Out of Print. Factory Sealed.
Because Chopin's Mazurkas lend themselves to a wide interpretive scope, it's not difficult to find antipodal conceptions equally convincing, be it the aristocratic lyricism of Arthur Rubinstein's valedictory cycle, Ignaz Friedman's phantasmagorical flights of fancy, or Vladimir Horowitz's poetry wrapped in live wires. Similarly, Jean-Marc Luisada's 1992 DG Chopin Mazurka edition cuts a strong, individual profile.
The Tunisian pianist focuses more on nuts, bolts, and sundry details than on the proverbial big picture or general pulse of a piece, favoring complexity over simplicity. For example, he subjects the four Op. 67 Mazurkas to microscopic variations of articulation and voicing, stretches the Op. 7 No. 1's trills to dangerous boundaries, and underlines Op. 63 No. 3's canon through dynamic extremes and playing the lines ever-so-slightly out of sync. However, a sense of inner logic and ear for timing prevent Luisada's liberties from sounding indulgently predictable. And Luisada can convey rhythmic directness and danceable accentuation when so inclined, as the Op. 41 B major and Op. 33 D major Mazurkas prove. In addition, melodies and accompaniments achieve marvelous timbral distinction via this pianist's hands.
For the record, Luisada plays only the 49 Mazurkas assigned opus numbers. It's good to have these interesting and often absorbing recordings available again outside of DG's complete Chopin Edition through the good graces of Arkivmusic.com's valuable custom reprint program.
--Jed Distler, ClassicsToday.com
