Fréderic Chiu - Chopin: Twelve Etudes, Op. 10 & Four Rondos, Opp. 1, 5, 16, 73 (1997)

Frederic Chiu has been stirring up some controversy with critics of late. As far as I can tell, though, most have taken a decidedly favorable stance regarding his highly individual style, a style less radical than that of the young Glenn Gould, to be sure, but far more provocative than the approaches of most leading pianists of the day. I count myself among his admirers, if I can judge from four discs from his Prokofiev cycle and the one under review here. On the whole, his Chopin is sprightly and incisive in the Rondos, and probing and colorful in the Etudes. His slightly slow tempo in the third etude (E major) manages to skirt the saccharine and sentimental by adding a pinch of sobriety. His "Black Key Etude" is among the best versions, certainly surpassing one Horowitz account (RCA) and equaling another (Sony). Chiu wrings out the gloom and tension in the E flat minor in so ravishing a way as to tempt the depressed to skip their Prozac. And the verve and playfulness he unleashes in the tenth etude (F major) are enough to make you forget all about the delicious gloom of the eighth. A little overuse of rubato afflicts the F minor Etude, though overall it's not a bad version, your interest never actually waning. His "Revolutionary Etude" sounds a bit stiff and "studied," but then, you say, these are studies. In the end, his set is compelling for its freshness and insights. Of recent note is the 1996 Sony release of the Op. 10 with the Op. 25 Etudes, featuring young Japanese pianist Yukio Yokoyama. Chiu may be more the thinker here, but Yokoyama is more the romantic. Of course, there are others in the horse race including Ashkenazy and the iconic Cortot. In Op. 10 Chiu comfortably holds his own in the company of most, if not all, of the most prominent Chopin players. His readings of the much less popular Rondos are just as successful. He reveals the Op. 16 work as a delight, deftly pointing up its lighthearted classicism and making you wonder why more pianists don't play this thoroughly enjoyable work. Chiu performs both versions of the Op. 73, overdubbing the second piano part, thereby accompanying himself and posing the question: are two Frederic Chius better than one? The other two Rondos also receive fine performances, the Op. 5 (Rondo a la Mazur) unveiled as another gem. Harmonia Mundi provides excellent sound, and pianist Chiu, with one hand, has written informative notes. In sum, a very fine release.