This EMI Debut reissue provides a welcome opportunity
to reappraise the Argentinian pianist Nelson Goerner. This disc is,
indeed, a special achievement, especially as Goerner was a mere 28 years
old at the time of recording: his youth brings with it a freshness of
interpretation which sits well with Goerner’s obvious aim of penetrating
to the fervent heart of Chopin.
Perhaps the essence of Goerner’s playing is his ability
to give the impression of freedom without distorting Chopin’s carefully
wrought structures (an aspect of Chopin’s music too often ignores, at
the interpreter’s peril). Tone and voicing are carefully considered
at every point: try his exquisitely voiced ascending left-hand scales
in the first movement of the Sonata. His technique is such that the
Scherzo both lives up to the ‘Molto vivace’ marking and is simultaneously
light and fluffy as humanly possible. The Finale is where many pianists
fail, and where Goerner captures the spirit better than most. Scales,
for example, are never mere effect and are never used for mere effect.
The Polonaise-Fantaisie requires a different
type of virtuosity. Goerner emphasises the boldness of Chopin’s opening
gestures, spread over the full keyboard. He captures the spirit better
than the majority of players, due in no small part to his pedal technique,
which is completely subservient to the sounds his inner ear dictates.
The remaining pieces, the Nocturne, Scherzo, Barcarolle
and Ballade, are well balanced. There is always a temptation
in the C minor Nocturne to tend to the over-theatrical and to turn it
into a quasi-Ballade, a temptation Goerner thankfully resists.
Whilst there is much to admire in both the Scherzo
and the fluent, fantasy-laden Fourth Ballade (where at one point,
Goerner seems intent to point out a kinship with the Etude, Op. 25 No.
12), it is the Barcarolle that glistens. Why is this piece not
played more often? Under Goerner’s masterly fingers, the piece works
its way to its passionate climax inevitably and effectively. Strongly