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Perlemuter, Perlemuter Plays Chopin

Category:BBC - RE* (Click on this button to view other releases of BBC - RE* Albums.)
Label and catalogue number:BBC Records - REB 153
Format:Vinyl Albums
Country:UK UK flag
Genre:Music - Classical View all other tracks listed as Music - Classical.
Run-off codes:RE 153 1 - 1 BBC 1 2
RE 153 - 2 - 2 BBC 1 0
Item deleted?Yes
Distributed / printed byBBC
Page views:790 times since 20th May, 2017, global rank is 2465, rank in albums is 803.
My rating:*****
Guest rating:*****


Below is a list of tracks for this release.
Side & trackTrack and ArtistLength
A1 Nocturne in D flat, Op 27 no 24.40
A2Nocturne in G minor, Op 37 no 15.25
A3Nocturne in C sharp minor, Op posth.3.31
A4Nocturne in G minor, Op 15 no 34.39
A5Nocturne in E flat, Op 55 no 24.10
ETUDES - Etudes Op 25
B1 no 4 in A minor1.34
B2- no 5 in E minor3.17
B3- no 6 in G sharp minor2.08
Etudes Op 25
B4 no 7 in C sharp minor4.21
B5- no 9 in G flat1.03
Etudes Op 10
B6 no 10 in A flat2.17
B7- no 2 in A minor1.29
Etudes Op 10
B8 no 6 in E flat minor3.30
B9- no 9 in F minor2.09
Total length of media 44:13.

All release pictures

Below is all the cover (front, back, middle and inserts if applicable) and label pictures I have for this release.
Front cover
Front cover of REB 153
Back cover
Back cover of REB 153
Middle of cover
Middle of cover of REB 153
Label Label

My copies information

This section shows the information I have recorded for this release.
Cover conditionNear mint
Record conditionNear mint
BBC records label codeD
Number have1
What type of seller was usedNot recorded
Where can I buy this release?You may be able to purchase this release from the following websites (others are available!)


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My rating3
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Extra notes on cover, middle (gatefold sleeve) and any inserts

The performances on this record have been chosen from broadcasts given by Vlado Perlemuter over the last four or five years; and one would like to think that other records will follow, because Perlemuter's playing of Chopin, like Schnabel's playing of Schubert, is, at its best, incomparable.

Hoe is it, then, that he is less renowned than many of those whose performances of Chopin, once one has heard his own, are so much less satisfying? I think there may be two reasons. In the first place, an occasional lapse of memory, or a handful of wrong notes, either from nerves of through being too greatly moved - as happened in 1972 at Dartington Hall, where there was such prolonged applause as he came in to give his recital that when he sat down he left out the opening bar or two of Chopin's F major Ballade. Secondly, and more important, his style is very grand and simple, and hardly conforms at all to the favourite notions of Chopin playing. He puts line before detail, large patterns before small; there is nothing exquisite or fastidious of feminine. 'He has no soul', says the woman in the row behind; meaning the simplicity I have just mentioned. Of his performances, when he is playing at his best, one can genuinely say that at the end of each piece there is an extra thrill of satisfaction because everything has been so perfectly proportioned. At the same time, each phrase is alive; because although he 'puts line before detail', there is certainly no lack of nuances. It is only that they are of a different order. His priorities are, first, the underlying harmonic progressions; second, or perhaps equal first, the rhythm; third, the melodic detail. If I am right about that, it is one of the main reasons why one can listen again and again to most of the performances on this record. The large contours are always there; the details gradually come to seem natural and inevitable.

Of course, there is another element of some importance - the piano playing itself! It has a orchestral quality, in its colouring (and use of the pedal), in the polyphony of different strands in the texture that are perfectly controlled and balanced, and in its depth of tone. And on both sides of the record, but especially in the Etudes - which are played not as studies but as great music - you will notice the marvellous independence of the two hands. This independence is a sine qua non of poetic performance, and that is what one hears all through the present record. May the BBC soon issue another.

VLADO PERLEMUTER was admitted to Cortot's class in the Paris Conservatoire at the early age of thirteen, and after winning several of the more important prizes of that institution he had the privilege of meeting Maurice Ravel and studying his entire piano works with him. Later, he was one of the first to play them all in public in two recitals. The war and its aftermath interrupted Vlado Perlemuter's career for several years. In 1950 he played again in Paris and since then has made regular appearances with the major orchestras of France, and has played with the Boston Symphony Orchestra under Charles Much, and with Pablo Casals at his Prades Festival. He tours extensively in West and East Europe, Canada, and Japan, giving recitals and master-classes.

Parellel to this life at a concert pianist, he has since 1951 been one of the most distinguished professors at the Paris Conservatoire. In 1972 he was made an Officier de la Lgion d'Honneur, and an Honorary Fellow of the Royal Academy of Music, London. He has made recordings of Schmann's Kreisleriana and Fantasie, the entire piano works of Ravel, all the sonatas of Mozart, the 24 Preludes and 14 Waltzes of Chopin, and a Chopin recital which won the Grand Prix du Disque in France.

Record produced by
Diana Gordon and Sylvia Cartner

Notes by
Sir William Glock

Sleeve design
Andrew Prewett

Other versions

I have the title track on these releases:
REB 153-iDPerlemuter Plays Chopin

Further information

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