"Even speaking as someone who is usually thrilled over unusual and personal performances of classical music, I am astonished at the uniformly positive reviews of this CD. I imagine that my review will not be to the liking of many, and I am prepared for "unhelpful" votes. But I hope that this will be meaningful to some readers and may perhaps prompt you to listen to some other performances of these etudes. Only a couple of other reviewers have noted any negative aspects of this performance, but, truth be told, the playing is not adequate on either technique or musicianship. I realize that there was no editing of this performance, which is admirable, and my criticisms take this fully into account.
First to state what is positive: Just to be able to play these etudes at all is a considerable accomplishment. And, very importantly, Mr. Rusnak succeeds at conveying a personality and identity. This is all-too-rare in classical music, and perhaps it is enough to rightfully make so many people love his playing. We see readily that he is a "Romantic" with his own personal take on the music, particularly with regard to rhythms. This is noteworthy and admirable.
However, the truth is that Mr. Rusnak's technique is barely up to the task of these etudes, and while his rhythmic "stuff" is potentially interesting, he doesn't do the other musical things that would be needed to make it "work."
Let's be specific......Regarding the technique, here are some examples. The second etude (Op. 10, #2), which is one of the great technical challenges of the entire piano literature, is taken at a slow tempo that ignores and negates both the technical and musical points of the piece. The eighth etude, the scampering-fluttering F major (Op. 10, #8), is full of errors and unmusical stops-and-starts, often apparently just for the performer to take time to reach or stretch for a difficult chord. The harp-like 11th etude is a chaotic mess of sloppily rolled chords, poor pedaling, and missed notes.
The rhythmic flexibility often seems arbitrary, and it is sorely unaccompanied by any corresponding play of dynamics. Let me try to explain .....When a singer stretches out a phrase, or lingers on a note, there is almost always some corresponding ebb-and-flow of loudness and softness; the phrase is "shaped" in a way that makes the rhythmic stuff make sense. Singers do this just naturally; it's harder to do on instruments, and it's a big part of what good instrumental playing is about. We all do it just naturally when we speak. If we slow down or speed up on a word or phrase for emphasis, we don't JUST do that; we match it with some changes in loudness or softness, as well as in the basic tone. Good musicianship involves these same aspects. When you hear music, even if you're not familiar with this principle (and even if you think it doesn't seem important), your ears tell you the difference between performers who do it and those who don't.
And Mr. Rusnak simply doesn't. There is rarely any variation of dynamics to match or "flesh out" the unusual rhythms. The net result is a sort of false expressiveness, kind of like when a politician gives a fake smile but you can tell it's fake because the rest of his face isn't smiling. We're talking about basic principles of music-making that apply even for performances that are unique and personal.
I am well prepared for "unhelpful" votes on this review. But I would just ask this: Please listen to at least one other CD of these etudes -- almost any other will do (I would suggest Murray Perahia or Claudio Arrau) -- and see if you don't find some sense in what I have said."
Chopin in the raw
Amanda Richards | Georgetown, Guyana | 11/09/2006
(4 out of 5 stars)
"I'll admit to being one of the least qualified persons to review this CD, being no great connoisseur of classical music, and not knowing my Bach from my Chopin or my etude from my prelude. What I DO know, is that Chopin's compositions are considered to be rather difficult to play, and require a lot of upper body movement to get the job done right.
This CD contains the twelve technical exercises known as Opus 10 and the twelve of Opus 25, and I understand that for a pianist, this is the equivalent of a grueling aerobic workout. Not one to take the easy way out, John Rusnak laughs in the face of sound engineers everywhere, and delivers a powerful and beautifully executed album without digital or studio tweaking, so what you hear is what he plays, raw and direct, his fingers to your ears, and that's what makes it special.
One of the instantly recognizable pieces to me is Opus 10, No. 3 in E Major: Lento, ma non troppo, or to make it easier, track three, which was featured on the TV show "Smallville". I also recognized a few others, including Opus 10 #12, and took note of Opus 25, #11 and #3 and Opus 10 #4 for further investigation.
Overall, I found this CD very stimulating, and when I played it at work I actually got a lot of work done. John Rusnak is an extremely talented guy whose right hand certainly knows exactly what the left is doing.
Amanda Richards, November 8, 2006
"
Familiar with John's work
Mike Pesta | Pittsburgh, PA | 01/20/2000
(5 out of 5 stars)
"John Rusnak is one of the most talented pianists of our time. He's interpretation of Chopin is refreshing and I would recommend his work to anyone looking for an exciting musical journey. Thank you John mgpesta@aol.com"
Even Chopin himself would have loved it!
Albert Eddy | Pasadena, CA USA | 05/11/2001
(5 out of 5 stars)
"John Rusnak's newest CD, in what I hope will be a long line of releases, is truly a rare and gifted artist. John plays with unique passion and a stylistic, sincerely reverent nuance rare in most classical piano recordings today. Not since Glenn Gould have we had an opportunity to experience the Piano played with such expertise, finesse and grace (like Gould, I could swear I hear John singing along). More importantly Chopin's etudes have never been heard so brilliantly crafted or styled, to this listeners ear, ever. I am confident in saying "If he could hear his music, as it is played by John Rusnak, I know Chopin himself would have loved it"."
Leading pianists offer greater enjoyment.
R.S. | 12/10/2007
(1 out of 5 stars)
"Chopin's Etudes are widely regarded as among the most difficult works in the piano repertoire, and are a challenge even for accomplished concert pianists. If the performer cannot overcome the technical challenges, the musicality of these Etudes can be lost, and the listener will hear only technical struggles. My personal preference is for the flawless technique and interpretive mastery of such esteemed artists as Maurizio Pollini, Nikolai Lugansky, and Murray Perahia. It is only when performed by such superb musicians that the Chopin Etudes can be appreciated as some of the finest piano compositions of the 19th century. Nonetheless, I hope Mr. Rusnak will continue his admirable efforts, and will grow into a pianist of the stature to which he aspires.
Track Listings (24) - Disc #1