New Classical Tracks: Chopin nocturnes

In 1960, Maurizio Pollini won the Sixth International Chopin Competition in Warsaw; after that, Chopin became a permanent part of his life. For decades he's been performing and recording Chopin's polonaises, etudes, preludes, scherzos and ballades. Now, at age 64, Pollini decided the time was finally right to record Chopin's nocturnes.

Pollini's Chopin performances have been constantly evolving. "Somehow," he explains, "I can now play Chopin's music with greater freedom than before." What really matters according to Pollini, is that he loves Chopin's music.

The nocturne is a character piece for the piano strongly associated with Chopin. But the composer who established the form was Irish pianist John Field. He cultivated the piano's potential for more intimate expression. Chopin's first set of nocturnes was influenced by Field, but after that, Italian bel canto opera became his primary inspiration. Bel canto is Italian for "beautiful singing."

Chopin was the kind of artist who would suddenly be struck by a beautiful theme which then became the center of each work. A simple melody, however, is just the beginning. Chopin's powerful harmonic language underlines the emotional nature of each nocturne. Then he explores the character of each piece from every angle.

Even nocturnes within the same opus numbers are often completely different. The Opus 27 Nocturnes demonstrate that variation in mood. The first piece in C sharp minor is mournful, while its counterpart, the Nocturne No. 2 in D flat major, reveals a spirit of peaceful satisfaction.

Chopin's musical world also churns with dramatic character. Each nocturne is riddled with moods of varying intensity -- most noticeable in the middle sections. For example, the Nocturne Op. 32, No. 2, starts off slowly and gradually accelerates in the middle section. This is no high-speed roller coaster however; it's more like a merry-go-round that spins its way into your heart.

In 1965 Arthur Rubinstein made what's considered the gold-standard recording of Chopin's nocturnes. On that set he plays with great expression, warmth and character. He also plays these works at a much slower pace. While Pollini chooses not to linger, his tempo never feels rushed. Rubinstein used very little rubato; he didn't often stretch a phrase for dramatic effect. Chopin did play with rubato, varying the tempo to savor an emotional moment.

Pollini follows Chopin's lead enhancing the composer's creative intentions with his own liberal use of rubato. Listening to both of these legendary performers play the familiar Nocturne Op. 9, No. 2 in E flat major, I found it difficult to choose between them. There are subtle differences in tempo and ornamentation, but Chopin's nocturnes depend so much on individual expression I'd recommend both of these complete collections.

Personal feeling is critical if a performer is going to be convincing when playing Chopin's music, and Maurizio Pollini IS convincing. He can match any mood Chopin dishes up. With notes spilling from his fingertips, Pollini's touch quickly rotates from light and graceful to stormy and fearless.

As he shares these intimate pieces I get the impression Pollini is channeling the composer, after having lived with his music for so many years. At the very least, he's striving to bring out the greatness of the musical expression and the deep ideas of the composer. With this recording he has accomplished those goals.

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