Editorial Reviews
By Stephen Wigler

Anyone who misses Vladimir Horowitz would be 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 disciple, it would be better to call him his successor.