Publisher: Deutsche Grammophon
Year: 2010
Artist: Alice Sara Ott

There are probably several hundred recordings of Chopin’s body of work, ranging from the truly atrocious to the sublime. Associated as he is with the Romantic era, many artists of the modern attempt to infuse their interpretations with pathos and melodrama by taking vast liberties with phrasing, pedalling, and tempo. Other performers take a more impressionistic view to the score: if Chopin spent weeks labouring over each and every bar, maybe he made a mistake, leaving in some of those horrible notes in the long runs or massive chords. Volume and speed are equated with passion, not a fussy insistence upon hitting the right notes in the right way: wasn’t that what Romantic era music about?

Ms. Ott does not so much play these waltzes as allow them to unfold. Each overlapping voice is enunciated clearly; the pedal is restrained and is never allowed to become muddy and indistinct. She has a peculiar ability to make each chord sound perfectly natural and easy; there is no hint of any finger-busting struggle to cover distance on the keyboard. Every phrase is rounded and given its moment to sing. She allows both the harmonies and dissonances to work their own particular magic, without having to resort to cheap dynamic tricks. Even the most delicate notes are played with poise and attention. Occasionally she offers a different voicing (such as in the supporting left-hand line towards the end of Op 64 No 2) to keep the music lively and fresh; Chopin’s endless repetitions do not seem quite so laboured. Most of her tempi reflect the heritage of these Waltzes, and move at a reasonable clip. The inclusion of the posthumous Nocturne (No. 20, in C-sharp minor) is a welcome surprise, a lovely dessert for this feast of music.

In short, there is much to recommend this mature, balanced recording that will bear repeated scrutiny, and it shines in comparison to other contemporary recordings. I think even Chopin would have approved of it.

Publisher: Deutsche Grammophon
Year: 2010
Artists: Hilary Hahn, Matthias Goerne, Christine Schäfer, Münchener Kammerorchester & Alexander Liebreich

First, the good news: Hilary Hahn is featured in this collection of Bach cantatas and choral works. For the most part, her playing is as composed, clear and thoughtful as always; her violin sings, laughs and sparkles.

Now, the bad news. Although one might expect otherwise from a record whose title implies balance between instrument and voice, these recordings are weighed down by the two vocalists. The nature of baroque music is contrapuntal and bright; Mr. Goerne’s fruity vibrato overpowers all distinctions, and lack of expression lends a leaden quality to his pieces. What may be lovely in the concert hall translates into loud mush. Ms. Schäfer, on the other hand, prefers to skip half of her notes and manages to miss the rest, rather like a hurdler who decides that it is quicker to barrel down the course than to attempt those athletic jumps. Furthermore, both vocalists lack the pleasing subtlety and cooperation that Bach demands of his performers. Perhaps it is not entirely their fault; these two vocalists seem to have preferred Romantic leider to Lutheran liturgy in their past work, and these have different vocal techniques and requirements.

Other little indignities are present in this package. The cover art is atrocious. Who picked that font? Why is it purple? Why is a disembodied bust of old Bach hovering, god-like, in the corner? Why do the artists look photoshopped onto the generic white of an indeterminate church hall? Why do they look like they are guilty of a great secret? Why is the violinist separated from the vocalists? Why is everyone in black? Why are there no artist biographies? And if they are so famous, why are there no promotional covers for the other two artists?

One of your esteemed reviewers believes that this CD is palatable in the right historical context. The other reviewer finds this a difficult recording to digest.