Chopin Preludes

The 2015 International Chopin Competition in Warsaw was so thick with talent that even as fine a Chopin interpreter as Aimi Kobayashi did not make the medal stand (she did place in the round of ten). She's an exceptional pianist who brings the power and speed of the piano stars of yore, who often plays Liszt as well as Chopin. On this release of Chopin's preludes, plus a few other Chopin hits, listen to the well-worn Prelude in C minor, Op. 28, No. 20, where the imposing opening chords seem to pulse through the whole work. Kobayashi's passagework in the faster preludes is fleet but never muddy, and where Chopin has embedded a melody, she catches it.

When the name Chopin is mentioned, what often comes to mind first are his Nocturnes and their dreamy qualities. Chopin, of course, wrote much more than that, and some of it is quite dramatic and intense.

When the name Chopin is mentioned, what often comes to mind first are his Nocturnes and their dreamy qualities. Chopin, of course, wrote much more than that, and some of it is quite dramatic and intense. However, Daniel Barenboim seems to have missed getting that memo before recording Chopin's Preludes and the other works on this album. There is both drama and intensity in at least a few of the Preludes, often overdone, but not here. Those marked agitato, Nos. 1, 8, and 22, are placidly performed, with little impetus to them, while the "Polish Dance," No. 7, has no strength in it. No. 12 in G sharp minor has a little more energy, and No. 16 has a little more forcefulness, both coming closer than the other Preludes to living up to their potential.

Born in 1994 in Datong China, Ke studied at the Royal Academy of Music in London with Christopher Elton, Michael Dussek and Andrew West, graduating with a Masters with distinction (DipRAM) in 2017. She is currently pursuing her Doctoral study at Guildhall School of Music and Drama with Professor Joan Havill, Dr Alexander Soares and Rolf Hind.