Notes and Editorial Reviews
The fault must be mine, no doubt, but, on the basis of the HMV performances listed above and other discs in that series which I have reviewed, I...find Chorzempa far more congenial in these particular works [than Barenboim]... Chorzempa's tone is more centred, more sharply defined, the detail clearer, e.g. the groups of right-hand quavers in bars 19-20 and 23-4 of the Op. 13 Allegro; occasionally his playing is a little flat, allowing the music to speak for itself, but really he is more sensitive than Barenboim, if less overtly so. This impression is confirmed by the slow movement of the Pathetique, where Chorzempa, despite the music's extreme familiarity, sounds more exploratory and gives an impression of truly seeking out the meaning of
these hackneyed notes; in comparison Barenboim is warm yet bland. The latter has in quick movements such as this Sonata's finale, however, a tendency to inflate certain gestures, such as the cadence at the end of the main theme's first return, whereas Chorzempa has a better sense of proportion... Again, Chorzempa does not drool in that famous Adagio and is brisker, more pointed, in the succeeding movement; he is more temperate, also, in the finale, where Barenbohn exercises little restraint. Chorzernpa is drier in the Appassionata first movement, too, his lines more firmly drawn, and with no indulgence in the modern grand's tonal weight for its own sake, though I suppose Barenboim's more obviously dramatic reading will suit many tastes.
-- Max Harrison, Gramophone [3/1972, reviewing the original LP release]
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