Recent Arrival CEs

Since last saterday(April 22), I have done my undergraduate study. Finally, I have time to relax, sleep and continue to compile my Chopin Etudes discography.

 

Couple weeks ago, I have recieved several  hard-to-find or out-of-print sets of the Chopin Etudes, amoung which are Alexei Skavronsky’s Melodiya CD(not the same as his later Vista Vera CD version);  Eliso Virsaladze’s Melodiya LP(not the same as her later Live Classics CD version); Monique Haas’s Erato LP; Sasaki Ken’s Nimbus LP; Youri Egorov’s Live Op.10; Philipps Giusiano’s Op.10; Krzysztof Jablonski’s Op.10 (not the same as his complete set in BeArTon CD). I specially thank Shi Hong for helping me to obtain several sets from Japan.

 

Skavronsky’s Melodiya version was the most impressive CD set I recently listened to (I have not yet listened to all the LP versions). He didnt show the etudes with speed but rather with his musical thought. His unique idea brought out the unknown inner beauty of the etudes, especially in Op.25 No.12. While I was listening to it, I was shocked by the way he approached. Starting from bar 31 till bar 43, he emphasized on the 1st notes of the 1st, 2nd and 4th group of the four-16th-notes on the right hand and also the 1st note of the 3rd group on the left hand. It constructed a melody of growing emotion with sadness and reach the recurrence of the theme. Although it is special yet it is also abnormal for a mature and professional pianist to play a well-known Chopin Etude in a different way. While talking with Siheng Song, he agreed with me that, if someone gonna play it like that in a competition, he will get fucked up. That also makes sense when Skavronsky plays 24 CEs live in 1997 didnt use the same manner in it. However, the 1997 version still revealed his true pianism.

 

自上周六（4月22日），我就已经完成了我的所有大学课程和考试了。 终于有时间可以睡个大觉并继续编写我的肖练目录了。

 

前几个星期， 我收到了几份罕见的甚至已经绝版的肖练， 其中包括了Alexei Skavronsky的Melodiya CD版本（不同于他后期在Vista Vera的CD版本）； Eliso Virsaladze的Melodiya LP版本（不同于她后期在Live Classics的CD）； Monique Haas的Erato LP；Sasaki Ken的Nimbus LP；Youri Egorov的现场Op.10； Philipps Giusiano的Op.10； Krzysztof Jablonski的Op.10（不同于他的全集录音）。 我要特别感谢洪湜， 他帮我从日本弄到好几套录音。

Skavronsky的Melodiya版本是最让我近期听过的CD版本中印象最为深刻的一套（我还没听我的LP版本）。他并没有以速度来表现这些练习曲而是他对音乐的见解。 他独到的思想展示了肖练里面一些不为人知的美妙， 尤其是Op.25 No.12。当我听到这首曲子的时候，我被他的演绎震惊了。 从第31小节到第43小节之间， 他把右手第1， 第2和第4组 的每组4个16分音符中第1个音符强调出来了， 同时左手第3组同样地突岀第1个音符。 如此手法构造出一种不断升华的伤感直到主题旋律的再现。 尽管这是特别的演绎，但对于一个专业老道的钢琴家来说， 把一首著名的肖邦练习曲用不正统的方式演绎则是不寻常举动。 当我跟宋思衡谈的时候， 他也赞同我的想法， 如果一个人想用这样的方法在比赛中演奏， 那是肯定被踢的。因此， Skavronsky在1997年的现场演出录音中没有用这样的方式演奏是可以理解的。尽管如此，1997年的演出仍旧可以体会到他的真正的钢琴艺术。