Eternal Chopin Etudes - 永恒的肖邦练习曲

Recording Company: MonoPoly

Catalogue Number： GI-2026

Recording Date：Jan. 1928 (Op.10), Jun. & Jul. 1928 (Op.25)

       When naming the most important Chopin specialists, Cortot and products of Liszt and Leschetizky would be considered with the highest priority.  However, it was Backhaus, a Beethoven expert, who officially recorded the first ever set of Chopin's 24 Etudes in the history. 

      God, a title of supreme adoration. If this has to be conferred on the legenary pianists, Bakchaus, with no doubt, will be honored one position. Backhaus' achievement should mainly refer to his contribution on compositions of German-Austrian tradition.  His gorgeous technique, his in-depth thought of compositions is the very foundation of his distinguish accomplishment. In 1928, our God, at age 44, introduced the 24 Etudes first time in the recording history, and such interpretation is still considered a competitive version nowaday.  These etudes have been reissued several times back in the LP era and it is now still remained an important figure in CD reproduction.  The long famous Pearl Label should be the first one to make the CD available, which did caused a sensation among us: OMG~~Finally!!

      Pearl did several great jobs in reproducing CD versions of historical recordings and the transfer was decently done. While on the other hand, their preparation in text material is handicapped.  At lease, most people think it will be better if more details are provided, even only for their historical importance. With regard to their production of this Backhaus Chopin Etudes, Pearl provided 1927 as the recording year which was incorrect information.  I have no idea where they got this number, but I would rather believe the more accurate one in later reissues by other companys.  I would also assume that because of Pearl's release was too famous and nobody else reissued in almost a decade, and as a result, many articles now still state that Backhaus recorded them in 1927, which is clearly a reference from Pearl's CD.  Since year 2000, some other smaller labels resurfaced this version on CD again, among them including The Piano Library company which is now closed down due to their large amount of unauthorized releases of historical music, and the relatively new label MonoPoly from Korea. They were probably the most important ones at a time. Not known to many, there was actually another rare issue with higher authority: The 12CD set of 《Legendary of Wilhelm Backhaus》released in 1998, co-produced by EMI-Toshiba and Shinseido, limited to 1000 sets and available in Japan only.  EMI-Toshiba inidcated Jan. Jun & July in 1928 as the recording date. That was the first and the only time a CD version by EMI itself, besides these Etudes, some other selections were also the first time on CD. Too bad it was not an international reissue and without wide circulation, they became extremely hard to find since then and were mainly kept within the circle of Japan collectors.  People sigh and envy but what really can we do? That's what japanese always like to do with the reissues of historical music material: Charity begins at home.

      Backhaus was name The Lion on Keyboard, and his superb mechanism and powerful style also impress us in the Chopin Etudes. Swift speed, solid tempo, well equiped technical skill are all beyond your expectation. You will be shocked from the very beginning of the album, it was a breathtaking performance of the Op.10 No.1.  I do not mean it was perfect and you will ocationally hear his finger visited the neighbor key,  but more to discover is his balance on both hands which brought out the beauty from the lower melody. It was more musical than many others. Those like Op.10 No.2 and Op.25 No.6, which require more delicate fingerwork, seemed effortless to him. His incredible speed did not generate an excitement of technically showing off but rather a natural tempo impression, yet he did work out within a shorter time. Op.10 No.3, was not much special probably due to its extreme popularity. No.11 was the same, too solid and I would say it is tonal elegancy and rhythm variation. While on the book of Op.25,  they are performed with consistent manner. He brought out the colorful sound, the musical refinement, and the brilliance of melodies, his spontaneous and masterly expression walked me through all of them till the last note of the c minor etudes. Better to point out, Backhaus add extra notes at the end of some etudes to link up the following pieces more smoothly. There are people consider that superfluous, while to me they sounded as lovely as a friend giving a casual private performance.

      Backhaus did not disappoint me with his Chopin Etudes(like most of his other recordings), the only letdown might just be his lionlike style sometimes weakened certain interesting point in the music. But so what?  Who told you the God never wrong? Too perfect leaves only cold in manner.

Feb. 19, 2009 

唱片中的肖邦练习曲

主笔：神秘客人

(008) Wilhelm Backhaus/威廉·巴克豪斯

唱片公司：MonoPoly

唱片编号：GI-2026

录音时间：1928年1月4日-5日 (Op.10), 1928年6-7月(Op.25)

      当所有人把肖邦专家的名头挂在Cortot，以及Liszt和Leschetizky的传人身上的时候， 以演奏贝多芬作品最为著名的Backhaus竟然出人意料地作为历史第一人录制了这套殿堂级的钢琴作品。   

      神，一个令人顶礼膜拜的称谓。如果要将其冠于历史钢琴家们身上，Backhaus无疑要分享一个席位， 而绝不应备受争议。 巴克豪斯的成就主要体现在他对德奥体系作品上的贡献， 其精湛的技术， 对作品深层次的理解， 正是他伟大成就的重要支柱。 1928年我们这位年近半百的神，为录音史册上添上了24首肖邦练习曲的标题， 这是一次至今仍该被承认为不朽的演绎。 不朽并非随便加冕的， 在LP的年代， 就已经被多次发行， 直到今天，其CD再版也一直被重视。老资格的Pearl应该是首个发行CD版本的公司，可以想象当年此举为乐迷们带来的无限惊喜: Backhaus，肖邦练习曲，CD版本终于三为一体了。

      Pearl公司在发行CD版本历史录音的贡献是不可多得的， 在转录的过程上， Pearl做的已经不错了， 不过在曲目介绍和录音资料方面， Pearl的制作并算不上一流， 至少在很多人认为，对于发行这类重要的历史录音来说，提供专业详尽的资料介绍是理所当然的，然而Pearl没有做得够好。在Backhaus的这个肖练录音上， Pearl也没有做足功夫，录音年份为1927，我不知道此根据是从何而来， 但至少我更相信后来发行的其他CD版本所列的更详细的录音时间。而正因为Pearl的版本在91年出版之后风靡一时，近10年间，几乎没有别的公司再版， 因此到目前为止还是不少资料说Backhaus的这个是1927年时候的录音，估计也就是参考了Pearl的资料所致。 到2000年之后，另外一些小型公司开始再度出版此重要录音，中断了Pearl的“垄断”， 当中包括了因未获授权而出版大量历史录音的The Piano Library公司(已关闭)，以及当时初涉古典音乐界的韩国公司MonoPoly， 这两个版本都是当时比较重要的版本之一。 不太为人所知的是，在此之前，其实还有一个更加权威而值得珍藏的出版：1998年来自日本的东芝EMI(EMI-Toshiba)和新星堂(Shinseido)合作并限量1000套发行的12 CD 《The Legendary of Wilhelm Backhaus》。EMI-Toshiba所写的录音时间，就是1928年1月，6月和7月。这是自1928年以来，首次(也是至今唯一一次)以母公司名义发行的CD版本，除了肖邦练习曲收录在内，并有不少其他录音首次CD化，可惜没有海外发行也没有广泛流传， 估计大部分成为了日本本土收藏者的挚爱，外地人只能望洋兴叹，不过这也是日本人对再版历史录音的一贯作风：肥水不流外人田。 

       Backhaus被誉为键盘上的狮王，他刚劲浑厚的风格同样被运用在肖邦练习曲上， 凌厉的速度，稳健的节奏，扎实的技巧已经让你佩服不已，从Op.10 No.1开始， Backhaus就能把你的注意力吸引过来。我并不认为这是完美无瑕的一曲，你会听到他碰到旁边的键，但你更能听到左右手均衡的力度，以勾勒低音部分的旋律线， 这比很多毫无技术瑕疵的录音更具音乐感。对手指独立性要求极高的Op.10 No.2，Op.25 No.6，在Backhaus手上，毫无难度，然而其不可思议的演奏速度却没有让你感到丝毫的炫技感，很自然的速度感觉，实际上却只用了比一般人少的时间演奏完毕。 Op.10 No.3我觉得倒是好坏参，或者是因为听得太多煽情的版本了。   No.11也是如此， 比No.3更硬朗， 以至让人觉得忽略了音色和节奏的变化效果。 然而在Op.25的演绎中，他合理地分配出如歌的段落，精致的乐句以及华丽的旋律， 行云流水般的演绎， 把我一直带到最后的c小调《大海》练习曲而终结。 略为一提， Bakhaus在某些练习曲的结尾略加了一些装饰音， 令前后曲更有衔接感，当然有人会不以为然认为是画蛇添足， 然则我倒觉得更有一份亲切感， 难道这不像是一个朋友在为你私人演奏般的随意么？

      Backhaus的这套录音没有让我失望（就如他大部分录音一样）， 或者让你失望的或者只能是狮王般的作风有时让某些趣味的旋律显得生硬， 然而这又是什么很至关重要问题么？ 即使是神， 谁说不可以有瑕疵？过于完美，难道不会多了一分冷峻么？

2009年2月19日 

Recording Company: Philips

Catalogue Number： 456 760-2

Recording Date：1962

        Chopin once wrote in a letter: "......at this moment Liszt is playing my studies.....I should like to rob him of his way he plays my Etudes." Whenever I see this, I feel like it is an Angel worshipping the God, while Chopin is the Holy Angel and Liszt is the Supreme God. It is a pity as we are eager but unable to know how Liszt actually performed these Etudes and gained admiration from Chopin. While luckily, there is one complete recording of the Chopin Etudes might  highly represent Liszt's style of Freeness, Brilliance and Transcendental Virtuosity, this is by the great Cziffra.  Whoever listened to Cziffra's performance of Liszt's piano works and his own transcriptions of extreme difficulties, his amazing speed and accuracy are unable to achieve for most of the pianists. Remember when I fell in love with the Etudes, there were some Chopin Etudes albums released by the Philips Great Pianists of the 20th Century series. I bought the Cortot and Cziffra album at the same time and Cziffra's complete Chopin Etudes were the first time on CD, which made it a valuable material.  Couple years ago, EMI reissued this legendary Etudes in its 5CD Cziffra's Chopin recordings, and was in a worth-to-buy budget box-set. I was familiar with Cziffra's breathtaking performance, but I never expected he will do the same thing to Chopin Etudes.  I was completely shocked since what I heard was Liszt itself playing the Chopin Etudes. I heard ultra fast live recording of Op.10 No.1, but never like Cziffra's level of freely controlled speed and rhythm. So as the Op.10 No.4, No.8, Op.25 No.6, No.8, where difficulties and complexities are meaningless to Cziffra. Op.10 No.12, Op.25 No.11 and No.12 brings out the raging "Revolution", the sweeping "Winter Wind" and the immense "Ocean". Those pieces he played less wild including Op.10 No.7, No.9, Op.25 No.2, No.4, No.5, No.9, I thought he will play the Op.25 No.10 crazily like how he played octaves in other pieces, but suprisingly he didn't. The rest are either too calm, like Op.10 No.2, or too furious, like Op.10 No.5 and Op.25 No.1, and turn out to be less musical.  Personally speaking, Cziffra's rendering of the Chopin Etudes album is one of top picks, seldom see other sets with the same level of bravura and individulity,  Julien von Karolyi's set has some similarities, but an extremely hard to find album. Although his style is not favorred by everyone, yet as Donald Manildi said: "No one unfamiliar with this version should forego the chance to experience its impact at least once."

Aug. 7th, 2007 

唱片中的肖邦练习曲

主笔：神秘客人

(007) Georges(György) Cziffra/乔治·齐夫拉（或：齐夫劳）

唱片公司：Philips

唱片编号：456 760-2 

录音时间：1962年

        肖邦曾经在他的信件上写过：“......此刻李斯特正在演奏我的练习曲时候......我真想偷取他的方法去演奏它们。”每每看到这句话， 都让我感觉是一个天使对神的无比崇敬，肖邦是那个圣洁的天使， 李斯特是那个令人畏惧的神。我们渴望了解但却无从得知到底李斯特如何去演奏这些练习曲而让肖邦都如此拜服， 这是令人遗憾的。 而庆幸的是， 有一套或许是最类似于李斯特般潇洒，华丽，炫技，随意风格演奏的肖邦练习曲录音， 这是来自著名的炫技大师Cziffra的演绎。Cziffra的技术不用多说了， 只要听过他的Liszt以及他自己的改编作品录音都知道， 近乎变态的速度和准确性， 是大部分钢琴家甚至一生都难以达到的境界。当年开始钟情于肖邦练习曲， 正值遇到Philips公司的20世纪伟大钢琴家系列的出版中有肖邦练习曲， 于是一次买下了Cortot和Cziffra的专辑。 Cziffra的全集版本是首次以CD形势发行， 当年来说是十分宝贵的录音资料， 几年前EMI以廉价发行5CD的Cziffra肖邦录音， 再度收录了这套传奇式的肖邦练习曲， 值得购买。 虽然听过Cziffra那种充满张力扣人心弦的演奏， 但实话说， 并未预计到Cziffra的疯狂演奏会蔓延到肖邦练习曲上。只需短短的几个小节就已经让我震撼无比， 我听到的是李斯特在演绎肖邦练习曲。 Op.10 No.1我听过奇快无比的现场录音， 但如Cziffra那样不但快还可以自由随意控制速度和节奏的， 我是第一次听到， 比那些只顾速度的演奏有意思得多。又如Op.10 No.4，No.8，Op.25 No.6，No.8，高难度的技巧在Cziffra手上如玩泥沙般轻而易举完成。 而Op.10 No.12，Op.25 No.11和 No.12则有着排山倒海的磅礴气势， “革命”，“冬风”，“大海”就如真实呈现眼前。其他一些演奏相对理性有Op.10 No.7，No.9，Op.25 No.2，No.4，No.5，No.9，但像Op.25 No.10这首8度练习曲本来预计会像他一贯弹8度那么疯狂， 但他却弹得较为理性，并不像他的一贯作风。剩下一些要么弹得不温不火如Op.10 No.2， 要么太过火了，Op.10 No.5,  Op.25 No.1等， 反倒令这些练习曲失色不少。 我觉得，Cziffra的这套肖邦练习曲是值得收藏的肖练全集之一， 像他那样火爆又有个性的演绎者并不多， 倒是Julien von Karolyi的版本有点类似， 但却不是那么容易觅得。 虽然并不是谁都会喜欢他的演绎方式， 但就如Donald Manildi（马里兰大学国际钢琴档案馆馆长）说：谁没接触过这套录音的都应至少体验一次个中的震撼。 

2007年8月7日

2007年8月6日

(005) Alfred Cortot/阿尔弗雷德·柯尔托

唱片公司：EMI

唱片编号： CZS 7 67359 2 A

录音时间：1933-34年(第1次录音), 1942年(第2次录音) 

        在有传世录音的大钢琴家之中，Cortot是响当当的人物，而且是作为肖邦作品的权威演绎者， 其肖邦作品的录音更是举足轻重， 而他老师之一Decombes虽不能说是肖邦的学生但至少可以肯定的是，他曾跟肖邦有过一定的接触并听过肖邦的讲课和演绎。对肖邦作品稍微熟悉并且对钢琴家稍微有认识的人来说， Cortot的名字是绝不应该陌生的。 除了以肖邦作品最为人熟悉之外，Debussy和Schumann作品录音都是他的专长，当然也少不了他和，Thibaud，Casals组成的三重奏团。Cortot的崇高地位不但来自他对钢琴作品优秀的诠释， 还包括了他在钢琴教育方面的突出贡献。他的学生中已成为大师级人物并不少，如已故的Samson Francois, Dino Ciani, Yvonne Lefebure, Dinu Lipatti, Solomon, Gina Bachauer, Clara Haskil, Vlado Perlemuter, Marcelle Meyer, Youra Guller等，而在世的著名钢琴家中还有Idil Biret, Halina Czerny-Stefanska, Ruth Slenczynska, Eric Heidsieck。可以说， Cortot把他在钢琴演奏方面的技巧和灵气都流传后世了， 但一个如此的大钢琴家， 其录音倒并不是完美无瑕的， 最惹人非议的就是他录音中的不少错音，  而不少时候更是发生在不应该错的地方， 以至让不少人对其演奏技术的怀疑。当然， Cortot中年开始就有记忆力衰退的现象， 这也是导致他演奏出错的一个重要原因。

       EMI出的这套碟，虽然未能尽收Cortot的肖邦录音， 但基本上他当年给HMV录的绝大部分肖邦录音都已经收录进来了，而且尤其是第2套肖邦练习曲，更是没有别的公司发行过CD（除了日本新星堂发行过一次），所以要收藏Cortot的第2套肖邦练习曲录音， 只能通过EMI这套CD了。Cortot的第一套肖练录音撇除他的错音外， 其独特的处理散发着老一辈大师的特点， 纵然录音历史悠久但其充满灵气的演绎依然未被单声道的噪音掩盖， 优秀的控制能力也在部分录音里面体现出来。 虽然已经多年没有详细再听这套录音， 但个中细节依然记忆犹新。 当然了，一些出错的地方也是记忆犹新。 记得当年接触古典音乐并未很深，在欣赏这套录音时候发现一个几乎要弹断的错误（Op.25 No.11东风的一段）， 当时还想“怎么会这样的弹呢？”， 某好友当年还说这不能说是大师弹错， 只能说是个性的演奏。 当年一点不觉有任何问题， 毕竟当时还年轻， 现在想起来倒是挺好笑的， 但倒是想起一些对Cortot的极端崇拜的人的言论：Cortot错漏百出的音乐也比自己弹对的好。 这到底只是对Cortot的演奏艺术的高度评价呢还是也包含着过度的盲目崇拜呢？ 当然Cortot的艺术成就不容置疑， 他的肖练也只是他众多优秀录音中的一部分， 有兴趣的可以欣赏他另外的录音。

      Cortot的这两套肖邦练习曲， 其实只有第一套才真正为人称道， 也正是如此，只有这一次录音才被多次再版，据说日本EMI的某个再版效果是最好的，但我是没有听到过。如果我记忆没有错的话，Cortot的30年代肖邦练习曲版本应该是我第3套收藏的肖练（第2套应该是盗版的Browning）， 并不是EMI这套， 而是当年风靡一时的Philips公司出的20世纪伟大钢琴家系列中的一张。虽说这套20世纪伟大钢琴家录音系列最终贬多于褒， 但在当年刚出版的时候， 确实引起了极大的关注， 尤其是当年仍是入门的小乐迷来说， 已经是难得音乐资料了， 而另外一套重要的肖练， 我也是得益于此套20世纪， 此乃后话。

2007年7月25日

Written by: Klavier (Yuan Huang)

(004) Raul Koczalski

Recording Company：Selene Records

Catalogue Number： 9802.38(Op.10) & 9804.40(Op.25) 

Recording Date：1938

Recording Company：Biddulph

Catalogue Number： LHW 022 

Recording Date：1938/39

        I would believe no one will deny the authority of Chopin's pupils playing his own works, but none of them left a single recording for us. For the famous figures with recordings, usually consider maestro Cortot's interpretation(of Chopin compositions) as the best example.  No just because his charm in music and may also because his teacher Decombes used to recieve lessons from Chopin. I read some references, some say Decombes was one of Chopin's students, but others say he only got some guidance from Chopin and had listened to his classes, thus could not be counted as his student. Despite whether or not is Decombes a student of Chopin, Mikuli is no wonder the one, and with the biggest success. This album's performer, the polish pianist Raul Koczalski(or Raoul Koczalski), a student of Mikuli, could be said with high authority on Chopin's compositions.

        Nowaday, Koczalski is almost forgotten by us, although some of the small companies had reissued selection of Koczalski's recordings, like Pearl, Dante, Biddulph, Archiphon, but mostly out of print. A Polish company called Selene Records has been making books and recordings for Polish Musicians, and Koczalski's music and biography is one of their legacy. Seven CDs are already released(with the eighth in preparation), containing Koczalski's own performance and also contemporary Polish pianist playing Koczalski's own compositions(which are world premier recordings). These are the most treasureable and complete archives of Koczalski so far. However, Selene Records is not well distributed in the international market, except direct ordering from Poland Selene Company, it's almost impossible to get it elsewhere. The complete Chopin Etudes are included in the second and third volume of the Koczalski Series. In Volume Two, besides the Op.10 and the Trois Nouvelle Etudes, it also contains some Koczalski's piano pieces played by Tatarski(Polish). Volume Three with Op.25 and 4 Etudes from Op.10(different to the Volume Two recordings), also comes with Tatarski's performance of other pieces composed by Koczalski.

        This set of Chopin Etudes, according to Selene CD's insert booklet, is digitally transfered from a record for Grammophone co. officially released in 1938. However, according to Biddulph CD's booklet, it indicates 1938/39. Donald Manildi's 1999 Chopin Etudes Discography was referring to the Biddulph information. This is the Fourth complete Chopin Etudes recording in the history, Koczalski didnt show virtuosity in any way, while like other old maestroes at that time, gave quite a bit wrong notes. Overall speaking, they are not remarkable but some selections does show a sign as a Maestro. Technically, he can certainly manage those pieces like Op.10 No.1, No.2, No.4, Op.25 No.6, although they are not perfect and sometimes seems unbalanced or careless. Op.10 No.5, No.12, Op.25 No.3 are the better ones, strange in the tempo and even sometimes like Cziffra, and I especially like such rubato as in Op.10 No.8. Op.10 No.10 is relatively slow but is not dull at all. Op.25's interpretation quality varies, some like No.3 and No.5 are beautiful, and for the No.6 Double Third Etude shows Koczalski's great finger movements and his rubato made this popular etude more interesting. Some other pieces, like Op.25 No.1, No.4, are just uncomfortable, too solid rather than lyrical. Op.25 No.9, Butterfly Etude, is good for the first half but a little bi too rude in later half. Op.25 No.10 is ugly, maybe due to his slower tempo and the staccato  makes the piece no fluency at all. Op.25 No.11, Winterwind Etude can only be said as technically qualified, but I cant accept such style with no vigour and the left hand sounds too cutie. The Op.25 No.12 didnt manage to conclude the complete set.

      As a collector of Chopin Etudes, I would prefer to buy Biddulph's version because they made the complete set onto one disc and thus save my money, while Selene Record  put them on two separate albums. However, compare with the remastering quality, the Selene version with further noice reduction than Biddulph even though the Biddulph version is remastered by Ward Marston. Selene may have better quality of original record or they probably sacrificed more details of the source. Selene version takes advantages in introducing some of the music by Koczalski, the Op.49 Valse,Fantastique is very beautiful indeed.  

Feb. 18th, 2007

唱片中的肖邦练习曲

主笔：神秘客人

(004) Raul Koczalski/劳尔·柯察尔斯基（译名不确定）

唱片公司：Selene Records

唱片编号： 9802.38(Op.10) & 9804.40(Op.25) 

录音时间：1938年

唱片公司：Biddulph

唱片编号： LHW 022 

录音时间：1938/39年

        估计没有人会去否定肖邦传人所演奏的肖邦作品的权威性，  可惜肖邦的学生当中没有一人能为后人留下录音。而我们熟悉的有录音传世演奏家当中， 一般都视著名大师Cortot（柯尔托）的演绎为肖邦作品的代表演奏， 除了Cortot自身演奏的魅力之外，另外一个原因也是由于他的老师之一Decombes曾接受过肖邦本人的指导。 看过一些资料， 有的说Decombes是肖邦的学生之一， 但有其他资料则说他只是接受过肖邦的一些指点， 以及听过肖邦上课， 不算肖邦学生之一。 姑且不说Decombes是否肖邦嫡传弟子， 但说Mikuli是肖邦嫡传弟子就是勿庸置疑的事实了， 也是肖邦弟子之中最著名最有成绩的一个。而这次要介绍的肖邦练习曲录音的演奏者， 波兰的钢琴家Raul Koczalski， 则是Mikuli的学生之一， 也就是肖邦的真正的徒孙之一。

        今天， Koczalski这个名字已经被人们淡忘了， 虽然不断有小公司零星地再版Koczalski的一些录音，像Pearl, Dante, Biddulph, Archiphon, 但目前基本都已经近乎绝迹。来自波兰的唱片公司Selene Records一直致力以唱片和传记等形式推广波兰作曲家/演奏家， 而Koczalski的音乐和传记也是他们重头戏之一， 并已经推出了7张CD， 不但有收录Koczalski个人的录音， 同时还收录由当代波兰钢琴家演奏Koczalski创作的一些钢琴曲（属于世界首次录音）， 属于已经面世的最统一的Koczalski档案， 而第8辑也正在筹备中。 然而Selene Records并没有广泛流传， 目前除了直接跟波兰Selene公司总部直接定购录音之外， 其他地方基本已经不能定购得到。  在再版的历史录音质量上， Selene是有口碑的， 但是在录音的详细资料上就没有做足， 录音时间地点都写得比较含糊。 24首肖邦练习曲， 被收录于Koczalski的第2辑和第3辑之中。  第2辑收录了Koczalski演奏的Op.10的12首练习曲以及Op.posth的3首新练习曲之外， 还有由钢琴家Tatarski演奏的数首Koczalski的作品。 第3辑收录了Koczalski演奏的Op.25的12首练习曲， 4首Op.10练习曲（不同于第2辑的Op.10录音）， 也一样收录了Tatarski演奏数首Koczalski的作品。

       这套肖邦练习曲， 在Selene的CD介绍上说是母盘来自1938年由Grammophone公司出版的唱片，不过Biddulph的CD册子则说是1938/39年间。Donald Manildi于1999年发表的肖邦练习曲唱片目录中以Biddulph的时间为参考。 这是历史上第4套肖练全集录音，Koczalski的演绎没有炫技的成分， 相反， 就如很多老一辈的大师一样， 演奏是不乏错音的， 整体来说不是说很岀彩， 但部分的录音显示岀Koczalski的演奏有着大师的典范的。 技术上他是可以胜任的难度高的如Op.10 No.1, No.2, No.4, Op.25 No.6, 这些尽管不是完美的演绎， 演奏时有不均匀的现象， 时而漫不经心的样子。而像Op.10 No.5, Op.10 No.12, Op.25 No.3则属于他比较精彩的演绎， 速度上的处理有点怪， 甚至有些如Cziffra那般的神经质演绎， 速度变化多， 尤其喜欢Op.10 No.8的那种很自然的Rubato。Op.10 No.10速度相对慢了， 但听起来倒不显得闷。 Op.25演奏质量相对参差比较大， 有的很美如Op.25 No.3， No.5， 还有像Op.25 No.6双三度练习曲， 听得岀Koczalski的手指功夫挺有一手的， 而且我就挺喜欢他那样的速度变化， 让这首被经常演奏的练习曲多了点趣味。而其他一些， 如Op.25 No.1,  No.4就比较恶心了， 感觉很不舒服，本来诗情画意的音乐突然就硬邦邦了。Op.25 No.9的蝴蝶练习曲前半部分感觉还是很有趣味性很可爱的演绎， 但后面则稍嫌粗鲁了一些。 Op.25 No.10八度练习曲则是比较难听的， 可能弹得太慢了， 而且音不够连， 听上去像慢慢一个个八度敲出来的。 Op.25 No.11冬风练习曲的技术性是能应付的， 不过那样的处理方式我就受不了， 弹的不够大器， 左手有点故作可爱的样子。 Op.25 No.12则不能带动全套练习曲的高潮， 就像只是一个形式的结束。 

      作为肖练收集者来说， 我更宁愿购买Biddulph的唱片， 因为Biddulph没有加插其他的录音， 而只用1张CD就收录了所有练习曲的，和Selene公司的两张CD比较起来，自然就省钱一些。然而Selene公司的制作在降噪方面做得比Biddulph更多， 尽管负责Biddulph这个版本的制作者是Ward Marston。 或者Selene有质量更好的母盘又或者他们牺牲了更多一些原录音的细节部分。 Selene版本在介绍Koczalski的作品方面有更大的优势， 而其中Op.49的一首叫幻想圆舞曲的则是非常优美动听的。

2005年12月30日
更新：2007年2日18日

Written by: Klavier (Yuan Huang)

(003) Andrei Gavrilov

Recording Company：Seraphim Classics(EMI/Angel Record)

Catalogue Number： 7243 5 74502 2 5

Recording Date：1985-87

        Chopin Etudes have always been a challange to pianists. For those virtuosos made in USSR/Russia, the Chopin Etudes would be one of the perfect touchstone.  The Maestro Gavrilov is amoung the top ones of them.

        Gavrilov recieved piano lessons early from his mother, who was a student under the great Neuhaus, and thus Gavrilov has been recieving professional training since young. His superb technique was already well-known while he enterred the Moscow Conservatory and it was no wonder when he won the Tchaikovsky International Piano Competition at his 19. The same year, he got a chance to appear(replace for the sick S.Richter) in a music fastival in Salzburg with huge success. As one of the best in the world, he soon gain his international recognition.  With support by EMI(1976-90) and his unbelievable technique gathered lots of fans and later with more recordings under DG label. His vast repertoire includes Handel, Bach, Beethoven, Mozart, Chopin, Liszt, Schumann, Schubert, Brahms, Ravel, Rachmaninoff, Tchaikovsky, Balakirev, Prokofiev. Lots of his great recordings are already out-of-print now, except some reissues. However amoung those recording I have listened to, not many of them are impressive, some are just so so, like the Rach3(with Muti, However I never heard his earlier and better recording of the Rach3 with Lazarev) and the Tchai-1. Other recordings including the Ravel's Gaspard de la Nuit, Prokofiev's Suggestion Diabolique, Liszt's la Campanella, Balakirev's Islamey are all his specialties.

        For this Chopin Etudes, honestly, I am not quite interested. Not because I listened to too many versions, but actually when I first bought this album, I didnt even own too many complete Chopin Etudes recordings. His technique is for sure tremendeous, this can be noticed in the very first etude. HIs sweeping and energetic performance makes the Chopin Etudes no difficualties at all. Besides Op.10 No.1, Op.10 No.2, No.4, No.8, No.10, No.12, Op.25 No.6, No.10, No.11, No.12 are all open-mouthed offers. To most of the people, this kind of virtuosity is unimagineable, but this set of the Chopin Etudes never touch my heart. Many of my friends love this set, but I dont find it particularly remarkable(besides the technique). Perhaps I think his performance is too solid, even I can tell Gavrilov is fully equipped for the etudes but I still dont hear where the music speaks. For example, the Op.10 No.2 chromatic etude, he finished this one of the most difficult etudes as a piece of cake but lack of individualities. People played this etude like Cziffra are also fast but with strong character and my friend Siheng Song also played this like a dream. The Winter Wind etude(Op.25 No.11)is perfect, but I still prefer Francois and Serkin's versions with more variety and imagination which Gavrilov didnt have. I am not sure if my criticism is fair, maybe i am just too envy with his technique, after all this complete set of Chopin Etudes still gets many praises.

       Overall speaking, I dont really like this set much. I seldom listen to this set but rather some other less powerful etudes. I would not deny this is a brilliant and excellent survey of the complete Chopin Etudes and would love to introduce this to music lovers but only after I have declared my point of view. Seraphim(EMI/Angel) was an earlier bargain price reissue but the insert booklet is lack of information. EMI reissued this set again on 2005 and 2006 on their bargain series, if you are interested, then it is worthy to take it back.  Recording year is not indicated in any CD versions I knew. What I wrote 1985-1987 as the recording year is referred to Donald Manildi's(Curator of The International Piano Archives at Maryland) Chopin Etudes Discography in the article 《Chopin's Etudes on record》for the International Piano Quarterly.

Feb. 12th, 2007

唱片中的肖邦练习曲

主笔：神秘客人

(003) Andrei Gavrilov/安德烈·加夫里洛夫

唱片公司：Seraphim Classics(EMI/Angel Record)

唱片编号： 7243 5 74502 2 5

录音时间：1985-87年

        肖练一直是考验钢琴家演奏技术的一个挑战， 以精准高超演奏技术著称的前苏联/俄罗斯钢琴家们，又怎么不会接受这个考验呢？ 钢琴大师Gavrilov（加夫里洛夫）就是当中的佼佼者。

        Gavrilov的童年时代就接受了钢琴的教育， 母亲师从著名的钢琴家Neuhaus（涅高兹）， 因此Gavrilov自小就获得优秀的培训， 并进入莫斯科音乐学院， 其技术是众所周之的高超， 年谨19岁的他， 当然技压群雄获得了柴可夫斯基钢琴比赛的冠军也是让人心服口服的， 同年， 更机缘巧合在Salzburg的一个音乐节临时代替了生病的Richter演出， 获得了极大的成功。 作为一度的天之骄子，世界性的演出使他更快地得到人们的认识和认可， 加上他得到了EMI公司的青睐（76－90年）， 以其早年以其像疯子般的技术征服了很多乐迷， 后来加盟了DG， 又发行了不少录音。 由于演奏技术了得， 他的保留曲目范围十分广，  Handel, Bach， Beethoven， Mozart， Chopin， Liszt， Schumann， Schubert，  Brahms， Ravel， Rachmaninoff, Tchaikovsky， Balakirev， Prokofiev， 这些作曲家的作品他都是录音过的。 然而， 很多录音现在已经比较难找到， 除了部分还能买到以及一些录音再版之外， 有不少就难以找到了。在我听过的他的少量录音里面， 震撼的居然不多， 有些录音竟然没什么特别， 例如拉三和柴一。 另外一些录音， 则是他的杰作之一， 例如Ravel的Gaspard de la Nuit， Prokofiev的Suggestion Diabolique， Liszt的la Campanella， Balakirev的Islamey， 都是他被受赞赏的经典。

       说回这个肖邦练习曲， 说实在的， 我并不对其特别感冒， 不是因为听得多录音而麻木了， 相反， 我买这个录音的时候， 肖练收集得还不是特别多。其实， 这套录音的技术是很顶尖的版本了， 这个从第一首练习曲开始就能听得出来。 技巧的凌厉度， 曲子的流畅性， 实在是无话可说的， 艰难的部分都听不出来了， 除了Op.10 No.1之外， 还有Op.10 No.2, No.4, No.8, No.10, No.12, Op.25 No.6, No.10, No.11, No.12， 都是有些让人听得目瞪口呆的录音。 估计， 这样的技术， 对于大部分人来说， 可能一辈子都做不到。 不过面对这套录音， 我却没有什么特别的心灵上的感动。 虽然身边不少朋友说很喜欢这个版本， 不过， 经过我多次反复听， 都是一样， 始终觉得里面少了点令我感动的元素。 可能识我 觉得他技术太硬朗了， 以致弹出来练声音都很棱角， 虽然从各方面听来， 都表明Gavrilov的控制力确实很好， 但总是听不出他把感情用在哪里了， 例如第2首半音阶练习曲吧， 很洒脱， 很轻松地就拿下了这首顶级难度系数的练习曲，不过个性上真的很缺乏，弹得快的人像Cziffra也很快，不过个性就强得多，友人宋思衡弹这首更是精彩绝伦。 冬风练习曲(Op.25 No.11)吧， 弹得挺完美的， 快而精准， 快刀斩乱麻。 不过我始终还是喜欢Francois， 还有Serkin弹的冬风， 那种气势， 不是说Gavrilov做不到， 不过在这里确实体现不出来。 不知道这样的评价是否对这套录音有些不公平， 或者只是我有点嫉妒居然有如此技术的人而鸡蛋里挑骨头吧， 毕竟有不少人是对这个录音赞誉很高的。

       总的来说， 这套录音我是不怎么感兴趣的， 宁可听一些技术不那么疯的版本， 也很少听这个， 不过从客观的角度来说， 我不会否认这可能是优秀的版本， 也不会说不推荐给乐迷， 但至少我推荐之前一定会阐明我的看法 。Seraphim(EMI/Angel)这个版本是早期的廉价系列， 不过CD小册子的内容就十分有限。EMI在2005和2006年都再版过这个录音， 收录在他们的廉价系列里面， 有兴趣的朋友可以考虑一下， 廉价系列而已， 不妨买来听听：） 录音年份并没有在握所知道的任何CD版本中列明，我所列注释的录音年份1985-1987， 是参考美国马里兰大学国际钢琴档案馆(International Piano Archives at Maryland)馆长Donald Manildi先生于1999年为《国际钢琴季刊》(International Piano Quartery)撰写的《Chopin's Etudes on record》文中的录音目录资料。

2005年12月2日
更新: 2007年2月12日

Written by: Klavier (Yuan Huang)

(002) Giorgia Tomassi

Recording Company：EMI Classics (Italy)

Catalogue Number： 7243 5 72779 2 1

Recording Date：1997

        Just finished an version by the famous Italian pianist Pollini, here comes another version by an Italian pianist. This version is made with in this 10 years, but never got better circulation. The pianist is not familiar to most of the people, however it deserves to be introduce here as the second article.

        This recording was released on 1997 under EMI Italy as one of EMI's Debut Series. The pianist is the less known Giorgia Tomassi, I dont even have much information of her and this is the only recording I have by her. Should be pointed out that Tomassi won the first prize in 1992 Artur Rubinstein Internation Piano Competition. The most exciting point of this CD is, besides a high quality performance of the 24 Etudes it also contains both sets of Brahms' Variations on Theme by Paganini. Total playing time exceeds 76min, almost reach the limit of the total recording time of a CD, which I think it is the best due of a complete Chopin etudes recording.

        Tomassi did a great job on this Debut recording, although sometimes seems not powerful enough, but most of the time, she kicks asses of many of her colleagues or even senior masters. I actually quite enjoy this performance, fully controls the tempo and rythm, spontaneously and sometimes interesting. Technically, she is on a very high level, those difficult pieces like Op.10-1, 2, 4, 5, 8, 10, Op.25-6, 10, 11 are brilliant. Op.10-1 is fast, accurate but no lack of color, Op.10-4 is not such as Richter's, but not at all slow or dull. Op.10-8 is quite flowing, although overall speaking is good, but sounds a little bit solid and didnt bring out the best of this piece.  Op.10-2, 5 and Op.25-6 are very good but sometimes too much rubato, same in Op.10-12 and Op.25-12 and the Op.25-12 is lack of power to finish the whole set, which should be heard in this so call "Ocean" etude. Especially following the Op.25-11"Winterwind", makes me feel sleepy with such an performance. This mostly disappointed me in the whole album. Overall speaking, this album is worth listening with high satisfaction.

        This version is hard to find and not very popular, but it deserves higher frame for such a great performance. I would suggest anyone who loves Chopin Etudes, whenever you see this version(within acceptable and affordable price), you should consider to own a copy.

Jan. 29th, 2007

唱片中的肖邦练习曲

主笔：神秘客人

(002) Giorgia Tomassi/乔治娅·汤马西

唱片公司：EMI Classics (Italy)

唱片编号： 7243 5 72779 2 1

录音时间：1997年

        刚写了意大利钢琴大师Pollini的版本之后， 又写另外一个由意大利钢琴家录制的版本， 这个版本虽然是近10年内的录音， 但却流传不广， 而演奏者也几乎没有人认识， 但之所以第2篇介绍这个， 那当然是有它特别之处了。

        此录音是1997年有意大利EMI唱片发行的一张Debut系列。演奏者是大部分朋友都感觉陌生的乔治亚·汤马西（Giorgia Tomassi）， 我个人对她也是了解不多， 手头的这盘CD也是我听过她的唯一一张唱片， 值得了解的是1992年Tomassi获得过Artur Rubinstein钢琴比赛的第一名（注：同一届里， 华裔钢琴家陈瑞斌获得第4）。该CD最让人喜欢的是其十足的分量， 或者可说是我见过最划算的肖练录音了， 不但以相当快的速度和优秀的演奏质量收录了24首肖邦练习曲， 居然还把剩下的时间录上了全套两册布拉姆斯（Brahms）的帕格尼尼主题变奏曲（Variations on Theme by Paganin）。总共播放时间达到76分多钟。几乎达到了一张CD的极限时间了。  

        Tomassi的这个录音可以说十分出彩， 虽然力度上偶有不足，但整体上却是比很多同辈甚至前辈的录音都要好得多， 而且弹得相对适合我的口味， 速度节奏都把握得很不错， 而且一气呵成，张弛有度， 丝毫不死板， 不时能听到有特点有趣味的演绎。 技术方面我觉得是相当优秀的，几首难度高的练习曲如：Op.10-1, 2, 4, 5, 8, 10, Op.25-6, 10, 11都让我感到很干净利落。 其中Op.10-1速度很快， 而且高度精准， 触键均匀， 表现出色的控制力， 令我喜爱万分。Op.10-4也是难得精彩的演绎， 虽然不能跟Richter那样的神乎其技的演绎相提并论， 但却丝毫不拖拉， 紧张度掌握适当， 可谓扣人心弦的演奏。 Op.10-8流畅自如， 虽然全首曲子很令我欣赏， 但在音色上显得有点刚硬， 细腻之处并未完全体现。 Op.10-2, 5和Op.25-6这几首则稍嫌过分Rubato了， 同样的问题在Op.10-12“革命”和Op.25-12“大海”也有。 而Op.25-12， 作为全套练习曲的结束， 一首本应有着大海般磅礴的气势的练习曲， 如今没有了那种感觉， 尤其是跟在精彩的Op.25-11“冬风练习曲“之后，更觉得有懒洋洋的感觉，这个是我认为最让我失望的地方。然而从整体来说， 这套肖练和全套帕格尼尼变奏曲都是非常值得一听的录音。

        这个版本的录音相对来说较难获得， 流传并不广泛， 但以其优秀的演奏质量， 更应该得到它应该有的声誉的，多流传这样的精彩演出， 总比多发行几套庸俗的录音要有价值得多。 因此， 我建议，无论是哪个朋友， 只要你对肖邦练习曲十分钟爱的话， 任何时候看到哪里有卖这个版本 的话， 都应该考虑把它买下来（当然前提是经济能负担得起，而且价格方面要合理，我从不赞成不惜本前去买一张cd的:P）

2005 年9月10日
更新：2007年1月29日

Chopin Etudes Recordings

Written by: Klavier (Yuan Huang)

(001)  Maurizio Pollini

Recording Company：Duetsche Grammophon (DG)

Catalogue Number： 413 794-2

Recording Date：1972

        Picking Pollini's verison as the first article of the Chopin Etudes(CEs) Recordings series, mostly because it was the first CEs recording I owned (My dad bought this for me). Further more, among many different versions of the complete CEs, I think Pollini's version should be creditted  as the easiest to be obtained and  the mostly circulated with high speed and high accuration. For a relatively long period, many people also consider it to be the standard version for teaching the CEs.

        There are many music lovers critizise that Pollini's version is robotically performed with extreme accuracy but lack of emotions. I dont quite agree with this, maybe it gave my a very good first impression. Honestly peaking, I do think this version maintains a hight balanced level no matter in recording quality, speed of performance, accuracy or tonally speaking. I would not deny that there are recordings which are here or there better than his version but overall balanced performances are not a lot. Pollini's cleaness and purity is favored by some people but is also hated by others. I, stands between them, love it and hate it.

        Actually, among the most popular and easy-to-obtain versions, only couple of them are without technical difficualties. Pollini's version may be lack of emotion or imagination, but somehow I do understand why some people love this version. They just like this kind of neat style, although it seems cold sometimes, yet they still love it. I also know why there are people hate this version so much. As a world famous musician, he should at least deliver the music to us but not just the technique, which Pollini didnt manage to. From the older generation, like Cortot, Friedman, Lhevinne, Hofmann, Godowsky, they had their own incomparable charm(not just on Chopin Etudes). People will find Cortot's recordings are touching, although they contain lots of mistakes. I dont deny this, however I wont agree to compare such recordings with Pollini's. Pollini's performance is cold-hearted, the past masters are warm-hearted, but how can one say the first one is not a kind of beauty? Pollini's tempo is fast, but is not like over speed, it is no compare to Richter's Op.10 No.4 which drives everyone crazy. Richter, when he goes fast, it would be scary and I would neve think of any musical elements inside such performance of the etudes, yet tons of fans out there in the world. Past maestros had their elegance, Pollini has his own style, we have to admit this.

        Pollini's version is the not the best, but never the worst, I would say, he is above the average level among the available versions. Someone said, this version is a milestone in the history of the complete Chopin Etudes recordings. I think this is actually acceptable. Although there are great old recordings, however not many of them are technically satisfied and due to the limitation of the recording technolgy, most of these recordings contains noice problems. Pollini recorded this arround 1972, and from 1950-80, many pianist had made the complete set, such as: A.Anievas,  V.Ashkenazy(Two versions on 1959-60 and 1975), C.Arrau, P.Badura-Skoda, J.Browning, S.Cherkassky, D.Ciani, G.Cziffra, R.Duchable, Y.Egorov, S.Fiorentino, S.Francois, W.Haas, A.Harasiewicz, L.Kentner, T. Vasary, K.Leimar, N.Magaloff, M.Magin, A.Simon, R.Slenczynska(Two Vesions on 1957 and 1975-78), A.Sloodyanik and so on.  The common versions are Ashkenay, Francois, Magaloff, then the Arrau, Cherkassky, Cziffra and Browning. However, the later four versions are less popupar than the first three and Pollini's versions. Among the first three, Ashkenazy made tons for recordings for Decca, thus reissues of his recordings are quite understandable, however I believe his version of the Chopin Etudes is popular mainly because he recorded the complete piano work by Chopin. For Magaloff, he did the same thing for Philips. Francois also made a 10 CD set of major works by chopin for EMI. However, DG never had a complete set of the Chopin works(only T. Vasay used to have several LPs of major Chopin works, but not popular and the reissue of the Chopin Etudes on CD was not popular either), not untill recently it complete their first Chopin Complete Works recordings, but contributed by various artists. Pollini's version can stand alone in such situation and never get forgotten, isnt it a good proof to be an extraordinary version?? 

Jan. 29th, 2007 

唱片中的肖邦练习曲

主笔：神秘客人

(001)  Maurizio Pollini/毛里齐奥·波利尼

唱片公司：Duetsche Grammophon (DG)

唱片编号： 413 794-2 

录音时间：1972年

        选取Pollini的录音版本作为第一篇，主要因为这是我第一张肖邦练习曲的CD（我爸爸买给我的），此外，在众多肖邦练习曲录音中，最容易被接触到， 最广泛流传的，高速度高准确性的版本，我认为非Pollini莫属， 也因此被很多人奉为教学版本。

        Pollini的这个版本被不少乐迷批评为像机器般准确地演奏但却没有感情。我倒不以为然， 或许有点先入为主的感觉吧， 因为第一次听这个版本的时候印象特别的好。 说实在， 我觉得这个版本在整体的平均水准上有很高的平衡度， 录音质量， 演奏速度和准确度， 音色控制等很多方面都是很优秀的，我并不否认在某些方面或者某些曲目上有比他出色的录音（事实上也不乏其人）， 但能整体演奏效果比较均衡一致的就确实很少。干干净净，不含杂质的Pollini， 有人喜欢得不得了，有人也恨之入骨。我是属于两者之间， 又爱又恨

        实在地说， 在普遍能接触到的肖邦练习曲录音全集版本中， 能让人感到毫无技术困难，曲曲连贯流畅的， 可以说几乎没有。 或者Pollini的这个版本是稍欠点感情， 说得玄乎一些， 是缺了点灵气， 但我明白某些喜欢这样的版本的人的心态，他们就是喜欢这样的干净， 冷静甚至是一些冷傲的作风，是会敬畏的感觉的， 虽然不是和蔼亲切， 但还是让他们喜欢。 至于对其恨之入骨者， 我也十分理解， 作为一个著名的音乐家演奏家来说，诠释一个作品并将其带给听众， 最起码是能够贴切地传达音乐作品的思想感情， 而正是在这个问题上， 不少人认为Pollini没有做到。 老一辈的人中， 如Cortot，Friedman，Lhevinne，Hofmann， Godowsky这类人的演奏就有现在演奏家无可比拟的魅力（不是光指弹肖练）， 虽然Cortot录音上很多纰漏， 不过就是能感动很多人。 我并不怀疑这点， 不过我也不赞同以此比较Pollini的版本。Pollini的感觉是冷若冰清的话， 老一辈就正好相反，热情奔放的演奏总能触动灵魂，扣人心弦， 但谁说前者就不是一种特别的美？  Pollini的速度，是快， 不过不是夸张地快，比较起任何人听到都会兴奋的Richter的Op.10 No.4的狂热速度来说， 这不算什么了， Richter快起来，是吓人的， 有时我都会觉得， 如此之快， 其实已经在某程度上伤害了这些练习曲的美感， 但何尝没有一大堆支持者呢？老一辈的版本有他们的妙处，Pollini的有他的特点，这是必须承认的。

        Pollini的版本不是最好， 但绝不是差， 还是那句， 平均水准是挺高的！曾有人说过，这套录音的出现， 其实算是肖邦练习曲录音史上一个里程碑， 我认为此话不假， 老一辈的很多录音当中， 情感丰富的不少， 技术完美的不多， 而且录音技术限制， 杂音问题普遍存在。 以Pollini的录音年份1972年来说，  50年代中后期到80年代前， 很多钢琴家都录过肖练全集， 如：A.Anievas,  V.Ashkenazy（59-60年和75年各一套录音）, C.Arrau, P.Badura-Skoda, J.Browning, S.Cherkassky, D.Ciani, G.Cziffra, R.Duchable, Y.Egorov, S.Fiorentino, S.Francois, W.Haas, A.Harasiewicz, L.Kentner, T. Vasary, K.Leimar, N.Magaloff, M.Magin, A.Simon, R.Slenczynska（57年和1975-78年各一套录音）, A.Sloodynaik以及其他一些人。 但当中最容易找到的只有 Ashkenazy, Francois, Magaloff， 跟着的是Arrau, Cherkassky, Cziffra和Browning， 不过后者与前三者和Pollini相比，普及程度还是低得多。 前三者中， Ashkenazy是录音之王， 唱片再版得多发行得广自然不在话下， 不过我认为他的肖练版本容易找到更多是因为他在Decca公司录制了肖邦钢琴作品全集的缘故。无独有偶， Magaloff为Phillips公司录过肖邦钢琴独奏作品全集， 而Francois则为EMI公司录制过10张CD的肖邦主要作品， 而且各自都有再版过。反观Pollini的DG公司（虽然Vasary曾经发行过数张LP一套的肖邦作品录音，但没有得到广泛流传而肖练再版CD也不甚讨好），一直到前些年才出版了肖邦作品全集， 还是很多人构成的。Pollini在这么孤立的情况下突围而出，在发行到现在一直都不被人遗忘，正好证明他的版本有独到之处。

2005年8月15日
更新：2007年1月29日