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Solomon plays Chopin Ballade No.4 in F Minor Op.52 (1946 HMV) 

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British pianist Solomon's superb April 1, 1946 HMV recording of Chopin's Ballade No.4 in F Minor Op.52. This transfer was effected by Tom Jardine, to whom all thanks, with the side join made by yours truly.
Solomon made about a CD's worth of Chopin recordings in the 78rpm disc era but recorded not a note of the Polish composer's music during the LP era, though he was apparently scheduled to record both Sonatas - a project that sadly fell through when Solomon suffered a debilitating stroke in 1956.
While posthumously he has been more recognized for his readings of Beethoven, Schumann, and Brahms than he was for Chopin, Solomon's affinity for his idiom is abundantly clear from the very first note of any of the discs he made of the composer's works, and this glorious reading of the Fourth Ballade is no exception. It is a truly individual interpretation, eschewing any inclination to bombast, restrained but certainly not devoid of emotion, as the climaxes are all the more pronounced when they occur. Solomon's fluid phrasing and gorgeous tonal colours are absolutely mesmerizing.
This remarkably noble conception is a very different approach to this ever-popular work and is truly a landmark recording.
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13 сен 2020

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Комментарии : 24   
@jackatherton0111
@jackatherton0111 Год назад
Even before his death Chopin’s approach to his own music was overtaken by Romantic virtuosi, iron-lunged pianos and huge concert halls. Solomon could roar - elegantly - with the best of them; listen to his 1929 Tchaikovsky first concerto, also posted by Mark. But much of the public assumed that his “measured, chaste…” playing of Chopin represented English reticence rather than the authentic Chopin described by his assistant Mikuli. You may find that through infinitely varied dynamics, subtle rubato and Lisztian fireworks when needed, Solomon gave us here and in the rest of his slender Chopin discography perfect performances. Thanks as always, Mark.
@JOSHUA-hs4zt
@JOSHUA-hs4zt 3 года назад
This is special. i remember the very first time I heard this work: Wednesday 12 June 1972. The pianist was Artur Rubinstein. Wonderful work and Solomon plays it with excellent taste..
@nestorar
@nestorar 3 года назад
Nothing is too fast here; this is a great artist at his peak. Most if not all great instrumentalists “run” on the fast side at one point or other in their lives.
@user-xc6vs6gi6w
@user-xc6vs6gi6w 8 месяцев назад
возможно высокий темп был связан с особенностью звукозаписи того времени. Долгоиграющих пластинок тогда не было и возможно иногда пианисты в записи добавляли скорость чтобы уместить запись на пластинку.
@stpd1957
@stpd1957 3 года назад
Oh I love that performance, thanks for sharing it Mark. Seán
@kevasman9974
@kevasman9974 3 года назад
I love his playing! One of the truly great pianists. Listen to his late Beethoven!!
@christopherczajasager9030
@christopherczajasager9030 3 года назад
Beats the later crop any day !
@christopherczajasager9030
@christopherczajasager9030 3 года назад
His interpretation of the f minor Fantasie....also " reference model"....
@ThePianoFiles
@ThePianoFiles 3 года назад
It is indeed!
@TJFNYC212
@TJFNYC212 3 года назад
wonderful rendition of this masterpiece. the coda might be a bit too fast for my taste but it is great overall...
@christopherczajasager9030
@christopherczajasager9030 3 года назад
Indeed poetic and idiomatic Chopin. What a brutal G flat...well ....it was post war England...not many pounds for a good voicing of the Steinway. Still, a treasure to hear in this bleak September...
@ThePianoFiles
@ThePianoFiles 3 года назад
I don't know what you mean by 'a brutal G-Flat...'
@pianopera
@pianopera 3 года назад
@@ThePianoFiles 2:41 somewhat out of tune...
@ThePianoFiles
@ThePianoFiles 3 года назад
@@pianopera Ah indeed...
@christopherczajasager9030
@christopherczajasager9030 3 года назад
The voicing or intontination of that G flat in the soprano on that instrument
@pianoredux7516
@pianoredux7516 3 года назад
The referenced G flat is especially exposed at bars 55-56. Mr. Sager is correct. That note is both slightly out of tune and poorly voiced, the felts need to be softened. The c flat (enharmonic b natural) above it is also intonationally off. The remarkable thing is how subtly nuanced, almost deliquescent Solomon's pianissimo is (the bass octaves at bar 38, for example) in spite of the mediocre condition of the instrument. When he plays the fortissimo coda and the sound becomes tinny and harsh, it is even more evident that the felts are worn and hard throughout the hammers. An unheralded masterful Chopin player nonetheless.
@leonardodelyrarodrigues3752
Like a mazurca. Excessivamente rápido eu não gostei atropelou a música, perdeu muito da paixão, drama, mistério, suspense entre outros. Porém a fuga final, o último minuto ficou mais fácil de entender nessa velocidade.
@vinylisland6386
@vinylisland6386 Год назад
Very fine, though no-one, to my ears, ever plays the coda or makes sense of it quite the way Richter does.
@user-xc6vs6gi6w
@user-xc6vs6gi6w 8 месяцев назад
для Рихтера баллада Шопена психологически слишком сложное произведение. Как и думаю для Рубинштейна. Тут нужен исполнитель со сложной психикой. Но Рихтер очень хорош в самом начале баллады. Он скопировал фразировку у Гофмана.
@vinylisland6386
@vinylisland6386 8 месяцев назад
@@user-xc6vs6gi6w Я не мог с этим не согласиться.
@rravvia
@rravvia 3 года назад
Such great pianism, way too fast.
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