Track Listings
| 1. Mazurkas Opus 59 No.1 in A minor Moderato | ||
| 2. Opus 59 No. 2 in A flat major Allegretto | ||
| 3. Opus 59 No. 3 in F sharp minor Vivace | ||
| 4. Opus 7 No. 3 in F minor | ||
| 5. Opus 50 No. 3 in C sharp minor Moderato | ||
| 6. Polonaise Opus 26 No. 2 in E flat minor Maestoso | ||
| 7. Nocturnes Opus 48 No. 1 in C minor Lento | ||
| 8. Opus 55 No. 2 in E flat major Lento sostenuto | ||
| 9. Polonaise Opus 44 in F sharp minor | ||
| 10. Sonata No.3 Opus 58 in B minor | ||
| 11. Allegro maestoso | ||
| 12. Scherzo: Molto vivace | ||
| 13. Largo | ||
| 14. Finale: Presto non tanto |
Editorial Reviews
Amazon.com
Anyone who misses Vladimir Horowitz would be wise to investigate this all-Chopin recital by Eduardus Halim, the last of the master's students. Halim's tone has a similar knife-edge definition. And his phrasing has a similar Horowitz-like freedom, permitting him to move easily from the gently intimate to the explosive. He is also a born Chopinist. Halim's way with the F-Sharp Minor Polonaise (Op. 44) is authentically romantic. His slight alterations in dynamic markings and variations in tempo heighten the suspense without losing any of the work's epic sweep. He captures the desolation of the work's final page, in which the music trails off with almost inexpressible sadness, even more effectively than Horowitz did. Halim is equally persuasive in the brooding E-flat Minor Polonaise (Op. 26, No. 2) and the powerful C Minor Nocturne (Op. 48, No. 1). He revels in the slow lyricism of the latter without making it seem either too slow or too sentimental. He plays five of the composer's mazurkas (Op. 59, Nos. 1-3, Op. 7, No. 3 and Op. 50, No. 3) with simplicity, sensitivity, and remarkable control. His reading of the B Minor Sonata (Op. 58) is perfectly proportioned, brilliantly executed and warmly expressive. Halim's playing has a classical poise Horowitz's often lacked. Rather than call him his master's disciple, it would be better to call him his successor. --Stephen Wigler
Eduardus Halim Plays Chopin, Music, Eduardus Halim, Frederic Chopin
Average customer rating: 
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Eduardus Halim Plays Chopin
ProductGroup: Music Binding: Audio CD  Classical
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ASIN: B00004ZARS Release Date: 2000-09-06 |
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Amazon.com
Anyone who misses Vladimir Horowitz would be wise to investigate this all-Chopin recital by Eduardus Halim, the last of the master's students. Halim's tone has a similar knife-edge definition. And his phrasing has a similar Horowitz-like freedom, permitting him to move easily from the gently intimate to the explosive. He is also a born Chopinist. Halim's way with the F-Sharp Minor Polonaise (Op. 44) is authentically romantic. His slight alterations in dynamic markings and variations in tempo heighten the suspense without losing any of the work's epic sweep. He captures the desolation of the work's final page, in which the music trails off with almost inexpressible sadness, even more effectively than Horowitz did. Halim is equally persuasive in the brooding E-flat Minor Polonaise (Op. 26, No. 2) and the powerful C Minor Nocturne (Op. 48, No. 1). He revels in the slow lyricism of the latter without making it seem either too slow or too sentimental. He plays five of the composer's mazurkas (Op. 59, Nos. 1-3, Op. 7, No. 3 and Op. 50, No. 3) with simplicity, sensitivity, and remarkable control. His reading of the B Minor Sonata (Op. 58) is perfectly proportioned, brilliantly executed and warmly expressive. Halim's playing has a classical poise Horowitz's often lacked. Rather than call him his master's disciple, it would be better to call him his successor. --Stephen WiglerCustomer Reviews:
Multi-cultural Chopin.......2002-01-29
When I first heard this recording, I believed I could detect something in his playing that struck me as unusual. I could say, at the very least, that his Chopin playing did not seem idiomatic. As it turns out, Mr. Halim views his Chopin through an unusual multi-cultural lens. Born of Chinese stock in Indonesia, introduced to Javanese dancing at the same time as he was studying piano, he was also influenced by a number of teachers of various backgrounds: Hungarian, Russian and Czech.
As I carefully listened to this disc, I was left with the impression that Mr. Halim's primary motive was to say something previously unsaid with this music. Although many of the great recorded performances of music have the quality of demonstrating the music in a way that has never been heard before, it seems to me that the uniqueness of a great recording results from a primary pursuit of the underlying beauty. One doesn't get to the beauty by pursuing uniqueness, but rather the other way around.
There are several beautiful performances on this disc. I was very moved by Mr. Halim's performance of the Nocturne in C minor, Op. 48, No. 1. He takes an unusually slow tempo, but he sustains concentration throughout and brings a very satisfying reading. The Nocturne in E-flat major, Op. 55, No. 2 is also very well played, as is the Polonaise Op. 26. In many of the other pieces, his penchant for rubato disrupts the rhythmic flow. He also often unduly emphasizes a note or phrase, disrupting the passage or the larger structure of the piece.
I will value this recording in my collection as an example of unique playing, but I will not likely reach for it when I wish to hear the music played beautifully (except for the Nocturne in C minor as mentioned above). For those who are looking for unique and memorable Chopin performances, let me suggest the recordings of Shura Cherkassky.
A Winner.......2001-08-02
First- the program- Being a Chopin program it would have been very easy to fill it with very familiar and beautiful selections taken from his Waltzes, Etudes, Nocturnes, Ballades, and Preludes. Those pieces are quite wonderful but I think they don't equal the depth of feeling found in the Mazurkas and some of the Polonaises. Halim's selections were very compelling examples of the serious Chopin who coupled the beauty of his lyricism with the restless spirit within his breast. The two Nocturnes he chose are wonderful examples of this combination, as are the Mazurkas and Polonaises. The crowning work, his 3rd Sonata, bring to us the very soul of this poetic composer who among composers has a style so unique that it is almost instantly recognizable.
Second- the performance. Halim plays exquisitely. He has the lyricism of a Rubinstein, and some of the bravura of Horowitz with whom he studied. In spite of this, to my mind he plays a little more like Rubinstein than Horowitz emphasizing emotionalism over technical prowess, even though he possesses the latter in spades. He does have some of the percussive quality of Horowitz, but he does not mimic Horowitz who is unmistakable and unparalleled. But more than his similarities to others, he has a way of playing which reveals his own sensitive nature and that of the composer, as well as his true understanding of the music. He is able to communicate to us those vague but overpowering nuances which could so easily be missed by other pianists. No, I found his music very compelling and I was very receptive to his expressiveness.
Third- the recording. The technical quality was as good as any piano recording I have heard, and you know that the piano is a most difficult instrument to reproduce. But the clarity, distortion-free sound and the handling of the dynamic range left nothing to be desired. All in all a winner and a marvelous first outing on this label. I hope it gets reviewed in Gramophone and High Fidelity.
Magical Halim.......2001-05-24
Fabulous Chopin, Fabulous Pianist, More to Come?.......2000-10-14
Must Have Collection!.......2000-10-07
I also have Mr. Halim's earlier recording by arabesque company, another fantastic recording!
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