A large portion of pianist François-Frédéric Guy’s nearly 40-album output includes Brahms and Beethoven. This newest recording sees him explore Chopin on disc for the first time via a period instrument, a 1905 Pleyel from the Balleron Collection. The 2 CD-set is a generous sampling of the composer’s pieces: there are some Nocturne, Etudes, and Waltzes on the small-form end, while the medium and larger-sized works include two Ballades, the Fantasie, Polonaise Fantaisie, and B minor Sonata.
Guy makes note that the Pleyel is without the double-escapement action found on modern pianos (which allows for quick and repeated striking of keys) and thus required him to adjust his technique. Another hurdle he mentions is getting used to balancing the instrument’s absence of “power reserve” in the upper register with the resonance in the bass. The Op. 48 No. 1 C minor Nocturne (Disc 1, track 8) is one work where these challenges come front and center, but Guy puts forth a lovely performance. Although I found a little too much space between individual phrases, the voice balance is excellent: we hear the somber fragility of the soprano, while the resonant left hand provides ample support without overpowering. Guy’s piano and pianissimo dynamics in the middle section have a silvery quality and he draws attention to otherwise hidden middle voices. He shows full command of the repeated note octaves beginning at 3:32, a distant thunder that grows ever more present.
As for the medium-sized works, I enjoyed the Op. 49 Fantaisie. An effective contrastive interchange prevails between the opening trudging pattern and the nostalgic, even plaintive phrases at 0:50. I found a nice amount of dimensionality present in the color changes, with Guy bringing new characters into Chopin’s different and at times unexpected harmonies. The sprawling triplet passages that begin at 2:57 are a hair too swift to savor but certainty give off the urgency needed before the arrival at A-flat major. Coupled with the instrument’s natural tone, Guy’s musical approach to the ensuing section (particularly in tempo management and switch ups in articulation) gives off a rhapsodic quality I don’t hear all that often in other recordings. The climactic point of the first section in E-flat major is a chance for us to experience the roaring power of the Pleyel: while the modern piano might bring a little more heft, this period instrument comes very close and with a beautiful timbre at that.
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The B Minor Sonata is one work where the instrument’s bass might have too much of an effect: this is definitely not to say that Guy fails to capture the first movement’s Maestoso spirit, but his chromatic runs in the left hand (0:53) take away somewhat from the delicate melody. The D major second theme, however, is absolutely lovely. The pianist plays with a great deal of care so that we can hear the intricacy of Chopin’s contrapuntal lines. The dotted rhythms that open the Largo (Disc 2, track 3) are snappy but the softer section shows Guy’s finessed artistry. The gentle, rhythmic rocking in the left hand complements nicely the tender bel canto line. As for the Finale, I felt the initial B minor section could use more rhythmic consistency to communicate the persistent, rugged character. Guy’s flawless runs later on, though, add delightful sparkle and flourish.
The liner notes are in the form of an insightful interview. The artist answers questions not only about his approach to Chopin’s music (ranging from personal perceptions to editions used) but also the adjustment process to the Pleyel, its keyboard action, and its sound. By and large, his reflections show someone who has conducted thorough and thoughtful preparation before and during the recording process. The sound engineers most fortunately do not add unnecessary frills, and we can therefore appreciate the full gamut of the Pleyel’s sounds and Guy’s musicality.
For a first Chopin album, Guy’s choice of works is encompassing and effectively showcases the finesse and power this period instrument is capable of when in the right hands. I would certainly look forward to a follow-up second volume, should he choose to record one. Warmly recommended.
Secret Garden
François-Frédéric Guy – Piano
La Dolce Volta, CD LDV98.9
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