Frederic Chopin (1810-1849)
        Solo Piano Works

Mazurka No. 1 in A minor, Op. 59
Mazurka No. 2 in A flat major, Op. 59
Mazurka No. 3 in F sharp minor, Op. 59
Mazurka No. 1 in B major, Op. 63
Mazurka No. 2 in F minor, Op. 63
Mazurka No. 3 in C sharp minor, Op. 63
Ballade No. 3 in A flat major, Op. 47
Ballade No. 4 in F minor, Op. 52
Polonaise No. 5 in F sharp minor, Op. 44
Polonaise No. 6 in A flat major, Op. 53 "Heroic"
Mazurka No. 4 in F minor, Op. 68

Piotr Anderszewski, piano
Recorded at Air Lyndhurst Studios, England, June 2003
Released January 2004
Virgin Classics 45620 [60:27]

Comparisons:
Mazurkas - Rangell/Dorian
Polonaise, Op. 44 - Kissin/RCA
Polonaise, Op. 53 - Biret/Naxos
Ballade, Op. 47 - Luisada/RCA "Repertoire"
Ballade, Op. 52 - Entremont/Sony

Referenced Musical Term:
Ostinato - A series of notes played over and over by a lower voice.
Often referred to as a "basso-ostinato", the form was used extensively
during the Baroque era for "theme and variations" compositions.  Among
its many effects, there are two that are particularly rewarding.  One
is that the ostinato provides a sense of musical continuity, no matter
what is happening above it.  The second is its capacity to have an
hypnotic effect on the listener.  The ostinato can be heard in all
its glory in the second section of Chopin's Polonaise Op. 44.

Piotr Anderszewski is one of the most highly esteemed young pianists on
the scene today.  Not being averse to competing in highly competitive
repertoire, his recordings have concentrated on some of the most popular
composers including Bach, Mozart, Beethoven, and now Chopin.  Some folks
would counter with the premise that Anderszewski does not seek out
adventurous repertoire, and I can't deny that he takes a very different
programatic path than the exceptional Marc-Andre Hamelin who has recorded
obscure repertoire with regularity.  But surely, there is ample room in
the field of classical music for both types of performers.

Personally, I think highly of Anderszewski for taking on the pianistic
giants of the past as well as the most popular pianists of modern-time.
His two recordings of Bach keyboard works are very good, although there
are a handful of other pianists I prefer.  The disc of Beethoven's
Diabelli Variations is where I feel Anderszewski matches and perhaps
surpasses all alternative recordings with highly individualized performances
that always remain true to Beethoven's aesthetic.  Needless to say, I
was greatly looking forward to Anderszewski's new Chopin disc.

Mazurkas, Ballades, and Polonaises are what's for dinner from Chef
Anderszewski, and he cooks up quite an unusual cuisine.  However, I'd
like my money back, feeling I was fed the wrong meal.  Here are some
details that lead to my less than sterling recommendation of the new
disc:

Mazurkas - Chopin made the home-spun Mazurka famous.  Yes, he gave it a
slightly cosmopolitan flavor, but he always maintained its life-affirming
and vibrant nature.  Anderszewski removes these qualities, sucking all
the juice out of the music.  Do you like your mazurkas slow?  Anderszewski's
your man, and he just about stops moving in the F minor.

Where's the jagged rhythmic patterns and tugging of musical lines?
Where's the life-giving snap in the music?  It isn't that Anderszewki
doesn't highlight the essence of the Mazurka, but that he avoids it like
the Plague.  His drab and forlorn performances are 'downers' of the 1st
degree, and I can only imagine what he might do to a Chopin Nocturne.

Just to make sure I wasn't out in left field, I listened to the vibrant
performances of Andrew Rangell which are miles ahead of Anderszewski's.
The frosting on the cake came from Arthur Rubinstein's last set of
performances of the Mazurkas on RCA, coming at a time when he was
smoothing out and slowing down.  Yet, even Rubinstein conveys more life
than Anderszewski who effectively has 'neutered' this dance form.  Just
like Kellogg's Rice Crispies needs 'snap', Chopin's Mazurkas crave the
same quality.

Polonaise in F sharp minor, Op. 44 - This is a very powerful work having
three main sections.  An ominous introduction gives way to a highly
demonstrative first section of tremendous weight and energy.  Although
a softer refrain eventually enters, it is quickly erased by the second
section that is built on a menacing ostinato that can be mesmorizing.
For the third section, Chopin gives us a gorgeous mazurka that flows
like silk.  The first section is reprised but not until it is re-introduced
ever so slowly from the bowels of Hell.

Anderszewski's performance of Op. 44 is in the twelve-minute range
and calls for some changes in priorities from the quicker versions that
thrive on propulsion.  Those changes are mainly greater intensity and
detail.  I had some trouble coming up with another version as lengthy
as Anderszewski's, but finally located the equally slow Evgeny Kissin
version on RCA.  Kissin's is a mighty interpretation, loaded with menace
and tremendous bursts of energy.  Yet, he also offers a lovely mazurka,
and his transition to the reprised first section is the darkest and most
ominous one I've ever heard.

Anderszewski also conveys the might of the music, but not as intensely
as Kissin.  As an example, listen to the weak opening chord of Anderszewski's
first section compared to the visceral strength delivered by Kissin.
Anderszewski does have the advantage of detail, but it pales next to
Kissin's intensity.  From my perspective, when I want the slow and intense
approach, Kissin is the pianist to see.

Polonaise in A flat major, Op. 53 - The "Heroic" is Chopin's most popular
Polonaise and feeds on ceremony and swagger.  I'm glad to say that
Anderszewski does an excellent job.  He remains very slow (12 minute
range), but his drive and determination are at peak levels.  Detail is
stunning as is the menace that often invades the work.

I tried to find an alternative version of equal length, but the best
I could do was Idil Biret's recording that clocks in at just over 11
minutes.  Anderszewski easily wins this contest, because Biret's drive
and strong heroism are clearly deficient in comparison.  I don't want
to leave the impression that I consider Anderszewski supreme among all
pianists in Op. 53.  I miss the propulsion of faster versions and wish
that Anderszewski had used a faster tempo here for added variety from
his Op. 44.

Ballade in A flat major, Op. 47 - Two gorgeous themes and a dramatic
contrasting section in C sharp minor are the foundation for Op. 47.
Anderszewski is sensational in the contrasting section with abundant
power, angst, and pin-point detail.  The two lovely themes are a different
matter; the first theme drags through empty spaces, and the second has
a perfunctory flavor.  Switch to Jean-Marc Luisada on an RCA "Repertoire"
recording, and you'll notice a lyricism only hinted at by Anderszewski.
Luisada's version, although even slower than Anderszewski's, never drags
and is much preferred.

Ballade in F minor, Op. 52 - Anderszewski's best performance on the
program features strong and intense drama with his usual brand of revealing
detail.  I've not heard the driving conclusion played with such a glorious
combination of determination and inevitability.  Although Entremont is
a little more expressive in the lyrical music, Anderszewski offers
superior sweep and continuity.

Don's Conclusions: One superior performance and another exceptional one
does not add up to a hearty recommendation of the new Chopin recital
disc from Piotr Anderszewski.  In addition to a general tendency to
emphasize detail at the expense of musical flow, his wayward performances
of the Mazurkas constitute a severe blot on the recording; Anderszweski
plays them as if they are nocturnes or lullabies, sucking all the vitality
out of these pieces.

Of course, Anderszewski's superb pianism is intact, but this feature
is a generic one and can't make up for his straying from Chopin's idiom.
The recorded sound is fine, not particularly impressing or disappointing
this reviewer.  Those who have a different conception than I do of
Chopin's Mazurkas might well find the disc highly rewarding, but I do
advise some sampling before deciding to acquire.  If I keep the recording
in my music library, it will be solely for the Ballade, Op. 52.

I should point out that some other revews have been of the glowing
variety, and I know a few Chopin fans who adore the disc.  My opinion
of the disc tends to be similar to the reviewer on the Classics Today
website who feels that Anderszewski does not consistently serve Chopin's
music.  I certainly have not given up on Anderszewski.  He is an imaginative
'risk-taker', and that will sometimes yield less than rewarding results.

Don Satz
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