Stephen Hough always has attempted to fuse the best of “old-school” Chopin traditions with a modernist’s view of textual accuracy. For example, Hough’s melodic projection in the four Mazurkas adheres to Chopin’s dynamics and articulations, yet the phrases ebb and flow with seeming disregard of the barlines. So does the Polonaise-Fantasie, although Hough’s emotional reserve sidesteps the music’s dark poetry and surging potential. The Nocturnes are models of unruffled pianistic poise but yield to Nelson Freire’s contemporaneous recordings for polyphonic interaction and dramatic contrast. Compared to Marc-André Hamelin’s recent Hyperion recordings of the Berceuse, Barcarolle, and B minor sonata, Hough’s dynamics are less extreme, his tempos are generally faster, and he uses less rubato. The sonata’s middle movements feature Hough’s most interesting work. In the Scherzo Hough unifies the main theme and Trio with a common tempo, whereas most pianists play the main theme fast while slowing down for the Trio. The Largo’s gorgeous melody/accompaniment contouring is worth the price of admission. A fine disc overall, but don’t expect hearty, red-blooded, big-boned Chopin.
