Notes and Editorial Reviews
"Characterised by feeling, fluency and a lightly worn refinement, Fliter gently attempts to adjust the emotional temperature of many of the waltzes, inking in and accenting their romantic leanings to thoughtful and telling effect. She sets out her stall with deliciously involving accounts of the two ‘Grande Valse Brillante’s (Opp 18 and 34 No. 3); readings of nimble acuity that sparkle with joyful, improvisatory-like trills anchored in a revealingly grounded and reflective turn of mind.
The profiles of similar twilit contours are brought to the fore elsewhere, but it’s not all mournful gloom by any means. The posthumous ‘Sostenuto’ is by turns determinedly playful and wistfully plaintive, ‘L’adieu’ is noticeably less
lachrymose than you might be accustomed to (and is all the better for it), and Opus 64 begins with an infectiously lively account of the ‘Minute’ waltz that teases and tickles in equal measure.
Three waltzes are repeated here from Fliter’s EMI debut last year, but that shouldn’t stop anyone from snapping up this altogether scintillating recital in which the young Argentinean stamps her authority with a finesse far beyond her years."
Michael Quinn, BBC
In contrast to the modern-day directness and simplicity characterizing reference versions of the Chopin Waltzes by Arthur Rubinstein (his stereo recording) and Dinu Lipatti, Ingrid Fliter's virtuosity abounds in fustian "old-school" expressive devices, where dynamics, phrasing, articulations, and accents shift with the wind, and rubato rules the roost. Occasional added or filled-in octaves slip by along with unusual execution of certain ornaments. Yet because she has the technique and temperament to pull off such an approach (as Abbey Simon did three decades ago for Vox), Fliter's affetuoso conceptions are at best quite captivating, and rather fun to hear.
Examples: the F major Op. 34 No. 3's lurching speed-ups and slow-downs; the G-flat Op. 70 No. 1's provocatively-stressed dotted rhythms; novel voicings for each of the posthumous E minor waltz's repeated phrases; extra emphasis to the top line within the A-flat major Op. 34 No. 1's left-hand "oom-pahs".
Sometimes Fliter stretches lyrical passages to the point of meandering, as in the C-sharp minor Op. 64 No. 2's major-key Trio section, or in portions of the A minor Op. 34 No. 1 and Op. 42 pieces. But she also can play "straighter" when she so chooses, and with plenty of expressive finesse. The posthumous A minor No. 19 is a case in point, with beautifully timed melodies that spin out by way of Fliter's expert finger legato. She includes the seldom-programmed "20th" F-sharp minor "Melancholique" and opts for the more ornamented, harmonically elaborate printed edition of Op. 69 No. 1.
Among contemporary Waltz cycles, I prefer Alexandre Tharaud's imaginative and unifying re-ordering, as well as his more organic brand of subjectivity, in contrast to Fliter's expert contrivance. In all, Fliter's Chopin Waltzes are best digested in small doses, and her beautiful sonority easily penetrates EMI's distant, slightly hollow "small hall" recorded ambience.
--Jed Distler, ClassicsToday.com
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