: 1, 2, 3, 4, 5
** Non-Comercial Recordings of 24 Etudes Op.10&Op.25 **
Total Count: 21 Set (Own 13 Sets)
Please click on the following links to open the Listing
Page: 1
Original Copy means it is an Original Production by some Organizations/Individuals but not considerred as a Commercial Release.
RED: I do not own these copies
** Comercial & Non-Commercial Recordings of 12 Etudes Op.10 ONLY**
Total Count: 17 Commercial Sets (Own 15 Sets)
7 Non-Commercial Sets (Own 4 Sets)
Please click on the following links to open the Listing
Page: 1
RED: I do not own these copies
** Comercial Recordings of 12 Etudes Op.25 ONY **
Total Count: 23 Set (Own 23 Sets)
Please click on the following links to open the Listing
Page: 1
RED: I do not own these copies
** Non-Comercial Recordings of 12 Etudes Op.25 ONY **
Total Count: 35 Set (Own 15 Sets)
Please click on the following links to open the Listing
Page: 1, 2
RED: I do not own these copies
Chopin Etudes Recordings
Written by: Klavier (Yuan Huang)
(007) Georges(György) Cziffra
Recording Company: Philips
Catalogue Number： 456 760-2
Recording Date：1962
Chopin once wrote in a letter: "……at this moment Liszt is playing my studies…..I should like to rob him of his way he plays my Etudes." Whenever I see this, I feel like it is an Angel worshipping the God, while Chopin is the Holy Angel and Liszt is the Supreme God. It is a pity as we are eager but unable to know how Liszt actually performed these Etudes and gained admiration from Chopin. While luckily, there is one complete recording of the Chopin Etudes might highly represent Liszt’s style of Freeness, Brilliance and Transcendental Virtuosity, this is by the great Cziffra. Whoever listened to Cziffra’s performance of Liszt’s piano works and his own transcriptions of extreme difficulties, his amazing speed and accuracy are unable to achieve for most of the pianists. Remember when I fell in love with the Etudes, there were some Chopin Etudes albums released by the Philips Great Pianists of the 20th Century series. I bought the Cortot and Cziffra album at the same time and Cziffra’s complete Chopin Etudes were the first time on CD, which made it a valuable material. Couple years ago, EMI reissued this legendary Etudes in its 5CD Cziffra’s Chopin recordings, and was in a worth-to-buy budget box-set. I was familiar with Cziffra’s breathtaking performance, but I never expected he will do the same thing to Chopin Etudes. I was completely shocked since what I heard was Liszt itself playing the Chopin Etudes. I heard ultra fast live recording of Op.10 No.1, but never like Cziffra’s level of freely controlled speed and rhythm. So as the Op.10 No.4, No.8, Op.25 No.6, No.8, where difficulties and complexities are meaningless to Cziffra. Op.10 No.12, Op.25 No.11 and No.12 brings out the raging "Revolution", the sweeping "Winter Wind" and the immense "Ocean". Those pieces he played less wild including Op.10 No.7, No.9, Op.25 No.2, No.4, No.5, No.9, I thought he will play the Op.25 No.10 crazily like how he played octaves in other pieces, but suprisingly he didn’t. The rest are either too calm, like Op.10 No.2, or too furious, like Op.10 No.5 and Op.25 No.1, and turn out to be less musical. Personally speaking, Cziffra’s rendering of the Chopin Etudes album is one of top picks, seldom see other sets with the same level of bravura and individulity, Julien von Karolyi’s set has some similarities, but an extremely hard to find album. Although his style is not favorred by everyone, yet as Donald Manildi said: "No one unfamiliar with this version should forego the chance to experience its impact at least once."
Aug. 7th, 2007
唱片中的肖邦练习曲
主笔：神秘客人
(007) Georges(György) Cziffra/乔治·齐夫拉（或：齐夫劳）
唱片公司：Philips
唱片编号：456 760-2
录音时间：1962年
肖邦曾经在他的信件上写过：“……此刻李斯特正在演奏我的练习曲时候……我真想偷取他的方法去演奏它们。”每每看到这句话， 都让我感觉是一个天使对神的无比崇敬，肖邦是那个圣洁的天使， 李斯特是那个令人畏惧的神。我们渴望了解但却无从得知到底李斯特如何去演奏这些练习曲而让肖邦都如此拜服， 这是令人遗憾的。 而庆幸的是， 有一套或许是最类似于李斯特般潇洒，华丽，炫技，随意风格演奏的肖邦练习曲录音， 这是来自著名的炫技大师Cziffra的演绎。Cziffra的技术不用多说了， 只要听过他的Liszt以及他自己的改编作品录音都知道， 近乎变态的速度和准确性， 是大部分钢琴家甚至一生都难以达到的境界。当年开始钟情于肖邦练习曲， 正值遇到Philips公司的20世纪伟大钢琴家系列的出版中有肖邦练习曲， 于是一次买下了Cortot和Cziffra的专辑。 Cziffra的全集版本是首次以CD形势发行， 当年来说是十分宝贵的录音资料， 几年前EMI以廉价发行5CD的Cziffra肖邦录音， 再度收录了这套传奇式的肖邦练习曲， 值得购买。 虽然听过Cziffra那种充满张力扣人心弦的演奏， 但实话说， 并未预计到Cziffra的疯狂演奏会蔓延到肖邦练习曲上。只需短短的几个小节就已经让我震撼无比， 我听到的是李斯特在演绎肖邦练习曲。 Op.10 No.1我听过奇快无比的现场录音， 但如Cziffra那样不但快还可以自由随意控制速度和节奏的， 我是第一次听到， 比那些只顾速度的演奏有意思得多。又如Op.10 No.4，No.8，Op.25 No.6，No.8，高难度的技巧在Cziffra手上如玩泥沙般轻而易举完成。 而Op.10 No.12，Op.25 No.11和 No.12则有着排山倒海的磅礴气势， “革命”，“冬风”，“大海”就如真实呈现眼前。其他一些演奏相对理性有Op.10 No.7，No.9，Op.25 No.2，No.4，No.5，No.9，但像Op.25 No.10这首8度练习曲本来预计会像他一贯弹8度那么疯狂， 但他却弹得较为理性，并不像他的一贯作风。剩下一些要么弹得不温不火如Op.10 No.2， 要么太过火了，Op.10 No.5, Op.25 No.1等， 反倒令这些练习曲失色不少。 我觉得，Cziffra的这套肖邦练习曲是值得收藏的肖练全集之一， 像他那样火爆又有个性的演绎者并不多， 倒是Julien von Karolyi的版本有点类似， 但却不是那么容易觅得。 虽然并不是谁都会喜欢他的演绎方式， 但就如Donald Manildi（马里兰大学国际钢琴档案馆馆长）说：谁没接触过这套录音的都应至少体验一次个中的震撼。
2007年8月7日
Chopin Etudes Recordings
Written by: Klavier (Yuan Huang)
(006) Vladimir Ashkenazy
Recording Company：Melodiya-BMG
Catalogue Number： 74321 33215-2
Recording Date：1959-60
Recording Company：Decca(London)
Catalogue Number：414 127-2 LH
Recording Date：1975
If talking about who is the most active and most recorded great pianist nowadays, I would say Ashkenazy is the one. He recorded almost all the important piano pieces and his recording schedule is still kept going on. Among his huge discography, complete piano works by Rachmaninoff, Chopin , Schumann are the mostly mentioned. However, also due to his massive recording schedule, his post-70’s performances are lack of passion and characters, and thus in most of the time his recordings are usually not considerred the finest , but sometimes the standardized performances. Honestly, never heard anyone who is specially fond of Ashkenazy and neither heard anyone collects his recordings, but his significant contribution to piano literatures are unable to extimate. His first set of Chopin Etudes recordings was made before he won the Tchaikovsky Piano Competition in 1962, released by Melodiya. This version is considerred a better recording from his early age also one of the best compete chopin etudes. The original Melodiya CD or Saga CD version is now extremely hard to find. Later on, the "Russian Piano School" series by Melodiya/BMG reissued this Chopin Etudes set under Ashkenazy’s album and a piece of Liszt’s Mephisto Waltz as the supplemental track. As this series became out-of-print, the Chopin Etudes disappeared again. Recently years, two recording company from South Korea: Yedang Classics and Melodiya/Bukok both reissued this wonder Chopin Etudes set. I never listen to the Yedang one but it is said a very nice transfer but does not come with any supplemental tracks. I owned the Bukok version onetime, it is a simple design with minimal recording, music and performer information, but with cheap price and finished with the Trois Nouvelles Etudes. Decca version was made in 1975, there are several reissues available: Single Disc Version, Double Disc Version and the Chopin Complete Works verion. The single disc version shown above is one of the easy-to-find version, however, its strange production made it with only 12 tracks (combined every two pieces into one track). It does not make any better spontaneous enjoyment and not convenient for track selection. This awkward arrangement does not appear in Double Disc Version and the Chopin Complete Works verion. Although I can not verigy, but it seems even other Single Disc reissues did not produce like this. I would suggest to avoid this one when purchasing. As in performance, personally speaking, the earlier set is the better one no matter technically or musically, but the Decca version won in sound quality.
Aug. 6th, 2007
唱片中的肖邦练习曲
主笔：神秘客人
(006) Vladimir Ashkenazy/弗拉基米尔·阿什肯纳齐
唱片公司：Melodiya-BMG
唱片编号： 74321 33215-2
录音时间：1959-60年
唱片公司：Decca(London)
唱片编号：414 127-2 LH
录音时间：1975年
要数当今著名钢琴家里面演出活动最活跃， 录音数量最庞大的人， Ashkenazy认第二估计没有别人敢认第一了， 只要是经典的钢琴文献， 他都几乎录音过， 而且即使到今天， 他的录音计划也没有停滞过。在他的庞大录音目录中，Rachmaninoff，Chopin，Schumann钢琴作品全集可能是其中最常被提及的。不过也由于录音内容过于广泛而且录音频繁， 而被普遍认为后期演奏风格缺乏激情和个性， 所以多数提及优秀突出的录音时候并不会首先想起Ashkenazy的版本，而标准化演绎才会想到他。老实说， 从没听过谁特别钟情于Ashkenazy， 也没有听说谁收藏他的录音， 但事实上他对钢琴文献的录音贡献是不可估量的。说回他的肖邦演绎， 评价始终不一，但绝大部分以70年代作为一个分水岭， 以在此之前的演奏较为受欢迎。 肖邦练习曲也是如此， 第一次录音早在他赢得柴可夫斯基钢琴比赛第一名前已经录制， 由Melodiya公司出版， 这个版本几乎是一致认为是他早期优秀录音之一，也是肖邦练习曲全集录音里面较优秀的版本之一。最原始Melodiya版和Saga版CD早已绝迹难寻， 后来在Melodiya/BMG的合作下推出了一些列俄罗斯钢琴学派专辑录音，而收录的Ashkenazy专辑就是这套名版肖邦练习曲并以Liszt的梅非斯托圆舞曲作为补白内容。后来这套俄罗斯钢琴学派的绝版， 再一次让这个版本的录音难以寻获， 近年来， 南韩的Yedang唱片和Melodiya/Bukok唱片都分别再版了这套优秀的录音， Yedang的再版据说制作挺好但我没有而且没有补白曲目，而曾经拥有过Bukok版，其制作较简单而且CD小册子内容过于简单， 补白内容为Skavronsky在Melodiya录制的3首新练习曲，不过价格相对便宜。 Decca的版本是1975年录制， 再版次数相当多， 有单碟版，双碟版，还有肖邦全集版， 而上面展示的单碟版本会是容易见到的一个单碟版本之一， 不过其制作相当奇怪， 24首肖邦练习曲只分为12道音轨（两首一个音轨）， 欣赏起来不太觉得有连贯感反倒觉得不便于选听其中某些曲目。这样的安排在双碟版本和全集版本则没有。虽然我未能完全确定，但貌似其他单碟版本都好像也没有这样安排曲目， 未知Decca为何要在这个版本中如此制作， 因此建议购买时尽量避免。演奏方面， 个人认为无论是华丽度， 技巧完美度都是Melodiya版较好， 在音效方面Decca版占优。
2007年8月6日
Chopin Etudes Recordings
Written by: Klavier (Yuan Huang)
(005) Alfred Cortot
Recording Company: EMI
Catalogue Number： CZS 7 67359 2 A
Recording Date：1933-34(1st Set), 1942(2nd Set)
Among those pianist who left recordings to us, Cortot is one of big ones. Especially as a pioneer in playing chopin, his recordings of chopin piano works are no wonder with higher importance. One of his teacher was Decombes, tough not really a student of Chopin but at least with connection of Chopin and did listened to Chopin performance. For people who familier with Chopin’s piano works would have known Cortot for sure. Besides Chopin works, he is also famous on Debussy, Schumann. He formed a trio with Thibaud and Casals which gained high reputation. He made important contribution in piano educatoin, too. Many of his productions had became top figures later, among them are: Samson Francois, Dino Ciani, Yvonne Lefebure, Dinu Lipatti, Solomon, Gina Bachauer, Clara Haskil, Vlado Perlemuter, Marcelle Meyer, Youra Guller, Idil Biret, Halina Czerny-Stefanska, Ruth Slenczynska, Eric Heidsieck. Being such a great pianist in the history, yet his recordings are not perfect. The most critized factors is his wrong notes, a lot of wrong notes, and sometimes occur in passages where there should not be any. This mainly due to his memory-lapse.
This 6-CD album, contains most of his Chopin recording for HVM, although not complete. The later set of the Chopin Etudes is only available on CD here(except an one-time reissue by theJapanese lable Shinseido), thus the EMI box-set is the only way to reach them. Disregard his wrong notes in the earlier Chopin Etudes recordings, Cortot’s unique approach represents a maestro of past time. The noice from the mono-recordings is not able to overcome his fabulous interpretation with exquisite grace, and many pieces shows his extrodinary controls on fingers. Though it has been couple years since my last enjoyment of these recordings, many details are still vivid in memory and of course including those wrong notes. Remember when I was still new to classical music, I was listening to his Chopin Etudes recordings and thinkging "why did he played the etude like this?" when I found a serious and obvious mistake in it (in Op.25 No.11). One of my best friend said:"….it can not be a mistake by the maestro, but only his personalized performance." Now this can only worth a laugh but was not at all to me in those days. It also reminds me about some typical comments by Cortotianer: Cortot’s wrong notes are better than my correct ones. Is this just the praise to Cortot’s interpretation or also an overworshipment? Nevertheless, Cortot’s musical achievement can not be denied, and his Chopin Etudes recordings are only parts of his graceful outputs.
Actually, only the ealier set is better praised and as a result, it has been reissued several times. One said, one of the Japanese EMI reissue has the best sound quality, but I am not able to compare every single reissue. If I dont remember wrong, the Cortot’s Chopin Etudes in 1930’s were the third complete Chopin Etudes set in my collection (the second set should be a pirated-copy by Browning), it was not the EMI box-set but was one album in the once famous "Great Pianists of the 20th Century" series CDs by Philips. Although this series of piano CDs was more critizied and depreciated than praised, yet it did make a sensation when it was released during that days, especially for people who were just into musical world, those were very useful materials. I also got another important Chopin Etudes recording from this "20th century" series, which I wil talk about in the future.
Jul.25 th, 2007
唱片中的肖邦练习曲
主笔：神秘客人
(005) Alfred Cortot/阿尔弗雷德·柯尔托
唱片公司：EMI
唱片编号： CZS 7 67359 2 A
录音时间：1933-34年(第1次录音), 1942年(第2次录音)
在有传世录音的大钢琴家之中，Cortot是响当当的人物，而且是作为肖邦作品的权威演绎者， 其肖邦作品的录音更是举足轻重， 而他老师之一Decombes虽不能说是肖邦的学生但至少可以肯定的是，他曾跟肖邦有过一定的接触并听过肖邦的讲课和演绎。对肖邦作品稍微熟悉并且对钢琴家稍微有认识的人来说， Cortot的名字是绝不应该陌生的。 除了以肖邦作品最为人熟悉之外，Debussy和Schumann作品录音都是他的专长，当然也少不了他和，Thibaud，Casals组成的三重奏团。Cortot的崇高地位不但来自他对钢琴作品优秀的诠释， 还包括了他在钢琴教育方面的突出贡献。他的学生中已成为大师级人物并不少，如已故的Samson Francois, Dino Ciani, Yvonne Lefebure, Dinu Lipatti, Solomon, Gina Bachauer, Clara Haskil, Vlado Perlemuter, Marcelle Meyer, Youra Guller等，而在世的著名钢琴家中还有Idil Biret, Halina Czerny-Stefanska, Ruth Slenczynska, Eric Heidsieck。可以说， Cortot把他在钢琴演奏方面的技巧和灵气都流传后世了， 但一个如此的大钢琴家， 其录音倒并不是完美无瑕的， 最惹人非议的就是他录音中的不少错音， 而不少时候更是发生在不应该错的地方， 以至让不少人对其演奏技术的怀疑。当然， Cortot中年开始就有记忆力衰退的现象， 这也是导致他演奏出错的一个重要原因。
EMI出的这套碟，虽然未能尽收Cortot的肖邦录音， 但基本上他当年给HMV录的绝大部分肖邦录音都已经收录进来了，而且尤其是第2套肖邦练习曲，更是没有别的公司发行过CD（除了日本新星堂发行过一次），所以要收藏Cortot的第2套肖邦练习曲录音， 只能通过EMI这套CD了。Cortot的第一套肖练录音撇除他的错音外， 其独特的处理散发着老一辈大师的特点， 纵然录音历史悠久但其充满灵气的演绎依然未被单声道的噪音掩盖， 优秀的控制能力也在部分录音里面体现出来。 虽然已经多年没有详细再听这套录音， 但个中细节依然记忆犹新。 当然了，一些出错的地方也是记忆犹新。 记得当年接触古典音乐并未很深，在欣赏这套录音时候发现一个几乎要弹断的错误（Op.25 No.11东风的一段）， 当时还想“怎么会这样的弹呢？”， 某好友当年还说这不能说是大师弹错， 只能说是个性的演奏。 当年一点不觉有任何问题， 毕竟当时还年轻， 现在想起来倒是挺好笑的， 但倒是想起一些对Cortot的极端崇拜的人的言论：Cortot错漏百出的音乐也比自己弹对的好。 这到底只是对Cortot的演奏艺术的高度评价呢还是也包含着过度的盲目崇拜呢？ 当然Cortot的艺术成就不容置疑， 他的肖练也只是他众多优秀录音中的一部分， 有兴趣的可以欣赏他另外的录音。
Cortot的这两套肖邦练习曲， 其实只有第一套才真正为人称道， 也正是如此，只有这一次录音才被多次再版，据说日本EMI的某个再版效果是最好的，但我是没有听到过。如果我记忆没有错的话，Cortot的30年代肖邦练习曲版本应该是我第3套收藏的肖练（第2套应该是盗版的Browning）， 并不是EMI这套， 而是当年风靡一时的Philips公司出的20世纪伟大钢琴家系列中的一张。虽说这套20世纪伟大钢琴家录音系列最终贬多于褒， 但在当年刚出版的时候， 确实引起了极大的关注， 尤其是当年仍是入门的小乐迷来说， 已经是难得音乐资料了， 而另外一套重要的肖练， 我也是得益于此套20世纪， 此乃后话。
2007年7月25日
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