Jan Lisiecki’s latest project for DG focuses on a humble yet perennial genre: the prelude. This small form has endured across eras, first emerging in the 17th century and setting precedents in almost every century thereafter. Lisiecki’s vibrant program features selections from Bach’s Well-Tempered Clavier, Rachmaninoff’s Op. 23, and more contemporary works by Olivier Messiaen and Henryk Górecki. The generous inclusion of Chopin’s complete set of Preludes makes for a comprehensive addition.
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What I found particularly interesting was not simply the choice of piano works but their curated arrangement. Chopin’s A-flat major Prelude opens the album, offering a charming introduction immediately followed by Bach’s C major Prelude from Book 1 of The Well-Tempered Clavier. Lisiecki’s interpretation here is fairly minimalistic, aside from a few dynamic swells and tasteful articulation distinctions between the hands. He naturally highlights the contrast in moods between the more effusive Chopin and the introspective Bach.
One of Lisiecki’s strongest suits is his sensitive response to harmonic colors. In a work featuring intriguing and beautiful harmonies, such as Messiaen’s La Colombe (track 4), this strength is particularly evident. Messiaen’s Preludes come from an early period (the composer was just 20), and we can clearly hear influences from predecessors such as Debussy. La Colombe might be considered a study in subtlety and enigma, but Lisiecki manages to create a wealth of color gradations ranging from shimmering to crystalline to declamatory. Le nombre léger (track 6) is another well-chosen piece that balances out its quieter companions while highlighting the pianist’s equally impressive knack for intricacy and clarity. His pristine execution of both melodic and chordal passages fuels suspense right through to the final bright E major chords.
Speaking of suspense, the Górecki Preludes offer plenty. The Molto Agitato (track 9) alternates between perpetuum mobile-like episodes and slower, darker passages. Overall, the music here is charged, defiant, and cataclysmic. Although I’m more accustomed to hearing Lisiecki in a nuanced, lyrical mode, it was impressive to hear this bolder aspect of his musical personality delivered in such enthusiastic and convincing fashion..
Jan Lisiecki (image: © Christoph Köstlin, Deutsche Grammoshon
Although the album includes only three of Rachmaninoff’s Preludes, Lisiecki saves the best-known piece for last: Prelude No. 5 in G minor. His performance here blends the best of both worlds: the outer sections boldly capture the austere essence of the march, while the central section showcases excellent voice-leading in the upper melodies.
I am certainly pleased Lisiecki chose to include Chopin’s Preludes in their entirety. Chopin’s music has played a significant role in Lisiecki’s repertoire and artistic development, and in many ways, it seems he feels most at home in this set.
There is an effortlessness in the left-hand accompaniment of Prelude No. 3 (G major): the passages are faultlessly even, and Lisiecki subtly heightens the virtuosity (albeit gracefully) by eliminating the pedal entirely. The architecture of the E minor Prelude (No. 4, track 16) is carefully considered, with expansive crescendos bringing continuity to an otherwise static melodic line. The sweeping F-sharp minor (No. 8, track 20) provides another example of his thoughtfully contoured approach; here, he employs the swirling accompaniment to maximum effect, starting with gentle ripples that gradually build in intensity. However dramatic the music becomes, Lisiecki avoids making textures sound overwhelming or forced.
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The famed Raindrop Prelude (No. 15, track 27) features some of Lisiecki’s most intimate playing. Perhaps it’s the combination of sensible microphone placement, a well-regulated instrument, and his pleasing, mellow tone quality, but it feels as if he’s playing directly to the listener.
Although he set his own bar high with previous releases, this new album raises Lisiecki’s programming and artistry to new heights. Each work on the album offers a distinctive perspective within this exploration of the prelude genre, and the stellar execution makes for a truly exciting experience.
Recommended Comparisons (Chopin):
Argerich | Tharaud | Cortot | Lu
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Album Details |
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|---|---|
| Album name | Review: “Preludes” – Jan Lisiecki, Piano |
| Label | Deutsche Grammophon |
| Catalogue No. | 4866018 |
| Amazon Music link | Stream here |
| Apple Music link | Stream here |
| Artist | Jan Lisiecki |
