Frédéric Chopin (1810-1849)
12 Études Op.10
12 Études Op.25
Piano Sonata No.3 in B Minor Op.58
24 Préludes Op.28
14 Waltzes
Alfred Cortot (piano)
rec. 1931-43
APR 6046 [2 CDs: 154]
This release reminded me of my introduction to the Études, Préludes and Waltzes of Chopin some 40 plus years ago. I had heard a few individual items but three World Records LPs, SH326, SH327 and SH383, released in 1981, brought the complete sets to my attention and I was bowled over. These were the recordings that Cortot laid down in 1933 and 1934, like many of his recordings, at the Abbey Road studios. A decade later the world was engulfed in conflict and Cortot was no longer able to travel to London so he began to record and re-record many of Chopin’s works in Studio Albert in Paris; the booklet includes the list of pieces recorded at these sessions, ranging from the second and third Sonatas, the four Ballades and four Scherzi to seven of the polonaises, the impromptus, écossaises, tarantelle and the works included here. Unfortunately only the études, préludes and waltzes appear to have survived.
The études are a strong set with clear fingerwork, lovely control of tone and dynamics and tempi that are brisk, especially the glittering black key étude, without trying to set any land speed records. Harold C. Schonberg wrote that he (Cortot) never made an impression merely as a technician and he left flamboyance to the big virtuosos and that is really what is heard here. Casting an ear over the earlier set I find them very similar with perhaps an ever so slightly harder edge in the sound; the 1942 set have a more velvet tone. There is some astonishing playing here, especially at more hushed dynamics, the black key op.10 no.5, op10 no.10 or op25. no.4 for instance and Cortot always has time to shape the phrasing, even amongst the devilish repeated notes of his wonderful op.10 no.7 or the left hand of op.10. no.2. In more lyrical items I find op.10 no.11 is a bit too fast for my taste, which seems a bit scrambled even under Cortot’s control – I prefer Josef Lhévinne’s 1935 recording (Marston Records 53023-2) – but then Cortot is utterly charming in the central section op.25. no.7 and gives the whole étude real caprice. In op.25 no.1 Cortot sounds utterly relaxed with supple arpeggios and and a melody that sings. Cortot’s rather odd ordering of the études was presumably made for better matching of side lengths; as he virtually joins the end of one étude to the start of the next APR have chosen to transfer them as is he played them. Cortot was not alone in this; Raymond Lewenthal in his live op.25 left no discernible break between études until he reached no.11.
The études were recorded on 2nd and 4th November 1942 and Cortot began to record the préludes in December of that year, completing the set in February 1943. Chopin’s préludes offer a nod to many of the genres that he wrote in and elements of the nocturnes, études, waltzes, mazurkas and more can be found here. Cortot is attentive to all these. Louis Diémer’s training is as clear here as in the études as the silky 3rd, fleet 10th and cataclysmic 16th ably demonstrate. Old piano mannerisms are less pronounced than in the playing of many of his contemporaries but can still be found; the occasional division of the hands, octave doublings and some of the rubato but none are obtrusive. The dramatic tension that he finds in a simple prélude like number 4 or the famous raindrop prélude, number 15 is not often heard nowadays; the crescendo in the latter half of the doom laden central section of the D flat prélude is almost frightening in its intensity and the low added bass notes before the D flat section reprise are like the low rumbles of a storm that is retreating but is still free to rage further afield. His tone, reproduced marvellously here, is wonderfully rich and brings a suggestion of other voices to the unison notes of the 14th and this intensity, untroubled by finger slips, is present in the final D minor outcry of the set. The waltzes were recorded on May 24th 1943 except for the C sharp minor recorded on 7th July of that year. Just listening to the first couple shows that Cortot was a little more slapdash here; some splashy playing and more than a few scrunched notes cannot, however, disguise the joy and elegance of these performances. As with the études and préludes his tempi are always on the fast side; witness his minute waltz coming in at 1:29 and featuring probably the most accurate playing here. In his booklet essay Bryce Morrison describes op.64 no.2 as the most elegiac of the waltzes though I don’t actually find Cortot’s playing of it particularly elegiac; the mood is too flighty and capricious for that. I would describe op.34 no.2 as the more elegiac in this collection. Here and there Cortot changes the odd note; the four bridging repeated notes in op.18 become an octave leap and a few other notes change register, quite effectively in the closing chords of op.34 no.2. The G flat waltz from op.70 fair gleams with elfin sparkle and the final E minor waltz bounds off the page; Cortot includes several repeats here that aren’t in my score.
APR complete this set with Cortot’s first recording of the B minor Sonata, recorded in London in May 1931. If I say that it is a huge performance I hope that conveys the grandeur and richness of Cortot’s playing rather than suggesting some overblown edifice. Indeed a lot of the most impressive playing here is at lower dynamics; the quicksilver scherzo, the passagework in the finale or the gorgeous layered textures of the largo. Cortot’s reading of the largo is perhaps the high point here, simply and effortlessly played, the left hand melody in the E major section against a caressing triplet accompaniment allowing time to stand still, just for a moment. The hushed opening of the finale, for all it quickly crescendos, does not spoil that serenity. The powerful opening movement has some muddy moments in some of Chopin’s more convoluted writing but its intensity never slips. Thunderous bass notes are added to Chopin’s mid range closing chords and do sound more fitting with the scale of the movement and are a foil to the lightness of the dazzling scherzo that follows. With Cortot at his virtuosic best in the driving finale this is a fabulous addition to this recital.
The transfers by Andrew Halifax are magnificent. I put the Sonata on and it felt like the piano was live right next to me. The booklet includes Bryce Morrison’s personal reminiscence as well as a short essay by Michael Spring of APR providing details of the provenance of these recordings. Cortot aficionados may have these recordings in the 40 CD Warner Classics Edition but for those who are coming new to these recordings this is an excellent way to become acquainted with them as well as a magnificent addition to APR’s marvellous French Piano School series.
Rob Challinor
Other review: Jonathan Woolf (October 2025)
Recording dates
May 1931 (sonata), November 1942 (études), December 1942/February 1943 (préludes), May 1943 (waltzes)
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